Quote:
Originally Posted by David
To me, the link between form and content in Rumours seems insoluble. There is no loose formalistic thread whose teensy bit of unraveling subverts the album’s content. Even the botched production treatment of “Songbird” doesn’t undercut any of the album’s statements (I say it’s botched because, taken by itself, it sticks out sonically like a sore thumb — it lacks the tight compression of the hermetic studio environment and the Appalachian mountain music alchemy of the multitracking, yet it’s still weirdly and entirely of a piece with the rest of the album).
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This is really interesting to read coming from someone who is obviously very knowledgeable about music.
I've always hated the compressed vocals on Rumours - they stick out like a sore thumb compared to other music of the time, and indeed other FM albums with the same producers.
Are you saying that they were a production decision, I always thought they were a result of the high end being lost from the masters being overused?
Quote:
Originally Posted by BLY
As I was listening to several tracks today from Tusk the one thing I wish Lindsey would have done was to add Christine and Stevie’s vocals to more of his tracks. Save Me a Place, That’s All For Everyone and Walk a Thin Line comes to mind.
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And Save Me A Place literally has a 3 part harmony in the chorus which is, you know, Fleetwood Mac's thing. Why did they let Lindsey do all three parts?