Dear all,
The CMA recap is coming in the next post. It somehow doesn't seem right to be in this one.
A few months ago, I mentioned the estimable, incomparable, formidable, venerable, and exceptional Pat Burns. I said that I wanted to write him a song, for what he brought to our lives and to ensure that his achievements will never be forgotten. And I said that I wanted to finish it as soon as possible. Well, I got about four verses and a changing chorus, but it didn't seem right. It didn't seem to come from the heart. And it certainly felt false to be writing a song in which the last verse is singing to a dead man, when he wasn't. Until Friday. And so, this is my "thank you for everything, we love you, Pat Burns" post.
I also said I wanted it to be perfect.
So, in order to achieve that, I threw out the three pages that I had. And started from scratch, forgetting everything that I had written before so that I could truly make it heartfelt and perfect and written with love and true gratitude. I'm not saying that it's good compared to any Taylor Swift song, but for what I want it to say, I think it's appropriate.
For those who don't know, Pat Burns died (that's hard to write) on Friday, November 19th, after a six-year battle with cancer. He was 58 years old. But one thing that he would not have wanted was to dwell on the sadness (even though I've cried almost three times a day since I first heard the news). So, to focus on the highlights, he achieved his biggest dream on June 9, 2003, when his New Jersey Devils beat the Anaheim Mighty Ducks to win the Stanley Cup. Prior to this, he won the Jack Adams' Coach of the Year Trophy three times, with three different teams (the Montreal Canadiens, the Toronto Maple Leafs, and the Boston Bruins), which is a National Hockey League record. He won a career total of 501 games as a head coach - a remarkable number in and of itself, yet one that illustrates wordlessly how his brilliant career was cut far too short, because it should have been higher.
He took no prisoners as a head coach, and he certainly showed that same fight while trying to beat cancer.
This Song's For You
it's hard for me to imagine someone who doesn't know your name
or someone who can't attest to your passion for the game
because the character you had all but filled up the room
and so to commemorate that, this song's for you
your specific brand of candour made the world wait the bated breath
because we couldn't wait to hear just what you'd say next
you made it to the top no matter what you set your mind to
because you amaze me, this song's for you
CHORUS:
you packed two lifetimes into fifty-eight years
now I'm on the other end, choking back tears
I know you wouldn't want us to be sad after the hero falls
you'd rather we be happy that he lived at all
but like other heroes, forgive me if I'm wrong,
you lived the kind of life that should be immortalised in song
there's a quiet kind of resolve in your iron-willed spirit
that's matched by your booming voice and what you say with it
you can fight with words but you can kick some ass, too
and to continue your fight, this song's for you
CHORUS:
you packed two lifetimes into fifty-eight years
now I'm on the other end, choking back tears
I know you wouldn't want us to be sad after the hero falls
you'd rather we be happy that he lived at all
but like other heroes, forgive me if I'm wrong,
you lived the kind of life that should be immortalised in song
BRIDGE:
I watched you from afar
I admired all that you are
and you opened my eyes to the beauty of life
you held yourself with such grace
and put pretenders in their place
and there was so much elegance in the way that you died
how can a person fade when his presence in life was so strong
the world's a little less colourful, now that you're gone
as you were in life, so shall you be in death, too
I know it's not much, but this song's for you
CHORUS:
you packed two lifetimes into fifty-eight years
now I'm on the other end, choking back tears
I know you wouldn't want us to be sad after the hero falls
you'd rather we be happy that he lived at all
but like other heroes, forgive me if I'm wrong,
you lived the kind of life that should be immortalised in song
it's hard for me to imagine someone who doesn't know your name
or someone who can't attest to your passion for the game
I know it's not much, but this song's for you
I love you so much, Coach, this song's for you...
I still find it remarkable that, after having battled with every word and every phrase with the last version of this song, this version flowed and came out in the space of about an hour and a half. I guess if there's something to be said, it'll come out all on its own.
I also want it recorded that I came up with the idea behind this song (including the title) in late February/early March, so that's far before the Joey + Rory song of the same name came out. No copyright infringements.
Much love, and thank you Pat Burns,
Just Another Ordinary Girl
p.s. I thought I would introduce a new item on my posts, and that is their ending with a Taylor Swift lyric. After my recapitulation of Speak Now, I figured that it's too hard to pick just a few lines here and there, and so I decided to feature a little bit of [real] country music songwriting in each post. And perhaps not always necessarily just Taylor Swift. So, that's what's new.
Long live all the magic we made, and bring on all the pretenders; I'm not afraid. Long live all the mountains we moved, I had the time of my life fighting dragons with you.
22 November 2010
13 November 2010
why I continue to write songs
.
[Edited by author 8 July 2011, 9:34 a.m.]
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I have no clue.
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Much love, and thank you for the musik!
Just Another Ordinary Girl
[Edited by author 8 July 2011, 9:34 a.m.]
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I have no clue.
-------------------------------------------------------------
Much love, and thank you for the musik!
Just Another Ordinary Girl
10 November 2010
Speak Now
Two years ago, I wrote my very first non-song blog post. And its title was "Fearless!" This is because it was exactly a week after the release of Taylor Swift's shining sophomore album of the same name. And here we are, almost exactly two years later, and I'm here to do the very same thing for the triumphant third album of hers, Speak Now.
On October 25th, I had quite the adventure when I went to purchase it. I had looked up the opening time of my nearest Borders store (8 am), so that I could get there and be one of the first to obtain a copy. I was up at six, and got there on time, around 8:01. I searched the store high and low and even looked at the website, but all to no avail. They didn't have it. What to do? I went about my day, periodically checking the Borders website to see if things had changed. It wasn't until I was free again to do what I wanted, about 5 pm, that the website had changed to indicate that they had it (although, tragically, under the store at which I had intended to purchase it, there was a little note that said "SOLD OUT."), so I went there to - finally - get my hands on the treasure of the year. I was not discouraged by the website, but I was nervous when I got to the store and it was nowhere to be found, until the last place I checked. I was so ecstatic I started laughing, and the customer nearby looked at me like I was insane. Well, I was. I nearly ran all the way back home, because I was in such high spirits and in such anticipation, and because I just wanted to rip off the plastic packaging and have her change my life for a third time.
It has become a tradition for me to listen to a Taylor Swift album for the first time while sitting in front of a fireplace, holding a CD player (mostly my dad's, because it's the only one not broken in our family - he probably doesn't even know I have it, at this point, as it has been in my possession since Fearless, anyway). However, this year, I was not within a 100-mile radius of a single fireplace, and if I was, it was not in my knowledge, so I made do. I found a 10-minute fireplace video on youtube and played it on continuous loop. And it was almost like home. Almost.
But then I opened the CD case, and pulled out the booklet. I read the prologue a few times, and particularly loved this section: "These songs are made up of words I didn't say when the moment was right in front of me. These songs are open letters. Each is written with a specific person in mind, telling them what I meant to tell them in person. To the beautiful boy whose heart I broke last December. To my first love who I never thought would be my first heartbreak. To my band. To a mean man I used to be afraid of. To someone who made my world very dark for a while. To a girl who stole something of mine. To someone I forgive for what he said in front of the whole world."
After I read through this, I pressed play on the CD player. And I found myself in heaven for the next 67:29. I heard "ah-oh oh" and I could feel my world lighting up yet again.
"Mine" - The first single, the first track, the first glimpse of a new Taylor. Of course, I could see the music video playing out when I closed my eyes, because I had watched that more than enough times, but the song speaks for itself without the video. Beautiful, optimistic, expressive. You made a rebel of a careless man's careful daughter, you are the best thing that has ever been mine.
"Sparks Fly" - If I had to say something negative about the album at all, I'd say that this is the weakest song on the album (which only goes to show how strong the album really is). I would expect it more from either Taylor Swift or Fearless, as it doesn't exactly match the other songs in terms of depth (it's not really about anything) and expression. That said, it's still signature Taylor, and that means it's still amazing. I'm captivated by you, baby, like a fireworks show.
"Back to December" - Incredibly poignant and moving. Everyone knows what it's about, but she presents it, truly, as an apology. Well, an unorthodox apology, but one that continues to resound long after the song is over. I miss your tan skin, your sweet smile, so good to me, so right.
"Speak Now" - Gosh, I love this song. It's upbeat, optimistic, cute. This is going to sound incredibly odd, but it reminds me of wedding cake. Not merely because it's about breaking into a wedding/marriage ceremony, but because it's light and fluffy and sweet. Who honestly hasn't dreamed about storming a wedding and telling the groom (or bride) she (or he) is in love with him (or her)? I am not the kind of girl who should be rudely barging in on a white veil occasion, but you are not the kind of boy who should be marrying the wrong girl. It ends happily, fortunately. And it's the inspiration for the album's title, and the catalyst for its theme.
"Dear John" - The girl in the dress wrote you a song. Depending on what you have been reading, this song is Taylor Swift's magnum opus, this song makes the album, this song really marks Taylor's maturation, this song is the certain departure from previous Taylor stories. For me, it's astoundingly written. The words are incredible. It is cutting and painful and cruel, but ultimately victorious. Maybe it's me and my blind optimism to blame / or maybe it's you and your sick need to give love then take it away. It is a triumph, it really is. But, it's not the best song on the album. I found the bluegrassy elements of it refreshing, and the melody simple but stunning. I just wish the buzz weren't only focusing on one single song from the album, when all fourteen songs are worth the same amount of attention (which is a lot). You are an expert at sorry / and keeping lines blurry / never impressed by me acing your tests.
"Mean" - My mom says that this song is a perfect illustration of why this isn't a 'mature' album, because she doesn't think that a 'mature' person would resort to the word 'mean' to describe a bully. I beg to differ. I think the use of the word 'mean' is brilliant. And it's a fun, uplifting, light way to push back and to serve someone his own medicine. Plus the handclaps in the background are phenomenal! You have pointed out my flaws again, as if I don't already see them. I would use this song to shove the treatment I've received over the years back in people's faces, because it's not as hurtful as it would seem. I love this song, for its pure genius and for its simplicity. Sometimes the most amazing thing to say only takes a few words.
"The Story of Us" - I like the tempo, rhythm, and beat of this song. Normally, I would have thought it would be more natural to include a slower song after the tempo of "Mean," but it works. And this song rings true, standing alone in a crowded room is basically the story of my life. But I got chills when I figured out the encoded message ("CMT Awards"); literally, my blood ran cold, because I knew what it was about and that creeped me out a little. A little. It's like the "Forever and Always" of this album, only about someone else. I'm scared to see the ending / why are we pretending this is nothing? / I'd tell you I miss you, but I don't know how / I've never heard silence quite this loud.
"Never Grow Up" - Songs really don't get any better than this. Without this song, the album would not be nearly as good, as powerful, as strong, as beautiful. This song hits home, every. single. time. Never in a million years would I have thought that she and I would have this in common, that the beautiful little moments of childhood are worth returning to (don't lose the way that you dance around in your pjs getting ready for school). I cry every time I hear this song - literally. It's been over two weeks and over sixty listens, and I still get major tears in my eyes, because it feels like she's talking to me, like she knows what I've been trying to put into words every since I realised that nothing in life is ever going to be as perfect as it was when I was seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen years old. (I have gotten better, though; it used to be sobs, now it's just a few solitary tears rolling down my cheeks.) This song is Taylor's best, hands down. Taylor's finest moment is track number eight of this album. Take pictures in your mind of your childhood room, memorise what it sounded like when your dad gets home / remember the footsteps, remember the words said, and all your little brother's favourite songs / I just realised everything I have is someday gonna be gone. That's my absolute favourite section of the song, and yes...here come the tears. No joke, let me get a tissue.
"Enchanted" - You know how some albums start off really strong and then kind of fizzle out by the end, so you really only like to listen more to the first half than any other part (Taking the Long Way is one of those, actually, and so is 5th Gear)? Well, throw those conceptions away, because Speak Now only gets better as the track numbers go up. "Enchanted" is original and creative, and supported by such a beautiful melody that is so intriguing all you want to do is to have this song on repeat. The idea is also creatively dealt with - the lingering question kept me up / two a.m., who do you love? - in a way that only Taylor could come up with. The background vocals are also extremely fascinating. Please don't be in love with someone else, please don't have somebody waiting on you.
"Better than Revenge" - Everyone loves this song, if the ratings on iTunes are any indication. This song was the first that my sister told me she loved; "provocative" was the word she used. It's catchy and has a tremendous melody and rhythm, not to mention its astonishingly biting lyrics. It's great! Sophistication isn't what you wear or who you know / or pushing people down to get you where you wanna go / but they don't teach you that in prep school, so it's up to me / but no amount of vintage dresses gives you dignity.
"Innocent" - Ah, yes, the song she performed at the VMAs this year, as a direct response to 2009's Kanye West-gate. It is gentle and (I read this adjective somewhere) loving, and issues sweet forgiveness in the classiest way possible. I would almost say that it was written in a similar frame of mind as "Never Grow Up," because the childhood imagery is prevalent (wasn't it easier in your firefly catching days / when everything out of reach someone bigger brought down to you / wasn't it beautiful running wild 'til you fell asleep / before the monsters caught up to you) and merely underscores her message - that 'life is full of little interruptions,' but that that's no reason to change who you are or how you approach situations. Time turns flames to embers / you'll have new Septembers / every one of us has messed up, too.
"Haunted" - Astounding, passionate, pulsating. This song hits you like a wave, and then another, and another, and another, until you're filled with the extraordinary rhythm and melody of the song, and then comes the tidal wave of the chorus. If there were no drumbeats in the music, the song would be good. But with them, it's sensational. I have yet to make heads or tails of the storyline, but I'm captivated by the lyrics and mesmerised by the melody. This is another one to have on repeat. I thought I had you figured out.
"Last Kiss" - Her use of 3/4 time is a rare departure from her signature rhtyhm, and it's incredible. It would be perfect to waltz to (most 3/4 songs are good for this, as the waltz is a 3/4 time-dance, but you don't want to break out in dance to EVERY 3/4 song, do you?). The lyrics express such an emptiness, and the coldness that you almost feel emanating from the headphones is almost a soundtrack to a fall afternoon, with the mist hanging over the trees and dew on the grass, with an overcast sky. The more I listen to the song, the more I love it, and if I'm any indication, its staying power is fantastic. I'll watch your life in pictures, like I used to watch you sleep / and I feel you forget me like I used to feel you breathe. Plus it mentions July 9th, which is a special date in my life.
"Long Live" - Just as "Change" was a fitting ending to Fearless, "Long Live" is no less fitting an end to Speak Now. It's a tribute to her band after her Album of the Year win at the Grammys, but it could very well be about any one of her triumphs (or a triumph of any sort - especially of the underdog). I think it's probably her best writing yet (tied with "Never Grow Up"), lyrically. She employs such spectacular imagery - for a moment, a band of thieves in ripped-up jeans got to rule the world, for example, or we are the kings and the queens / you traded your baseball cap for a crown - and shapes the pictures with her sculpted words. It doesn't get much better than this, and it really instills such an insatiable desire for more Taylor Swift songs. I had the time of my life fighting dragons with you.
I marvelled at Taylor Swift, was amazed by Fearless, but Speak Now blew me away, and has done nothing but take my breath away since around 7 pm on October 25th.
My final words on the subject are these: I cannot imagine anyone not loving this album, because it's a shining masterpiece. She has become the most fantastic musician, artist, lyricist, and songwriter (not to mention person), and this is a milestone that will be hard to surpass by anyone following in her footsteps.
Much love, and thank you for the musik!
Just Another Ordinary Girl
p.s. The 2010 CMA Awards are in a few hours, but I wanted to post this before then, because I didn't want to sully any Speak Now post with news from the award show. But you can be sure to find a run-down of performances and winners (with a bit of editorialising, but I'll keep it brief) here next time.
p.p.s. I figured out how to do hyperlinks! So that's why you have some words a different colour, because they're linked to other webpages that I found pertinent to include. Prepare yourself, because now that I have figured it out, I will be using this a lot more often. I may even go back and fix other posts, to allow for hyperlinks.
p.p.p.s. You may have noticed that I included a few more italicised portions of the lyrics in each blurb about the songs, but that's only because I couldn't only pick one line or phrase to repeat. They're all so stunning, and it's a true testament to Taylor's development as a songwriter. This is also the album that she wrote entirely by herself (no Liz Rose, no Hillary Lindsey, no other co-writers), and I think she should never change this precedent, because she's a genius. She's brilliant.
On October 25th, I had quite the adventure when I went to purchase it. I had looked up the opening time of my nearest Borders store (8 am), so that I could get there and be one of the first to obtain a copy. I was up at six, and got there on time, around 8:01. I searched the store high and low and even looked at the website, but all to no avail. They didn't have it. What to do? I went about my day, periodically checking the Borders website to see if things had changed. It wasn't until I was free again to do what I wanted, about 5 pm, that the website had changed to indicate that they had it (although, tragically, under the store at which I had intended to purchase it, there was a little note that said "SOLD OUT."), so I went there to - finally - get my hands on the treasure of the year. I was not discouraged by the website, but I was nervous when I got to the store and it was nowhere to be found, until the last place I checked. I was so ecstatic I started laughing, and the customer nearby looked at me like I was insane. Well, I was. I nearly ran all the way back home, because I was in such high spirits and in such anticipation, and because I just wanted to rip off the plastic packaging and have her change my life for a third time.
It has become a tradition for me to listen to a Taylor Swift album for the first time while sitting in front of a fireplace, holding a CD player (mostly my dad's, because it's the only one not broken in our family - he probably doesn't even know I have it, at this point, as it has been in my possession since Fearless, anyway). However, this year, I was not within a 100-mile radius of a single fireplace, and if I was, it was not in my knowledge, so I made do. I found a 10-minute fireplace video on youtube and played it on continuous loop. And it was almost like home. Almost.
But then I opened the CD case, and pulled out the booklet. I read the prologue a few times, and particularly loved this section: "These songs are made up of words I didn't say when the moment was right in front of me. These songs are open letters. Each is written with a specific person in mind, telling them what I meant to tell them in person. To the beautiful boy whose heart I broke last December. To my first love who I never thought would be my first heartbreak. To my band. To a mean man I used to be afraid of. To someone who made my world very dark for a while. To a girl who stole something of mine. To someone I forgive for what he said in front of the whole world."
After I read through this, I pressed play on the CD player. And I found myself in heaven for the next 67:29. I heard "ah-oh oh" and I could feel my world lighting up yet again.
"Mine" - The first single, the first track, the first glimpse of a new Taylor. Of course, I could see the music video playing out when I closed my eyes, because I had watched that more than enough times, but the song speaks for itself without the video. Beautiful, optimistic, expressive. You made a rebel of a careless man's careful daughter, you are the best thing that has ever been mine.
"Sparks Fly" - If I had to say something negative about the album at all, I'd say that this is the weakest song on the album (which only goes to show how strong the album really is). I would expect it more from either Taylor Swift or Fearless, as it doesn't exactly match the other songs in terms of depth (it's not really about anything) and expression. That said, it's still signature Taylor, and that means it's still amazing. I'm captivated by you, baby, like a fireworks show.
"Back to December" - Incredibly poignant and moving. Everyone knows what it's about, but she presents it, truly, as an apology. Well, an unorthodox apology, but one that continues to resound long after the song is over. I miss your tan skin, your sweet smile, so good to me, so right.
"Speak Now" - Gosh, I love this song. It's upbeat, optimistic, cute. This is going to sound incredibly odd, but it reminds me of wedding cake. Not merely because it's about breaking into a wedding/marriage ceremony, but because it's light and fluffy and sweet. Who honestly hasn't dreamed about storming a wedding and telling the groom (or bride) she (or he) is in love with him (or her)? I am not the kind of girl who should be rudely barging in on a white veil occasion, but you are not the kind of boy who should be marrying the wrong girl. It ends happily, fortunately. And it's the inspiration for the album's title, and the catalyst for its theme.
"Dear John" - The girl in the dress wrote you a song. Depending on what you have been reading, this song is Taylor Swift's magnum opus, this song makes the album, this song really marks Taylor's maturation, this song is the certain departure from previous Taylor stories. For me, it's astoundingly written. The words are incredible. It is cutting and painful and cruel, but ultimately victorious. Maybe it's me and my blind optimism to blame / or maybe it's you and your sick need to give love then take it away. It is a triumph, it really is. But, it's not the best song on the album. I found the bluegrassy elements of it refreshing, and the melody simple but stunning. I just wish the buzz weren't only focusing on one single song from the album, when all fourteen songs are worth the same amount of attention (which is a lot). You are an expert at sorry / and keeping lines blurry / never impressed by me acing your tests.
"Mean" - My mom says that this song is a perfect illustration of why this isn't a 'mature' album, because she doesn't think that a 'mature' person would resort to the word 'mean' to describe a bully. I beg to differ. I think the use of the word 'mean' is brilliant. And it's a fun, uplifting, light way to push back and to serve someone his own medicine. Plus the handclaps in the background are phenomenal! You have pointed out my flaws again, as if I don't already see them. I would use this song to shove the treatment I've received over the years back in people's faces, because it's not as hurtful as it would seem. I love this song, for its pure genius and for its simplicity. Sometimes the most amazing thing to say only takes a few words.
"The Story of Us" - I like the tempo, rhythm, and beat of this song. Normally, I would have thought it would be more natural to include a slower song after the tempo of "Mean," but it works. And this song rings true, standing alone in a crowded room is basically the story of my life. But I got chills when I figured out the encoded message ("CMT Awards"); literally, my blood ran cold, because I knew what it was about and that creeped me out a little. A little. It's like the "Forever and Always" of this album, only about someone else. I'm scared to see the ending / why are we pretending this is nothing? / I'd tell you I miss you, but I don't know how / I've never heard silence quite this loud.
"Never Grow Up" - Songs really don't get any better than this. Without this song, the album would not be nearly as good, as powerful, as strong, as beautiful. This song hits home, every. single. time. Never in a million years would I have thought that she and I would have this in common, that the beautiful little moments of childhood are worth returning to (don't lose the way that you dance around in your pjs getting ready for school). I cry every time I hear this song - literally. It's been over two weeks and over sixty listens, and I still get major tears in my eyes, because it feels like she's talking to me, like she knows what I've been trying to put into words every since I realised that nothing in life is ever going to be as perfect as it was when I was seven, eight, nine, ten, eleven, twelve, thirteen, fourteen, fifteen years old. (I have gotten better, though; it used to be sobs, now it's just a few solitary tears rolling down my cheeks.) This song is Taylor's best, hands down. Taylor's finest moment is track number eight of this album. Take pictures in your mind of your childhood room, memorise what it sounded like when your dad gets home / remember the footsteps, remember the words said, and all your little brother's favourite songs / I just realised everything I have is someday gonna be gone. That's my absolute favourite section of the song, and yes...here come the tears. No joke, let me get a tissue.
"Enchanted" - You know how some albums start off really strong and then kind of fizzle out by the end, so you really only like to listen more to the first half than any other part (Taking the Long Way is one of those, actually, and so is 5th Gear)? Well, throw those conceptions away, because Speak Now only gets better as the track numbers go up. "Enchanted" is original and creative, and supported by such a beautiful melody that is so intriguing all you want to do is to have this song on repeat. The idea is also creatively dealt with - the lingering question kept me up / two a.m., who do you love? - in a way that only Taylor could come up with. The background vocals are also extremely fascinating. Please don't be in love with someone else, please don't have somebody waiting on you.
"Better than Revenge" - Everyone loves this song, if the ratings on iTunes are any indication. This song was the first that my sister told me she loved; "provocative" was the word she used. It's catchy and has a tremendous melody and rhythm, not to mention its astonishingly biting lyrics. It's great! Sophistication isn't what you wear or who you know / or pushing people down to get you where you wanna go / but they don't teach you that in prep school, so it's up to me / but no amount of vintage dresses gives you dignity.
"Innocent" - Ah, yes, the song she performed at the VMAs this year, as a direct response to 2009's Kanye West-gate. It is gentle and (I read this adjective somewhere) loving, and issues sweet forgiveness in the classiest way possible. I would almost say that it was written in a similar frame of mind as "Never Grow Up," because the childhood imagery is prevalent (wasn't it easier in your firefly catching days / when everything out of reach someone bigger brought down to you / wasn't it beautiful running wild 'til you fell asleep / before the monsters caught up to you) and merely underscores her message - that 'life is full of little interruptions,' but that that's no reason to change who you are or how you approach situations. Time turns flames to embers / you'll have new Septembers / every one of us has messed up, too.
"Haunted" - Astounding, passionate, pulsating. This song hits you like a wave, and then another, and another, and another, until you're filled with the extraordinary rhythm and melody of the song, and then comes the tidal wave of the chorus. If there were no drumbeats in the music, the song would be good. But with them, it's sensational. I have yet to make heads or tails of the storyline, but I'm captivated by the lyrics and mesmerised by the melody. This is another one to have on repeat. I thought I had you figured out.
"Last Kiss" - Her use of 3/4 time is a rare departure from her signature rhtyhm, and it's incredible. It would be perfect to waltz to (most 3/4 songs are good for this, as the waltz is a 3/4 time-dance, but you don't want to break out in dance to EVERY 3/4 song, do you?). The lyrics express such an emptiness, and the coldness that you almost feel emanating from the headphones is almost a soundtrack to a fall afternoon, with the mist hanging over the trees and dew on the grass, with an overcast sky. The more I listen to the song, the more I love it, and if I'm any indication, its staying power is fantastic. I'll watch your life in pictures, like I used to watch you sleep / and I feel you forget me like I used to feel you breathe. Plus it mentions July 9th, which is a special date in my life.
"Long Live" - Just as "Change" was a fitting ending to Fearless, "Long Live" is no less fitting an end to Speak Now. It's a tribute to her band after her Album of the Year win at the Grammys, but it could very well be about any one of her triumphs (or a triumph of any sort - especially of the underdog). I think it's probably her best writing yet (tied with "Never Grow Up"), lyrically. She employs such spectacular imagery - for a moment, a band of thieves in ripped-up jeans got to rule the world, for example, or we are the kings and the queens / you traded your baseball cap for a crown - and shapes the pictures with her sculpted words. It doesn't get much better than this, and it really instills such an insatiable desire for more Taylor Swift songs. I had the time of my life fighting dragons with you.
I marvelled at Taylor Swift, was amazed by Fearless, but Speak Now blew me away, and has done nothing but take my breath away since around 7 pm on October 25th.
My final words on the subject are these: I cannot imagine anyone not loving this album, because it's a shining masterpiece. She has become the most fantastic musician, artist, lyricist, and songwriter (not to mention person), and this is a milestone that will be hard to surpass by anyone following in her footsteps.
Much love, and thank you for the musik!
Just Another Ordinary Girl
p.s. The 2010 CMA Awards are in a few hours, but I wanted to post this before then, because I didn't want to sully any Speak Now post with news from the award show. But you can be sure to find a run-down of performances and winners (with a bit of editorialising, but I'll keep it brief) here next time.
p.p.s. I figured out how to do hyperlinks! So that's why you have some words a different colour, because they're linked to other webpages that I found pertinent to include. Prepare yourself, because now that I have figured it out, I will be using this a lot more often. I may even go back and fix other posts, to allow for hyperlinks.
p.p.p.s. You may have noticed that I included a few more italicised portions of the lyrics in each blurb about the songs, but that's only because I couldn't only pick one line or phrase to repeat. They're all so stunning, and it's a true testament to Taylor's development as a songwriter. This is also the album that she wrote entirely by herself (no Liz Rose, no Hillary Lindsey, no other co-writers), and I think she should never change this precedent, because she's a genius. She's brilliant.
21 October 2010
I Thought You Were (White Picket Fence)
Let's play a little game. I want you to come up with as many possible answers to this question as you can: What is today?
Ready, go.
This is what I came up with: It is Thursday. It is two days after the release of Sugarland's new album, The Incredible Machine. Three days to Speak Now.
Yes, I am boring. But this is how my brain functions. I think of days in terms of country music. You don't?
That said, I'm going to progress right into business, because there's so much to cover. I really should blog more often than just once a month, but I really can't write more quickly than that. And I don't really post unless I have a song...except I will do just that next week, because it'll be after the release of Speak Now! (Can you tell that I've had very little sleep over the past week - or past few weeks - and that this is the most stream-of-consciousness I've ever posted? Applause.)
So, first things first, I would like to alert my fanbase (ha, ha, I'm a stand-up comedian) that the new Sugarland album, Incredible Machine, is...well INCREDIBLE. It oozes Sugarland-ness in the best possible way. I read a critique from the New York Times that was none-too-pleased about the album, but I beg to differ. It said things such as, Kristian Bush's background harmonies take away from the dynamic of the songs and from the luster of Jennifer Nettles' voice, or that the songs are more of an homage to bands such as No Doubt and similar rather than country or even previous Sugarland products. I was astounded by exactly how wrong - in my opinion, that is - this guy was! The inclusion of Kristian Bush's vocals add such an extreme depth to the songs that was not utilised in the previous albums, and really creates new levels of melodies, which only underscores the message of the album. As for the reflections of other genres' bands' songs in the album, what is wrong with that? And while I may not be the most knowledgeable about No Doubt and therefore cannot comment as to the verity of his statement, I can say that "All We Are," the opening song, is more indicative of a Queen influence. The rest of the album, however, is more similar to the band's sophomore effort, Enjoy the Ride, in theme and in melody, which I welcomed and found very comforting. Sugarland distancing itself from country music? Hardly. (However, he also said that the bandmates are not the best songwriters in terms of the lyrics, and this is something I must agree with...except in the case of "Little Miss," which pretty much struck home with me and gave me goosebumps and almost shook me to my very core.) So yes, run - don't walk! - to your nearest store and purchase this album. It's brilliant and it can light up your world in all sorts of psychadelic colours.
In other news, Taylor Swift, who is gearing up for her new album's release (am I excited? oh, yes.) has been weekly releasing a single from it onto iTunes every Monday. Aside from "Mine," (love it love it love it) the songs released have been: "Speak Now," "Back to December," and "Mean." From the small thirty-second snippets that I've worn out on iTunes, I'm predicting another shining collection of songs from the girl who periodically changes my life. And it seems to signal songs more grounded in the genre from which she grows, with a greater return to the tenets of country music, so the haters can shove that in their pipes and smoke it. Though, her spreading her wings really indicates that she is becoming even more of an all-around musician (rather than one limited by and contained within the borders of her specific genre), and a fantastic one at that. So it will come as no surprise to anyone that I will love next Monday no matter what happens, and I will always support the beautiful and talented and extraordinary Taylor Swift.
For those of you who aren't aware of this: Kenny Chesney is a superstar. He has become involved, also, with films and, in particular, documentaries. Case in point: his newest venture, called "The Boys of Fall," which is (from what I've heard) about football and what an impact the sport can have on the players who participated in it in high school, as did the singer himself (he has amassed interviews with many people, including those famous people Joe Namath, John Madden, Peyton Manning...yeah, the guys many many many people grew up revering [but whom I barely recognised...], as well as high school coaches and players in their element). To go along with this documentary, he recorded a "Boys of Fall" single and music video. And they're unbelievable. You can find them on Hemingway's Whiskey, Kenny Chesney's newest album, but I bought just the video, because I watch it and I'm instantly transported to fall at home. Apple cider; pumpkin products; the crisp air; lazy Sundays; Mommy's cooking in the kitchen; a football game on TV that no one's paying attention to, beyond a cursory and disinterested glance at the score from time to time; falling leaves to rake; etc. And I'm instantly blinded by a slew of tears, because growing up is painful and missing home is worse,...and things are never going to be as simple and beautiful as they were two years ago.
The double punctuation there, in that last sentence, was intentional.
Lately, I have discovered that I like to watch the CMT Top 20 Countdown - with host Evan Farmer - on CMT (down here, it's channel 170) during the weekends in the mornings. It's so comforting, and while I don't get any work done, it's a lot like being in the company of good friends. When I'm able to watch, my life gets exponentially better for a few hours - and that's saying a lot!
Well, I think we're all caught up with that. If I think of anything else, I'll plug it into a different post, but for now, we move onto the song I have for you today. It's called "I Thought You Were (White Picket Fence)," because of what the white picket fence connotes today and because recently, I had to grapple with a decision larger than myself and one that affected someone other than only myself. For the first time, I really had to make a choice between hurting someone and being caught in a situation that was harmful to myself. I generally pride myself on being the person who would rather do anything than put herself first, and would put aside whatever she thinks for the betterment of someone else's life and/or moment. But this time, I couldn't. It would have felt the lie, and it was more painful to me to be in the situation than it would be for someone else to no longer be involved. And out of the frustration and angst of the moments, out came this song. (Fun fact: I get a lot of my best ideas either in the shower or when I'm brushing my teeth. This came from the former.)
I Thought You Were (White Picket Fence)
I guess I should consider myself lucky, to find a guy like you who wants me
but if I'm honest with myself, it's not going the way I had imagined
because you're kissing me, and I'm not feeling anything
my heart's not racing and I'm wrapping myself tighter in the sweater you lent me
and I don't know why that is
you're enjoying yourself and I should be having fun, too, but I guess
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm looking for forever, you're not playing for keeps
and that's not enough for me
You're not the guy I want to say that I'm his girl
but if it's any consolation, I thought you were
Idealistic notions can be altered, dreams of romance can be skewed
I lowered my expectations, but they still don't add up to you
I liked staying up late and talking all night, but I'm not feeling the next leap
and when we're alone, I find myself counting down the minutes until I can leave
my sentimentality is not fair to you, but here's the truth
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm looking for forever, you're not playing for keeps
and that's not enough for me
you're not the guy I want to say that I'm his girl
but if it's any consolation, I thought you were
BRIDGE:
I'd just like to say I'm sorry, for leading you on the way I did
but all of a sudden, me with you makes no sense,
because
2nd CHORUS:
You're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I want to feel forever, you're not thinking 'bout love
and for me, that's not nearly enough
and after all I realised, you're not the guy I want to tell the world that I'm his girl,
but if it's any consolation, I thought
you were the one I would still be with twenty years from now
I thought I saw a white picket fence, but in my own defense
I'm trying for forever, you're not playing for keeps
and that's not enough for me
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm trying for forever, you're not playing for keeps
and that's not enough for me
you're not enough for me
but if it's any consolation
I really thought you were
And there it is. As I was typing it up, I realised just how much of a justification for my actions it really is. It's more of an apology - and I know why that is. It's because I'm uncomfortable with the fact that I can't do what he wanted me to do, be what he wanted me to be, because that's what I strive for. I try to be the one who folds herself into the box someone has ready for me, even if at first glance it's impossible for me to fit there. And I didn't do that with him. And that's because I realised that, since he wasn't what he acted like and what he seemed to be, I didn't want to be someone other than me and me with him wasn't right. (I apologise if that sentence is utterly incoherent, but I had to get it out there and stream-of-consciousness was the best way to do that. And that was true stream-of-consciousness. My eighth-grade English teacher would've been so proud, as I was never able to do that during "free write.") But I don't believe that what I did was wrong, because at the beginning, "I really thought you were."
And there it is.
Much love, and thank you for the musik!
Just Another Ordinary Girl
3 days to Speak Now!
Ready, go.
This is what I came up with: It is Thursday. It is two days after the release of Sugarland's new album, The Incredible Machine. Three days to Speak Now.
Yes, I am boring. But this is how my brain functions. I think of days in terms of country music. You don't?
That said, I'm going to progress right into business, because there's so much to cover. I really should blog more often than just once a month, but I really can't write more quickly than that. And I don't really post unless I have a song...except I will do just that next week, because it'll be after the release of Speak Now! (Can you tell that I've had very little sleep over the past week - or past few weeks - and that this is the most stream-of-consciousness I've ever posted? Applause.)
So, first things first, I would like to alert my fanbase (ha, ha, I'm a stand-up comedian) that the new Sugarland album, Incredible Machine, is...well INCREDIBLE. It oozes Sugarland-ness in the best possible way. I read a critique from the New York Times that was none-too-pleased about the album, but I beg to differ. It said things such as, Kristian Bush's background harmonies take away from the dynamic of the songs and from the luster of Jennifer Nettles' voice, or that the songs are more of an homage to bands such as No Doubt and similar rather than country or even previous Sugarland products. I was astounded by exactly how wrong - in my opinion, that is - this guy was! The inclusion of Kristian Bush's vocals add such an extreme depth to the songs that was not utilised in the previous albums, and really creates new levels of melodies, which only underscores the message of the album. As for the reflections of other genres' bands' songs in the album, what is wrong with that? And while I may not be the most knowledgeable about No Doubt and therefore cannot comment as to the verity of his statement, I can say that "All We Are," the opening song, is more indicative of a Queen influence. The rest of the album, however, is more similar to the band's sophomore effort, Enjoy the Ride, in theme and in melody, which I welcomed and found very comforting. Sugarland distancing itself from country music? Hardly. (However, he also said that the bandmates are not the best songwriters in terms of the lyrics, and this is something I must agree with...except in the case of "Little Miss," which pretty much struck home with me and gave me goosebumps and almost shook me to my very core.) So yes, run - don't walk! - to your nearest store and purchase this album. It's brilliant and it can light up your world in all sorts of psychadelic colours.
In other news, Taylor Swift, who is gearing up for her new album's release (am I excited? oh, yes.) has been weekly releasing a single from it onto iTunes every Monday. Aside from "Mine," (love it love it love it) the songs released have been: "Speak Now," "Back to December," and "Mean." From the small thirty-second snippets that I've worn out on iTunes, I'm predicting another shining collection of songs from the girl who periodically changes my life. And it seems to signal songs more grounded in the genre from which she grows, with a greater return to the tenets of country music, so the haters can shove that in their pipes and smoke it. Though, her spreading her wings really indicates that she is becoming even more of an all-around musician (rather than one limited by and contained within the borders of her specific genre), and a fantastic one at that. So it will come as no surprise to anyone that I will love next Monday no matter what happens, and I will always support the beautiful and talented and extraordinary Taylor Swift.
For those of you who aren't aware of this: Kenny Chesney is a superstar. He has become involved, also, with films and, in particular, documentaries. Case in point: his newest venture, called "The Boys of Fall," which is (from what I've heard) about football and what an impact the sport can have on the players who participated in it in high school, as did the singer himself (he has amassed interviews with many people, including those famous people Joe Namath, John Madden, Peyton Manning...yeah, the guys many many many people grew up revering [but whom I barely recognised...], as well as high school coaches and players in their element). To go along with this documentary, he recorded a "Boys of Fall" single and music video. And they're unbelievable. You can find them on Hemingway's Whiskey, Kenny Chesney's newest album, but I bought just the video, because I watch it and I'm instantly transported to fall at home. Apple cider; pumpkin products; the crisp air; lazy Sundays; Mommy's cooking in the kitchen; a football game on TV that no one's paying attention to, beyond a cursory and disinterested glance at the score from time to time; falling leaves to rake; etc. And I'm instantly blinded by a slew of tears, because growing up is painful and missing home is worse,...and things are never going to be as simple and beautiful as they were two years ago.
The double punctuation there, in that last sentence, was intentional.
Lately, I have discovered that I like to watch the CMT Top 20 Countdown - with host Evan Farmer - on CMT (down here, it's channel 170) during the weekends in the mornings. It's so comforting, and while I don't get any work done, it's a lot like being in the company of good friends. When I'm able to watch, my life gets exponentially better for a few hours - and that's saying a lot!
Well, I think we're all caught up with that. If I think of anything else, I'll plug it into a different post, but for now, we move onto the song I have for you today. It's called "I Thought You Were (White Picket Fence)," because of what the white picket fence connotes today and because recently, I had to grapple with a decision larger than myself and one that affected someone other than only myself. For the first time, I really had to make a choice between hurting someone and being caught in a situation that was harmful to myself. I generally pride myself on being the person who would rather do anything than put herself first, and would put aside whatever she thinks for the betterment of someone else's life and/or moment. But this time, I couldn't. It would have felt the lie, and it was more painful to me to be in the situation than it would be for someone else to no longer be involved. And out of the frustration and angst of the moments, out came this song. (Fun fact: I get a lot of my best ideas either in the shower or when I'm brushing my teeth. This came from the former.)
I Thought You Were (White Picket Fence)
I guess I should consider myself lucky, to find a guy like you who wants me
but if I'm honest with myself, it's not going the way I had imagined
because you're kissing me, and I'm not feeling anything
my heart's not racing and I'm wrapping myself tighter in the sweater you lent me
and I don't know why that is
you're enjoying yourself and I should be having fun, too, but I guess
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm looking for forever, you're not playing for keeps
and that's not enough for me
You're not the guy I want to say that I'm his girl
but if it's any consolation, I thought you were
Idealistic notions can be altered, dreams of romance can be skewed
I lowered my expectations, but they still don't add up to you
I liked staying up late and talking all night, but I'm not feeling the next leap
and when we're alone, I find myself counting down the minutes until I can leave
my sentimentality is not fair to you, but here's the truth
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm looking for forever, you're not playing for keeps
and that's not enough for me
you're not the guy I want to say that I'm his girl
but if it's any consolation, I thought you were
BRIDGE:
I'd just like to say I'm sorry, for leading you on the way I did
but all of a sudden, me with you makes no sense,
because
2nd CHORUS:
You're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I want to feel forever, you're not thinking 'bout love
and for me, that's not nearly enough
and after all I realised, you're not the guy I want to tell the world that I'm his girl,
but if it's any consolation, I thought
you were the one I would still be with twenty years from now
I thought I saw a white picket fence, but in my own defense
I'm trying for forever, you're not playing for keeps
and that's not enough for me
CHORUS:
you're not the one I see myself with twenty years from now
there's no white picket fence, but in my defense
I thought there could've been
I'm trying for forever, you're not playing for keeps
and that's not enough for me
you're not enough for me
but if it's any consolation
I really thought you were
And there it is. As I was typing it up, I realised just how much of a justification for my actions it really is. It's more of an apology - and I know why that is. It's because I'm uncomfortable with the fact that I can't do what he wanted me to do, be what he wanted me to be, because that's what I strive for. I try to be the one who folds herself into the box someone has ready for me, even if at first glance it's impossible for me to fit there. And I didn't do that with him. And that's because I realised that, since he wasn't what he acted like and what he seemed to be, I didn't want to be someone other than me and me with him wasn't right. (I apologise if that sentence is utterly incoherent, but I had to get it out there and stream-of-consciousness was the best way to do that. And that was true stream-of-consciousness. My eighth-grade English teacher would've been so proud, as I was never able to do that during "free write.") But I don't believe that what I did was wrong, because at the beginning, "I really thought you were."
And there it is.
Much love, and thank you for the musik!
Just Another Ordinary Girl
3 days to Speak Now!
28 September 2010
Right By Me
Hi there!
If y'all remember, the last time I wrote with a song ("Poor Man's Susannah"), I mentioned the brilliant CMA Music Fest that was coming up. Well, it's come up and passed us over. Fortunately, I was watching it, and documenting the performances quite diligently, and will now proceed to describe them for you, in as much detail as I will permit myself to fall into.
The 2010 CMA Music Fest, though it took place in June, aired on ABC on September 1, 2010 at 8 pm. I tuned in, and watched the first few performances with a friend. It began with a Keith Urban cover of "With a Little Help From My Friends" by the Beatles, with a backdrop of the horrific flooding that Nashville survived earlier in the year. In fact, the entire festival was "dedicated to the people of Middle Tennessee," and much of the proceeds went to help alleviate the flooding consequences. That opening was followed up by newlywed Carrie Underwood (of course, when the actual show happened, she was still engaged, as her big bonanza wedding to Mike Fisher...yippee...happened on July 10) and "Cowboy Casanova." After a commercial break, the festival returned with a montage of Lady Antebellum documenting the band's daily schedule on tour and in Nashville during the week-long festival, accompanied with a soundtrack of the hit song "American Honey"; when the package was over, Lady A played its new single, "Our Kind of Love," a song I've always liked. Jason Aldean followed this up with "Crazy Town," a performance I wasn't exactly watching; I was otherwise occupied. The dapper Tim McGraw took the stage next, and sang two songs: the first was "Somethin' Like This," which I had never heard before (yes, I'm human - shocker, I know...) and then "Southern Voice," from his latest album of the same name. The next piece which aired was a montage of Taylor Swift, documenting her 13-hour signing during the festival; in a show of how dedicated she is to her fans, it ended up surpassing the 13 hours and became something more like a 15-and-a-half hour signing to ensure that she made time for everyone who stood online. The song in the background was her hit, "You Belong With Me." This was followed up by none other than Cap Nash's Darius Rucker, with his new single from his new album, "Come Back Song." (Shameless plug: that album is out October 2, 2010, and will be called Charleston, SC 1966.) Rascal Flatts came on after the next commercial break; unfortunately, I missed the first song the band performed, so I can't tell you what it was, but I can say it was followed by "Summer Nights," from the band's Unstoppable album. Thinking back on it, it was probably "Why Wait," to be released with the Flatts' new album on a new label, Big Machine. In a comedic twist, the next package which aired was Carrie Underwood being interviewed by Brad Paisley about things that she likes; the twist was, he took it from her wikipedia page (featured passage: -"What's your favourite colour?" -"Blue." -"Oh, really? Well, it says here that your favourite colour is red." -"I like red, too."). This was followed by her double performances of the rockin' "Undo It" and "Last Name." The extraordinarily popular Zac Brown Band took the stage next, singing "Pass the Jar," presumably from its new album, You Give What You Get. The only song I know from it is "As She Walking Away," featuring none other than Alan Jackson. It's a good song, listen to it. Or you can get the whole album, it's probably been released by now. The "modern-day Dolly Parton," also known as Kellie Pickler, performed next, her new single, "Makin' Me Fall In Love With You." The subsequent performance was one from Reba McEntire, "I Want a Cowboy," from her last album; why does she always look like she's 40 years old? That's not supposed to happen, she's not supposed to be that stunningly gorgeous at 63 (or around that)! A duet between Kid Rock and Uncle Kracker, "Good To Be Me," was featured next, followed by the spectacularly talented Miranda Lambert and "Only Prettier" (fun fact: the music video for it is BRILLIANT, check it out, I implore you, your life will be better for it). Her fiance, Blake Shelton, took the stage with Trace Adkins, and the two combined their extraordinary talents to produce their smash hit, "Hillbilly Bone." In his first of two performances in the broadcast, Brad Paisley brought summer to the arena with "Water." Another montage came with the next artist, the newbie Justin Moore, with whom there was an interview prior to his "How I Got To Be This Way" (featured quote: "What makes me blush? Kellie Pickler"; and fun fact, the music video for that song is beautiful, it's a bunch of picture of his life, but that's so perfectly simplistic in its wordlessness that it can't help but be beautiful). Kid Rock, whose surprise country hit from two years ago, "All Summer Long" apparently qualified him for country status, was again in the arena, and this time he stayed for two songs: "Rock 'n' Roll Jesus" and "Born Free," which is, so I've heard, the song for the baseball playoffs (anyone, correct me if I'm wrong). And then, in an exclusive yet stunning performance, Taylor Swift presented, for the first time on television, her first single from Speak Now, "Mine." Who loves this song? I DO. With yet another single from his best album to date (my opinion only), Defying Gravity, Keith Urban performed "I'm In," followed by the beautiful Martina McBride with "Wrong Baby Wrong" from Shine. I think it's a sign that I'm becoming way too engrossed in country music (not that that's a bad thing, I certainly don't see it that way) when I can not only name the album from which a particular song is, but also have that album and know all the words and melodies to all the songs. My library is getting pretty full. Next to perform was Josh Turner and "Why Don't We Just Dance," an unimpressive song just by itself, but when paired with its visuals from the music video is absolutely fantastic. Dierks Bentley, Miranda Lambert, and Jamey Johnson combined forces in a private, intimate setting to bring Dierks Bentley's song, "Bad Angel" to life next. The third-to-last (yes, there is an end in sight) performance was the guy with the wonderful head of curls, Billy Currington, and "That's How Country Boys Roll." Alan Jackson was the penultimate performer, with his latest single and a song I've come to love lately, "Hard Hat and a Hammer," an homage to the working man (featured quote: "there's nothing wrong with a hard hat and a hammer / the kind of glue that sticks this world together / hands of steel and cradle of the Promised Land / god bless the working man"). And lastly, to bring the festival to the credits, if you were following along, you could figure out who it is, Brad Paisley lit up the night with his energetic "American Saturday Night," from the same-name album. I love the guy. Is anyone more wonderful? No.
I really breezed through that quickly, but hopefully, you got a sense of how much I love the CMA Music Festival. So much, in fact, that I can actually remember the performances of the very first one that I saw, and I can actually even remember what I had for dinner while I watched in on TV. Yes, ladies and gentlemen, that's right.
And now, onto this song. It was inspired by a quote by Mo'nique, when she won her Best Supporting Actress Academy Award earlier this year; when paying tribute to her amazing husband, she said something along the lines of what I'm about to horribly paraphrase (I'm sorry, Mo'nique): "Thank you, for allowing me to forgo what was popular for what I knew to be right." Yeah, okay, so that was wonderfully destroyed by yours truly. In fact, it's more what I would say if I were standing up there with the golden statuette, although I'm not entirely sure to whom I would be saying it. Perhaps to myself. Anyway. Moving on. I was inspired by the real quote of hers, whatever it actually was. And then, through a series of mental events, I knew what the song was about. There is an appositive to the song title, and by that I mean like what is with "Danielle's Song (Apple a Day)," with the parentheses, but that's for me to know and for you to never find out.
Right By Me
I have never been a quitter, so I'm sticking to this
It won't be easy, but that's one more reason to do it
And if the time comes for me to have to reach your closed mind
trust me, I'll do my best to build that bridge, but I'll never apologise
CHORUS:
this is my decision, so don't you dare judge me
I'm doing what I can so that I can feel free
I've made my choice between the moral and the mainstream
you may not agree, but I'm doing what is right by me
there have been times I've tried to go down this road before
but for some reason, I've always made myself close the door
this time is different, there's no room for excuses now
you might not recognise me on my way out, but
CHORUS (2x):
this is my decision, so don't you dare judge me
I'm doing what I can so that I can feel free
I've made my choice between the moral and the mainstream
you may not agree, but what I'm doing is right by me
It sure would help me if you were always on my side
as I move not according to what is popular but what is right
I've made my bed and I know that I'll sleep like a baby
but my life means nothing if I don't have you right by me...
I can hear you now, "WOW, that's a short song, you really outdid yourself with effort this time, didn't you?" And my response to that? If you don't like it, I'm sorry. But I like that it's not always corresponding to the pattern I've fallen into lately.
Well, there you have it. It kind of flickers between defiant and pleading, but it is what it is. For those of you wondering if the line "I've made my bed and I know that I'll sleep like a baby" was closely inspired by the Dixie Chicks' "Not Ready To Make Nice," ("I've made my bed and I sleep like a baby"): (a) you know too much, and (b) yes. And I love "I've made my choice between the moral and the mainstream." It's amazing what flashes of brilliance come at 1 in the morning, as I'm holding my iPod open to the Notes function, trying desperately to come up with something good that rhymes with the word "me."
Much love, and thank you for the musik!
Just Another Ordinary Girl
p.s. I was more excited about Ilya Kovalchuk's second contract with the Devils getting approved by both the NHL and the NHLPA than about getting my first kiss.
28 days until Speak Now!
If y'all remember, the last time I wrote with a song ("Poor Man's Susannah"), I mentioned the brilliant CMA Music Fest that was coming up. Well, it's come up and passed us over. Fortunately, I was watching it, and documenting the performances quite diligently, and will now proceed to describe them for you, in as much detail as I will permit myself to fall into.
The 2010 CMA Music Fest, though it took place in June, aired on ABC on September 1, 2010 at 8 pm. I tuned in, and watched the first few performances with a friend. It began with a Keith Urban cover of "With a Little Help From My Friends" by the Beatles, with a backdrop of the horrific flooding that Nashville survived earlier in the year. In fact, the entire festival was "dedicated to the people of Middle Tennessee," and much of the proceeds went to help alleviate the flooding consequences. That opening was followed up by newlywed Carrie Underwood (of course, when the actual show happened, she was still engaged, as her big bonanza wedding to Mike Fisher...yippee...happened on July 10) and "Cowboy Casanova." After a commercial break, the festival returned with a montage of Lady Antebellum documenting the band's daily schedule on tour and in Nashville during the week-long festival, accompanied with a soundtrack of the hit song "American Honey"; when the package was over, Lady A played its new single, "Our Kind of Love," a song I've always liked. Jason Aldean followed this up with "Crazy Town," a performance I wasn't exactly watching; I was otherwise occupied. The dapper Tim McGraw took the stage next, and sang two songs: the first was "Somethin' Like This," which I had never heard before (yes, I'm human - shocker, I know...) and then "Southern Voice," from his latest album of the same name. The next piece which aired was a montage of Taylor Swift, documenting her 13-hour signing during the festival; in a show of how dedicated she is to her fans, it ended up surpassing the 13 hours and became something more like a 15-and-a-half hour signing to ensure that she made time for everyone who stood online. The song in the background was her hit, "You Belong With Me." This was followed up by none other than Cap Nash's Darius Rucker, with his new single from his new album, "Come Back Song." (Shameless plug: that album is out October 2, 2010, and will be called Charleston, SC 1966.) Rascal Flatts came on after the next commercial break; unfortunately, I missed the first song the band performed, so I can't tell you what it was, but I can say it was followed by "Summer Nights," from the band's Unstoppable album. Thinking back on it, it was probably "Why Wait," to be released with the Flatts' new album on a new label, Big Machine. In a comedic twist, the next package which aired was Carrie Underwood being interviewed by Brad Paisley about things that she likes; the twist was, he took it from her wikipedia page (featured passage: -"What's your favourite colour?" -"Blue." -"Oh, really? Well, it says here that your favourite colour is red." -"I like red, too."). This was followed by her double performances of the rockin' "Undo It" and "Last Name." The extraordinarily popular Zac Brown Band took the stage next, singing "Pass the Jar," presumably from its new album, You Give What You Get. The only song I know from it is "As She Walking Away," featuring none other than Alan Jackson. It's a good song, listen to it. Or you can get the whole album, it's probably been released by now. The "modern-day Dolly Parton," also known as Kellie Pickler, performed next, her new single, "Makin' Me Fall In Love With You." The subsequent performance was one from Reba McEntire, "I Want a Cowboy," from her last album; why does she always look like she's 40 years old? That's not supposed to happen, she's not supposed to be that stunningly gorgeous at 63 (or around that)! A duet between Kid Rock and Uncle Kracker, "Good To Be Me," was featured next, followed by the spectacularly talented Miranda Lambert and "Only Prettier" (fun fact: the music video for it is BRILLIANT, check it out, I implore you, your life will be better for it). Her fiance, Blake Shelton, took the stage with Trace Adkins, and the two combined their extraordinary talents to produce their smash hit, "Hillbilly Bone." In his first of two performances in the broadcast, Brad Paisley brought summer to the arena with "Water." Another montage came with the next artist, the newbie Justin Moore, with whom there was an interview prior to his "How I Got To Be This Way" (featured quote: "What makes me blush? Kellie Pickler"; and fun fact, the music video for that song is beautiful, it's a bunch of picture of his life, but that's so perfectly simplistic in its wordlessness that it can't help but be beautiful). Kid Rock, whose surprise country hit from two years ago, "All Summer Long" apparently qualified him for country status, was again in the arena, and this time he stayed for two songs: "Rock 'n' Roll Jesus" and "Born Free," which is, so I've heard, the song for the baseball playoffs (anyone, correct me if I'm wrong). And then, in an exclusive yet stunning performance, Taylor Swift presented, for the first time on television, her first single from Speak Now, "Mine." Who loves this song? I DO. With yet another single from his best album to date (my opinion only), Defying Gravity, Keith Urban performed "I'm In," followed by the beautiful Martina McBride with "Wrong Baby Wrong" from Shine. I think it's a sign that I'm becoming way too engrossed in country music (not that that's a bad thing, I certainly don't see it that way) when I can not only name the album from which a particular song is, but also have that album and know all the words and melodies to all the songs. My library is getting pretty full. Next to perform was Josh Turner and "Why Don't We Just Dance," an unimpressive song just by itself, but when paired with its visuals from the music video is absolutely fantastic. Dierks Bentley, Miranda Lambert, and Jamey Johnson combined forces in a private, intimate setting to bring Dierks Bentley's song, "Bad Angel" to life next. The third-to-last (yes, there is an end in sight) performance was the guy with the wonderful head of curls, Billy Currington, and "That's How Country Boys Roll." Alan Jackson was the penultimate performer, with his latest single and a song I've come to love lately, "Hard Hat and a Hammer," an homage to the working man (featured quote: "there's nothing wrong with a hard hat and a hammer / the kind of glue that sticks this world together / hands of steel and cradle of the Promised Land / god bless the working man"). And lastly, to bring the festival to the credits, if you were following along, you could figure out who it is, Brad Paisley lit up the night with his energetic "American Saturday Night," from the same-name album. I love the guy. Is anyone more wonderful? No.
I really breezed through that quickly, but hopefully, you got a sense of how much I love the CMA Music Festival. So much, in fact, that I can actually remember the performances of the very first one that I saw, and I can actually even remember what I had for dinner while I watched in on TV. Yes, ladies and gentlemen, that's right.
And now, onto this song. It was inspired by a quote by Mo'nique, when she won her Best Supporting Actress Academy Award earlier this year; when paying tribute to her amazing husband, she said something along the lines of what I'm about to horribly paraphrase (I'm sorry, Mo'nique): "Thank you, for allowing me to forgo what was popular for what I knew to be right." Yeah, okay, so that was wonderfully destroyed by yours truly. In fact, it's more what I would say if I were standing up there with the golden statuette, although I'm not entirely sure to whom I would be saying it. Perhaps to myself. Anyway. Moving on. I was inspired by the real quote of hers, whatever it actually was. And then, through a series of mental events, I knew what the song was about. There is an appositive to the song title, and by that I mean like what is with "Danielle's Song (Apple a Day)," with the parentheses, but that's for me to know and for you to never find out.
Right By Me
I have never been a quitter, so I'm sticking to this
It won't be easy, but that's one more reason to do it
And if the time comes for me to have to reach your closed mind
trust me, I'll do my best to build that bridge, but I'll never apologise
CHORUS:
this is my decision, so don't you dare judge me
I'm doing what I can so that I can feel free
I've made my choice between the moral and the mainstream
you may not agree, but I'm doing what is right by me
there have been times I've tried to go down this road before
but for some reason, I've always made myself close the door
this time is different, there's no room for excuses now
you might not recognise me on my way out, but
CHORUS (2x):
this is my decision, so don't you dare judge me
I'm doing what I can so that I can feel free
I've made my choice between the moral and the mainstream
you may not agree, but what I'm doing is right by me
It sure would help me if you were always on my side
as I move not according to what is popular but what is right
I've made my bed and I know that I'll sleep like a baby
but my life means nothing if I don't have you right by me...
I can hear you now, "WOW, that's a short song, you really outdid yourself with effort this time, didn't you?" And my response to that? If you don't like it, I'm sorry. But I like that it's not always corresponding to the pattern I've fallen into lately.
Well, there you have it. It kind of flickers between defiant and pleading, but it is what it is. For those of you wondering if the line "I've made my bed and I know that I'll sleep like a baby" was closely inspired by the Dixie Chicks' "Not Ready To Make Nice," ("I've made my bed and I sleep like a baby"): (a) you know too much, and (b) yes. And I love "I've made my choice between the moral and the mainstream." It's amazing what flashes of brilliance come at 1 in the morning, as I'm holding my iPod open to the Notes function, trying desperately to come up with something good that rhymes with the word "me."
Much love, and thank you for the musik!
Just Another Ordinary Girl
p.s. I was more excited about Ilya Kovalchuk's second contract with the Devils getting approved by both the NHL and the NHLPA than about getting my first kiss.
28 days until Speak Now!
01 September 2010
name change
This is just a short post to alert my fan base that I have to change my username. But don't worry, it will still be me.
Hm, you'll know it is me. I'm thinking to go with "ME." What do you think?
Much love and thank you for the musik,
ME
Hmm, does that work?
Hm, you'll know it is me. I'm thinking to go with "ME." What do you think?
Much love and thank you for the musik,
ME
Hmm, does that work?
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