and then it shifted

by theuglyearring

In Fleetwood Mac, Christine and Stevie are like the Dashwood sisters in Jane Austen’s “Sense and Sensibility,” although not in the way you’d assume. McVie is an accomplished, respected musician. Her singing is self-possessed and serene. But she’s the one writing vulnerable lyrics like “You can take me to paradise/But then again you can be cold as ice/I’m over my head/And it sure feels nice,” and “Oh Daddy … I’m so weak but you’re so strong.”

Nicks has the flighty, passionate image of a girly-girl pirouetting in a fairyland of crystal visions (“Dreams”) and snow-covered hills (“Landslide”); onstage, she pulls her velvet cloak around her and becomes “Rhiannon,” the sensuous witch who “rings like a bell through the night” and “rules her life like a bird in flight.” But her love songs are tough and clear-eyed and almost always about the ends of affairs. She does the leaving, and the getting even. She does not beg. (from here)

(listening to this a lot lately)