Tusk - 2015 Deluxe & Expanded!! - Page 19

SorcererJP · #**271** 12-05-2015, 01:39 PM

Listened to it on the train commuting to work yesterday (on Spotify on my earphones) and picked up the parcel with my box yesterday.

Finally have to the time to listen to it carefully tonight. I just adore the 2 live CD's. Made a special playlist already on my Sonos-system. Also love the alternate vocal 'Angel' ... as far as I'm concerned there are to much IKINW's and Tusk's on it, but hey ... there is the skip-button invented for ...

**SisterNightroad** · #**272** 12-05-2015, 01:54 PM

Quote:

Originally Posted by MoonSister75

I love the "going inward to my gnarly trollness"

Yes, that was cute but somehow it feels quite right if you think about the demos of Sisters Of The Moon we have...
One is sung with raw, a bit forcibly low and threatening voice and the other, the one used for the album, is sung with eerie, high voice. The ending result with all of the Stevie's acute vocal layers looks like she has some kind of foreboding conversation with herself.
I can't help but think that somehow all of this was intended.

MoonSister75 · #**273** 12-05-2015, 02:15 PM

Quote:

Originally Posted by SisterNightroad

Yes, that was cute but somehow it feels quite right if you think about the demos of Sisters Of The Moon we have...
One is sung with raw, a bit forcibly low and threatening voice and the other, the one used for the album, is sung with eerie, high voice. The ending result with all of the Stevie's acute vocal layers looks like she has some kind of foreboding conversation with herself.
I can't help but think that somehow all of this was intended.

Yes I'm sure you're right. To me, it always seem like a song that can take the listener to a dark but cathartic place, as it probably did with Stevie herself

MoonSister75 · #**274** 12-05-2015, 02:19 PM

Maybe someone will scan the liner notes and post them at some point, for anyone not buying the physical format. I don't have a scanner. The Tusk Track by Track section is great, Lindsey has the most to say obviously. I'm not sure if it's all new interview material, or some is taken from old interviews.

Here's a few sections that I liked in particular:

Over and Over - Lindsey
By the time we got to this we knew we had an album that was not by the book. When it came to sequencing we felt this song had a certain familiarity to it, something that people were going to latch onto on one level and yet set them up for some of the other more traditional things. Where this got untraditional was leaving it in a fairly raw state, not too glossy in the production.

Sara - Mick
I recall it being just me and Stevie going into the night on this one. Everyone apart from Keith and Richard had left. Chris was going to reply the piano and Stevie re-sing the song, but we listened back to this guide and she sang it so beautifully whilst she was playing piano, which was leaking into her vocal mic. And the timing of it was so individual - there was no way Chris could get in there. The vocal and piano were just not able to be separated. But the guys were saying, "The timing is all over the place" so I said "Just let me weasel around and make it ok. If I'm playing brushes there's no absolutes, no hits, it can just grease around". So I spent about 24 hours - a long, long time - dropping in phrases, schmoozing my way around her timing, and that's the track that survived, with Stevie playing piano.

That's All For Everyone - Lindsey
This was influenced by Brian Wilson. What I love about him is not just his music but his choices. He gave me the courage to flout success, showed me that what you need to do as an artist is take risks and find new avenues.
It's a wisp of a meaning at best, more of an atmospheric piece. I had the idea of being at a function with these people and having to go home, but on a less literal level I think it may also have been about deprogramming from the formulas you need to follow to buy what the corporate world is trying to sell you.

michelej1 · #**275** 12-05-2015, 05:57 PM

Quote:

Originally Posted by elle

i was missing more of that hogging/his screaming "baby once in a while" etc on Aus/NZ live versions from this tour.

So, was I. I was hoping he would get more into it, as the tour went on. I want him to go a little wild demanding that he be thought about, while Christine pleads in contrast.

Michele

**SisterNightroad** · #**276** 12-05-2015, 06:06 PM

Quote:

Originally Posted by MoonSister75

Sara - Mick
I recall it being just me and Stevie going into the night on this one. Everyone apart from Keith and Richard had left. Chris was going to reply the piano and Stevie re-sing the song, but we listened back to this guide and she sang it so beautifully whilst she was playing piano, which was leaking into her vocal mic. And the timing of it was so individual - there was no way Chris could get in there. The vocal and piano were just not able to be separated. But the guys were saying, "The timing is all over the place" so I said "Just let me weasel around and make it ok. If I'm playing brushes there's no absolutes, no hits, it can just grease around". So I spent about 24 hours - a long, long time - dropping in phrases, schmoozing my way around her timing, and that's the track that survived, with Stevie playing piano.

This one was special, I've never read it anywhere, thank you.

**jbrownsjr** · #**277** 12-05-2015, 07:59 PM

Quote:

Originally Posted by aleuzzi

Agreed! And her performance of SYLM at the outset of the show is terrific, too.

Re: the demos and early takes: I actually like the earlier takes of a Never Forget and Think About Me--they sound warmer and more womanly, like Over My Head. Think About Me, in particular is a jewel because we get to hear her without the double-tracking and Lindsey hogging the second half of the song.

I love how they can interchange the vocals with each other. They have a chemistry in the band that's unmatched even by B/N. It has to do a lot with the fact that they're both players and love to play with vocals.

michelej1 · #**278** 12-05-2015, 08:10 PM

Quote:

Originally Posted by jbrownsjr

I love how they can interchange the vocals with each other. They have a chemistry in the band that's unmatched even by B/N. It has to do a lot with the fact that they're both players and love to play with vocals.

And it's funny how Lindsey remarked that he and Stevie are both nasal and Christine has more of a honey tone, yet when Christine and Lindsey mingle their voices, you can't tell where one ends and the other begins.

Stevie had mentioned that if you speed Lindsey up or slow her voice down, they sound alike, but with Lindsey and Christine, if you intermingle them, they meld together, as if speaking from the same psyche.

Michele

bombaysaffires · #**279** 12-05-2015, 11:29 PM

wow, is it me or does Lindsey's guitar on Storms 6/2/79 sound like crap??

MoonSister75 · #**280** 12-06-2015, 05:48 AM

Beautiful Child - Lindsey
Stevie never confided in me who it's about, but it's clearly someone who's a bit older, someone who was just passing through. I think it speaks of her longing to connect with someone on a deeper level again. It's sad because it comments on her loneliness. It's a gorgeous song. That and "Storms" kill me.
Stevie
This is one of my very favourite ballads. It's so from the heart. It was written about an English man I was crazy about who was quite a bit older than me in his beautiful English voice, and I would sit at his feet, just mesmerised, and he would say, "You are a beautiful child" and I'd say, "I'm not a child anymore". He was married, so we stopped, because it was going to hurt a lot of people. The song is like a straight retelling of the last night of that relationship. Every time I sing it I'm transported back to the Beverly Hills Hotel and walking across the grounds to get a cab after saying goodbye.

Walk A Thin Line - Lindsey
This was sparked by a Charlie Watts drum fill in "Sway" on Sticky Fingers. There are a couple of times where he does a kind of military press-roll acriss the beat, and I was in love with that moment. When I thought about the tempo of the song I was reminded of "Sway" and that fill. It was a spirited idea that fit the song.

Macfan4life · #**281** 12-06-2015, 08:02 AM

The Tusk stage riff is sensational. John McVie is on fire with that bass!
It sounds so cool without the horns. Its really catchy.

elle · #**282** 12-06-2015, 02:33 PM

Quote:

Originally Posted by MoonSister75

Beautiful Child - Lindsey
Stevie never confided in me who it's about, but it's clearly someone who's a bit older, someone who was just passing through. I think it speaks of her longing to connect with someone on a deeper level again. It's sad because it comments on her loneliness. It's a gorgeous song. That and "Storms" kill me.
Stevie
This is one of my very favourite ballads. It's so from the heart. It was written about an English man I was crazy about who was quite a bit older than me in his beautiful English voice, and I would sit at his feet, just mesmerised, and he would say, "You are a beautiful child" and I'd say, "I'm not a child anymore". He was married, so we stopped, because it was going to hurt a lot of people. The song is like a straight retelling of the last night of that relationship. Every time I sing it I'm transported back to the Beverly Hills Hotel and walking across the grounds to get a cab after saying goodbye.

Walk A Thin Line - Lindsey
This was sparked by a Charlie Watts drum fill in "Sway" on Sticky Fingers. There are a couple of times where he does a kind of military press-roll acriss the beat, and I was in love with that moment. When I thought about the tempo of the song I was reminded of "Sway" and that fill. It was a spirited idea that fit the song.

some of my favorite reading from track-by-track notes right there - treasure trove!

MoonSister75 · #**283** 12-06-2015, 05:14 PM

Quote:

Originally Posted by elle

some of my favorite reading from track-by-track notes right there - treasure trove!

It really is

On a general note, I've been listening to more of the tracks today (I'm working my way through it at a very slow pace) and I'm totally over the moon with this box set. Tusk is my favourite album by far, but this is so good it's almost unbelievable. I didn't realise quite how much I would love it. So much to take in and so much to enjoy.

I just finished listening to Beautiful Child, Live Sara followed by alternative Save Me A Place and alt What Makes You Think You're The One, all completely brilliant!

MoonSister75 · #**284** 12-06-2015, 05:21 PM

and now listening to Live Angel.... just fantastic... a treasure trove

Macfanforever · #**285** 12-06-2015, 11:17 PM

Heres FM In The Studio with Redbeard.This caught me off guard as I found it done on my computer tonight.I record his show every week.I must of miss his "Whats coming up next weekend" outtro last weekend.

The show is complete with the adverts scoped out.I did not have time to listen to it closely .Let me know how it came out and anything new they say or is retreaded interview clips.

http://www.mediafire.com/download/8y...io12062015.rar