Like or Dislike: Juliet
 

I've had TOSOTM for at least 7 years, and I never paid any attention to this song until a few months ago. I never hated it, it never got skipped when I listened to the CD, but it never did anything for me. It was just kind of there.

Then, suddenly, something clicked (or snapped, whatever :laugh: ) in my head and I became obsessed! I couldn't get enough of it, started listening to it several times in a row, sought out live recordings (I believe I PM'd Brian J. with a desparate plea for a TOSOTM Tour boot with this tune on it - none of the shows I already had included this tune in the setlist.) It's good live, I only wish the sound was better on the boot I have so I could hear it more clearly.

This is one of the tunes on the album that sounds nice & clear to me, not foggy at all. It's upbeat, and I love the piano (esp. the "tinkling of the keys" I hear in the background at times.) I mainly notice the keys & percussion, which is wonderful. Great use of Stevie's talk-singing (sing-talking? who described this previously - Jyqm? Amber?) The best part is that the talk-singing is nicely mixed with moments of sheer "belt it out" brilliance:

Talk-singing: "Turn to the blue crystal mirror, well as always, it is truthful."
Belting: "Oh, well you see it in the reflection of the real blue lamp
Well tie the connection...get some ribbons and some bows...get back
out on the road

This is a bit of a "cut and paste" song, not as bad as The Nightmare (which I adore despite it's disconnected lyrics) but still. I think I've heard this tune is about her going back & forth between Mac & her solo career & that makes sense - but where the hell does "Juliet" fit in? :shrug: And the chorus is just OK. That does not deter my love for the lyrics in ANY way, and I must sing along every time I hear it. :nod: Love this especially:

"Let the crisis become a bridge...and cross that bridge tomorrow
Well let the time that goes between, baby...
Well let it let go of the sorrow"

The first verse is extremely fun to sing along to as well, the timing of the words with the beat is a bit unusual to me, I like it a lot. Dancing to the beat of some man's ancient drum indeed. :D

this song is badass. especially the lines you pointed out.

I always have a mental image of Stevie strutting around, boobs bouncing...during this song. I love it.

It's one of those middle of the road songs for me.

Like you I never really paid that much attention -- and then got obsessed a few months ago. The outtakes are awesome. It's just got a great energy to it, welcome during the Klonopin faze-out...

I love it, especially "The sky is crying" parts at the end. Gets me singing along every time.

I think I have a boot of this- I'll post it if I can find it. (I love it, btw)

I've only done this once before, but I think I did it right:

http://www.yousendit.com/transfer.ph...65AF8E4BE29486

Anyway, I have no idea where this is from, but it's cool. Oh, and I voted "The Sky is Crying" because I like that line, not b/c I don't like the song.

Even though its on my beloved 'OSOTM' I have to agree. Very middle of the road...

Juliet was always one of my odd favorites from TOSOTM. The chorus is weak, but the verses are cool. Bruce Hornsby's piano adds a lot to the song. Such a weird so-Stevie song...I wonder how Bruce felt singing it!

I was lucky enough to see her early on her 1989 tour, and she performed it then. I thought it went off pretty well, with an added drum/percussion solo.

If anything, the song has an intriguing history, being that it was initially worked on to be part of Tango In The Night, and was first presented as a FM b-side instrumental "Book of Miracles." I had always wondered why Stevie the singer/lyricist shared a writing credit on a song with no singing/words.

Well of course once again, I've got very mixed feelings about this track. There are aspects of this song that I absolutely love, but there are even more that leave me scratching my head in bewilderment. I'll try and sort it all out:

1. First off, I abhor the opening synth-y keyboard riff. Doo-DOO-doo-DOO-doo-DOO-doo. Doo-DOO-doo-DOO-doo-DOO-doo. It's stupid and it's cheesy and it stinks. End of story.

2. Despite the presence of that riff, though, I think the first verse of this song is fantastic. Some nice classic Stevie lyrics, some great juxtaposition between talk-singing and really belting (as you mentioned, Paula), and I love Hornsby's piano. And! The production actually sounds somewhat crisp and clear! Hooray! HOWEVER:

3. What the hell is that weird echo/reverb/whatever it is on her voice? Who thought that was a good idea?

4. While I love the lyrics in the first verse, I think this another instance where the song simply falls apart after that. Once again there's some great "exposition" that simply goes nowhere, never resolves into anything. Also: "The sky is crying"/"No, the sky is blue." This would maybe be clever, if the line were sung once, and if there were then some kind of follow-up, even just two lines, to make it seem more meaningful than just, "Tee hee! I'm having fun with homonyms!" As it is, though, it's just a silly, annoying end to the song (bookending the equally annoying beginning, I suppose). And I've got no idea what makes the protagonist of this song anything like Juliet, either. Maybe I read a different play, but I don't recall Juliet hitting the road and having a bunch of different lovers. But even if the lyrics turn to crap beyond the first verse, at least her vocal is awesome throughout most of the song.

5. I wish Hornsby's piano were more prominent. Or rather, I wish there were fewer synths and guitars and things clogging up this song, and I wish it were engineered better with a little more sense of sonic space. The focal points of this song should be Stevie's vocal, Hornsby's piano, the slap bass, and that great slide guitar that only rarely emerges from the right channel to offer a faint hot lick or two. Those four things need to be spread out a little (it's nice that the sound is a bit crisper on this track, but then all the sounds are just piled on top of each other), and all of the synths and chunky guitar riffs need to be taken down a few notches.

6. Whoa, is that the chorus? Is that the chorus to this song? Are you sure? You didn't, like, mix up the tapes or something? Because that's one hell of a clunky transition from the first verse. And this chorus sure sounds a lot muddier than the rest of the song... All right, if you say so...

So, to review: First verse - awesomely expository! Stevie's vocals - ass-kickingly dynamic (despite yucky reverb effect)! Hornsby's piano - wonderfully jaunty! Slap bass and slide guitar - sure wish I could hear more of them, and hear them better! Everything else - ehh, it's The Other Side of the Mirror, what do you expect?

"Cry...and the wind says fly on
Well now you're on your own" I love it!!!

"Caaaaan you get into thaaaaaaaaaaaat?"

Definitely one of my favorites on OSOTM. 5 Stars for me. I love the live recordings, I have many of them. I thought it worked really well on stage. I liked the bongo/percussion part at the end. The crowd also gave it appreciation!

You probably have more live recordings than anybody, pal!

I have the Paris recording only.

I like this song a LOT because it rocks!

I think it was simply a literary heroine whose name she hadn't yet used as a song title.

I am down with your entire opinion of the song. Good parts, nice vocal, fuzzy big picture. :shrug: OSOTM.

Yeah, I doubt she actually put any thought into it. And I suppose it might not have had the same oomph if she'd called it "Hester Prynne."

And "Anna Karenina" doesn't flow as well....

:laugh:



I'm a bit surprised so many people like this song, I thought it was a lot less popular for some reason.