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Date Posted: 12:59:16 11/12/01 Mon
Author: duncan
Subject: anyone will tell you/ that it's evil to be/ a free-thinking pecker/ like bonnie old me
In reply to: J. Bond 's message, "Maturity=clarity?" on 19:52:05 11/10/01 Sat

For me, the idea of will wandering around identifiable emotions with slightly oblique words and natural metaphors seems to have been replaced with that of him coming from the other side: that is, within the emotion itself, and exploring its implications. check out the last two desperate lines of 'raining in darling' ("I know you love me/ I know you do"), or the open declarations of 'a king at night' "there is hate in my heart/ this is how my day starts", and you see a man approaching the world through emotion rather than vice versa. The thing is, he's good enough with his lyrics these days to know how to couch these words in sounds and settings which do them justice (as a point of comparison, see the lack of abstract nouns in his earlier work). Each word in each direct sentence (note also his consistent use of the easily-recognised format of the man-and-guitar folk song) has a multitude of ramifications... "and all the love we have in store", anyone? The stories have changed, yes, no more coerced brides locked in cellars or lascivious brothers on beaches, but this new material encompasses all of that much-enjoyed dirtiness in single narrators. The mercurial Palace name was dropped, i think, because of a resolution on will's part to see things from this internal perspective. nobody else has written a song quite like 'i see a darkness', and will himself couldn't have if he was still using nature and the outside world as his frame of reference (Viva Last Blues...). Joya doesn't pack many good tunes per se, but listen to 'apocalypse, no!' and tell me there's a blunting of words OR consciousness. be more sensitive to dark suggestion, and you'll enjoy it a lot more... btw, I saw will play here in london last weekend and '64' was the saddest, most beautiful song i have ever heard. bring it on.

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