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  #1  
Old 12-14-2017, 12:44 PM
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Default In-depth discussion of "Sara" on KUTX

Pretty cool discussion with singer-songwriter Walker Lukens talking about his love for this song on the station's "This Song" podcast:

http://kutx.org/this-song/walker-lukens
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  #2  
Old 12-14-2017, 01:44 PM
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Do they mention aborting the baby?
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Old 12-14-2017, 02:27 PM
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Yep. But I wouldn't say it's the focus. More one musician 'a appreciation of the song.
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Old 12-14-2017, 04:32 PM
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Thx. I'll have to check this out. I love the song and welcome any discussion of it. For me, however, the real thrill of it is the execution of it. Lyrically, it's interesting and cryptic (a read-between-my-lines) kind of thing. Musically, it's a unique mix of folk and "pop" chords.

But the production, the vocal, and the musicianship, are outstanding. It's a hard song to sing with distinction, yet she does it. The choral block of background voices is arresting, as are the swirling jangling guitar lines. And the backing track is so well played. What a rock-solid rhythm section--and I'm including Christine in that.

Even if the individual elements of the song draw on well-known features of pop and folk music, the combination of all the elements produces inimitable orchestral effects. The lushness of this song, in striking contrast to the rough, cacophonous tunes like "The Ledge" or "What Makes You Think You're the One," is one of the delights of Tusk. Almost half the songs on the album belong in an entirely different universe from the others. Meanwhile, a few of the songs--like "Think About Me" and "Angel" occupy the in-between spaces.

Last edited by aleuzzi : 12-15-2017 at 01:33 PM.
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Old 12-14-2017, 05:11 PM
jeets2000 jeets2000 is offline
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Originally Posted by aleuzzi View Post
The lushness of this song, in striking contrast to the rough, cacophonous tunes like "The Ledge" or "What Makes You Think You're the One," is one of the delights of Tusk. Almost half the songs on the album belong in an entirely different universe from the others. Meanwhile, a few of the songs--like "Think About Me" and "Angel" occupy the in-between spaces.
That's well said. It might have been the age at which I first listened to Tusk (the album still reminds me of this time of year, as I got it as a Christmas present), but until recently, I never thought of Tusk as disparate parts making a whole. It just "was," in my mind.

I read a piece recently about the lush production of Stevie and Christine's songs juxtaposed with the banging and clanging of Lindsey's, which of course was by design. I think some folks point to that as a weakness of the album, but in my view, that kind of variety is necessary for a double album.

Tusk is a masterpiece, but I'm preaching to the choir here...

Last edited by jeets2000 : 12-14-2017 at 05:16 PM.
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Old 12-14-2017, 09:29 PM
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Quote:
Originally Posted by aleuzzi View Post
Thx. I'll have to check this out. I love the song and welcome any discussion of it. For me, however, the real thrill of it is the execution of it. Lyrically, it's interesting and cryptic (a read-between-my-lines) kind of thing. Musically, it's a unique mix of folk and "pop" chords.

But the production, the vocal, and the musicianship, are outstanding. It's a hard song to sing with distinction, yet she does it. The choral block of background voices is arresting., as are the swirling are jangling guitar lines. And the backing track is so well played. What a rock-solid rhythm section--and I'm including Christine in that.

Even if the individual elements of the song draw on well-known features of pop and folk music, the combination of all the elements produces inimitable orchestral effects. The lushness of this song, in striking contrast to the rough, cacophonous tunes like "The Ledge" or "What Makes You Think You're the One," is one of the delights of Tusk. Almost half the songs on the album belong in an entirely different universe from the others. Meanwhile, a few of the songs--like "Think About Me" and "Angel" occupy the in-between spaces.

this is a classic example of Lindsey taking one of her repetitive songs (repeating patterns) and giving it variety through rising and falling background vocals and interesting guitar lines (and keyboard lines) propelled by the ever-fabulous rhythm section. He does the same on Gypsy.
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Old 12-14-2017, 10:17 PM
jbrownsjr jbrownsjr is offline
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Sara is such a great tune. Live has so many versions. I love the Deluxe Tusk version. Thanks for posting!
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Old 12-14-2017, 11:03 PM
Wdm6789 Wdm6789 is offline
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Sara is such a great tune. Live has so many versions. I love the Deluxe Tusk version. Thanks for posting!

I didnít like the live Sara from Tusk deluxe. I wish they put a better one on there, one where Christineís piano and Stevieís vocals were more on point. Iíve listened to a lot of bootlegs from the Tusk tour and there were many way better performances of Sara they could have chosen. My favorite is Mirage tour live Sara. I love how Lindsey played his guitar on 1982 Sara. I was really bummed it wasnít on deluxe Mirage.
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Old 12-15-2017, 01:21 AM
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I didnít like the live Sara from Tusk deluxe. I wish they put a better one on there, one where Christineís piano and Stevieís vocals were more on point. Iíve listened to a lot of bootlegs from the Tusk tour and there were many way better performances of Sara they could have chosen. My favorite is Mirage tour live Sara. I love how Lindsey played his guitar on 1982 Sara. I was really bummed it wasnít on deluxe Mirage.
That Sara version from Tuscan on the Tusk deluxe blew me away. Amazing version and the back and forth between Lindsey and Chris the last minute is simply amazing.
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Old 12-15-2017, 01:03 PM
jbrownsjr jbrownsjr is offline
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That Sara version from Tuscan on the Tusk deluxe blew me away. Amazing version and the back and forth between Lindsey and Chris the last minute is simply amazing.
Agree!! I thought the tack piano was so wonderful.
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Old 12-16-2017, 09:57 PM
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Old 12-18-2017, 06:03 PM
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Originally Posted by bombaysaffires View Post
this is a classic example of Lindsey taking one of her repetitive songs (repeating patterns) and giving it variety through rising and falling background vocals and interesting guitar lines (and keyboard lines) propelled by the ever-fabulous rhythm section. He does the same on Gypsy.
Yes, and Stevie's own variations in the melody also give the song interest. I thought the most interesting part of the podcast discussion was how he pointed out how the melody, and length of the verses, are driven by the lyrics and not the other way around, giving the song an asymmetry that's "so not math." I think that's part of why I can listen to this song so much and not get tired of it. Its structure is irregular and my mind can't quite make sense of it.
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