[face of glass]

Sorry Teedee, was away for a while. Not that there’s much for me to say anymore.

Originally posted by teedee
i dont think OOTC is or has an experimental sound. its a shame that cd didnt reach a larger audience.

Whereas I think that even the little experimental qualities it has; the new wave quirks or however you want to call them, drove away the mainstream audience. And the polished sound, along with the FM connection, drove away the seekers of “authenticity”. That’s the only way I can explain its commercial failure.

do not think of fm as an alternative band.....

But with Buckingham and Nicks FM has many qualities that can make the alternative people turn their heads and listen.

What Peter Green, Lindsey Buckingham and Stevie Nicks have is an ability to communicate to people directly from their psyches. They know how to explore the murkier depths of their minds and come out with results that are powerful and will most likely speak to the listeners’ psyches as well.

This is why they can have such passionate following. And this is why they can cross the rigid genre borders and speak to the “elitists” as well.

There are some of us, even here, who listen to both alternative music and FM and I’m willing to bet that it’s mainly because of SN and LB. Sharon posted Simon Reynolds’ review of Tusk that had Stevie described as an indie heroine. Marcello Carlin, when reviewing the recent reissues for Uncut, compared Lindsey’s Tusk work to well-known underground bands. And I raise my hat to anyone from those circles who recognizes these qualities in their work, despite it being released on a major label and having been deemed as the antithesis of punk for a long time.

the people who bought syw, maybe newer fans, was who i was referring to mostly , but there have been some older fans that mad e the same comments on lbs songs as well.

Doesn’t prove a thing as far as I’m concerned. ChiliD, a fan since 1967, doesn’t seem to have anything particular against any Lindsey song on SYW (from what I’ve gathered here and there) and like him, I don’t think there’s anything too experimental in them.

as for music and feelings. if you like a song, it needs no explaination. i was not talking about a song expressing emotions,ex its about love, i was talking about if you personally like a song, it moves you in some way , doesnt matter what the subject is.

Also it should be kept in mind that some topics and emotions are acceptable in the underground and the same goes for the mainstream too.

What I get out of “Murrow” are images of violence and chaos. It is a harrowing track, it doesn’t make me angry but it serves as a purification.

“Come” is, to me, a picture of an obsessive man who just haunts himself all the time with the thoughts in his head. Yet it has a sense of humour and self-deprecation in it. Yes, it’s of sarcastic type but at least it shows that Lindsey isn’t totally engulfed by his feelings.

“Red Rover” has a hyperactive uplift to it; to me it’s a person in a totally euphoric state yet moving along rapidly like that all-famous Duracell-bunny.

That’s what I get out of those that you deem experimental. There’s very little inaccessible in them. They’re states of mind that every human can relate to. I may interpret them differently than the others but I will never believe that they’re just experimenting for experiments sake.

They may be a bit more extreme than what’s on OOTC but I still don’t think he’s ever wanted to make a solely experimental album. It isn’t his thing.

It’s all about expressing the various sides of his personality. Not everything can be digested easily and some people don’t even want to digest those sides. But it’s the same thing with Stevie’s vulnerability. They both know how to present everything they want to express to the public in accessible forms. Stevie’s way isn’t just the one I prefer.

“That’s Enough For Me”.