#31
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Yep! In addition (way off-topic), some writer somewhere said that it was interesting that younger Stevie's songs were "tougher" than the older Christine's. I think that's bunk too. Stevie's are the songs of someone in turmoil, who can't quite control her emotions; Christine's are tough cuz she looks at heartache... sensibly. All these different approaches are, of course, what makes Rumours the greatest album of all time. |
#32
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are you kidding me? lmao. I just...I...there are no words. there are none. |
#33
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Jaz, go your own way, please. I don't want you around anymore.
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#34
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And of course, what I always say is that is what I love so much about, for instance, Think About Me. Christine makes it a plea and Lindsey jumps in and makes it a demand. I love it. Other times I love when Lindsey's scream gives a lyric a harsher edge is when he's on Angel shouting "haunted song" and on EFO with the back ground vocals, "anywhere we can baby, anytime he can . . . " Actually, Lindsey is not rougher there than Stevie is there, because Stevie's own vocals are pretty hard-edged anyway. As for Lindsey's romanticism, he's always had the ability for poetic imagery and melancholy. You can't deny it on Can't Go Back, for example. But these days it's a more consistent theme in all of his work and it's quite beautiful. Michele |
#35
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but, but, I tried to write you a lovesong and it came out all rainbows and fairies. please, let's try again. doesn't your heartbeat drive you ~mad~
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#36
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I love you, you useless slut.
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#37
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And yet Stevie interprets it as both. And her interpretation of the song is what I was talking about.
Michele |
#38
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wait. are you serious? Quote:
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#39
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watch out for that rain. it'll haunt you for the rest of your life, but you won't know until it washes you clean. and for crying out loud, stop whining about me keeping you down.
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#40
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what are you talking about?
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ETA: what I'm saying is that yes, Stevie is the biggest drama queen ever and over the years, made GYOW way worse than it is. it does have sentimental elements clouded by Lindsey's bitterness, but it is in NO WAY SHAPE OR FORM a lovesong. Last edited by JazmenFlowers; 10-16-2007 at 01:30 PM.. |
#41
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That, right there, is the essence of the song. He should have named it that instead of Go Your Own Way.
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#42
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omg, so rite.
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#43
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"Loving you isn't the right thing to do. . ." That's present tense. That's a love song! |
#44
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#45
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One of the reasons why I think Stevie got herself together and stopped crying long enough to finish the song in Reno is that she noticed Lindsey was singing Goodbye Baby all over the place, from the tower to the shattering lights. She was like, "Boo hoo. Sob. Wait-- what the heck is he doing?" As for GYOW, it's a dripping love song. People should sing it at weddings! If Lindsey had sung it all sweet and croony like Wilson Phillips, Stevie would have started purring. No, it is a love song, lost love song. You can tell someone to get out, but it hardly matters if you're asking them to come back in the next breath. Stevie recognized when she concluded that Never Going Back Again was the sweetest thing that Lindsey ever wrote for her. Now, I don't necessarily agree that it's about her. And I don't agree with her interpretation of it, but she says that in the end he exposes his real feelings and says, why don't you come back and see me some time and she interprets that as wanting her. Well, in that sense, the love and wanting is much more explicit in GYOW than it is in NGBA. The main difference in why Stevie doesn't read it the same way is the driving music, that and the fact that she was accused of sleeping around. The beat of GYOW says get out, get out, but the bulk of the words themselves say something quite different. As for the end of Go Insane, yeah I was kidding. I never heard him saying anything there . . . except "foamy electrician," which I imagine is a caution against Stevie blow drying her hair, while taking a bubble bath. Michele |
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