Unpopular Lindsey opinions/theories
Probably a bad thread for the middle of a tour, but I figure that forum activity is a good thing.
Following on from the similar threads for Stevie and Christine, here is one for Lindsey. (The Stevie thread yielded fascinating theories about the provenance of I Don't Want To Know, so who knows what insights we might end up getting.) |
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The album covers for Gift Of Screws and Seeds We Sow are absolutely dreadful. I figure that he was deliberately aiming for a more indie sensibility, but really? That awful red font on a pale gray background... Thankfully a different approach was taken for the Anthology! The covers for Under The Skin and Out Of The Cradle are superb. |
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I've always been put off by the way Lindsey has commented of how it took two guitarists to "replace" him after he left Fleetwood Mac. I understand there being acrimony regardless of who came in after him but it always felt like an unnecessary shot at Billy and Rick who've always been humble and complimentary about Lindsey and their time in the band performing his songs. Of course neither of them are the production wizard Lindsey is and Billy isn't a virtuoso on guitar. However Rick is an amazing guitarist in his own right and does things that Lindsey either hasn't, can't or doesn't do. In fact, I don't recall Lindsey ever playing slide guitar.
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ETA: He also did it live early on https://youtu.be/bj5eG19fjg0 https://youtu.be/P-_Q-in1H3g |
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The Out of the Cradle cover was brilliant for an all round brilliant album. |
this is interesting...
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i've heard this song listed among 500 best classic songs of all times, it would be funny if it's Lindsey's - or more probable, a LB/SN co-write - but he doesn't get credited. then again, my working theory is that many songs credited solely to SN as written somewhere in between 1972 and 1977 are actually LB co-writes and he never bothered to ask for a credit. like DownOnRodeo says, that might be interesting question to ask Lindsey at m&gs and see what he says. |
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The LP version of “I know I’m not Wrong” is far superior to the remastered version.
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I prefer Lindsey's music when he's not doing all the production tricks. He loves that so much, and he takes so much pride in it, that I almost feel guilty saying that... and I also know it's not very "avant garde" of me... but give me Lindsey on a guitar singing naturally over sped-up guitar effects-laden distorted voice Lindsey any day.
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At least, he should never, ever, ever upon ever, be allowed to touch the "pan audio" control again. Lol. |
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I am not a fan of the sterility of the live tones, particularly on his solo tours, that he derives from the Turner Guitars.
He doesn't use the Turners much in the studio. The warmth and versatility of his '63 hyrbrid strat and the various other strats and teles he uses in the studio would bring a much greater variety of sounds and yes variability to his live sets. |
I don't want to know the reasons why
Love keeps right on walking on down the line I don't want to stand between you and love Honey, I just want you to feel fine Tell me those are not Lindsey lines...It fits so well with his lyrical and melodic sense in this era such as Monday Morning and Second Hand News |
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I'm betting it's one of the (many) cowrites. |
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It’s disturbing how much sense this would make. Could this explain the absence of IDWTK from any setlist for the last 40+ years??
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No Christine vocal (it's essentially a Buckingham-Nicks song).
Is there any other Fleetwood Mac studio recording where Stevie and Lindsey sing but Christine does not (excluding songs from when she was not in the band)? |
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https://youtu.be/-ZPqpsK6JM4 Quote:
When I See You Again |
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In 1983 or so, when he bought himself the Fairlight CMI, instead of using it for subtle coloring (which I wish he had), he sampled the hell out of everything and painstakingly (and self-consciously) crafted a rather grunty, clubfooted monster out of bits of sonic tissue. That's how we got the Go Insane album and even the Tango in the Night album. (Play in the Rain is so over-the-top as an objet trouvé and "found sounds" that I honestly think sometimes he meant it as a self-referential joke.) Lindsey turned a lot of his studio music into "art" music, or into an Eighties and Nineties version of prog, and its turned out to be less interesting on repeat than the Never Going Back Again or It Was I style of production. Go back to the rough takes and early dubs of I Know I'm Not Wrong on the Tusk deluxe. Those jump out of the speaker at you—they're so playful and soulful. What ever happened to that Lindsey? Also, about the I Don't Want to Know stuff that we're all talking about, don't forget that the Penguin ran a bunch of Q&As years ago, and one or two of them were with people from the Buckingham Nicks band, like Hoppy Hodges. They talk a little bit about that song and several others that got recorded for later Fleetwood albums. Don't forget to read them (or reread them if you're an old timer here). |
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Enough of the breathy, whispery, or grunty vocals. I get that he's trying to make a whole album with just a single human voice sound like more voices and more textures to keep it from being monotonous, but there is a line and he has crossed it too often. Also, what's wrong with a straightforward song that doesn't try and be too clever? Gift of Screws is such a fun song that just rocks. I know he draws inspiration from Brian Wilson, but when he goes back to his John Stewart influences it's great and even his love of the Stones. If we heard a mix of his influences on each album it'd be great; however some albums he's just stayed in one style and after like the 4th whispered song it's wearying. His music is at it's least appealing (for me) when he tries too hard to be too 'cerebral' or 'clever' with it -- "Look what I did there! Wasn't that smart?" Often his stuff can be too cold, too 'manufactured', like a home done in a sleek, modernist, industrial style-- all concrete and metal. It cries out for a nice rug or a soft throw or something. Music needs to hook you emotionally, it needs some warmth, and his best songs are a combination of cleverness and authentic emotion-- GYOW, NGBA, SHN, most of OOTC, a lot on GoS. |
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But I've been thinking about exactly this same thing after listening to his anthology. His production style is very, very harsh; where he tends to use electric sounds without any processing to leave the ragged saw waves (whether it be analog or digital). There are so many hard edges on everything that it really puts the vocals in a weird place. And I think he realized that, too, which is when he starting doing this strange whisper / reverb / delay thing with his voice. I miss his voice. He sounds fantastic live, still to do this day. His demos from each era really show how more balanced the songs could have been, sonically. Though still for me Tusk is the pinnacle balance of the warmth of the 70s and Lindsey's genius production techniques at the time. So then let's compare Go Insane and OOTC with Tango... Both GI and OOTC to me are still too harsh to deliver the message and intent behind his songs. Tango to me has become my favorite Lindsey album as of lately just because it's become more contemporary. The blend of his production and the warmth of the Mac sound are wonderfully balanced. His live guitar tone is OK. I hated it during the Dance era. It was so twangy and had no balls to it, though his playing was superb. Nowadays it sounds pretty good. Though to me, that "atomic bomb" sound he got out of his Tuner on the Tusk Tour with that fuzz thing is the most signature Lindsey sound I've heard yet. Still even to this day (nah, I'm not that old...) it inspires me as a musician. Lastly, can we talk about how good Buck/McVie was?? The production is MUCH more balanced between Lindsey's signature techniques and someone else smoothing them out. That's when Lindsey's at his best. Thanks for starting this thread, has been fun to read. |
I guess I am the dissenter here in that I love his tricky production and complexity. I like my music complex and unusual. It is artistic and creative and inspires repeated listens to catch new sounds. If only it is not his voice or his songs, sorry. He made miracles out of some of Chris and Stevie's songs. Stevie is a complete idiot not to work with him as producer. SYW was her best ever solo album by far, nine jewels of songs with intoxicating production. Unlike her often anodyne or WTF production on solo albums.
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After reading some of the Stevie Nicks "unpopular opinions" thread, it makes perfect sense to me that in order to satisfy Stevie in the wake of cutting "Silver Springs" from Rumours, they agreed to give her writing credit on the song that replaced it ("I Don't Want To Know").
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https://www.youtube.com/watch?v=gpB2knD5UNc |
I think there are too many layers of backing vocals on the Buckingham/McVie album, and not enough use of Christine's voice on Lindsey's songs. I wish that the choruses on every song on that whole album consisted of one clear Lindsey voice and one clear Christine voice singing lovely harmonies together.
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Unpopular Opinion?
I think the Go Insane album is awful. I can't believe he put so many songs from it on the new anthology.
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"Stephanie" is three instruments (acoustic guitar, keyboard, electric guitar) and sounds more like a Lindsey solo project. Does anyone know? |
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