| michelej1 |
09-17-2011 01:55 PM |
Quote:
Originally Posted by TrueFaith77
(Post 1018220)
But am I the only one who hears the vocals as the equivalent to Christine's Halloween costume? :laugh:
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I did question Lindsey's dialect and grammar in the vocals, certainly he was going for something. But not B. B. King really. I did not equate it to Christine's costume.
Quote:
Originally Posted by TrueFaith77
(Post 1018220)
I disagree. It belonged on the album as much as the Electric version of SWS (which I also know you don't believe hung with the other material). I think the addition of those two songs would have given a more complex and rounded perspective on the central existential themes (longing and love) of the album, proving that such emotions are not only communicated in the standard "serious" tone represented by the rest of the album.
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I think albums should have a theme and his last 4 have, but I think the songs should compliment each other and not clash. They should have a common theme sonically, not just message wise.
Seeing those babies with the electric Seeds We Sow, just put me in mind of Holiday Road and I think in the end, it's not meaningful enough for the album. It's a good outtake, for sure and it's more involving than the original, but it's more zany than an artistic triumph. If you have to choose between those 2 versions, the traditional take won rightly. Choose the bonus track and I think you're diminishing the message.
As for SATC, it just seems like a different genre to me. You can have different approaches on the album, all expounding on a theme, but to me, if anything SATC would belong on Law and Order or Tusk more than on this particular album. And when I say Tusk, I don't just mean Lindsey's song. I think SATC goes well with Honey Hi too.
Michele
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