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  #46  
Old 04-11-2015, 10:31 PM
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Originally Posted by michelej1 View Post
Yes, I would love to hear Christine's version of the story about her mum. Stevie said the mother said, "you will find it on Orange Grove" and that Christine assumed that she would be in Florida around orange groves when something momentous happened. Little did she know.

Regarding As Long as You Follow, I'm not sure it's better than Skies the Limit. At any rate, the two of them should not be on the same album, so if they swapped ALAYF in, they'd have to omit Skies.

I'm not sure what I think about the ALAYF video. On one hand, I like the band being inside of a small apartment with all of their large instruments playing away. Certainly, the neighbors should call the police on them for noise pollution. But I suppose the neighbors were preoccupied with their romantic problems.

I just couldn't get into having strangers appear at the heart of the video story. Although, I know there are lots of great music videos where the artists aren't at the center or don't even appear in them.

But you know ... that's just it, the 1975 line up of FM had such a magnetic appeal. They really look so good together. You know that shot of them on the beach with their winter coats. I was so drawn to it. Those 5 were made for video. I wish they'd done more conceptual videos together. It's not too late though, no matter what their age.


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Lindsey would of turned Skies is the Limit into a masterpiece. The song does not work as is.
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  #47  
Old 04-11-2015, 11:00 PM
michelej1 michelej1 is offline
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Originally Posted by Andy Man View Post
I suppose you could argue that Mirage and Tango have a glossiness as well (after all, they were from the 80s), but even the poppiest tunes on those records were arranged and produced in a slightly off-kilter manner that made those records for more intriguing listens than Behind the Mask.
I agree. I fault Little Lies for its poppiness, but it's not Neil Sedaka.

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  #48  
Old 04-11-2015, 11:04 PM
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I agree. I fault Little Lies for its poppiness, but it's not Neil Sedaka.

Michele

Very true.

I'd argue that if you really listen to all that is going on in "Little Lies" it is a very complex track production-wise and musically. Yes, it is very synthesizer heavy, however there is some great stuff going on in the rhythm section and with Christine's keyboard playing. Testament to this is the new live version of the song - it's almost a pure rock song now.
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  #49  
Old 04-12-2015, 06:54 AM
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Originally Posted by Jondalar View Post
Lindsey would of turned Skies is the Limit into a masterpiece. The song does not work as is.
I like the song as it is. I love the crack of the drums and the upbeat tempo of the song. It also showcases the harmonies of all 4 singers. Its not Lindsey, Stevie, and Christine but its still pretty good.
The song was purposely peppy and upbeat since Chris thought the album was too dark. IMHO you can tell the song was written in a hurry because its not the best lyrics Chris can come up with. "We can hit on a nail, and when we do I'll think about you."
Its good but not the catchier stuff Chris has written.
I love the optimism of the song. I also love the video and captures FM live on the BTM tour. Christine and Stevie wore the shortest skirts of their career on this tour. They both had the best legs in rock n roll. I forget how old Chris was in 1990 but I was behind her in concert on the tour and her legs were incredible. She had the legs of a 25 year old who used the stair master every day
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  #50  
Old 04-12-2015, 12:21 PM
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Originally Posted by Jondalar View Post
Lindsey would of turned Skies is the Limit into a masterpiece. The song does not work as is.
I love it. It's so Christine, actually. It's fun to sing and play on piano. A beautifully crafted song on paper, with dozens of little Christine signature riffs. I can't think of a hook-heavier Chris McVie song than this. Sure, the arrangement could have been more inventive, but in 1990 Fleetwood Mac was far from the compelling and creative orchestrator it had been. Hats off to Christine's lead vocal, too—confident and buoyant.
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  #51  
Old 04-12-2015, 02:54 PM
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Originally Posted by David View Post
I love it. It's so Christine, actually. It's fun to sing and play on piano. A beautifully crafted song on paper, with dozens of little Christine signature riffs. I can't think of a hook-heavier Chris McVie song than this. Sure, the arrangement could have been more inventive, but in 1990 Fleetwood Mac was far from the compelling and creative orchestrator it had been. Hats off to Christine's lead vocal, too—confident and buoyant.
Really? I'm so surprised you love it. I cannot understand its appeal. The verse might work a bit but that chorus...ugh! We all have our opinions, of course, I'm only surprised that this is yours about that song.
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  #52  
Old 04-14-2015, 06:59 PM
bobwelchera bobwelchera is offline
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I only was two at the time of its release, so I have no idea what kind of marketing Behind the Mask experienced. But I've come on here before to say that I think it could have been a better seller if it had been marketed to both pop/AC and country stations. A la Taylor Swift, hahaha. Most of the songs not written by Christine have country and blues flavors, and I feel "Love Is Dangerous," "Freedom," and "When It Comes To Love" would've seen success on those charts. Think about it - Bon Jovi found itself success diving into country music within the last several years, even if only for an album, so why not FM then? Maybe there was more reluctance in the early nineties to change marketing angles.

That being said, the album is not as strong as Tango, and I would argue Time is better (which also should have been a)released in '93, and b)marketed to country stations.) "Do You Know," although I'll sing to it, is one of my least favorite songs by Fleetwood Mac, no doubt. The lyric is just...meh. But "Save Me" and "Skies The Limit" are strong Christine songs. I remember falling for both, but particularly the former, when I first got the album in 2005. I loved watching the video.
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  #53  
Old 09-13-2017, 05:19 AM
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Default I Could have sworn that I had already posted a thread with this article

The Day Stevie Nicks and Christine McVie Left Fleetwood Mac

After more than a decade of relative stability and huge commercial success, Fleetwood Mac entered a period of constant flux during the late ’80s. Guitarist Lindsey Buckingham left the band in 1987, and while he was quickly replaced by Rick Vito and Billy Burnette, his departure was only the first of several to take place over the next few years.

Even though the reconstituted post-Buckingham lineup made it through the recording of Fleetwood Mac’s next album, 1990’s Behind the Mask, largely without incident, change loomed large on the horizon. Drummer Mick Fleetwood and bassist John McVie remained as stalwart as ever, and Vito and Burnette brought new energy to the sessions, but after the record was finished, keyboard player Christine McVie and singer Stevie Nicks both announced that the Behind the Mask tour would be their last with the band.

While Fleetwood Mac’s publicist at the time insisted it was an amicable split that took place after a “series of very heartfelt conversations,” and both McVie and Nicks seemed willing to contribute to the group’s next album, it still marked a major — and, for fans, somewhat startling — change in a sound that had dominated FM airwaves since the mid-’70s.

Even without Buckingham’s trademark guitar and vocals in the mix, having McVie and Nicks in the group meant still being able to rely on the voices (and songwriting talents) behind hits like “Rhiannon,” “Landslide,” “Don’t Stop” and “Songbird.” Nicks had been a member since 1975, and McVie preceded her by four years; their restlessness signaled the end of an era.

I would have to say this is our biggest challenge, in no uncertain terms,” Fleetwood said in an interview near the tour’s end. “But without sounding at all blase about the subject, it’s a decision that’s come in a pleasant way, and it’s understandable. Each, for their own reasons, basically wants more time to herself. And, God knows, both of them have given so much to Fleetwood Mac through the years.

McVie, who’d always been more of the retiring type, was certainly looking for a little more peace and quiet. In the same interview, she related her difficulties dealing with the recent death of her father, which prompted a change in her approach to her career. “In the last few years, it’s been more of a band than it’s ever been,” she said. “I think we spent more time laughing in the last few years than in prior years. That’s one thing that’s held us together. But when the time comes for change, you know it, you feel it. Things can’t go on the same as always. You go around in circles.

At the time, some believed that Nicks’ and McVie’s departures were hastened by bad blood in the wake of Fleetwood’s memoir, 'Fleetwood: My Life and Adventures in Fleetwood Mac'. As the Philadelphia Inquirer alleged during the tour, the book’s “sordid revelations” — which included portraying McVie as “a glutton for punishment” and Nicks as “insecure, self- destructive as a singer, a graduate of the Betty Ford Clinic’s alcohol rehab program and a sometime romantic partner with Fleetwood while he was still married” — angered both women, particularly Nicks. But according to Fleetwood, that was all idle speculation.

That is nothing but tommyrot,” he later retorted. “At the time that Stevie decided to quit, she hadn’t read it. I think she and Christine just decided that it was time for them to leave. Stevie has a very successful career of her own, and she wanted to devote more time to it … Christine recently bought a farmhouse in England, and she wants to settle down and pursue her music and painting. As far as what I wrote about me and Stevie, I don’t think she had a problem. We were very much in love. I think she wished that I had written more.

For her part, Nicks seemed unwilling to close the door completely, even as the tour drew to a close. “We are all individuals and have our opinions, and until three years go by and I see the whole thing with no chance of getting back together, I’ll never believe it’s over,” she admitted. “I really believe everything is destined, and if we’re supposed to be together, we will be.

As it turned out, destiny — or something like it — kept the band going throughout the ’90s. McVie appeared on Fleetwood Mac’s next album, 1995’s Time, which featured a vastly overhauled lineup that included Dave Mason and Bekka Bramlett. Following its commercial failure, the group went through a couple of inactive years before reuniting with McVie, Nicks and Buckingham for the wildly successful live album The Dance and subsequent tour. McVie departed again shortly thereafter, but returned again in 2014.



Read More: The Day Stevie Nicks and Christine McVie Left Fleetwood Mac | http://ultimateclassicrock.com/stevi...ckback=tsmclip
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  #54  
Old 09-13-2017, 07:25 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by SisterNightroad View Post
The Day Stevie Nicks and Christine McVie Left Fleetwood Mac

After more than a decade of relative stability and huge commercial success, Fleetwood Mac entered a period of constant flux during the late ’80s. Guitarist Lindsey Buckingham left the band in 1987, and while he was quickly replaced by Rick Vito and Billy Burnette, his departure was only the first of several to take place over the next few years.

Even though the reconstituted post-Buckingham lineup made it through the recording of Fleetwood Mac’s next album, 1990’s Behind the Mask, largely without incident, change loomed large on the horizon. Drummer Mick Fleetwood and bassist John McVie remained as stalwart as ever, and Vito and Burnette brought new energy to the sessions, but after the record was finished, keyboard player Christine McVie and singer Stevie Nicks both announced that the Behind the Mask tour would be their last with the band.

While Fleetwood Mac’s publicist at the time insisted it was an amicable split that took place after a “series of very heartfelt conversations,” and both McVie and Nicks seemed willing to contribute to the group’s next album, it still marked a major — and, for fans, somewhat startling — change in a sound that had dominated FM airwaves since the mid-’70s.

Even without Buckingham’s trademark guitar and vocals in the mix, having McVie and Nicks in the group meant still being able to rely on the voices (and songwriting talents) behind hits like “Rhiannon,” “Landslide,” “Don’t Stop” and “Songbird.” Nicks had been a member since 1975, and McVie preceded her by four years; their restlessness signaled the end of an era.

I would have to say this is our biggest challenge, in no uncertain terms,” Fleetwood said in an interview near the tour’s end. “But without sounding at all blase about the subject, it’s a decision that’s come in a pleasant way, and it’s understandable. Each, for their own reasons, basically wants more time to herself. And, God knows, both of them have given so much to Fleetwood Mac through the years.

McVie, who’d always been more of the retiring type, was certainly looking for a little more peace and quiet. In the same interview, she related her difficulties dealing with the recent death of her father, which prompted a change in her approach to her career. “In the last few years, it’s been more of a band than it’s ever been,” she said. “I think we spent more time laughing in the last few years than in prior years. That’s one thing that’s held us together. But when the time comes for change, you know it, you feel it. Things can’t go on the same as always. You go around in circles.

At the time, some believed that Nicks’ and McVie’s departures were hastened by bad blood in the wake of Fleetwood’s memoir, 'Fleetwood: My Life and Adventures in Fleetwood Mac'. As the Philadelphia Inquirer alleged during the tour, the book’s “sordid revelations” — which included portraying McVie as “a glutton for punishment” and Nicks as “insecure, self- destructive as a singer, a graduate of the Betty Ford Clinic’s alcohol rehab program and a sometime romantic partner with Fleetwood while he was still married” — angered both women, particularly Nicks. But according to Fleetwood, that was all idle speculation.

That is nothing but tommyrot,” he later retorted. “At the time that Stevie decided to quit, she hadn’t read it. I think she and Christine just decided that it was time for them to leave. Stevie has a very successful career of her own, and she wanted to devote more time to it … Christine recently bought a farmhouse in England, and she wants to settle down and pursue her music and painting. As far as what I wrote about me and Stevie, I don’t think she had a problem. We were very much in love. I think she wished that I had written more.

For her part, Nicks seemed unwilling to close the door completely, even as the tour drew to a close. “We are all individuals and have our opinions, and until three years go by and I see the whole thing with no chance of getting back together, I’ll never believe it’s over,” she admitted. “I really believe everything is destined, and if we’re supposed to be together, we will be.

As it turned out, destiny — or something like it — kept the band going throughout the ’90s. McVie appeared on Fleetwood Mac’s next album, 1995’s Time, which featured a vastly overhauled lineup that included Dave Mason and Bekka Bramlett. Following its commercial failure, the group went through a couple of inactive years before reuniting with McVie, Nicks and Buckingham for the wildly successful live album The Dance and subsequent tour. McVie departed again shortly thereafter, but returned again in 2014.



Read More: The Day Stevie Nicks and Christine McVie Left Fleetwood Mac | http://ultimateclassicrock.com/stevi...ckback=tsmclip
Everything goes in a weird and organic reconvening of cycles that has very a profound chemistry to it.
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  #55  
Old 09-13-2017, 07:58 AM
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Everything goes in a weird and organic reconvening of cycles that has very a profound chemistry to it.
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  #56  
Old 09-13-2017, 08:43 AM
jbrownsjr jbrownsjr is offline
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  #57  
Old 09-13-2017, 05:44 PM
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The album did pretty well commercially. Obviously nothing near Tango in the Night but it did especially well in Germany - #4 and sold over 250,000 and in the U.K. where it got to #1 and sold around 500,000 copies.

The album was a relative flop when compared to its predecessor but to sell, in my estimation, around 3 million copies worldwide is pretty good. Especially for Billy and Rick who had not experienced success like this as part of a band.
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  #58  
Old 09-14-2017, 09:43 AM
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who knew the big three year rule goes all the way back to the mask days!!!
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  #59  
Old 09-14-2017, 10:40 AM
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It was sad confirmation that Stevie was forever changed, vocally. She sounded numb, without any of the bellowing raspy vibrato that I loved. Oh well.

I did like "Do You Know" though, very pretty in parts.
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  #60  
Old 09-14-2017, 04:51 PM
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It was sad confirmation that Stevie was forever changed, vocally. She sounded numb, without any of the bellowing raspy vibrato that I loved. Oh well.

I did like "Do You Know" though, very pretty in parts.
I actually loved the song Behind the Mask. As good a song as she has ever done. Lindsey's guest appearance is stellar.
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