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It is only when two such strong and original vocal dictions rise within the same timely era that artists of two very similar and different musical genres can be classified as comparable. In the case of Stevie Nicks and Tori Amos, the reasoning of timeless music and lyrics is one that stands without question. Two women, two voices - two minds that have proven their existence on a level of intelligence, poetry and grammatical excellence that few achieve in many lifetimes.
While Amos and Nicks are often placed in the same category of strong, independent female musicians, what lies beneath is a lyrical essence striking in its similarities and differences. And because of these classifications, these lyricists balance themselves on opposite ends of the same spectrum of many ideas, views and opinions. In song, their differences shine bright like the northern star as do their common twists and turns that sometimes lead them back to the same starting point on the foundation of issues. Organizing these foundations, I would like to point out, is a process of perplexity.
Nature and mysticism in spirituality are two subjects of great likeness that both Nicks and Amos often trade feelings in through song. Let me hear it one more time, then have a seat while I take to the sky... (T. Amos, Take To The Sky; UK Winter single) parallels with that of Take me like the wind, baby - take me with the sky... take me now... (S. Nicks, Rhiannon; The Dance) in that of co-existing with sky, taking flight and in effect, bidding farewell to the ground beneath them.
Love equates with a similar effect in Amos Tear In My Hand (Little Earthquakes) and Nicks Dreams (Rumours), which both vocalize facing the ability to accept the end of a relationship in the first stages of departure. All the world just stopped now; so you say you dont want to stay together anymore... let me take a deep breath, babe... if you need me, me and Neil will be hangin out with the dream king... Amos sings in clarity as does Nicks with Now hear you go again, you say you want your freedom... now who am I to keep you down.
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Doves are a topic of great interest and colorful variety in these songwriters lyrics, as well. Black dove, black dove... youre not a helicopter; youre not a cop-out, either... they dont know youve already lived... (T. Amos, Black Dove (January Girl); From The Choirgirl Hotel) is balanced by the light of the same creature as Nicks unfolds the essence of the opposite with Just like the white-winged dove sings a song, sounds like shes singing... (S. Nicks, Edge of Seventeen; Bella Donna). Such powerful imagery from two halves of the same whole weigh different effects very well.
But even the sturdiest of lyrical scales is faced with the temptation to tip sides at times. And when this happens, veils are lifted on vast plains of dissimilar outlooks on the same topics. While both Nicks and Amos are known for their poetic diversity in describing women, the female essence and sisterhood in general, their structure in doing so is quite different. Shes your cocaine... shes got you shaving your legs; you can suck anything, but you know you wanna be me... (T. Amos, Shes Your Cocaine; From The Choirgirl Hotel) details a very solid female figure, controlling in her manipulation of the opposite sex all the while dubious of her intentions in doing so. Nicks retorts with She was that kind of lady; times were hard... but she could come curling around you like fingers... (S. Nicks, Crying in the Night; Buckingham Nicks) using both diction and imagery quite simple, yet punctuated with a more innocent vernacular in describing a similar female character.
Love is once again pushed into the spotlight, only this time baring uniquely diverse manners in describing one detail featured on two objects of affection blue eyes. And Ive never seen blue like the blue he drives... in and around and through me again... (T. Amos, Never Seen Blue; US Jackies Strength single) depicts the mental and emotional penetration of a very distinct shade of blue, as Nicks counters with the external effects of observing the same color with Blue-gray eyes that change with the color... change with the sun; they run with the sight... change with the wind but theyre always bright... bright eyes, blue denim... (S. Nicks, Blue Denim; Street Angel).
Lastly, the element of leather. Both artists include it in various tunes, yet its purpose in each is noticeably unlike the other. Amos sings in Leather (Little Earthquakes) Oh God, could it be the weather? Oh God, why am I here? If love isnt forever... and its not the weather, hand me my leather... which in effect, describes the cold degree in preparing for the absence of a love that may not actually exist; shielding ones self with leather to keep warm. Nicks portrays the object somewhat differently in Leather and Lace (Bella Donna) with Lovers forever, face to face... my city or mountain, stay with me stay... I need you to love me, I need you today... give to me your leather, take from me my lace... as the article is described as merely an aspect of a loved one, something to be shared in the inner exchange and acceptance of a new love.
And so we see that two halves of the same whole within the parlance of two female singer/songwriters is a focal point of great depth and wonder in terms of originality and objective. While these issues of love and nature are represented by the wording of each in rhyme, it is to be noted that while both acknowledge their entrancing existence, the factors of each are somewhat individually altered. And it is because of this that artists such as Tori Amos and Stevie Nicks, both in their musical, lyrical and vocal prowess - are held in such high regard. Not only for their lyrical genius and rank as success and celebrity, but their will in sharing with their audience that the feeling behind the verse parallels with the strength in writing it, sharing it, and more over - becoming it..
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