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Posts: 123
Apr 12 09 6:54 AM
Glow Worm
Sunken Sun
Loss is the hardest thing to bear. Obviously when you lose someone, or even something, you're never the same again. You're not necessarily less or more, just different. In the here and now most people cope somehow. And as often as I've heard people say that if a great enough loss blackens their lives they'll fail to cope with it, when the time comes, their ability to cope surprises them. Truly, most people find ways to handle these changes without losing what's left of and in their lives. Some find comfort in recounting their losses; counting up the ways things could and should have been. Others replace a loss with something or someone else. A tiny few fail at all attempts to continue. They don't necessarily take their own lives, but they live them as if they're already dead. And then there are those special few who are able to write about it in ways that comfort, offering hope to those who can not imagine anything good resulting from their losses. Finding even one reason to go on is enough. That reason could be the one that Steve sings about in this song: - Find comfort in the knowledge that you will be given another chance, in another place and time, to love whoever and whatever you love or loved in your present life. Remembering your former lives is proof of that.
I:
This is hopeful sadness. Looking at the sunny side, sunken as it may be, is better than the alternative.
Steve's singing & more
Clearly you can hear how hard he tries to 'sing' on this one. He thinks about the process and about his breathing. He is deliberate in his attempts at undulant intonation. He strives to place his voice in just the right spot as he so very much wants to create the perfect conditions for seizing - ever so subtly - a smidgeon of vibrato. Every word is gauged by a 'bell' - sounded or muted. Its knelling measures each word's stride. A sad little guitar chimes alongside as the story is told. And a mellotron further shapes the sound by adding a still darker dimension via the lamenting opera singer. At around four minutes into the song a wailful guitar grieves some more before laying the song to rest.
This song will break your heart with some of the tenderest singing ever recorded. The melodies and instrumentation - with the exception of the counterfeit opera singer who shams the job (They should have used a real singer.) - will break it some more. It's really quite extraordinary. That said, what I'm about to say will be regarded as otiose and pedantic, but I'll say it anyway. A minor imperfection resides in the delivery of "anymore-or-or-or-or" and "for". Listen for yourself and see what I mean.
Dijanaxxxo
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