SYW - no Grammy? - Page 6

Richard B · #76 11-11-2005, 01:15 PM

Quote:

Originally Posted by ontheEdgeof17

Any song with the lyrics containing "Gitchie Gumee" is not a dark, complex song.

Who said anything about complex? Not me. Anyway it's not a "club over your head dark", but subtle. Here's the lyrics for your review. Not the happiest...a very subtle darkness and sadness:

Everything was looking good
Just like it should
Trusted you with all my heart
Never dreamt you'd tear me apart
So I went on a ride
Looking on the inside and not the outside
Rambled round and round
In and out of town

It was a bad journey
It was a bad bad journey

Signs were good
When I started out
No traffic anywhere
Just as well 'cos I didn't care
I felt for so long
Cracks appearing on your loving face
I saw them then I can see them now

It was a bad journey
It was a bad bad journey

Saw my dreams of love
As distant as the mountain tops
And just as far away beyond the point
Where I am today
So I picked myself up, 'cos I put myself down
And I in my car and drive around
No matter what was said
What it was that you did
All that's behind me now,
'Cos I'm moiving on

New York City to Mexico
I went to New Orleans to Boise, Idaho
On the shores of Gitche Gumee
In The Hidden Hills
I went to Key Biscayne, nothing there
So I came back again

It was a bad journey
It was a bad bad journey

So I picked myself up, 'cos I put myself down
And I get in my car and drive around
No matter what was said, what it was that you did
All that's behind me now
'Cos I'm moving on

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

ontheEdgeof17 · #77 11-11-2005, 03:08 PM

Quote:

Originally Posted by Richard B

Here's the lyrics for your review. Not the happiest...a very subtle darkness and sadness:

I have the album. I read the lyric booklet.

To me, it's a song about having the power to move on. She's not sad...she's already past that point...

catinthedark · #78 11-11-2005, 03:58 PM

Quote:

Originally Posted by ontheEdgeof17

I have the album. I read the lyric booklet.

To me, it's a song about having the power to move on. She's not sad...she's already past that point...

I agree - I actually find those lyrics quite empowering and positive. She was wiped right out by this guy - but in every verse, she is picking herself back up, moving on, going forward. I'd like to hear the song itself.

Richard B · #79 11-11-2005, 06:06 PM

Quote:

Originally Posted by ontheEdgeof17

I have the album. I read the lyric booklet.

To me, it's a song about having the power to move on. She's not sad...she's already past that point...

That too, certainly. Anyway. Not worth bothering about. The song clicks with me.

Glad you have the CD and booklet too. She appreciates the sales. Just wanted to have it for others to look at easily.

Stevie_Buck · #80 11-15-2005, 05:45 AM

Quote:

Originally Posted by ShangriLaTroubl

I agree..turns out I found out my aunt has SYW...she's a VERY casual FM listener, someone gave it to her for Christmas...she hated it...

It definetely wasn't commercial enough. And in a way, had it been too commercial I think that wouldn't have worked either. It was just not enough of their "old style" that people like. They want familiarity. Of course the die hard fans bought it, but if they wanted to sell to those who only love their hits...the experimental style of much of SYW just doesn't work..

I agree.

*Sorry if this has been said, but... if they only intended for the die-hards to buy it, it would have been a double.

David · #81 11-15-2005, 12:16 PM

Quote:

Originally Posted by trackaghost

I find it odd when people call it experimental too. I don't even think Illume is experimental myself.

It doesn't sound so to me. In fact, it sounds like a pretty conventional dance or club track -- the same grind, the same groove going on.

It's cool hearing Fleetwood Mac do that, but that's not the same as calling it experimental (except from the narrow point of view of FM doing it). I don't think there's anything on the album in terms of production, arrangement, tracking or even concept that's especially experimental for the 2003 climate (except maybe for Lindsey's "orchestral" guitar techniques implemented for "Red Rover" & "Say Goodbye").

In order to gauge experimentation, you have to look at what else is going on in music around it -- "experimental" is a relative term. For example, with "Tusk" you have to look at what ELSE was on the radio in late 1979, & then you can clearly see that "Tusk" went down few of those broad avenues but instead took a bunch of sidestreets & even a few back alleys.

dontlookdown · #82 11-15-2005, 02:03 PM

in hind sight,
Say You Will was a welcome return to form for the band -
a move in the right direction, as far as i'm concerned.
The weak spots were the commercial tracks - the title track, Goodbye Baby and a few others.
Had the album been written by stevie and lindsey together from the start, it probably would have felt more like a cohesive collection of tracks - like the Buckingham Nicks record.
As for the Grammy's - I can't remember when they were relevant - in terms of rewarding artistry rather then sales.
We all need to start worrying when Fleetwood Mac gets another grammy.
That's when it's time to quit because it means they are making garbage.

skcin · #83 11-15-2005, 02:50 PM

Quote:

Originally Posted by jbrownsjr

eat some kishka

He can't, it's been stolen.

"Who stole the kishka....." Now THERE'S a great song!

dissention · #84 11-15-2005, 03:34 PM

Quote:

Originally Posted by skcin

He can't, it's been stolen.

"Who stole the kishka....." Now THERE'S a great song!

Don't tell me you missed the kishka thread on the Christine board, Paula.

Moony · #85 11-15-2005, 04:17 PM

Quote:

Originally Posted by Richard B

Everything was looking good
Just like it should
Trusted you with all my heart
Never dreamt you'd tear me apart
So I went on a ride
Looking on the inside and not the outside
Rambled round and round
In and out of town

It was a bad journey
It was a bad bad journey

Signs were good
When I started out
No traffic anywhere
Just as well 'cos I didn't care
I felt for so long
Cracks appearing on your loving face
I saw them then I can see them now

It was a bad journey
It was a bad bad journey

Saw my dreams of love
As distant as the mountain tops
And just as far away beyond the point
Where I am today
So I picked myself up, 'cos I put myself down
And I in my car and drive around
No matter what was said
What it was that you did
All that's behind me now,
'Cos I'm moiving on

New York City to Mexico
I went to New Orleans to Boise, Idaho
On the shores of Gitche Gumee
In The Hidden Hills
I went to Key Biscayne, nothing there
So I came back again

It was a bad journey
It was a bad bad journey

So I picked myself up, 'cos I put myself down
And I get in my car and drive around
No matter what was said, what it was that you did
All that's behind me now
'Cos I'm moving on

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

It was a bad journey
It was a bad bad journey

Good gawd, Chris. Please stop with the cliched rhymes!!

DavidMn · #86 11-15-2005, 06:32 PM

Quote:

Originally Posted by David

We'd have to define what we mean specifically by "experimental" in the context of "Tusk," the typical radio playlists in 1979 against which "Tusk" offset something or other, the characteristics of "Say You Will," & the music on the radio & elsewhere at the time "Say You Will" was released.

There are different types of experimental: songcraft/going against the established grain in song structure (which is rare in popular music), instrumentation/using traditional instruments in unorthodox ways (something Lindsey used to dabble in), new approaches in building arrangements (e.g., building a dance track like "When Doves Cry" without a bass), & thematic conceptualization ("The Ninth Wave" suite by Kate Bush, for example).

Great stuff