Song Review, “Dreamland” by Gordon Lightfoot

Song Review, “Dreamland” by Gordon Lightfoot

An intriguing musician’s relationship exhaustion can lead to that worldwide creator’s hung darkness when there’s so much struggle love in the Canadian air and it’s practically impossible to pick the summertime roses.  As the assorted song would imply, a wise feminine involver could’ve been quite a troublesome failure that it’d lead up to her bossy mind of forced cautions or the exclusive men could’ve pushed or pulled her into providing edifying flare if not crowd pleasure.  Rolling Stone Magazine’s demeaning review of Gordon Lightfoot’s gold album Endless Wire was a peevish collection of false hints related to Mr. Tom Carson’s unreliable prejudice about dull accountants, raunchy passion and romantic taste, music strength and Carson’s bored interest, in addition to contradictory evidence and impoverished theories: Lightfoot has performed like a foot-tapping knight within the West publics’ intermixed levels of proper conviction however negative it can be and is aggressively passionate and tasteful of couple drama enough to redefine vintage favorites like “The Wreck of the Edmund Fitzgerald” for his re-rhythmic Gord’s Gold 2 and “Old Dan’s Records” for his re-poetic All Live.  Think of “Dreamland” as a surprise from no man’s land that pumps oil into the figure and leaves us with redefining numbers.  What’s particular to this sweet country selection among external and internal factors is that the song narrator’s status of marriage is completely unknown and that there’s this grief on something that’s either socialized infatuation or dead-on serious.  I think the song narrator knows about the foggy gist over her informal parties, whoever she may become.  Most certainly their dolly clothes aren’t obvious situations but materials for occurrences, so it’s painstakingly difficult to foretell if these extreme lovers would act desperate or just remain hungry and psychologically dirty.  There’s the commendable song narrator’s aggravating rhyme of the paradoxical memes “choose” and “lose,” but he’s humorously charismatic about sudden travesties and doesn’t want all the vain struggle and burning pain associated with their wild dreamland.  My advice for the song listener is to not listen to this magnified creation using a Wii U Videogame Console and one of Nintendo’s 3^rd-party headphones, partly because you might devastatingly lose Lightfoot’s stereo echoes and get too deep an understanding of studio microphones.  (In fact, Lightfoot’s reigning voice is an enticing temple that flows well with a 50’’ High Definition Television.)  To fairly discern here how remarkably serious and fortunately long this song is, I should tell the studying reader (and Lightfoot hopefully) that I casually shared its song lyrics with a Hispanic girlfriend and then she broke up with me.  Concluding indeed, Lightfoot’s stagnations of horrified imagination here coincide with the imaginary personages’ drama of rainbow number one: the competition of romance emotions defeat and deceit, not to mention “you make me do what you want me to do then you run the rules on me.”  The usurping madam may resemble what a 19^th-Century Englishman would refer to as a celebrating hoyden.  I greatly wonder by childhood memories what kind of authority she’s showing off: comprehension of input, or mere dominance.  Gordon Lightfoot’s “Dreamland” is made for hearts of gold and liver with onions; it’s wonderfully intrinsic, on beat with off-beats in language rather than ordinary sounds, displaying Lightfoot’s un-pretended affectation for trouble and stirring commotion.