Quote:
Originally Posted by snoot
Interesting. I'm not sure if that was because the impact of FM radio - as we once knew it - had faded somewhat by then, or it was just due to my overall lack of interest in the punk, techno and grunge.
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I'm guessing it was in large part due to the rise of indie labels during those years, and their pressing more singles (which could be done more cheaply) than full albums - so in many cases by the time an LP was released, most fans would already have the singles. And there was a feeling on the part of some bands that they didn't want to have their fans pay twice for a song - once on a single and then later included on an LP. Not always the case, to be sure, and there certainly must have been a bunch more reasons too.
Quote:
Originally Posted by snoot
Hey does Hjort indicate the recording studio for the TPO sessions and Kiln House by chance?
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Hjort writes that the
TPO sessions were at De Lane Lea, while Peter Lewry's book "Fleetwood Mac - The Complete Recording Sessions 1967-1997" says "studio unknown". Lewry's book shows the
KH sessions taking place at Kiln House (this is not covered in Hjort's book). I seem to recall reading someplace that the band used the Rolling Stones' mobile studio for the
KH sessions - does that sound right to anyone or did I just imagine it?
I missed this bit in Hjort's book before, regarding Christine McVie's joining the band....he writes that she joined the group on every date of their US tour that began in New Orleans, but that she was not officially a member of the band at first. He goes on to write that within a week of the New Orleans show, the UK music press was given the news that she was now a member of Fleetwood Mac and that she now wanted to be known as Christine McVie rather than Perfect. Mick Fleetwood's book says pretty much the same thing, but makes it sound like Christine was already officially a band member at the beginning of the tour. As others have noted in this thread, there might have been contractual issues to deal with here.