#16
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#17
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Did he play slide when they did "Monday Morning" in 2009?
Last edited by cbBen; 11-09-2018 at 12:38 AM.. |
#18
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I am not a fan of the sterility of the live tones, particularly on his solo tours, that he derives from the Turner Guitars.
He doesn't use the Turners much in the studio. The warmth and versatility of his '63 hyrbrid strat and the various other strats and teles he uses in the studio would bring a much greater variety of sounds and yes variability to his live sets. |
#19
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I don't want to know the reasons why
Love keeps right on walking on down the line I don't want to stand between you and love Honey, I just want you to feel fine Tell me those are not Lindsey lines...It fits so well with his lyrical and melodic sense in this era such as Monday Morning and Second Hand News |
#20
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I'm betting it's one of the (many) cowrites.
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#21
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#22
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It’s disturbing how much sense this would make. Could this explain the absence of IDWTK from any setlist for the last 40+ years??
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#23
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No Christine vocal (it's essentially a Buckingham-Nicks song).
Is there any other Fleetwood Mac studio recording where Stevie and Lindsey sing but Christine does not (excluding songs from when she was not in the band)? |
#24
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yup. that's why her most prolific period was in the 70s when he was co-writing with her.
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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#25
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yup, my thought exactly.
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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#26
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It WAS a Buckingham Nicks song.
https://youtu.be/-ZPqpsK6JM4 Quote:
When I See You Again
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#27
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In 1983 or so, when he bought himself the Fairlight CMI, instead of using it for subtle coloring (which I wish he had), he sampled the hell out of everything and painstakingly (and self-consciously) crafted a rather grunty, clubfooted monster out of bits of sonic tissue. That's how we got the Go Insane album and even the Tango in the Night album. (Play in the Rain is so over-the-top as an objet trouvé and "found sounds" that I honestly think sometimes he meant it as a self-referential joke.) Lindsey turned a lot of his studio music into "art" music, or into an Eighties and Nineties version of prog, and its turned out to be less interesting on repeat than the Never Going Back Again or It Was I style of production. Go back to the rough takes and early dubs of I Know I'm Not Wrong on the Tusk deluxe. Those jump out of the speaker at you—they're so playful and soulful. What ever happened to that Lindsey? Also, about the I Don't Want to Know stuff that we're all talking about, don't forget that the Penguin ran a bunch of Q&As years ago, and one or two of them were with people from the Buckingham Nicks band, like Hoppy Hodges. They talk a little bit about that song and several others that got recorded for later Fleetwood albums. Don't forget to read them (or reread them if you're an old timer here).
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moviekinks.blogspot.com |
#28
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Enough of the breathy, whispery, or grunty vocals. I get that he's trying to make a whole album with just a single human voice sound like more voices and more textures to keep it from being monotonous, but there is a line and he has crossed it too often. Also, what's wrong with a straightforward song that doesn't try and be too clever? Gift of Screws is such a fun song that just rocks. I know he draws inspiration from Brian Wilson, but when he goes back to his John Stewart influences it's great and even his love of the Stones. If we heard a mix of his influences on each album it'd be great; however some albums he's just stayed in one style and after like the 4th whispered song it's wearying. His music is at it's least appealing (for me) when he tries too hard to be too 'cerebral' or 'clever' with it -- "Look what I did there! Wasn't that smart?" Often his stuff can be too cold, too 'manufactured', like a home done in a sleek, modernist, industrial style-- all concrete and metal. It cries out for a nice rug or a soft throw or something. Music needs to hook you emotionally, it needs some warmth, and his best songs are a combination of cleverness and authentic emotion-- GYOW, NGBA, SHN, most of OOTC, a lot on GoS.
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Last edited by bombaysaffires; 11-09-2018 at 08:25 PM.. |
#29
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But I've been thinking about exactly this same thing after listening to his anthology. His production style is very, very harsh; where he tends to use electric sounds without any processing to leave the ragged saw waves (whether it be analog or digital). There are so many hard edges on everything that it really puts the vocals in a weird place. And I think he realized that, too, which is when he starting doing this strange whisper / reverb / delay thing with his voice. I miss his voice. He sounds fantastic live, still to do this day. His demos from each era really show how more balanced the songs could have been, sonically. Though still for me Tusk is the pinnacle balance of the warmth of the 70s and Lindsey's genius production techniques at the time. So then let's compare Go Insane and OOTC with Tango... Both GI and OOTC to me are still too harsh to deliver the message and intent behind his songs. Tango to me has become my favorite Lindsey album as of lately just because it's become more contemporary. The blend of his production and the warmth of the Mac sound are wonderfully balanced. His live guitar tone is OK. I hated it during the Dance era. It was so twangy and had no balls to it, though his playing was superb. Nowadays it sounds pretty good. Though to me, that "atomic bomb" sound he got out of his Tuner on the Tusk Tour with that fuzz thing is the most signature Lindsey sound I've heard yet. Still even to this day (nah, I'm not that old...) it inspires me as a musician. Lastly, can we talk about how good Buck/McVie was?? The production is MUCH more balanced between Lindsey's signature techniques and someone else smoothing them out. That's when Lindsey's at his best. Thanks for starting this thread, has been fun to read. |
#30
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I guess I am the dissenter here in that I love his tricky production and complexity. I like my music complex and unusual. It is artistic and creative and inspires repeated listens to catch new sounds. If only it is not his voice or his songs, sorry. He made miracles out of some of Chris and Stevie's songs. Stevie is a complete idiot not to work with him as producer. SYW was her best ever solo album by far, nine jewels of songs with intoxicating production. Unlike her often anodyne or WTF production on solo albums.
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"...every time, you don't come..." "my little demon..." oh dear... |
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