Like or Dislike: Two Kinds of Love
 

I think that this my least favorite duet of Stevie's. Waaaaaay too soft pop adult contemporary. Bore.Ring.

I don't care for the lyrics, I don't care for the music, I don't care for the vocal performance. Sometimes I skip it, sometimes I don't - not cuz sometimes I want to hear it, but because it's left me so apathetic I just don't bother.

Oh, and there are HORNS in the song, a big no-no for me with very few exceptions. Horns + Stevie = bad. :( Damn you, Kenny G.

Written by Stevie, Rick and Rupert. Go figure. :rolleyes:

Not enough harmony. Well, not enough good harmony. The following lines are OK, lyrically & vocally. I even occasionally sing along at this point:

Who in the world do you think that you are fooling
I've already done everything that you are doing

I don't think these words are profound, or touching, or even that good. But I like the way they sound & I like to sing along with Stevie's part for some reason.

Almost forgot the crappiest lyric:

Two kinds of love
one for the way you walk
one for the way you love me

Huh? One for the way you WALK? WTF does that mean? Stupid.

Live? I loathe it live, I really do. Dragged the show down. I cringe when I hear the start on a bootleg, and either leave the room or skip the tune. Peter Michael - that's who sang it with her on TOSOTM tour, right? Yeah, he sucked. Sucked hard. Barf.

Great temptation because of the chorus...love this

Would have been better with Lindsey!

Bobby Martin sang it with her.

I'm sorry Paula but I love this song. I love it on the album & I loved it in concert. To me, it's one of the great Stevie emotional songs.

I really think a lot of it was directed towards LIndsey. "Who in the world do you think that you are foolin. Well Ive already done everything that you are doin".

I love the chorus and bridge, as well as the sound of Bruce and Stevie's voices together, but I'm not the biggest fan of Kenny G.'s somnambusax or the verse lyrics. I think I understand what Stevie was trying to say, but I think a potentially timeless little love-song was tripped-up by lyrics about the Betty Ford Clinic.

It's a physical attraction kind of thing... when you're in love with the way a man walks, the way he smells, the way he bites his lip when he's deep in thought. She loves him for the things that makes him irresistible, and she loves him for the way he loves her.
I think it's a sweet sentiment.

Oh, right. Thanks. Bobby Martin sucked. :p

And don't be sorry, I want to hear everyone's opinions whether I agree or not.



Oh, barf! :mad:






:laugh:

When I first head this I really hated it, but now according to iTunes it's my 6th most played Stevie song.

I think it's kinda cheesy and I love that. My favourite line (in a funny way) is "Well I talked to my famous friend last niiiiight" with the "night" being sung in that goaty way that only dear Stevie can get away with (for me).

The song does strike me as being very sad, and it sounds like she's either on the verge of tears...or falling asleep.

Hmm...this looks like I'm tearing the song to shreds but I really do love this song.

production-wise this track is really gross.
bruce hornsby was a great idea
kenny g - not a good idea
cocaine was compromising creativity

Intrinsically, I hated this song. Then the fab harmonies crept up on me. So I had to pick the middle one. Seriously, the fiber of my being is against this song, but when those harmonies start, I turn to jello.
Damn Stevie and her voice! And her harmonies! How dare she make this pap palatable!!!

This song wasn't the result of cocaine...it was kolonapin(sic?) that dragged it down! Yes, it's a clunky mess, but it's so Stevie. For that reason I have two kinds of feelings for it: love and hate.

The verse that amuses me is the one where she seems to address her sleep deprivation with her "famous friend" as if she has bragging rights:

"My third day up, well, his second nighter."

Girl, get some sleep!

Funny that it was a single. Such an odd, off-beat song. With better production and more universal, emotionally accessible lyrics, it could have connected with people and done better in the charts. (This is the same person who wrote Landslide, right?)

While I was happy that Stevie performed a good chunk of the Other Side album in concert, I'm not surprised that Two Kinds of Love turned out to be a "one-tour song."

I'll offer my thoughts on this nadir of musicmaking sometime later, but for now, just as a point of clarification: I don't think saxophones are generally referred to as horns. The term horn, when not referring specifically to the French horn, usually is applied to brass instruments, like the trumpet, trombone and tuba. Saxophones, even though they're usually made of brass, are classified as woodwinds, along with flutes, oboes, bassoons and clarinets.

EDIT: Okay, having just listened to this song for the first time in a long while, it's actually not as bad as I remember. The vocals, for one thing, are pretty great. This is certainly one of Stevie's better efforts on this album, for two reasons: 1) There's an actual melody here, and a rather nice one, at that, at least for the most part. 2) The harmonies between Stevie and Bruce, which are great and really play to Stevie's strengths. Once again, though, the problems with this song come out of the arrangement and production. The music is just syrupy MOR "adult contemporary" dreck. The keys and drums sound like they're coming right out of a computer program and add zero personality to the song. And, of course, at this point it almost seems redundant to point out how much Kenny G makes me want to vomit. Listening to him "play" the saxophone is like gulping down a bowl of strained carrots: monstrously bland, no texture whatsoever, and it really does a number on your gag reflex. As for the lyrics, they're not terrible, but they're far from great. Fairly typical Stevie relationship fare. My only real complaint: Why the switch from first person to third, right in the middle of the bridge? A mystery for the ages, I suppose. Anyway, if this song had been recorded differently, with a more dynamic arrangement and some more interesting instruments that actually carry some semblance of punch, we would have ended up with a much better result. But I suppose that's kind of the theme of this album, isn't it?

One last note: Listening to Stevie's harmonies on this song almost makes me think that recording an album of duets would be a good move at this point in her career. However, I'm afraid that if she did it, she'd just choose a bunch of bland, MOR "adult contemporary" counterparts instead of people with really interesting voices who would truly complement her.

Thanks, quim. :p But for the sake of simplicity (and laziness, since I'm not going to look at the liner notes to see exactly what instruments are played in some other songs) I will stubbornly just refer to all brassy colored instruments as horns.

Now now. This is a family forum.

The word "sax" is 25% shorter than "horn"! Plus, all three letters are conveniently located in the same area of your keyboard!

:D

True, but that would have entailed me actually thinking "it is a sax, right?" and then wondering if someone (David) would have corrected me & made me feel dumb with some comment like "well, it's specifically a suchandsuch sax..." Yeah. :rolleyes: This worked out much better.

Fine. I generally do not like Stevie songs that include horns OR saxophones. There - happy now? :mad:



:D:

Specifically, I think it's a soprano sax. That's Kenny G's preferred instrument of torture. (I know you wanted to know.)

Ecstatic, although I feel bad that douchebags like Kenny G make people think that the saxophone is some horrible, migraine-inducing new age instrument. If Coltrane had been alive, he probably could have contributed a much more insteresting solo to "Two kinds Of Love"...

How the hell did Kenny G become so popular when it's apparent that he's sucky? :shrug: Seriously. I can't stand the guy, I can't stand to hear his songs.

Beats me. You could ask the same question about dozens of people at the top of the charts.

Really, though, there's a much bigger audience for ****ty smooth jazz than most people think.

I think people like to say "yeah, I love jazz" cuz they thnk they'll sound cool. :nod:

Sound cool to who, though? Most people who know nothing about jazz think it's stupid, and everybody who knows anything at all about jazz would beat to within an inch of his life anybody who dared utter the name "Kenny G" in their presence.

Where did I get this reputation for being an obnoxious pedant? Is it my own fault? Is it really justified?

Puzzling . . . .

are you ready for this? are you sitting down?

I think you're dead on here. :cool:

"There are two kinds of love
To do the things that we do the best..."
are the only lines in this song that I think sound any good at all. The rest I'm happy to skip over.

One of the few OSOTM tracks I don't like. Her best albums are often a little hit and miss. :shrug: This was one of the misses!

Well, I'm still quite intimidated by you. It must be all those big words! :lol:

Seriously, the forums don't anyone justice (except if you're Johnny Stew :xoxo: ). It's always better to meet in person, even if it's only a 30-second chat at a concert.

Uh..you DID meet me, spynote! But apparently I made zilch impression because you don't remember it. :o

Oh, David, I'm playfully teasing you. You just happen to know lots of stuff that I don't. :)

I know nothing. Factoids do not wisdom make. Richness of the spirit, tenderness of the heart, fortitude of the bowel, the truly wise have all these things. Time taketh them not away. Physical beauty is passing, a transitory possession. Sic transit gloria mundi . . . thus goeth the glories of this world . . .

Come, let us pray. :angel:

My father loves Kenny G. I don't think he owns all of the albums, but he sure seems to have a lot of 'em.

I hated ol' Kenny when Dad first started listening to him, and I hated him even more after 'Mirror.'
He was definitely like **** for awhile there... he was everywhere, and it all stunk to the high heavens.

I should add that the only Mac song my father really likes is "Tusk," because of the brass-band. The man loves horns!

I know it was a compliment (well, at least I'm pretty sure it was :laugh: ), but I'm not sure what it meant. :o

The only redeeming thing about this song are the few live recordings, for two reasons:

1.) When she sings, "It's outrageous, that they live part..."

2.) The vocal breakdown (so cliché, but it works)

3.) Her lovely ending to the song to the chords of an acoustic guitar.

So how do you guys feel about the other songs Stevie recorded with Kenny G.? like Don't Treat Me Like a Stranger, Dial the Number & Tragedy of One's Own Soul? I love all of those. Romy, have you heard those three?
For some reason, back in 1989, I thought this whole song--& that phrase--was an indication that Stevie's dad had died (widow=Barbara & dove=Stevie). Then I got the tourbook that year at Cal Expo or wherever, & it says:

To Mother, who gives me the strength to go on. . .
To my Father, who said even in his darkest despair, that I had been a pleasure to him, from the day I was born. . .

& I thought for sure that clinches it--Stevie's dad had died & much of her pain on the album was pain over his loss. Isn't it weird how we develop our interpretations? :shocked:

I hope you'll take my comments in the spirit in which they're offered--as discussion, as exchange of ideas--& not as browbeating or bullying.

Stevie had a bad tendency to ramble in these songs, as if she were reciting the lines from the right side of her journal.

I think it was the way Stevie wrote in the past tense: "who said ..." "I had been ..." plus the sense I got at the time of disconnectedness between stevie & her career, as if she had been scarred by something & was backing away, receding from active view, with the inevitable passage of time; & all of this disquieting sense of alienation put me in mind of death having come to stevie's door. "When lilacs last in the dooryard bloom'd" ... & all that.

In general, this song blows. The lyrics are just dreadful. The only thing that shines is the bridge- which is just gorgeous.


When adding a group of orchestral instruments- such as saxophones, trumpets, and trombones- to a rock and roll band, that group is commonly referred to as "horns".

I love the melody of the song - but it falls short of becoming great because of shoddy verse lyrics and production

I don't hate this song, but it's definitely not one of my favorites. Stevie's voice seems a little tired and draggy on this whole album, and Kenny G's sleep-inducing sax playing makes it even worse. Lyrically, I think it's an arcane, meandering piece of sh*t, but it has a nice melody, and I like the way her voice sounds with Bruce Hornsby.

This song has grown on me with time. I do like the lyrics as well as Stevie's vocal performance. I don't think Bruce Hornsby's voice is a good match for Stevie's. His voice sounds very flat to me. My main problem with this song is the production (those keyboards drive me nuts!) and the tempo. It's no better live and I do agree with other posts that it drags the show down. I do think Bobby Martin has a great voice, though. Maybe he should have sang it with her instead of Bruce.:lol: :lol: The teal satin coat and veiled pillbox hat she sports for this song on the San Jose show are beyond tacky.

I adore the living sh*t out of this song and I'm not afraid to admit it. It must be mentioned though it may possibly contain some of cheesisest lyrics ever written by Stevie Nicks (but since when did that ever stop me from liking a song?) The melody to both the verses are chorus is incredibly beautiful and I happen to love the sax! I just adore the whole feel of this song and her vocal rocks! The harmonies with Bruce are also fabulous. I get chills when the music to this one starts...

I really have a love/hate relationship with the lyrics to this song. The hate includes: "Well I talked to my famous friend last night My third day up...well, his second nighter". Sounds like she's reverting back to her cocaine days and I don't like that. I also dislike "Who in the world do you think that you are fooling" and "One for the way you walk. One for the way you love me." That being said the following lyrics are stellar, some of her best "great temptations never really die..." God I love that line and this is also spectacular "Ooh the two of us...
Estranged sometimes for their very survival
Outraged at each other...engaged to each other in their hearts...
But they live apart..."
Wow, really beautiful Stevie!

It was a tad boring live but I absolutely loved Bobby Martin's voice! When I first heard a TOSOTM boot I ran to The Ledge and asked who that was singing because I thought he had the voice of an angel but obviously I'm in the minority. In summary, TKOL is one of my favorite duets.

Marry me. :)

I am much wiser than I thought, then. The fortitude of my bowel is legendary. To wit, my ability to listen to this song and like some of it.