Quote:
Originally Posted by Nico
I actually noticed his lyrical transformation the most when I was reading the words for Miranda. I think they are beautiful. To this day.
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Yeah,
Miranda's a show stopper. Taking the stars down, it's got so many beautiful moments, not least of which is sticking the camera into her arm like a heroin needle. And there's its mysticism. . .
Miranda's a song that I think Stevie could sing and enjoy singing.
Now,
Show You How stood out for me as a songwriting turning point, just because it seemed so complete. It almost had a beginning, middle and end and tied up so neatly and poignantly, with each verse being as neatly crafted as the one before it, that I wasn't even sure Lindsey had written it. I heard it online before I had the liner notes and I thought, "that's unbelievable, but can you be sure it's him?" I was so relieved it was.
I really don't know what or who most of Lindsey's songs are about. I mean, I think
UTS is his most obvious album lyrically, but before (and after) that -- heck, I haven't been sure what or who he's talking about since
Lola. I do think that he leaves a lot of space for me to try to read between his lines.
Now, I haven't stayed up any nights trying to figure
Family Man out
, but generally speaking, he has still gotten me deciphering through the years, just in a different way than I do for Stevie. Michele