![]() I believe the romantic angle lends a poignancy to the whole song. ![]() Maybe the lesbian part is just wishful thinking, but I’m not sure how else to read the final verse, where the singer asks her friend to give her a chance to be “good to you” and “there for you.” I suppose she could mean it platonically, but where’s the fun in that? I’ve always considered this song half pep talk for a battered woman and half lesbian come-on. I’m just not used to hearing them individually, or referring to them by title, because they’re all a part of the greater suite.Ī few tracks are exceptions, including the creepily sexy ‘Possession,’ the sweetly sexy ‘Ice Cream’ and the sadly sexy ‘Good Enough,’ which I’m featuring today. But when I play the opening seconds of any of them, they flood into my headphones with total familiarity. Scanning some of the titles - ‘Wait,’ ‘Plenty,’ ‘Mary,’ ‘Elsewhere,’ ‘Circle’ - I’m hard pressed to call any of them to mind. Sitting on the line between the more ethereal, goth, vampire-novel sound of her first two releases and the radio-friendly Lilith Fair pop of its smash follow-up Surfacing, Fumbling Towards Ecstasy is gorgeous and sad and the best example of its genre I’ve ever heard. 1993’s Fumbling Towards Ecstasy was Canadian singer-songwriter Sarah McLachlan’s third album.
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