lifeblood: songs: background: touch me fall

amy ray quote from 1994-02-18: unknown source:

"is about the industry. no, 'touch me fall' is sort of a journey from - it deals with ego and true - true love, and, you know, and purity, and then it switches over to - into a mode of kind of the - it's fatalistic. it goes from this real pure type thing into a - a sort of a chaotic existence. they're very abstract songs. i don't know what i'm writing about half the time when i'm writing, so i can't really - i can't, like, pin it down like emily can."


"i had a wreck, actually, the day we recorded it, and i went into the studio, we recorded it. we did it live, (sarah lee) and jerry marotta, and that was an improv thing - we kind of worked on a skeleton of it, but it kind of happened the way it happened, and we just kept it. so it's very - it is what it is. full of mistakes and time changes and everything."


"i wrote 'touch me fall' actually, we were staying at a resort in florida (laughing) - i was taking a nature walk. i started the song on that, actually, on that walk. i was - it was after dark supposed to be there, and i started this song. and it was a real pure thing, and then i finished it after being really worn out from last year. it became a completely different song. it got very chaotic. and so i finished it at a different point in my life. and so that's what it is, it's like a journey from one part of my life to another."

amy ray quote from 1994-04: interview, university of new hampshire:

"it is very abstract. i don't think it is easy to understand the meaning of it because i don't really either. i just kind of let it all come out. it is sort of about decomposition in general. decomposition of love, life and fame. everything. it is the beauty of decomposition and i am tying it into the fall, meaning the season."

amy ray quote from 1994-05-13: world cafe radio program:

"well 'touch me fall' started out real simple, you know, just kind of a really beautiful electric guitar song that turns into, you know, a grunge song, not grunge, more like a clash type song at the end. real simple, straight forward, but we kinda needed something to help us bridge the transition, so we brought in this young guy, nashville guy, that we had met, a musician that became kind of a friend of ours, to help us with the string arrangement, for some of the transitions. and he a...and he did it."

"yeah, we just kind of did whatever. you know we did it live, we did like...actually i had a wreck the day we recorded it. and i came into the studio about three hours after the wreck and we put down about six takes of it and edited what we liked together of all the takes, it was all improvisation, all of it."

"and a...we kept emily's, all of emily's lead stuff and we just sorta went 'well this is the song, now what else does we need?' and we threw horns on it and strings..."

emily saliers and amy ray quote from 1994-05-13: world cafe radio program:

emily: "mrs. fun."

amy: "...who recorded 'dead man's hill' with us. they were the guest band on the record. they went to see a friend of theirs play who used to go, you know when you're at the skating rink and they go 'all skate, now reverse', you know. i was just saying it and we stuck it before that song because we thought it represented what the song was doing." (emily and amy both laugh).

amy ray quote from 1994-09-01: indigo girls: the power of two, guitar player:

"it started out acoustically, but i wanted a gutsy sound, so i got out my strat," she reports. "emily wound up playing her lines on a yamaha aes 1500 electric. the challenge was to give a tangible feel to my abstract thought, 'everything is beautiful,' as well as that feeling's flipside: decomposition. i wanted to show how it's okay to fall and to stumble, so i put a stop in there before the chaotic string section kicked in."

amy ray quote from 1994-10-07: out in the open, the akron beacon journal:

"it's a call against complacency in some ways. take a risk. it's no big deal if you fail."

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