There will always be Chiffonheads, to whom $he can do no wrong. That will never change.

At least we know what a dolt $he is.:xoxo:

:eek: you express a lot of disdain for our favorite band, Fleetwood Mac.

isn't that the definition of the band reunion - to get back together people who stopped being a band in the past? :shrug:

if somebody didn't care for the reunion, they should have said no. and if they didn't want to stay in the band after, they should have left. Christine did the right thing, she left. staying in the band one doesn't want to stay in and holding it back is not a positive. that is putting your own career above the band, once you used band's reunion to pull your career back up from the rock bottom it's been at that point.

You've made this little dig at Stevie multiple times. I guess it's lucky LB couldn't manage to put out any material between The Dance and SYW; otherwise he would be guilty of same. He did, however, tell the band not to come knocking for a while once SYW was over. Not sure what the difference is. FM hasn't been full-time since 1980, and you as much as anyone enjoy the breaks for solo work.

So many people seem so unhappy on this board. Bickering back and forth about rock stars that are worth over $50 million each. :xoxo:

why would that be lucky? i also said multiple times - way more in fact! - that i wish he released the original Gift of Screws when it was done, back in 1998, as a solo masterpiece that it was, instead of waiting for FM and chopping it up across multiple FM and solo efforts.

i also said multiple times that he asked for that solo window between 2006 and 2008 because Stevie nixed another FM album in that period, which was his original wish and intention. so that's the difference. and i'm so tired of the same ole arguments, multiple times, yet here we are. again.

He didn’t wait for Fleetwood Mac. He likely recorded it with the others specifically so it could be released as Fleetwood Mac if need be. He took the advice to wait and see, and decided it was in his best interest to release it as part of a Fleetwood Mac album. I agree that he should have released it as a solo album in 1998, just as he should have released OOTC in early 1991, if not sooner.

i know that's your theory, but his work with FM members or Stevie is peppered all over his output, whether solo, or producing others such as Walter Egan, so i'm not sure whether that theory really holds.

the advice to wait was to do an FM reunion before releasing GOS, according to Rob Cavallo. the reunion event plus tour was already done and that advice was not applicable anymore in 1998. at that time he could have decided to release GOS stuff with FM or go solo. since SN went solo, with best of following by studio album from scratch instead of getting immediately into studio with FM, he should have not waited for her to return, or helped her try to get Vegas residency, or whatever else, but instead release GOS in 1998.

OOTC in 1991 was way late for it, he should have finished and released that album in late 80s, instead of waiting for grunge 9i0s to come around. but that's a whole another story.

i'm hoping that at 69 he has finally learned all these lessons and will put his output first. and no returning to time-wasting exercise that FM has been since 1998! :wavey:

There was nobody else from Fleetwood Mac on Go Insane or OOTC. Look at the 1993 Virgin interview. Do you think THAT guy would have anything to do with the band if his masterpiece had been a commercial success?

The biggest issue in 1995 that affected all of them was Mo and Lenny being out at Warner. Albums tanking, leadership changes at the label, and the success of other bands reuniting forced their hands.
I agree, although he’s been his own worst enemy. The band can get some of the blame (although Fleetwood Mac usually greatly benefited him), but the gaps in his career have been self-induced. Eleven years between tours (Mirage to OOTC) and eleven years between studio albums (OOTC to SYW). Doesn’t matter how much of a genius he is if he’s not getting his name out there.

Agree wholeheartedly.

Peacekeeper is a good song, but it was much better as a solo Lindsey demo before Say You Will.

And the title track is a one-note bland track with potential, but it should have never been a single.

Thrown Down would have been my pick - a solid Fleetwood Mac song with duo vocals that would have lived comfortably on Tusk.

I also think Everybody Finds Out could have landed them back in the top ten. It would have been completely unexpected, and a video with Lindsey and Stevie singing into the same mic would have helped to sell the album. Another lost opportunity. The last minute of that song is spectacular. It almost enters Gladys Knight and the Pips territory.

Say You will is like 3 notes in the WHOLE song. Horrible.

The worst vocal on any single they ever released. Imagine that old goat singing Gypsy. Oh wait....
https://www.youtube.com/watch?v=NGBqB_k84Ms

"Everybody Finds Out" would have been fantastic. Edgy and great.

That record exec who showered praise on "Say You Will" did himself, the label, and the band a disservice.

The Eagles reunion album sold a ton. This album could have sold a ton too, but that wasn't and isn't even my point.

From a purely artistic level, "Say You Will" and "Peacekeeper" were the blandest songs on the album. Lindsey may have been wrong to push for a double-disc, but he was right to resist going the safest possible route. He knew these two songs were not the right choices, but was no doubt outvoted. I bet that fight excised from Destiny Rules concerns this very issue.

I have to agree with this, it's got a fantastic bassline from John, some prominent drumming from Mick, and has, at least to my ears some kind of mixed 70s/80s veneer to it. It's a pity Stevie didn't write it, though.

I'm obviously in a minority here but I really like the SYW version of Smile at You. There's few Tango touches to it that might have struck a chord with a wider audience.

I'm also going to give a shout out to Say Goodbye , only partly because I enjoy murdering it on the guitar. It's Lindsey's most beautiful song on the album, notwithstanding that weird throat-clearing noise he makes somewhere near its start. Whilst it's maybe not an obvious choice for a single, more people need to have heard it. I can mentally imagine it on all sorts of soundtracks and adverts....

I'm with the majority of you over the single choices they did make. Say You Will is bland; Peacekeeper is a dirge. I've put together a 10 hour playlist of 150+ Mac songs from all eras, and neither of them make it onto it so that's a good indicator of my regard for them. The fact that the band couldn't be bothered to make proper videos for the songs, just live performances speaks volumes.

Still, taken in its entirety, I really like the album, warts and all.

She co-wrote it.

I'm with you. I love it, including all the bells and whistles.

Great song, but I think Lindsey sped it up too much. They should have just re-cut it in the fashion of the live performances.

I skip three songs on the album: "Say You Will," "Peacekeeper," and "Silver Girl." The problem, as I see it, is that when they had the pick of Stevie's back catalog, they could pick all great songs. But as soon as she walked in with those four new songs, only two of which were any good, they were stuck with two bad songs – because politically they couldn't tell her they weren't good enough. This is where having a producer from outside the group to say "no" (the single most important word for a record producer) would have helped.

Me too. I think it's one notch (maybe two) below masterpiece level.

Thanks for your comments ChBen

I don't think Stevie wrote the music for EFO, is what I meant to put .. I thought she just wrote the lyrics... will need to check the liner notes.