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#16
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Just listened to the whole album. Scratch what I said about production above. This narrative that the band sacrificed record sales to do something experimental now makes sense to me.
There is nothing even close to a "Go Your Own Way" "Dreams" or "You Make Loving Fun" among these songs. "Over & Over" is too slow to have been a hit. I'm amazed the album produced as many top-20 singles as it did. "Not That Funny" may be the worst song on the album. Making a single of that song baffles me. As for the others, "Angel" sounds like the best choice to me. But however it was produced, this album was not going to be a bigger success with this set of songs. It did as well as any album of theirs was going to do under the circumstances. Lindsey's experimentation cost them nothing. "That's All For Everyone" is a masterpiece. Last edited by cbBen; 12-06-2018 at 03:02 PM.. |
#17
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Lindsey has always had a hard on for this song. It's a turd! When I was in high school, forcing my friends to watch Mirage, over and over, the one concession that I made was that we always skip NTF. They HATED it!
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran) |
#18
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I appreciate this video and seeing them do "The Ledge" for its novelty factor, but making that train wreck a staple of the set? No way! Last edited by sodascouts; 12-06-2018 at 04:07 PM.. |
#19
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There isn't a single song on Tusk that isn't more playful, more inventive, more suffused with a sly and ironic sophisticated musicality than that batch of garbage on the radio. If Warner Brothers and the radio programmers tell you to deliver another batch of Rumours classics every few years until you disband, you tell them to Tusk themselves. Attitudinally, this was Fleetwood Mac's best moment since the band's 1968 debut album. Quote:
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#20
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No, I haven't.
I take your point. It didn't occur to me that they intended a lack of commerciality during the songwriting process. I just assumed they wrote songs as usual and then chose not to produce them commercially. |
#21
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I'm going to be blasphemous.
I came into this late, as I've said elsewhere. I didn't hear Tusk until 1999. At the time, the only Fleetwood Mac albums I'd heard were The Dance, the Greatest Hits, the White Album, and Rumours. I loved almost every song on those albums. Especially with the latter two, which weren't collections - I was really impressed with what a consistently awesome band this was. Every song wonderfully crafted... I bought Tusk with excitement, eager to hear more from this fantastic band. I'm just an average person. When listening to a song for the first time, I don't think in terms of its commercial viability. I don't debate whether or not its attributes should be in ironic quotation marks. I just want to enjoy it. And I thought most of Lindsey's songs on Tusk were crap. I thought, "It sounds like he didn't even finish some of these." To me, saying "The Ledge" is artistically superior to "The Chain" is like the postmodern artist who tells you that his piece of wood with orange paint splashed on it entitled "Emotional Distress" is artistically superior to Michelangelo's "David." Over time, I have come to appreciate them more after that initial reaction of "Woah, this is crap. What the freak happened?!" But I'll never consider them his best work. Not even close. |
#22
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Some 1979 rehearsal audio of unusual songs:
That's All for Everyone Brown Eyes Think About Me Honey Hi
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#23
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Yeah IMO the deliberately wacky instrumentation and acoustics of "The Ledge" detract somewhat from what I think are terrific vocals and lyrics. I think that tracks like this were Lindsey's first attempt at a "solo album" before it became acceptable for them to be doing solo albums. And after listening to that interview on Song Exploder where he tells of the struggles he had trying to get Mick and John to play what he wanted them to play on Go Your Own Way, I can see why he was keen to branch out on his own this time with some of the tracks.
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Joe |
#24
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Also, to be fair, I do like some of Lindsey's stuff on Tusk. For instance, I like "That's Enough for Me." I have come to appreciate "I Know I'm Not Wrong." I just don't find it nearly as sonicly satisfying as his prior work. |
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