wow, it never ever in a million years occurred to me to think of that line in this way!!?!! really interesting interpretation, and thinking of lindsey's love for double meanings (and his self-centeredness :laugh:), seems to make a lot of sense.:nod:

and, i had no clue that you preferred LB! :wavey:

i agree with the rest of your post, except the bolded part. sorry, but you agree?!?!? [that i don't care about the arrangement, guitar, instrumentation, etc? read my response to David for details]

you are being too nice, but i'll take it! :wavey::angel:

I know what you mean. I think the video for Holiday Road says a lot about Lindsey as well, in keeping with his musical themes. I think the Holiday Road video would go great with his Gift of Screws songs, in fact. However, I don't think it has a lot to do with the song Holiday Road and I guess that's how I feel about Go Insane and its video.

Although I don't disagree that "she's a lot like you" can also mean "she's a lot like me," because I think that unseen "she" and Lindsey are a lot alike. I don't see that as the only meaning. I can't take the line about screaming "your" name as being a self-reference at all.

I'll tell you what this song's neat trick reminds me of, an X-Files called "Little Green Men." The X-Files team has been broken up and Scully is reassigned to Quantico. She tries to maintain a relationship with Mulder, but when they meet in a park he is distant and cool. It's like if they aren't working together, they aren't friends. He runs off to Mexico searching for aliens alone. It looks like he has totally moved on from their work together. While in Mexico, he documents his findings on a tape recorder.

Well, it's not until the end of the show when he's dictating into the recorder that we find out the tape he is making is for Scully, so that she can investigate his findings if he goes missing. They aren't working together any more, but in his mind they ARE still partners. It was like she wasn't there, wasn't a part of him anymore, wasn't on his mind, and then we see she always was. And that's what Go Insane is like to me. This woman coming out of the sub-conscious into the forefront, in an all primeval pain sort of way.

And in the last scene in the X-Files when Mulder meets with Scully again, all of his evidence of aliens and conspiracies has been destroyed. He doesn't have it. He doesn't have the X-Files, but he says offhandedly to the room, more than to Scully, "I've still got you." Sigh.

Michele

I saw your post to David.

Michele

I don't find your posts mean either. I appreciate your honesty even though I'll never understand your distaste of Sara and Gypsy. We all have different tastes and while I certainly respect you for yours I will still be waiting for you in the back of the shed with my shotgun:lol:(I don't own a gun).

that's good.

this whole conversation got me thinking - if you take out the instrumentation, the guitar, and the arrangement, what are you left with for LB's material? the melodies, hooks, lyrics, his voice, lots of raw emotion?!

so to dissect some of that - he certainly can write a great hook, put together and perform some mind-blowing guitar parts (oh but i forget, apparently i wouldn't know that if not listening to SN and CM mac songs :D), some gorgeous verses, some tight arrangements.

the raw emotion he pours into his songs and performances is unbelievable and at times downright scary.

his voice is definitely not my favorite part of LB's music, although as i already said in this thread i do like it much better now than when he was young. but my preference for male voices are more "broken-sounding" voices (like RS), or large range voices (like Bono, or Freddie Mercury), or really deep voices - like Johnny Cash, Kris Kristofferson, and most of all Shane McGowan - they can read the phonebook to me whenever they want! and Shane has that deep emotion too... just born to sing.:nod:

but i have stated a lot more about what i love about LBs music elsewhere, most recently in ongoing polls dissecting his songs by a topic in LB's forum. would love to see you adding and sharing some of your opinions there David!:wavey:

And my entire post was a response to this comment:

The comment didn't upset me or confuse me or elicit any particular emotional reaction. It just made me apply some inductive reasoning. Elle said to draw your own conclusions, so I concluded that she wasn't interested in LB's guitar or backup singing because all the stuff she skips is of course filled with his guitar & backup singing. Yes, she listens to his songs on the Mac albums, but by process of elimination I figured she is drawn to them because of the songwriting or the lead vocal--in other words, whatever qualities those have that are absent on the Nicks & McVie tracks (since she skips those).

My conclusion might be based on a fallacy IF it's Stevie's and Christine's lead singing and songwriting that puts off elle. This is quite common--at least in my world. If I don't want to hear a particularly stupid lyric by Stevie, I may neglect a track with a really cool bass part by John that I'd otherwise want to hear over and over again.

So cancel everything.

;) :xoxo: :lol::lol:

Hi, elle. I'll try, but I usually don't have much to say about lyrics--their poetry or their semantic connotations. Plus, I haven't bought like the last five Lindsey solo albums (!), so I'm largely unfamiliar with all that work. But if you guys talk about a song I know and love, I'll jump in.

oh, it's all good.:nod:

you are orders of magnitude better with words than i am (although i can always pull an excuse that english is not my first language:laugh:) - parts that i bolded in your post are exactly what i was trying to state in my roundabout wordy way in responses to your post.:wavey:

EDIT: to clarify - it is not Christine's singing that puts me off - i think her singing is beautiful, but her songwriting is in most cases too breezy poppy for my taste. but it definitely is some of Stevie's lyrics (yeah particularly stupid parts do come to mind lol), no real or different melodies in many of her songs, and her nasal voice - which is not always nasal, sometimes her voice does sound gorgeously interesting - "tell me lies" bit comes to mind, and i actually like broken-sounding voices as i said above, but Marianne Faithfull or Amy Winehouse type of female voice would be more my taste.

If we had to converse in French, you'd laugh at me.

Makes sense to me...... gracias.

Liddy Buck! The other two are good but they're best when Lindsey's producing them.

This is a common sentiment, and it probably used to be true, but I'm not so sure anymore. I really think Stevie would have come off better on Say You Will if they had used an outside producer. I think the last big favor LB did for SN was "Gypsy."