Quote:
Originally Posted by bwboy
Ah, I see. That sounds almost exactly how I used to feel about Tusk, though. I thought there were too many slow songs and loud songs- Never Forget, Over and Over, Never Make Me Cry, Storms, and Beautiful Child seemed so slow, almost plodding to me, while the Ledge, Walk a Thin Line, and Not That Funny were so loud. Now, I love most of Tusk, but back then it was a no. I’m thinking maybe just like Tusk may have been ahead of it’s time, SYW was, too.
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Continuing on my minor/major key theme, the Tusk track list can be unsettling and fatiguing as well in that nearly every song is essentially in the major key, even the angry or melancholic ones (of which there is no shortage). It's not until track 10 that we get our first real minor key song (Sisters of the Moon), and after that there are only two more.
Mirage is also almost entirely devoid of minor key tracks, but because the songs are more benign in content there is no unsettling juxtaposition like in Tusk. It does however take the edge off the album. Straight Back is its only minor key track.
The two Lindsey era albums with the most even balance of major and minor tracks are -- you guessed it, the ones that sold best:
Rumours and
Tango. And of these, the Rumours track listing has nearly every minor key song on the B side, easing the listener in then taking them on a journey into darkness. Tango reverses this by starting off dark and ending with more major key tunes, perhaps hinting at the passage of night into dawn.
What information do we have about how the Rumours track ordering was decided (ie who decided it)?