Talula ... when I wrote this, my mother was sitting in a chair, and I?d been playing for a few hours. She was fading in and out of sleep. I?d been going through some of my blood, guts and widow?s tunes. And all of a sudden I needed to breathe. I started playing Talula, and it became like a breath, cause I needed freedom from all these songs that where showing me my monsters. Talula started to show me how to dance. And my mother began to wake up. The song is really a riddle. Talula just came to me, telling me her name. A lot of the times I'm just trying to interpret what I'm seeing on the other side. A name holds an energy, like anything else. Look at Ruby Tuesday. I think Talula became about rhythm and tone an sensuality. It ain't fuckin' Catherine. There?s something in there about West Indian dance. And yet it's a very classic name, too. Talula really just started to represent all women to me - women that let themselves dance - for themselves.
-- Tori; Vox magazine, Apr 1996
"I had to write for my freedom. I was shattered. I had to begin to look at myself. I tried to get energy from different men in my life. I got my vampires license. In Talula I'm begging this concept of ideal woman to come alive in myself, feeling afraid of losing someone. If it matters, it must be something worth losing. Each song began to be a piece of claiming myself.
-- Tori; Making Music, Jan 1996