Who is you oughta know written about

There's no denying that the song is an angry ode to an ex-boyfriend, and Morissette admits it was inspired by one of her own breakups.

Nailing down exactly who Morissette was writing about has consumed music fans since The list of suspects includes everyone from pro hockey player Mike Peluso to Friends star Matt Leblanc, who was featured in the music video for Morissette's song "Walk Away. For years, Full House star Dave Coulier 's name has come up again and again as the most likely candidate.

But as the actor revealed in an interview, the truth is more complicated. Coulier calls the idea that "You Oughta Know" is about him an "urban legend," and blames it on an offhand comment he made decades ago. Can I just call you right back?

He added that there is no bad blood, however, adding: 'I think nothing but the world of her. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. Argos AO. Headlines U. Privacy Policy Feedback.

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I had a really big agenda: my agenda was to be self-expressed and to be as authentic as I possibly could, and I wouldn't stop until that happened. Ballard: I recorded all those vocals at the end of the night, sometimes one take. Most of 'em, two takes. And it was that part of it, to this day, amazes me more than anything.

Because she did not ever, ever get neurotic about vocals. A lot of singers just naturally will be. She just couldn't be less concerned. She just would go out and sing. Morissette: I think the process for me was really sacred, but it wasn't precious. If I were to have gone in to re-record these vocals, they would've been very awkward [laughs]. Because I already had them, you know?

There was a really urgent, visceral, immediate, real-time capturing that Glen was able to do with his C12 mic, his magic mic, the original Magic Mike. And so I just felt the vocals were already there, and he did too. Ballard: So much of it happened just with the two of us, honestly it's the most intimate record you could make. Because the first two days we were working, I didn't have a recording engineer, largely because of this earthquake thing.

I was just doing my best to get it on tape. Recording it on 8-adds. I have a nice studio but I don't consider myself to be a recording engineer, but on Jagged Little Pill I was.

So the first two things we did, it was just me, and she said, "I like writing like that. Morissette: I think there were a couple times where we tried to maybe do another vocal take and it just sounded like I was copying myself [laughs]. So we kept a lot of the original demos. I think "Hand in My Pocket" is maybe the original demo with a few tweaks. Ballard: On "You Oughta Know" it was 11 o'clock at night, she sang it once. We were exhausted. That was it. That's the record, that's the vocals.

From a vocal standpoint, no one has that much courage. Everybody wants to fix their shit, she never did. She never did. She just wanted it to be that. And of course it was spectacular. But there was no Auto-Tune, no double track. We doubled certain things just for effects, but all those vocals are just her at the end of the night, singing something she just wrote. And that's the most amazing thing to me, is the way she finished it. Morissette: There is this illusion of safety for artists, when you're alone in a room.

Until the crazy fame that ensued, I literally thought maybe 10 people would hear this song. I didn't think anyone would really hear it. I mean, I wanted to share it with as many billions of people as I possibly could, but I was alone in a room with Glen, and it was safe for me to talk and share and write, and so I did, and it felt really liberating.

It was only later that I realized that my own personal intimate experiences were things that people related to or were inspired by or comforted by.

That came much later. Recording engineer Chris Fogel was working for Ballard during the time Morissette wrote Jagged Little Pill, and he mixed most of the album.

Fogel: I'd come in in the morning, [Glen would] decide which song I was gonna mix, he'd leave me for the day to do my thing with it, he'd come back and listen to it, make his tweaks to it and then we'd have Alanis come in that evening, listen to it, make her tweaks to it, or they'd listen to it both together for the first time and make their tweaks. I'm sort of the third wheel. Ballard: On May 26, we wrote the song "Ironic. And honestly, when we wrote that one I was really excited because I loved it, it's still one of my favourite songs, and everything that happened in the writing of that song convinced me that this was special.

I was like, oh God, if I knew more than 10 people were gonna hear this, I would've been a stickler instead of being shamed publicly, planetarily, for 20 years. And Glen and I wrote that one together. But, you know, other than that I have zero regret about anything. Fogel: We were listening to a lot of indie rock at the time, I think at the time the Cranberries were very popular. So we were going for a little bit edgier, not so polished sound, and I think if you listen to the vocal sound in "Ironic," particularly the bridge section, that's heavily affected, that's something that I came up with for the mix.

Ballard: We wrote a few more times and then she had to go back to Canada. And honestly, we wrote, I think the last thing we wrote was in June, and then I did not write again with her until October of We were just on such a roll at that point, it just felt like we knew what we were doing.

Fogel: We did live versions of "Hand in My Pocket" with studio drummers and studio musicians and presented those to the label. We did versions of songs that never existed. Ballard: What astonished me was that she was writing stuff in real time. I mean "Perfect" she wrote right in front of me, and the whole concept of a child, sort of the pressure that a child feels from their parents. I mean, we weren't even writing that song, she wasn't thinking about it, it just kind of jumped into her brain.

Ballard: There was so much non-verbal intention in her vocal. You can hear there's the cry in the sound of her voice. What is that emotion, you know? What are the words that go with that? And somehow, she was able to do it. I mean, it was just an extraordinary thing to witness. And I was sort of hearing her do it as I'm making these tracks, and we're kicking stuff back and forth with the music, but she's just writing furiously, and then singing some, writing, singing, writing, singing, it was great.

Sitting on the floor, never would sit in a chair [laughs]. People think that she was in this heavy state of mind when making it, the opposite was true. I've never been funnier, she laughed at everything I had to say. She was just in a place of wanting fun and laughter, and she was making me laugh, so hard that I couldn't even sit up. Honestly, it was that fun. Morissette: I started to write that song with nothing, and we tried to envelop it with chords and music but it just didn't quite denote that haunted combination of shame and fear and grief and hope and vulnerability.

It just really connotated what was actually happening. Ballard: I thought I had maybe played piano, and actually, it's a song that I played electric guitar on and she sang to, and I just felt electric guitar didn't sound right, we just took it out. So it's a cappella now. Morissette: Some of that was fictional obviously, I'm not that creepy, but some of it was based on my having stayed at this person's house, whom I was dating, and just how awkward I felt being in this person's house and everything was so vulnerable and out in the open.

I had really good boundaries back then in that sense, but it was my fantasy of, unfortunately, things that wound up happening later, prophetically [laughs]. You are no longer onsite at your organization.

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