[michelej1]

Originally Posted by nicole21290

Ah, Show You How is interesting. I USED to think that. However, I actually lean more towards a view I now have about Cast Away Dreams - WHY force it to be about two women when it can easily be about one if you don't insist on taking his explanations as the gospel truth? I mean, the shadow singer reference (and lingering again, bless) is fairly clear and I can see why the 'show you how' could easily be read as being about Kristen. However, we then come to an exact repetition within It Takes Time (and a near repetition in In Our Own Time) which we KNOW is about Stevie.

I formed my opinion of "Show You How" long before Lindsey said anything about it. Three songs were released as a preview and when I heard that one, I immediately decided what it meant to me, even though there were some words that I misheard until I got the lyric sheet.

I don't think it's about two people because of anything Lindsey has said. I think it's about two people because he seems to be talking to someone who intervened in his life, someone new. He was a madman out of a badman's route looking for paradise. I take that to mean looking for casual sex, when he was introduced into something more permanent.

It Takes Time doesn't change my view of the first song. If anything, that's where I don't take Lindsey literally. Yes, it's about Stevie, but I don't think that's all It Takes Time is about. I still don't think Stevie's the one who wants to save him -- or change him, pull him out and away from the fire that consumed him before.

Originally Posted by nicole21290

In Show You How, we also have him waking from a dream to find his other half. In Cast Away Dreams, we have dancing on those dreams. And yet we have like THREE references to waking up from a dream, to her being in them, on SWS and yet another on the EP. I don't know how well those wishes that died stayed buried, lol.

I like the waking from a dream. And Treason is the same. Although, he's not dreaming there, necessarily. He's underwater, drowning (now that's familiar!) and it's almost as if he's saved just before being overcome by her face full of grace, searching for me. And I also like "grace". Lindsey has used it forever (EOTW), but after FFG, when he uses it again, it seemed to take on a deeper meaning. It's the same thing with faith. I've shaken your faith in me? No, you've shaken it in everything else. Then, "I have no faith today."

Now, "I have no faith today" is an example of what you said about a phrase taking on extra meaning, because it comes out of nowhere and isn't connected to the rest of the verse. Also, "long live the queen" is like that.

As for the waking from a dream, Gone Too Far reminds me of an interview Stevie gave and she said she often wakes from sleep to hear FM and she doesn't recognize it is FM by the singing, she groggily recognizes the band through the rhythm section. Gone Too Far put an image in my head of Stevie roused from sleep, not by FM, but by a Lindsey song that is less familiar to her and gradually recognizing his guitar or his voice. The sound of my voice will haunt you.

Before UTS was released, we just had the song titles and it was fun to look at them and try to guess what the songs would be about. Well, with CAD because of Gift of Screws, I thought Lindsey might also be familiar with a poem by Susan Dickinson and I thought that CAD might borrow from it. In the end, it did not. But it was still fun reading that poem in relationship to Lindsey and, in fact, I do find themes from it run through his SWS album.

Hyssop

Lives burned by grief and sin,
Barred close from warmth and light
Visions of beauty win,
Thro fancy's magic night.

Spent souls at close of fray
Shorn of all gifts but pain.
Shrink from the narrow Way -
And gaze at day again -

In thews of grinding ice.
Fast in its death cold seams,
Of warmth and sunny skies,
The Arctic castaway dreams.

No instant's flash & gleam,
No brief reprieve from pain,
Or lapse in honey dazey dream
For those whom Love hath slain

Originally Posted by nicole21290

Yes to the first point and I'm still unsure on the second. I mean, how much does one NEED to have in common?

You don't need to have a lot in common, but I think you have to not think the other person's interests are boring and stupid. I don't think they much respect the other's journeys or processes. In DR when they sat across from John it was funny because it was like he was thinking, "I love them, but they're silly. I need to get to my boat." And they were together, almost looking at themselves from his perspective. But I also think they sit opposite of each other like that. I think they like some of the other's end result, but I don't think they appreciate how the other person gets there, which is fine for them professionally, but I don't think it works day in and day out when you're sharing other parts of a person's life. I think it leads to impatience and friction.

No, I don't think it's a case of opposites attracting because, because aside from physical attraction, I don't think they are particularly attracted to each other, not at a personality level. But when they're both in good humor? Yes, I guess. I don't know how often that happens, though, because I think a laugh can pretty quickly turn to annoyance when you think you're being laughed at and not with.

Originally Posted by nicole21290

Hmm, perhaps. He certainly knew without her talking what that experience was like for her seeing as he talked a few times about spending quite a lot of time with her while she made that album.

She certainly talked about the visit and the bunker a lot, but I don't know how it actually felt. I will be shocked if they (well her, not Christine, Mick and John) use his house for recording, if they do indeed go back into the studio in March.

The first time I saw Will at a concert, he was about 7 and he was finding kids he knew and telling them to come backstage. Kristen was chasing after him, tracing the kids' parents and making sure it was all right with the adult if the child went backstage. I got the impression that Will was a mini social magnet.

As for Madison, here's what I wrote down about that part, years back:

SAY GOODBYE: Lovely -- not the song -- the instrumental failure. Great fun. Lindsey did his little speech for Say Goodbye, but then something happened with his guitar. He goes to the side to fix it, saying that this is a lesson in "earn while you learn."

Stevie pretends that she's going to do a little tap dance. When he comes back he begs Ray just to tell him he's ok. Ray walks over and says that he's ok to play again and Lindsey pats him. Lindsey says that Ray is his long time friend and assistant whose last name is Lindsay. "Isn't that weird?" Stevie says "It is weird." Reminiscent of the conversation he had with Christine on the The Dance video. Lindsey is easily weirded out. He must not get out much. He thinks the most common things are singular. Anyway, he says that in all fairness it is not Ray's fault because this is the first night of their tour and there are bound to be problems. He tells Ray there will be a $50 fine. He prepares to start Say Goodbye again and turns to Stevie again, but says that the tender moment is gone. He says the audience should have pity, while they try to recapture the mood. She laughs and says they should try to be serious again and regain their composure. He starts playing and the guitar goes out again. Many giggles from Stevie. Lindsey lays on the floor. She says that Lindsey is just going to take a little nap. He starts doing sit ups and then he turns on his stomach and does push ups. Stevie says, "I had no idea you could do that." Gee, that doesnt' say much about their sex life, if she had no idea. Shedding new light on why things started falling apart 30 years ago . . . She tells him, "I am so proud of you." After the push ups, Lindsey is on his knees, pretending to be too fatigued to stand up by himself. Stevie hugs him, caresses his face, kisses his hand and "helps" him off the floor. She says that this is not the first time she and Lindsey have been on stage when nothing worked. She said they started this back in 1968 and some nights ALL the equipment failed "and look where we are today".

It is heady to imagine that 36 years ago Lindsey, Stevie, and the rest of Fritz were on some small stage somewhere performing. I think I’d love Stevie and Lindsey for their history alone. The temperamental guitar finally allows them to perform Say Goodbye. It seems to me that Lindsey has tried to extend the "scheme within a scheme" part, by saying the words more slowly, with great inflection. Honestly, the last thing that song needed was stretching. But the intro to it was so adorable this time that I forgive him.

RED ROVER: Mick and Taku come out onto the stage to great applause. Lindsey gives the speech about the gods looking down on earth and wondering what it has become. He says that it sounds like a cynical song, but it's really very tender. He starts playing and the guitar goes out again. Stevie laughs and says, "OK Mick. It's your turn now." Mick comes out and says that he's glad he has this chance to tell us a little story. He says, "it gets me away from having to sit on that box." He and Taku were sitting on boxes playing -- well, I don't know one type of drum from the other. They were not playing bongos. They were playing flat things and Taku was shaking a silver thing too. Starting his story, Mick says once there was this car riding down the street. It stopped and out came 3 broken guitars. He says that Lindsey Buckingham deserves a medal.

After consulting with Lindsey first, Stevie says that she wants to give the audience a little history. This isn't really their first show. They did 106 shows in the U. S., Europe, etc. and then they took a 2 month break. They rehearsed for 3 weeks, but the last 3 weeks they haven't rehearsed because Lindsey Buckingham had a baby girl named Stella. She says they had to take 3 weeks off "so we, they, could have baby Stella." So, they didn't finish their rehearsals and that's why there have been a few technical glitches. She says, in light thereof, they must dedicate this show to Baby Stella. Much applause.