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  #841  
Old 01-11-2011, 02:01 PM
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Default Packin up, Shackin up, is all you wanna do.

http://famousrighteousandholy.wordpress.com/

Packin up, Shackin up, is all you wanna do.
Posted on January 10, 2011
by ehrenohkneel
Picture it, Chicago, 1997. I’m 21 years old and home sick with something or other, stoned on the couch with nothing to watch. Despite having been the perpetual punch line to countless jokes I had made since birth, I give up and watch Fleetwood Mac’s, The Dance, on VH1. By the end of the show I am converted to Fleetwood Mac fandom forever. I can’t believe how amazing this band, whom I have made fun of relentlessly, actually is. Maybe it was that I had never really taken the time to listen to anything they made other than passively hearing the big hits while waiting at the doctors office. Maybe I just hadn’t lived enough “life” yet to really get the punch. Maybe I was just stoned. Whatever the magic was that had to happen for me to renounce my hatred of all things Fleetwood Mac, it had come to land squarely upon my head that night and never leave.

etc etc
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  #842  
Old 01-14-2011, 01:21 AM
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Stuff.co.nz Reader's Survey, Blogger Simon Sweetman poses questions to his readers and kicks off the first answers himself. Here's an excerpt:

http://www.stuff.co.nz/entertainment...-Questionnaire

7. Who is your favourite guitarist who never seems to make it on to Best Guitarists lists?

There are several - but the one I always pick is Lindsey Buckingham because he is phenomenal. I think a lot of people in New Zealand finally got to see that with the live gigs in late 2009. He has his own sound/style and he's a wizard, a true star.
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  #843  
Old 01-16-2011, 11:00 AM
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Show your age with the concerts you have seen

J. Stolarz
Attorney at Law
W. Hartford, CT
www. attorneystolarz. com

First concert:
Jefferson Airplane and Fleetwood Mac at Colt Park Hartford, Ct. 1976

I grew up in Connecticut which was the stop over for bands playing from NYC to Boston. Great clubs, bands and music scene.

Anyone remember:

Shaboo In Willimantic
David's in Manchester
Carrie Nations Manchester
Stage West West Hartford
Toads' Place New Haven
Mad Murphy's Hartford
Russian Lady Hartford
Crazy Horse Southington


Memorable ones:

The Who New Haven, Ct
The Stones Giants Stadium
Bruce Giants Stadium
Pink Floyd Giants Stadium
Grateful Dead Radio City Music Hall Halloween 1980
Aerosmith through the good and the bad years
Van Halen whenever they played
Ozzie with Black Sabbath and solo with Randy Rhoads
The Cars
Motley Crue
AC/DC
Eagles
Winter Brothers
Clapton
Allman Bros
Guns N Roses
Tom Petty
Journey with Steve Perry
J. Geils Band
The Outlaws
Skynyrd 1976
The Kinks
Little Feat
Police
Genesis
Dire Straits
Bon Jovi

Most of these concerts in the 70's and 80's cost about $10 a ticket. Sleeping out on the sidewalk a couple of days in advance to get tickets at the local Ticketmaster location was all apart of the ''experience''.

Best concert location was an outdoor venue in Pinecrest County Club in Shelton, Connecticut.

Worst place was New Haven Coliseum, a real ****hole and the cops were Nazi Stormtroopers! Still have a scar from The Who concert.

Great memories and hours worth of stories and tales...

http://www.thehulltruth.com/dockside...have-seen.html
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  #844  
Old 01-16-2011, 11:05 AM
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Quote:
Originally Posted by vivfox View Post
Show your age with the concerts you have seen

J. Stolarz
Attorney at Law
W. Hartford, CT
www. attorneystolarz. com

First concert:
Jefferson Airplane and Fleetwood Mac at Colt Park Hartford, Ct. 1976
This is a response on the same forum from another member.
LOL. You may be a couple of years older than me. but I remember my best friend's older sisters going to that Fleetwood Mac show at Colt Park. My first concert ever was the Earth, Wind and Fire show at the Hartford Civic Center around that same time. We lived in Manchester from March of '74 until July of '76.
----------------------------------------------------------------------

And another response:

Best:
- Any of many Bruce shows. The Rising/Boardwalk shows at the Meadowlands and Philly Spectrum final (really) shows stand out.

Worst:
- Fleetwood Mac in 79? outdoors in 100* heat. They were stoned and hot, we were too. Or maybe The Cars - picture statues playing instruments and you have it.

http://www.thehulltruth.com/dockside...have-seen.html
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  #845  
Old 01-16-2011, 09:52 PM
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In no particular order...** denotes a considerable amount of shows

Aerosmith
The Police
The Knack
Alanis Morissette
Laurie Anderson
Van Halen -orignal singer
Rush
Elton John**
Elton John with Billy Joel
Kinks
Sam Phillips
Journey -original singer
ZZ Top
Jethro Tull
Tori Amos
Tears for Fears
Crowded House
Neil Finn
Elvis Costello
Scissor Sisters
Lindsey Buckingham
Stevie Nicks
Doobie Brothers
Til Tuesday
Aimee Mann**
Fleetwood Mac**
Fleetwood Mac/REO Speedwagon/Pat Benetar
Cheap Trick
Pearl Jam
Maria Mckee
Simon and Garfunkel
Brian Wilson
Marilyn Manson/Hole
Steely Dan
REM**
Spinal Tap
10,000 Maniacs -original singer
B 52s
Bob Dylan/Tom Petty
Squeeze
U2
Jefferson Airplane -reunion tour
Morrissey
Meridith Brooks
Peter Green
Bruce Springteen -Wembly Staduim!
String Cheese Incident
The New Mamas and Papas
Magic Numbers
Styx -my first show circa 1979
J. Geils Band

and the rest!
__________________
Life passes before me like an unknown circumstance

Last edited by PenguinHead; 01-16-2011 at 10:06 PM..
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  #846  
Old 01-22-2011, 03:18 PM
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This is David Wild's list of goodbye songs for Keither Olbermann:

http://googletrendnews.co.cc/david-w...-olbermann.php

I’m not saying this is the Worst Thing In The World, but as a fan of intelligent talk on television, I musically mourn the loss of Countdown With Keith Olbermann on MSNBC. I didn’t always agree with him, but I’d fight to the death for his right to be one smart man and compelling wiseass. Then again, it’s hard to really imagine this man being silenced for too long.

“Keith Don’t Go” (Ode To A Glimmer Twin) – Nils Lofgren
“Ain’t Talkin’” – Bob Dylan
“Countdown” – The Black Keys
“People Gonna Talk” – James Hunter
“Countdown” – The Black Keys
“Take This Job And Shove It” – Johnny Paycheck
“Talk Talk” – Talk Talk
“Talk Of The Town” – The Pretenders
“The Final Countdown” – Europe
“Talk” – Coldplay
“Don’t Talk” – 10,000 Maniacs
“Countdown” – Rush
“Out Of Work” — Gary US Bonds
“Countdown” – Rush
“Don’t Talk (Put Your Head On My Shoulders)” – Beach Boys
“Talk To Me” – Bruce Springsteen
“Countdown” – Lindsay Buckingham“Everybody’s Talkin’” – Harry Nilsson
“If You Talk In Your Sleep” – Elvis Presley
“Countdown” – John Coltrane

What are your songs for Keith?
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  #847  
Old 01-25-2011, 07:27 AM
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Warren Zevon had a song called “He Quit Me” that was included on the massively popular soundtrack to the movie “Midnight Cowboy” as well. Who could forget Harry Nilsson’s classic “Everybody’s Talkin’?” I believe “He Quit Me” was performed by Leslie Miller and Garry Sherman on the record, but who cared with a cast that included Jon Voight and Dustin Hoffman? Warren Zevon was on his way. He hooked on with the legendary Everly Brothers after releasing a commercial flop for a debut called Wanted Dead Or Alive as 1969 turned into 1970. By 1975 he was living in Los Angeles and sharing an apartment with little known fledgling artists Stevie Nicks and Lindsey Buckingham. He began working with Jackson Browne on another record just called Warren Zevon that was eventually released in 1976. That is where you will find his version of “Poor Poor Pitiful Me.” It had another soon to be famous Warren Zevon track called “I’ll Sleep When I’m Dead.” I don’t have any sales figures to share, but I think it’s fair to say that this record met with more critical success than commercial success. “Mohammed’s Radio, Carmelita and Hasten Down The Wind” all became Zevon staples, but it wasn’t until Excitable Boy that the world knew his name. Jackson Browne produced both records although famous guitarist Waddy Wachtel also helped produce Excitable Boy. Another factoid that had escaped me until now is that Mick Fleetwood and John McVie of Fleetwood Mac fame apparently played on “Werewolves of London.” Man I gotta wake up. I should know that!

http://www.giantpanther.com/?p=5656
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  #848  
Old 01-25-2011, 07:31 AM
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By ROBERT HILBURN
Los Angeles News Service
MONDAY, DECEMBER 26, 1977

Linda Ronstadt at the Universal Amphitheater, Sept. 20 — Success doesn’t always wear well on pop performers. Sales and applause can often cause them to let their standards dip or to adopt the conservative practice of simply redoing the old hits. But Ronstadt — never hotter commercially — was never better. With her most aggressive and tasteful band, she treated each of the 19 songs in her 100-minute set as if it would be the performance by which she would ultimately be measured. From the Rolling Stones’ rowdy “Tumbling dice” to Roy Orbison‘s nostalgic “Blue Bayou,” she was ideal.

Fleetwood Mac at the Inglewood Forum, Aug. 31 — There isn’t much flash to Fleetwood’s shows, but the music is far more biting live than it is on record. There’s a harder edge to both Lindsey Buckingham’s guitar work and Mick Fleetwood’s drumming. If they ever capture the sound fully on a live LP, it should even outsell this year’s phenomenal “Rumours.” Even if the latter has got an eight million head start.

http://www.bootlegbetty.com/2011/01/...-concert-1977/
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  #849  
Old 01-29-2011, 11:29 AM
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January 28th, 2011 at 04:56pm skayian

Maui’s entertainment scene has Rhythm & Views spinning like a Tilt-a-Whirl.

Fleetwood Mac’s grand-master, Mick Fleetwood, is finalizing plans to open a restaurant in Lahaina; local legend Vince Esquire is featured playing guitar on Gregg Allman’s new solo album; the concerts at the Maui Arts & Cultural Center are going strong; and clubs like Stella Blues Cafe keep bringing in quality shows. To top it off, filmmaker Brian Kohne is screening his Maui-made movie “Get a Job” all weekend at the Iao Theater in Wailuku.

How do I share all that information with my dedicated readers and enjoy the events at the same time? Let’s give it a go: Fleetwood told R&V in October that he was planning on spending most of 2011 home, on Maui, working on his art and pursuing his dream of opening a restaurant. He said he envisioned a place where he could hang out, play live music and welcome other island musicians. Fleetwood’s vision will soon be a reality; there is no official launch date available, but word has it that, very soon, the former Oyster Bar on Front Street will be re-christened a Fleetwood restaurant. How lucky are we to have such legendary musicians as locals?

http://rhythmandviews.mauimagazine.net/?p=872
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  #850  
Old 01-29-2011, 11:30 AM
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Best of Saturday:

Si*Sé with Sun Wolf. $18-$20. 9 p.m. doors. Black Cat.

Since 2000, Si*Sé has mined genres like dub, trip-hop, house, and Latin electronica to woo fans and win spots on shows like Sex and the City, CSI, and others. After a five year hiatus, the ensemble is back with a third release, Gold. The album hasa smoothed-out, dancehall-tinged cover of Fleetwood Mac's "The Chain," while Singer/DJ Carol C’s voice is sophisticated and sensual in English and Spanish. It might be just enough to make you forget the week's Thundersnow.

http://www.washingtoncitypaper.com/b...g-sise-lissie/
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  #851  
Old 02-01-2011, 04:45 AM
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Now, I love the music of Fleetwood Mac, deeply. But I have to admit I didn't know the intricacies of their coke-fuelled, cobweb-like incestuousness. Over the weekend, I read Storms, a book by Carol Ann Harris, who spent a good part of the bands heyday as the girlfriend and lover of Lindsay Buckingham. I devoured it in one hungover Sunday. If you love their music, or even just love rock-biographies, then I suggest you track a copy down. I have to admit, the description of the initial stages of their relationship made me cry because it was very strong, romantic and beautiful. The inside view of the terrifying nature of Stevie Nicks and the interaction between the band were fascinating, and if I had a dollar for every time I read the phrase "and then a plate with a mound of cocaine was presented and the band fell upon it..." I would be a far wealthier woman than I am now. Don't you think it's sad that our lives have become so sanitised and controlled these days? I mean, I can't imagine a band living in the way that the Stones or Fleetwood Mac lived - visits to Eric Clapton's unfurnished castle in a snowstorm, Annie Leibowitz shooting them for the cover of Rolling Stone in the tiny spare bedroom...

http://www.somuchtotellyou.co.nz/201...ust-woman.html
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  #852  
Old 02-01-2011, 04:51 AM
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Jonathan asked: "I've tried listening to Tusk and can't find a way in! Please help!"
It's funny, I was wondering how I found a way into any Fleetwood Mac at all. Because this is the first time I've listened to them, seriously listened to them, in a long time, and -- the thing is, I don't love songs I don't think say something I've felt but never found the words for. I don't love songs I don't think are about me. And, you know, I remember loving these songs, but I don't remember feeling these things at sixteen. I remember lying on the floor of the den, listening to "Beautiful Child" and crying, but I don't remember why. (Although, in all fairness, I also remember lying across my bed and listening to The Wild Heart all the way through just so I could cry to "Beauty and the Beast." And lying across my bed and crying to some Sarah McLachlan song. Being sixteen was weird.)

So originally I was going to say you should listen to Tusk as part of a story. Because even if I can't remember why I loved the songs, I can remember why I loved the band, and the story that gets told over the three albums after Stevie and Lindsey joined is it. Fleetwood Mac, 1975, they're in love, with each other and with everything else. And oh, they believe. Stevie and Lindsey bring three songs with them from Buckingham Nicks -- he sings her words on one of them, about love closing in like a tide -- and a fourth she wrote when she was about to give up on him, on music, but that's the past now, that's a fable, that's a lullaby. Lindsey's songs stomp and roll against Mick and John. "Monday Morning," his heart is broken, but he doesn't mind, he comes back for more, like clockwork, solid structure, pounding rhythm. After a few years, "I'm So Afraid" will sound like torture when he plays it live, but not yet -- there's brightness in the beat and the guitar. And Christine is, you know, Christine. Easy rhymes and creepy '70s sexual euphemisms. (Confession: I don't like Christine McVie very much.) Rumours, 1977, love and belief are gone. Stevie's writing creepy fairytales, Edgar Allan Poe heartbeats driving a man mad, a queen digging her own grave. Lindsey gets thrown out, refuses to come back like clockwork anymore, makes his ex-girlfriend sing on a song about what a bitch she is, guitar all out of sync with everything else. Christine is Christine some more, but then there's "Songbird," too. It reads like a love song, like a happy ending, but on an album full of other people -- voices and voices, arguing back and forth, and bass and drums behind them -- she's all alone. It starts with crying, it repeats "I love you" like it's trying to convince itself. And then she wishes you all the love in the world. She wishes it from herself. Love, giving you love, it isn't something she has the power to do, no matter how much she wants it -- it's something she has to wish. Tusk, 1979, they're spinning off to their own orbits. Stevie ****ed Mick while he was still with his wife, and then Stevie's best friend ****ed Mick while he was still with Stevie, and Stevie's songs are mostly about that and a couple other affairs, but not in the ways you would expect. Her friend is forgiven, Mick is just one dark cloud in the storm that's bearing down on her, and she keeps losing things, she's disappearing into the wind, she's the whole storm, turning everything cold, her own heart broken and numb. Lindsey recorded his songs in his bathroom, banging on shoeboxes, alternately shouting and moaning manic complaints, and layering himself into makeshift spirituals. Christine is Christine again.

Oh, and what I said about them spinning off to their own orbits? Tusk is secretly three solo albums, and they never really come back together after this. It might help to listen to those three albums separately.)

But on Friday morning I took the bus from Jersey to the city, because I was supposed be off this week but I got called into work to write a memo basically justifying my job, and since I recently re-discovered the healing powers of The Dance, I decided to listen to it over and over all the way there. And like, I have listened to "Silver Springs" so many times I can't even guess at a number -- how many nights are there in six years? How many times would I have rewound and played it again? But on Friday morning, that was the first time I understood. How sad it is, you know? How much she must have hurt. And it was sadder in 1997, when the person it was about was almost happily married and having a kid, when the time she talks about had actually passed, and the way her voice scrapes the bottom and pulls back when she tells him she doesn't want to know how much happier he is now, really she doesn't want to know, even if she can't stop herself from asking, and how weary she sounds, it was sadder when she sang it in 1997 than when she sang it in 1976 -- and, oh, the age I am now is the age she was when she wrote it. Maybe that has something to do with something.

I guess that's still listening to it as a story. It isn't me -- it's this pantomime character called Stevie, and this pantomime character called Lindsey, and the conclusion to the story they started in 1975, about love and breaking apart. I just understand them better than I did before.

But then, it is about me, at least a little. I don't know if, at fourteen or fifteen or sixteen, you can really feel a line like "I have always been a storm." Always? Always? I hadn't always been anything at that age, that was the whole point of fourteen and fifteen and sixteen -- every year, you were something different than you were the year before.

By your twenties, you find you've been doing things over and over again, things that at fourteen or fifteen or sixteen you were doing for the first time, things that back then you thought just happened. Things that back then you thought were a flaw in the world, not a flaw in yourself. And when you finally got free of them, at seventeen or eighteen, you thought you had outgrown them, you thought you were so wise now -- you had learned your lesson, you weren't a stupid kid anymore.

But they creep back to you -- twenty-one, maybe, or twenty-two, and then again, twenty-six or twenty-seven. The same old insecurities. The same old anger, the same old need. And you start to realize you aren't free of them, you start to wonder if you ever will be. You start to realize that even when you thought you were free of them -- thinking you were wise and triumphant at eighteen, God, talk about being a stupid kid -- you weren't. Always, always, that was the way you were.

And now I'm listening to Tusk, and I keep hearing these things I didn't hear before. Like, in "Tusk," I never thought the "Why don't you ask him?" and "Why don't you tell me?" lines were genuine questions -- from the first listen, I assumed he was taunting her, assumed he already knew that the answers weren't anything she wanted to hear, that the truth wasn't anything she wanted to have to say out loud. But maybe there's a part of him that's really asking. Maybe he's just noticed how she shuts up when she sees him, how her conversations stop when he walks into the room, and what is she trying to hide? I'm figuring out all these things I should have figured out a long time ago. So many of Stevie's songs are about time -- what was, what will be, and the ways things change, whether you want them to or not. (Which means, at this moment, all the Stevie songs are about how I feel about Stevie songs. After answering Dave's question, if I weren't at my parents' house, where there is the ever-present possibility of my mom bursting into my bedroom, Kramer-style, to tell me about something she just saw on the TV? I would probably be curled up crying to "Beautiful Child" right this minute.)

I don't know. Find a way into it like you'd find a way into anything else. Listen for the things you understand, and let them tell you how to understand everything else.

http://girlboymusic.livejournal.com/307192.html
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  #853  
Old 02-03-2011, 08:07 AM
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A lot of the humor is more basic. Did you know Van Halen was the second choice for the band's name, once Eddie found out his real family name, Bran Fralen, was the name of a two-man jazz combo in St. Paul? There's Mick Fleetwood's suggestion McDonald's create a Fleetwood Mac Big Mac with "several slices of Lindsey Bucking-ham, white cheddar cheese that represents the cocaine Stevie Nicks is addicted to, Mick Fleet-wood smoked bacon, and John and Christine McVie-al (veal)." Glaser does all this through documentary evidence. There's a copy of Ringo Starr's letter to the other Beatles — on Apple letterhead no less — about his plans to start a Beatles tribute band. Glaser uncovered the classified documents showing the Butthole Surfers got their name from a classified Navy SEALs program. He also explains the truth behind a nasty Rod Stewart rumor and reveals a secret Keith Richards and Mick Jagger have kept since before The Rolling Stones did their first show.

http://www.seattlepi.com/books/43470...itics.org.html
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  #854  
Old 02-05-2011, 01:09 PM
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http://heartichoke.bandcamp.com/album/tusk-ep

Free Download

I'm impressed with the music this band did on their Tusk songs after sampling Over & Over and That's All For Everyone

You've got to check out their cute album cover.
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  #855  
Old 02-05-2011, 10:52 PM
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That's a beautiful signature picture Viv. I was probably 17 when I finally stopped hanging pictures of Sonny and Cher up in my room. Yet I still have them all -- except the ones my mother threw away as soon as I left for college.

Michele
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