Quote:
Originally Posted by nodmod
I'm reading through the book as well and am a little confused with Hernan keep mentioning that he started working with Fleetwood Mac when he remixed the singles from Rumours, I am not aware of any single mixes for the Rumours songs, or am I missing something?
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Poor editing. He means the few single mixes for the white album, particularly
Rhiannon.
I finished both the Tusk and the Rumours books, and I think they both have a lot of the same flaws (and perhaps strengths). I just wish the strengths (insight into the decisions governing tracking, band vibe in the studio, nonrecording activities such as touring and filming) were strengthier and the flaws were not so omnipresent. (Anyone notice, for example, how Ken and his girlfriend du jour are the only two characters in the book at any given time who aren’t described as neurotic, drugged out of one’s skull, prone to outbursts, overdiplomatic [I was going to say toadying], unengaged in the final product, party-hungry, and generally all-around childish? Both these books strike me as facile and largely phony—as if they were both attempting to convince today’s readers that silly things that happened 40 or 45 years ago were portentous or otherwise essential for an understanding of or appreciation for the music. The other error in judgment I’ve already mentioned elsewhere: the technology descriptions aren’t suitably tailored to mean anything of value to non-recording engineers, and the result is that paragraphs and paragraphs—maybe pages and pages—of text are soporific, as endless lists of equipment manufacturers and models are strung out beyond our capacity to endure. In these books, the mechanics of recording engineering aren’t made accessible to us readers, which is a bummer.