“I don’t want to exclude my male compatriots, because they’ve obviously been very important and I wouldn’t be up here without them … but there is enough made about male achievement in this world, so I want to talk a little about female achievement - yeah? Here we are and we have three generations of female artists who have somehow… negotiated a very very difficult music industry… It’s important that female artists support each other, and I’m so indebted to Alanis for showing such support to people like me, to people like Chan Marshall.” Manson even took the love to artists not on the bill, saying, “I want to give a big shout-out to Karen O who I love with a vengeance, who has done nothing support me behind the scenes with no fucking political reason behind it other than being just a cool girl doing cool things for cool artists. Morissette, for her concluding part, didn’t have much to say at all during her set, letting the music do the talking.īut Garbage’s Manson gave a nearly five-minute speech about why she thought this was special. Opening act Cat Power (performing solo as the substitute for the originally billed Liz Phair, who ducked out for personal reasons a couple months back) spoke briefly but incredulously to the mini-Lilith Fair aspects: “I’m not used to touring on women’s bills,” she said, with a sense of gratitude and understatement. (Or 26, actually, the 25th-anniversary tour having been delayed by a pandemic year, but in a drought, who’s counting?) If we knew then what we know now, there might have been a lot more of these Bowl bills in the last 25 years. It was nostalgia night, and not just wistfulness for “Hand in My Pocket” but for a time when it seemed like women might always authoritatively rule the alt-rock roost. But there was more than a little bit of a gathering-of-the-tribe feel for the mostly female, mostly 35-to-60 crowd. Part of it may be down to anniversary fever - who doesn’t love a good quadranscentennial? - and part of it due to Morissette’s higher profile, even on an opposite coast, as a result of the “Jagged Little Pill” stage adaptation’s successful Broadway run.
Alanis morissette feet full#
The pendulum has clearly swung back in the favor of their proper recognition, in any case, judging from the rapturous reception of a full house Tuesday night at the Hollywood Bowl, with a followup to come Wednesday. What this occasion also means is that this has to be roughly the 23rd or 24th anniversary of starting to take both Morissette and Shirley Manson too much for granted, rather than holding them in mind all this time as national treasures. A live version of "Head over Feet" is featured on the album Alanis Unplugged (1999), and an acoustic version of the song was recorded for the album Jagged Little Pill Acoustic (2005).The current tour by Alanis Morissette and Garbage has been characterized as a “Jagged Little Pill” 25th anniversary tour, and as it so happens, Garbage’s self-titled debut album came out just a couple of months after “Pill” did, so it’s a silver jubilee all around. The single also peaked at number 1 in Iceland. In Canada, the song spent eight weeks at number one on the RPM Singles Chart, the most of any of her four number-one songs from Jagged Little Pill. In the United Kingdom, it was her first top ten single, and it reached the top 20 in Australia. Adult Top 40 chart and also topped the Mainstream Top 40 chart. The song became Morissette's first number-one hit on Billboard's U. It received positive response from critics, who described it as soft and light. "Head over Feet" talks about a couple who are best friends as well as lovers, with Alanis thanking a friend for his manners, love and devotion.
Written by Alanis and Glen Ballard, and produced by Ballard, it was released as the album's fifth single (sixth in the United States) in 1996 (see 1996 in music) and presented a softer sound than the previous singles from the album.
"Head over Feet" is a song by Canadian singer-songwriter Alanis Morissette, taken from her third (and first outside Canada) studio album Jagged Little Pill (1995).
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