#16
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But I love the approach she took, and hope we get another volume or two of vault songs or new songs in near future. If this is the process that will facilitate her to produce more solo albums at a time when time can't be wasted anymore, so be it. She seems to know that father time is not on her side.
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Life passes before me like an unknown circumstance |
#17
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Life passes before me like an unknown circumstance |
#18
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Wide Sargasso Sea is like that too. Like the fire in the story, there's also a climax in the song. Regarding Target, I heard a cashier tell someone that when Taylor's album came out, every third person in his line was buying at least one copy. Michele |
#19
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So glad you posted this, Dex. I was just discussing this with someone the other day. There is no story arc in most of these songs. Stevie would hate that that sounds like something Lindsey would say in his grammar lessons, but it's true. A story should take you somewhere.. it should end, emotionally (lyrics, not just music swelling up), in a different place than where it started. Silver Springs is the text book example of this. The singer starts out remembering all the beautiful things she had hoped for the relationship in the beginning, and then, bam, "and don't say that she's pretty…." etc… and you go whoa, this isn't gonna be a happy story after all. The arrangement supports that emotional shift by going from quieter and softer to a fuller band arrangement. But it's hurt, sad, you broke my heart with this other woman, then there's the guitar solo, and then she comes back in with angry words now.. like she had time to think about it during that guitar solo and now she's MAD. And it's like, I'm not gonna sit here and cry over you, I'm gonna get even-- "I'll follow you down til the sound of my voice will haunt you…' etc. So by the end of the song she's taken you on a journey from shocked, devastated, to sad, to mad. When you write a song and the words never change, just repeat and repeat and repeat, by the end you're like, yeah I know we've already been here.. twice. Or you're just so confused because none of the lyrics really hang together that you don't know where you are. (Mabel Normand-- which I actually enjoy listening to because of the music, not really the lyrics). Anyway, I'm glad to hear someone else say they feel the way. Sometimes it's challenging to post something a little critical when everyone else thinks it's perfection. |
#20
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Taylor is probably pissed now.LOL.......
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Skip R........ Stevie fan forever and ever amen....... the Wildheart at Edge of Seventeen and the Gypsy..... My sweet Buttons .I love you. RIP 2009 to 08/24/2016 |
#21
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I have to admit, i listen to this album almost every day... a few songs here and there.
It has definitely grown on me. However, besides Mabel Normand, there's no real song that i go to and MUST play first. Which is how I listen to all the other albums. I still don't like I Don't Care but even Hard Advice has grown on me. and Blue Water (with the DUDE) I sometimes skip She Loves Him Still/Twisted I always skip I Don't Care And very rarely ... but sometimes I skip All the Beautiful Worlds Overall it's an album I can listen to all the time and just have playing without really concentrating. Lady/Mabel Normand/the Dealer are still my absolute faves but If You Were My Love has become a slight addiction It's not my favorite album but it ties with Mirror as the album with the least amount of songs I religiously skip (both win at ONE) sorcerer999 i totally agree with you. it doesn't feel like a real Stevie record and it doesn't really have an era either but it's not a compo. i know whereas my favorite trilogy is RAL/Mirror/SA (yes i know, shut up) this album fits there too. which is why i think i like it as much as i do. there are several songs that just scream SA to me ... (the good parts) the mood, her voice, the music. so even though these songs were all written much earlier than my fave "era" they don't feel out of place to my ears
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she thought she was out there...but nobody saw...
Last edited by StreetAngel86; 11-08-2014 at 06:21 PM.. Reason: add some moooooaaaaar |
#23
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#24
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Compared to IYD 24KG wins hands down, to me. Dave did not cowrite the songs so they seem more purely Stevie, and there are a good batch of slower emotive numbers on 24KG. It is the only Stevie album on which I skip nothing, except the two bonus tracks on the deluxe version. 24KG I guess is not trying too hard, like many of her other albums, which are usually marred by cowrites and tracks which are overdesigned hard to be "hits.".
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#25
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I'm with you though, PenguinHead. I liked seeing Stevie so prolific and spontaneous, and would take 10 more albums like this over a long ponderous gap without any real musical payoff prior to the next album. |
#26
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Michele |
#27
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I've tried and tried, but I just haven't connected with this album. I like 24K Gold and All the Beautiful Worlds. There is a poignancy to Lady I appreciate, but the last minute of her basically shouting the same lyric over and over should have been cut.
I think Mabel Normand is ridiculous. Lyrically, If You Were My Love is good, but its album placement baffles me. It's a tranquilizer, and it brings the album to a halt, and it's only the second song! We didn't need another version of Twisted. Blue Water, Cathouse Blues, and I Don't Care are throwaways. I can tolerate Hard Advice, but it's so silly....life-size paper doll??! |
#28
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I really think her shouting at the end of Lady does work beautifully. I know it's not "pretty" but it just matches the lyric to tremendous effect.
Other than that I kind of agree with most of your post, GS, although I actually do connect with the album on the whole. I love Mabel Normand, but it is ridiculous at the same time. That's sort of why it works for me. But I do wish she'd lay off talking about how "important" it is. It simply isn't. Someone please tell the woman. Hard Advice is classic overly-literal modern Stevie, and although I do enjoy the song, it frustrates me at the same time. Just because you see something at the mall one time doesn't mean you should write it into a song. And the ernest delivery of the final notes "Don't buy that doll" just doesn't match the words at all. I wish she'd be open to more of an collaborative editing process with some of her songs, but I'm not holding my breath. We're going to hear more lyrics like this if/when she records again. |
#29
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This extreme literalness and self-indulgence is what's plagued her music since the mid 1980s. Who can relate to seeing a cut-out of their ex in a record store? |
#30
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Exactly! And she actually talked about changing the lyric "sometimes he's my best friend" from "sometime's Tom's my best friend" to make the song a little more universal. Which is such a puzzle to me because, like... why did she stop there!? I don't know whether to be encouraged to know that she does have a little bit of an editor somewhere inside her, or discouraged by the fact that she thought the rest of the song was totally good to go.
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