Gimme five songs where Fleetwood Mac sucked(an article)

[vivfox]

VivFox did not write this. It is an article I found on the web.

Gimme Five: Songs where Fleetwood Mac, well, suckedby Nick DeRiso

When looking for entries by Fleetwood Mac in Something Else! Reviews’ regular Sucks Series, there was plenty of blame to go around. After all, more than dozen different songwriters have moved through the band’s ranks.
It’s interesting to note, however, that as the band gets set to reform in 2013 with Lindsey Buckingham, Mick Fleetwood, John McVie and Stevie Nicks, you’ll find three of the four represented in the list we ultimately compiled — and the maddeningly inconsistent Buckingham shows up twice.

Throw in a bizarre offering from Danny Kirwan, and you’ve got a stunning list of misfires from a band that nevertheless reeled off an unbroken string of albums that earned at least gold status between 1973 and 1990.

If you were like us, you bought these records for the lacey mysteries of “Gypsy,” the pop perfection that is “Spare Me A Little of Your Love,” or the dark sexual danger of “Big Love.” But then … you found tucked away inside … songs like these …

“DANNY’S CHANT,” BARE TREES (1972): Dig that crazy wah-wah! Dude, no. Seriously. Filled with directionless, noodle-y solos and — though I guess this is no surprise — an oceanic, echo-filled group of … chants. Also of little surprise: This would be the final Fleetwood Mac project for composer Danny Kirwan, who was starting to act increasingly erratic.

What’s with early Fleetwood Mac and flameouts? It had only been a months since both Peter Green and Jeremy Spencer had vanished from the band. The word was, upon running into his replacement Bob Weston, Kirwan said: “Good luck. You’re going to need it.”

Bare Trees eventually went platinum anyway, but that was on the strength of a pair of songs that came from elsewhere: Bob Welch’s original version of “Sentimental Lady,” later a solo hit, and Christine McVie’s “Spare Me a Little of Your Love” — which became a concert staple in the mid-1970s. Weston, it’s worth noting, eventually ended up getting fired after sleeping with drummer Mick Fleetwood’s wife, starting a string of inter-band affairs, counter-affairs and counter-counter-affairs that would ultimately spark a creative zenith with 1977′s Rumours.

“SILVER GIRL,” SAY YOU WILL (2003): Lindsey Buckingham and Stevie Nicks were apparently at work on a side project when their songs suddenly morphed into the newest Fleetwood Mac album — and this is an example of that process failing to produce something measurably different from the worst of their solo work.

“Silver Girl” is a pastiche of Nicks’ worst tics: She’s coquettish when she means to be lonesome, whiny when she’s trying to be winsome. Also, at more than four minutes, this string of narcissistic, witchy-woman cliches just goes on and on — as does this endless fill-the-CD project, which could have been cut in half and been a better effort.

It didn’t help that Say You Will was the first Fleetwood Mac recording not to feature songs from Christine McVie since 1970′s Kiln House. She only appears as a backup singer on three tracks, all of which were originally done for the Buckingham solo project. Her absence brings into high relief the templated feel of moments like “Silver Girl,” something that makes the album seem longer than Tusk — and a whole lot less interesting.

“EMPIRE STATE,” MIRAGE (1982): After indulging in the sprawling, wildly expensive, weirdly effective double-album experiment called Tusk, Fleetwood Mac back slid into a comfy retro vibe for Mirage — and that’s no where better illustrated than this song.

Just what the world needed: Another paean to New York City. Check that — another paean to New York City with a disco beat. Sorry, check that again — another paean to New York City with a disco beat … several years after the disco fad had become passe. It bears mentioning, too, that this is coming from one of the bands that absolutely personified the California sound, the California lifestyle, the California look … the California ethos. They are about as New York as a screw-top bottle of Napa chardonnay.

Some of the blame for this particular mess can be laid at the feet of co-writer Richard Dashut, who apparently had a better touch on the other side of the glass — having co-produced every Fleetwood Mac studio album from 1977-87, not to mention a pair of Buckingham’s more highly regarded solo efforts. Spoiler alert: This isn’t Dashut’s only appearance on our list.

“THESE STRANGE TIMES,” TIME (1995): Let’s just say expectations had to be lowered for Fleetwood Mac’s 16th release. The record — produced by (whoops) Dashut — features neither Stevie Nicks nor Lindsey Buckingham, for the first time since 1974′s Heroes Are Hard To Find. Boy, were they ever: Replacements Dave Mason (Traffic) and Bekka Bramlett (Delaney and Bonnie’s daughter) would be gone within a year, but not before seeing Time fail to chart in the U.S., something that hadn’t happened to Fleetwood Mac since 1968′s Mr. Wonderful.

To be fair, however, this album-closing dirge wasn’t their fault. Lead vocalist (?) Mick Fleetwood, who provides the expected jungle rhythms over a vacuous, snoozy spoken-word oration, is credited as the co-composer here: “I look into my heart and see the light and not the dark, and how I am sad and wished I was in love … and this is hell, being caught between the dark and light.”

Oh, this is hell, alright. And it goes on for seven excruciating minutes — like listening to a particularly poor sermon given over the soundtrack from soft-core motel porn. To no one’s surprise, Buckingham and Nicks were back for the next Fleetwood Mac project.

“FAMILY MAN,” TANGO IN THE NIGHT (1987): Some mildly interesting guitar from Buckingham is embedded in the middle of this off-kilter, calorie-free throwaway, but that’s not enough — not nearly enough — to distract from every other awful thing going on here.

Replacing narrative and musical content with studio trickery, Buckingham — and Dashut, who receives both co-writing and -producing (dis)credit — throws everything up against the wall: Vocals that bounce from one side of your skull to the other, bizarre echo effects, a plinky synth, slowed tapes, sped-up tapes, those now now-patented banjo-y chicken-plucking asides. For all of their savvy, writing a good song might have been less work. Instead, they can’t come up with a lyric that doesn’t do much more than repeat “mother,” “father” and “I am what I am.” (Maybe Popeye can discern what any of this means.) Buckingham’s already used this beat, too — and to far better effect — elsewhere on “Big Love.”

It’s unclear if dread over having to recreate this dolled-up tripe on stage spurred him toward the decision, but Buckingham would vanish before the tour in support of Tango in the Night got underway — and the band, which continued forward with Billy Burnette and Rick Vito, didn’t bother playing it, either.

http://somethingelsereviews.com/2012/11/07/gimme-five-songs-where-fleetwood-mac-well-sucked/

[michelej1]

Hilarious to think that the idea of having to perform Family Man live is what made Lindsey run away from the band at high speed.

Michele

[mikephxaz]

The writer has nailed it....Family Man is a total mess

[jbrownsjr]

Hilarious to think that the idea of having to perform Family Man live is what made Lindsey run away from the band at high speed.

Michele

That's ridiculous, he ran away because of WISYA. ;)

[KindOfWoman90]

Totally agree about Family Man, but I really love Empire State... I will concede I always found it strange they had a song about New York since they are so Californian, but regardless I think it's fun :cool: I'm not a big fan of TITN, so I'd be more apt to find fault with some of those songs.

Interesting that this article would suggest SYW should have been shorter when the argument was whether or not to make it longer... I really like SYW, but I have always felt that there wasn't much cohesion between Lindsey's songs and Stevie's - it's like they just decided to combine their solo efforts on one album. Which is strange because even though that's sort of how it's always been - each writer doing their own thing then bringing it to the table - the first few albums feel like complete, singular pieces. Maybe it's because they don't spend as much time together, e.g. the guys cutting new tracks this year?

[WildHearted]

I actually don't think Silver Girl is as terrible as everyone makes it out to be. The melody is nice, it's just some of the lyrics are a bit trite and cliche.

[jbrownsjr]

I actually don't think Silver Girl is as terrible as everyone makes it out to be. The melody is nice, it's just some of the lyrics are a bit trite and cliche.

I hate Silver Girl yet love When I See You Again. I'm crazy I guess. lol

[WildHearted]

I hate Silver Girl yet love When I See You Again. I'm crazy I guess. lol

Well, I love When I See You Again.

So perhaps I'm the craziest of all.

[michelej1]

Totally agree about Family Man, but I really love Empire State... I will concede I always found it strange they had a song about New York since they are so Californian,


Yes, That's How We Do It In L.A. certainly seems more his speed.

That reminds me of Lindsey and Christine in Randy Newman's video. Really fun.

Michele

[blinker12]

This was fun. Awesome writing, and the guy clearly knows his Mac.

[britt0308]

I hate Silver Girl yet love When I See You Again. I'm crazy I guess. lol

LOVE when i see you again..

[jbrownsjr]

Yes, That's How We Do It In L.A. certainly seems more his speed.

That reminds me of Lindsey and Christine in Randy Newman's video. Really fun.

Michele

You'll win prizes!

[jbrownsjr]

Well, I love When I See You Again.

So perhaps I'm the craziest of all.

You just stare at the stairs because there are many things to stare at these days.. :thumbsup:

[Street_Dreamer]

Bah! Family Man and Silver Girl are two of my favorite songs.

Matt

[michelej1]

You'll win prizes!

Survey says.

Michele

[jbrownsjr]

Survey says.

Michele

X <ehhhhhhhhhhhhhhhhhhhhhhhhhhhhhh>

[TrueFaith77]

Family Man is probably the best Liddy Buck track on TITN and joins Love Minus Zero as the most beautifully produced Mac track since Gypsy.

Silver Girl is my least fav Stevie track on SYW, but I really like it. It synchs with my first or second fav Mary Gaitskill short story:

A shadow moves across her face
You cannot see her soul
Unless she lets you...
See her soul

[Villavic]

Totally agree about Family Man, but I really love Empire State...

I don't love Empire State but as you I'm one of the few fans that like that song. However I never found Family Man that bad or ugly. I just find it a commercial song.

I don't like Silver Girl either, as many of Stevie's recent songs with women names.

[chiliD]

...and the guy clearly knows his Mac.

Like a turd knows the bottom of the toilet bowl.

[KindOfWoman90]

I don't love Empire State but as you I'm one of the few fans that like that song. However I never found Family Man that bad or ugly. I just find it a commercial song.

I don't like Silver Girl either, as many of Stevie's recent songs with women names.

Well, love may have been too strong :lol:, in comparison to all the songs on Mirage, I think it's a decent addition and fun. I love the layering of vocals in it.

As for Family Man, see apart from FM, I'm not a big fan of 80s music...(And apart from artists who had already begun in previous decades) To me, TITN and Family Man are very very 80s commercial.

I don't really have much of an opinion on Silver Girl, but I know I'd rather listen to SYW album than TITN album every time! :sorry::xoxo:

[bombaysaffires]

Survey says.

Michele

And the debate about what he sings in the background "rah-tah" or "f*cked up"........

My personal favorite part is where he chokes on the smog..

[britt0308]

You just stare at the stairs because there are many things to stare at these days.. :thumbsup:

That's truly the ONE part that stops me from ranking this song higher. Otherwise, so utterly fragile and heart wrenching IMO.

[WildHearted]

That's truly the ONE part that stops me from ranking this song higher. Otherwise, so utterly fragile and heart wrenching IMO.

I prefer to interpret it as: "And she stares at the stares.... there are many things to stare at these days."

Gives it a little more desolateness, even if that wasn't what she intended.

[Bandon]

I agree with this guy..except for Family Man, which isn't that good of a song, but should be replaced by "Welcome to the Room Sara." That's TITN's clunker.

[seekerj]

I agree with this guy..except for Family Man, which isn't that good of a song, but should be replaced by "Welcome to the Room Sara." That's TITN's clunker.

OK, as a fan of this song (which really means a lot to me lyrically), I can't stand it anymore and I have to ask..... just what is so terrible about this song? What is everyone objecting to? Is it the lyrics? The music? The production? Her vocal? I love the lyrics, and to me, this was one of the few songs on Tango that wasn't a bunch of 80's production trickery; it's one of the few that is produced as just a straight-forward rock song, with no fake vocal tricks, etc. I mean, I can actually HEAR a guitar! Unlike some of the other songs, where the music sounds like it was completely computer-generated, or others that are lyrically completely void of intelligence, like Family Man or You and I Part 2.

Does anyone else love this song but me?

[TrueFaith77]

Well, Ledgies, what are YOUR five songs?

[Christopher]

I prefer to interpret it as: "And she stares at the stares.... there are many things to stare at these days."

Gives it a little more desolateness, even if that wasn't what she intended.

Who's to say that isn't what was indeed written and hence misprinted on the lyric sheet :shrug:
I also prefer to interpret that stanza as such.

[Bandon]

OK, as a fan of this song (which really means a lot to me lyrically), I can't stand it anymore and I have to ask..... just what is so terrible about this song? What is everyone objecting to? Is it the lyrics? The music? The production? Her vocal? I love the lyrics, and to me, this was one of the few songs on Tango that wasn't a bunch of 80's production trickery; it's one of the few that is produced as just a straight-forward rock song, with no fake vocal tricks, etc. I mean, I can actually HEAR a guitar! Unlike some of the other songs, where the music sounds like it was completely computer-generated, or others that are lyrically completely void of intelligence, like Family Man or You and I Part 2.

Does anyone else love this song but me?

Over the years, judging from music reviews and people on fan boards, the general consensus has been the music and lyrics that are sub par based on her previous work, and Stevie's three songs were her weakest contribution to an album up to that time (She really did not write like 98 percent of Seven Wonders). Hey, it's art, and a matter of taste. If you love the song, good for you. :nod:

[Villavic]

Well, Ledgies, what are YOUR five songs?

"My" five FM songs that suck to me?

Red Rover
Caroline
When I see you again
Paper doll
Come

There are several songs that I don't like, that (like the suck list) are not even in my Ipod, but I wouldn't say they suck, songs like:
No Questions Asked
Beautiful child (yes, sorry, I one of those martians that doesn't like this song)
Illume

[vivfox]

Well, Ledgies, what are YOUR five songs?

OH DIANE

You and I Parts One & Two(I know it's 2 songs but I'm gonna list it as one so I can include Stevie's worst ever song with FM)
SILVER HURL

Save Me
Only Over You

There's more but he asked for 5.

[aleuzzi]

I think the list is pretty accurate. But as much as I'd have preferred "Trinity" to "Danny's Chant," I don't think the latter song sucks.

My list (not including the other songs mentioned):

Welcome to the Room, Sara
No Questions Asked
She's Changing Me
Skies the Limit
Make Me a Mask

[elle]

"My" five FM songs that suck to me?

Red Rover
Caroline
When I see you again
Paper doll
Come

Red Rover and Come would be high among my favorite FM songs.

i can't really tell which songs would be the 5 that suck the most for me b/c i don't really listen to many SN or CM songs that i don't like, or Tango and Mirage for that matter. but some that would be high up on my list:

Sara
Family Man
Illume
Silver Girl
You and I (any part)

[On Ice]

I agree that the article is well-written but would have been more complete with a dishonourable mention of Stevie's embarassments on Tango in the Night. In the context of Tango being a monster hit record, yet containing the worst penned and performed material of her career, it makes sense.

My worst 5:
When I See You Again
Welcome to the Room Sara
I'm a Road Runner
Family Man
Silver Girl

Then Play On, Kiln House, Future Games, Bare Trees and Mystery to Me were all solid records. White, Rumours and Tusk all hit it out of the park. Penguin, Heros, Mirage, Tango, Mask and Say You Will were not near as consistently good as the others. Time doesn't count. :)

[holidayroad]

Well, Ledgies, what are YOUR five songs?

The Second Time
These Strange Times
I'm a Roadrunner
Stand On the Rock
When the Sun Goes Down

[jbrownsjr]

I prefer to interpret it as: "And she stares at the stares.... there are many things to stare at these days."

Gives it a little more desolateness, even if that wasn't what she intended.

I like it. It is heart wrenching.

[britt0308]

I prefer to interpret it as: "And she stares at the stares.... there are many things to stare at these days."

Gives it a little more desolateness, even if that wasn't what she intended.

Wow, hadn't thought of that interpretation. I can see that working, actually I like that more..

[MacShadowsBall]

Last year we did a Least favoritie FM song contest. Hellhound on My Trail, When You Say, Thoughts on a Grey Day, I'm a Roadrunner, Empire State, Teen Beat, Ricky, The Second Time, Blow by Blow and Silver Girl all were in the top 10.

http://ledge.fleetwoodmac.net/showthread.php?t=48360

Teen Beat, I'm a Roadrunner, and Blow by Blow went onto the finals with Teen Beat barely winning.

http://ledge.fleetwoodmac.net/showthread.php?t=48469

[KindOfWoman90]

I've never had a desire to listen to Behind the Mask or Time, but as far as the BN years go... (I feel it's a bit hard to rank pre-BN songs in the same manner because it's such a different sound)

My least favorite songs are all on TITN: Family Man, You & I - Part II, When I See You Again, Welcome to the Room Sara

[aleuzzi]

I've never had a desire to listen to Behind the Mask or Time, but as far as the BN years go... (I feel it's a bit hard to rank pre-BN songs in the same manner because it's such a different


Good point.

Here is my suck list for every era.

1968-69:

Nothing really sucks. All songs are part of a piece and all of the songs, some admittedly better than others, are marked by a genuine spirit.

1970:

Nothing sucks! Kiln House is perfection.

1971-74:

The Ghost, The City, Forever, She's Changing Me, The Derelict.

I'm a Roadrunner doesn't suck. It just doesn't mesh with the other tunes. Morning Rain suffers from a terrible vocal but the backing track is solid. Come a Little Closer is a fine song with a muddy arrangement.


1975-1987:

Empire State, Oh Diane, Ricky, Welcome to the Room.

1988-95:

All of Mask, except for Save Me. Paper Doll. Make Me a Mask. Dave Mason's Time songs.

1997:

Nothing.

2003:

Silver Girl. Goodbye Baby.

[mikephxaz]

Anything and EVERYTHING that involves Lindsey and over-produced synthensizers (instead of the beauty and simplicity of just him and his guitar) i.e. Family Fan, Tango, You and I, Empire State, Come, Murrow and on and on....

Welcome to Room, Sara
Stand on the Rock...eeessssshhh
Everything on the cd Time

[GJK]

Bah! Family Man and Silver Girl are two of my favorite songs.

Matt

Fascinating!
And yet we like the same band...

GJK

[Nicks Fan]

To me the songs that suck and I have more then 5 would be
White Album- Sugar Daddy, Rhiannon, Landslide (Live versions are better)
Rumors- None
Tusk- Not That Funny
Mirage- Empire State, Book of Love
Tango- You and I, Everywhere (Live versions are much better)
Behind The Mask- Stand on The Rock
The Chain- Teen Beat
Time- I Wonder Why, These Strange Times
Say You Will - Come, Everybody Finds Out, Silver Girl.

What bothers me is when LB distorts his vocals to the point of being hard to understand what he is singing (Red Rover and Come are perfect examples especially during the chorus. I could for not for the life of me make out what he was singing until I read the lyrics)

I know Stevie didn't really write much of Seven Wonders but I still really like that song. It is very catchy.

If I had to chose 5 it would be

1. Not That Funny
2. Empire State
3. Silver Girl
4. Teen Beat
5. These Strange Times

[vivfox]

Rumors- None


I know why you didn't hate any songs from this album. Because they never had an album with THAT title. Aha. Gotcha!:lol::p

[Machu]

I don't think "Silver Girl" is all that bad. And it took some time, but I don't Family Man either. I LOVE "Empire State" so I don't know if I'm messed up or this guy is.

[Artemis]

I've had a total change of heart on Silver Girl lately, I think the the chorus is great, and really well produced too. The verses still suck though. They let the song down.

[vivfox]

I've had a total change of heart on Silver Girl lately, I think the the chorus is great, and really well produced too. The verses still suck though. They let the song down.


I've had a change of heart on Running Through The Garden. This has always been my favorite song on the album but I don't like the way her voice sounds. It's too tinny. The band plays well and Lindsey's vocals are fine. I definately prefer Stevie's 20th century demo version better.

[Fannymac]

I've always loved "Empire State".....one of my favorite tracks on MIRAGE!
I'd swap that one out with "No Questions Asked".....an O.K. song, but I think the production is REALLY weak! Could have been a lot better!

[chiliD]

THE SECOND TIME
OH DIANE
WHEN YOU SAY
NOT THAT FUNNY (studio version)
RUNNING THROUGH THE GARDEN

[WildHearted]

THE SECOND TIME
OH DIANE
WHEN YOU SAY
NOT THAT FUNNY (studio version)
RUNNING THROUGH THE GARDEN

:eek:

NTF is a masterpiece!

[michelej1]

:eek:

NTF is a masterpiece!

Yes, I've read Chili praise the live version as an improvement over the record.

Michele

[PenguinHead]

OK, as a fan of this song (which really means a lot to me lyrically), I can't stand it anymore and I have to ask..... just what is so terrible about this song? What is everyone objecting to? Is it the lyrics? The music? The production? Her vocal? I love the lyrics, and to me, this was one of the few songs on Tango that wasn't a bunch of 80's production trickery; it's one of the few that is produced as just a straight-forward rock song, with no fake vocal tricks, etc. I mean, I can actually HEAR a guitar! Unlike some of the other songs, where the music sounds like it was completely computer-generated, or others that are lyrically completely void of intelligence, like Family Man or You and I Part 2.

Does anyone else love this song but me?

I'm with you on this. It's the song on the album that stands out for all the reasons you have stated. When I first heard the album when it came out, that song intrigued me the most. Yes, the lyrics are obtuse, yet they convey (in a very Stevie way) her frustration and anger directed at Front Line, her management company. I really love the line "Welcome to the choir sir," which is a very underhanded, dismissive dig.

"When I See You Again" is the most egregious song on the album. Possibly an attempt to have "Landslide" qualities, yet her vocal delivery is harsh and sounds odd, the production is cold and brittle, and the lyrics are some of her worst. So that's the matter baby, baby BABY! Secondly, add "The Second Time" to those sentiments.

Still even Fleetwood Mac's and Stevie's solo clunker songs still hold my interest for being so peculiar.

[BaronVonBielski]

The writer has nailed it....Family Man is a total mess

The guitar work is exquisite and I like the verse up until "I am what I am".

[chiliD]

:eek:

NTF is a masterpiece!

Not the version on Tusk. As Michelle mentioned, yes, the live version is a whole different animal. Serious improvement, but "masterpiece"? Not by ANY stretch of the imagination. Out Of The Cradle is his masterpiece. Tusk is an over-indulgent mess of an album that has its peaks and valleys. "Not That Funny" is in the chasm at the bottom of the deepest valley.

[WildHearted]

Not the version on Tusk. As Michelle mentioned, yes, the live version is a whole different animal. Serious improvement, but "masterpiece"? Not by ANY stretch of the imagination. Out Of The Cradle is his masterpiece. Tusk is an over-indulgent mess of an album that has its peaks and valleys. "Not That Funny" is in the chasm at the bottom of the deepest valley.

We'll have to agree to disagree. Not That Funny is one of my favorite tracks on Tusk.

[HomerMcvie]

I prefer Tusk version of NTF to live. On the Mirage video, that was the song that my friends would make me fast forward past. They hated it!

[BLY]

I will agree. I always preferred the studio version over the live recordings

[TerraRhiannon]

I agree with almost everything the article said. At first I liked Silver Girl til I realized how long and annoying it truly is. :shrug:

[vivfox]

In an earlier post I stated I was no longer fond of RTTG because of Stevie's tinny vocals and I listened to the song again last night and decided that the fist half of the song is nothing special but the second half really soars. As soon as Lindsey joins in vocally the ball really gets rolling and the song really pops for me.
I know none of this matters to anyone but me but I just wanted to say this in case somewhere down the line I rave about this song and then someone pops in to say, "well in Nov. 2012 you said the song sucked.":p

[Artemis]

I love RTTG, and it was so good live too - gutted they dropped it. Although, I think the RAL demos have the edge... but just barely.

And, I was convinced for months that Christine was singing backup on the SYW version. Utterly convinced.

[TheSorcerer]

Poor Family Man. I love that track.

[UndoingTheLaces]

OK, as a fan of this song (which really means a lot to me lyrically), I can't stand it anymore and I have to ask..... just what is so terrible about this song? What is everyone objecting to? Is it the lyrics? The music? The production? Her vocal? I love the lyrics, and to me, this was one of the few songs on Tango that wasn't a bunch of 80's production trickery; it's one of the few that is produced as just a straight-forward rock song, with no fake vocal tricks, etc. I mean, I can actually HEAR a guitar! Unlike some of the other songs, where the music sounds like it was completely computer-generated, or others that are lyrically completely void of intelligence, like Family Man or You and I Part 2.

Does anyone else love this song but me?

I really like this song too. Stevie has some neatly crafted pop songs but this was a little more reminiscent of her sprawling epic poems, but unlike Wild Heart and Edge of Seventeen it has a much more mellow tempo. But it has such a soothing feel to it that you almost don't realize the naked emotion in it. I mean, it's a song about drying out at Betty Ford. I always thought that her quoting her own lyrics from Blue Lamp was like sitting there looking over her life and career and wondering how she'd gotten to this state. It really is heart wrenching, yet that last part about "when you hang up that phone you cease to exist" is so empowering. It's this little glimmer of hope that says, "you know what, I'm gonna beat this, and I'm gonna be okay". I love it.

[Dreamz19]

I love Family Man and Empire State. I don't even hate Silver Girl as much as everyone else, but I agree that the lyrics are annoying. I can only think of three songs that I don't like at all

That's Enough For me
Oh Diane
Love in Store

[vivfox]

It really is heart wrenching, yet that last part about "when you hang out that phone you cease to exist" is so empowering. It's this little glimmer of hope that says, "you know what, I'm gonna beat this, and I'm gonna be okay". I love it.


"when you hang up that phone you cease to exist" I hope you just made a typo with the word out.

I don't read any glimmer of hope in that line. To me it means they thought of her as a worthless comodity. They a$$ kissed her on the phone and as soon as she hangs up they have no more use for her.

[UndoingTheLaces]

"when you hang up that phone you cease to exist" I hope you just made a typo with the word out.

I don't read any glimmer of hope in that line. To me it means they thought of her as a worthless comodity. They a$$ kissed her on the phone and as soon as she hangs up they have no more use for her.

Yes, it was a typo. I fixed it.