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You guys are being silly. That one segment in the 2003 doc where Lindsey is suggesting an alternative wording has been blown out of proportion -- by Stevie & all her fanaticals. Lindsey wasn't there to correct her grammar. He was trying to say that he thought the artistic power of that song -- or at least of that stanza -- would be stronger with his suggestion (& conversely that Stevie's wording lessened the song's power). He wasn't playing English teacher!
And every last one of us has done exactly the same thing on this very board. We've all posted opinions that this line or that line would have resonated more aesthetically with a (sometimes slight) change in the wording. Of course, aesthetic power (appeal, magic, whatever) comes down to opinion, or preference. There's no geometric proof that can be posited to support the popular opinion that "The forgotten chimpanzee" in "Jane" is either artistically weak or strong or anything else. I think it's powerful, myself. It's a song honoring a gal who speaks out against chimp research, so what should Stevie have said? Monkey? Cute hairy primate baby? One song of Christine's that seems to be everyone's favorite in terms of its verbal power is "Why," but I have always felt that song was kind of weak, lyrically.
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moviekinks.blogspot.com |
#17
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I got the sense Lindsey was riding her a little, for the sake of the camera. Whether he was merely making a suggestion or not, she got offended right away.
BTW: Stevie Wonder has a song called You and I, as well...There, the grammar is correct. But I can care less if Christine failed her phonics test. "You and I" sounds a heck of a lot better than "you and me" in that song... |
#18
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Judging from her ITMT voice and the way she did Calumny, Chris could still pull off Why very nicely today. As for Stevie, she didn't need monkeys in her song at all. Why not have words in there that suggest monkeys like "swinging" or "primeval" or, ah, "banana." Then dedicate the song to Jane and everyone would get the message. Rule of thumb: Don't put chimpanzees or laundromats in your songs and don't put Duesenbergs in there either, for that matter. Certainly, you're right that what's awkward and what's not is a subjective call. I think the phrasing "hurts my everything" and "not make believe" work splendidly. They're childish, but the feelings she describes hark back to the emotional bruising and vulnerability we often experienced as children. She's saying, "I'm 50 years old now, but with one scornful brow, you can take me back to that little girl's insecurity." I think the words are brilliant for that song. As to the very helpful Lindsey, it's none of his business. He shouldn't concern himself with Stevie's words at all. Just take care of the music and shut his trap. If he needs something to occupy his time he can concentrate on the artistic power of the lines "I am what I am: a family man." Was Stevie over-reacting? Is Stevie, Stevie? She did tickle me when, taking most of the credit for The Chain, she noted that Lindsey went up and sang it exactly the way she told him for once in his life. That suggested to me that when he sings on her songs he usually changes not only the vocal arrangement, but the words too. Of course, I think that's very natural: to change a part that you're singing to make it fit what you're trying to express. But don't go wandering into other people's verses and trying to change them too. Thinking of verse mangling. It's really nice on Angel when Lindsey is singing "haunted song" all crazy and Stevie is singing straight. That's why I wish they would share verses on SYLM, because by himself he is just messing the song up. If they sang together, with Stevie doing it traditionally, giving the words structure, his ironic interpretation would just add an accent to the lines running for cover and begging for sympathy, rather than distorting them altogether. Michele |
#19
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Michele |
#20
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Gail |
#21
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Well, the thing is, I guess that's the chorus, because the song is very sparse and doesn't have full verses really. Just a few sentences that lead you to the unvarnished climax.
What strikes me about the words is that it's not that the guy doesn't love her, it's just that he doesn't love her enough to fight for their survival. Instead he gives in to his weakness and takes the easy way out, which she won't do. She won't go on crying about it. There will be another day. Michele |
#22
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I see words as being -- by astronomical units -- the least of Fleetwood Mac's various achievements.
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moviekinks.blogspot.com |
#23
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On the other hand, you have a point, because she did say that all Lindsey added was the "running in the shadows" part, indicating she was focusing on the words and not the instrumental contributions. Michele |
#24
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#25
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Michele |
#26
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not exact but something like that...
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#27
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Oh, David, we all know you're one of the fanaticals too!
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Would it last forever? You and I together, hand in hand we run away♥ |
#28
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I assumed Stevie came up with the words AND the melody for them, to lay over the instrumental track. If this is true, then her contribution to The Chain is pretty significant.
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#29
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They could have, in part, but I wouldn't assume they did. Michele |
#30
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Well nobody really knew what the girl was talking about... but it just sounded so good...
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
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