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  #136  
Old 08-27-2008, 12:37 AM
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Speaking of sharing, there are a few people Lesley Roy would like to work with on stage or in a recording studio. "I would like to collaborate with Dave Grohl, Bono, Stevie Nicks, Tom Petty, Mark Ronson, Andy Strummer, and of course Max Martin again."

"I would also like to tour with Nickelback, Daughtry or Melissa Etheridge because I feel like their type of audiences would enjoy my sound, and also I really enjoy all of their shows," she continued.

What was it that brought her to where she is today? "My musical influences growing up were Stevie Wonder, Tom Petty, Stevie Nicks, Fleetwood Mac, Bruce Springsteen, Melissa Etheridge and plenty more! And now, I really admire Daughtry, Keith Urban, and Sheryl Crow."

http://acedmagazine.com/content/view/1679/33/
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  #137  
Old 08-28-2008, 02:31 AM
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Clocking in at just 2:41, Fleetwood Mac’s “Blue Letter” is just one of the 11 perfect songs from Fleetwood Mac’s self-titled masterpiece. The song starts with its catchy hook and immediately Lindsey starts in with the story - a girl who is too young to be with someone so old. Stevie Nicks’ background vocals add the harmony that exists in so many essential albums from the 70’s.

I love this album. It feels like a summer I will never have, with a girl that doesn’t exist, in a time that has passed by 20 years.

http://shoesonpowerlines.wordpress.c...s-blue-letter/
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  #138  
Old 08-28-2008, 08:01 PM
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Default Brian Wilson & love song to Stevie Nicks

http://entertainment.timesonline.co....cle4627084.ece




Brian Wilson: That Lucky Old Sun

by Bob Stanley

Since the Beach Boys began to fracture in the mid-Seventies, Brian Wilson, left to his own devices, has written love songs to both Stevie Nicks and his sister-in-law, an album of torch songs for Frank Sinatra (never recorded), and a Moog tribute to Johnny Carson. When he’s been coaxed into the studio by well-meaning supporters, however, the sounds and themes always hark back to the twin totems of Wilson’s legacy, Pet Sounds and Smile.

So it is with That Lucky Old Sun, first performed at the Festival Hall a year ago. Backed and arranged by the band who have toured with him on a triumphant return to the stage over the past five years, it soundtracks 24 hours in the life of Wilson’s home town, Los Angeles.

The day begins as “An owl hoots it’s last goodbye to a coyote on patrol” and ends with the singer waking up again: “I had this dream, singing with my brothers in harmony.” It doesn’t want for ambition.

There is precious little nuance between morning and afternoon (maybe the blistering California sun renders the hours indistinguishable) and it is only when the sun’s gone down that the mood turns to anything other than chipper. There’s fun to be had. Van Dyke Parks, lyrical collaborator on Smile, has written a narrative that links the songs with a quest to “find the heartbeat in LA”; Wilson’s slightly angry, Papa Bear delivery won’t earn him a spot on Jackanory.

Good Kind of Love has the freshness and goofiness of mid-Sixties, pre-drug Beach Boys, its easy chords and melody reminding you that Wilson has written many of the latterday entries in the Great American Songbook.

At times, though, it seems disingenuous to call it a Brian Wilson album without crediting the supporting cast – you can’t help suspecting that much of the album is ghost-written. Live Let Live’s chorus borrows directly from Sail On Sailor, a self-conscious move that it’s hard to imagine the adult child Brian thinking up by himself.

The simpler, borderline hokey parts sound more like episodes from the genuine life of Brian: there’s the cheeky directness of Mexican Girl (“Can you picture me in your family tree?”) and the daffy Oxygen to the Brain – only the exercise nut Wilson could come up with that title.

The music inhabits a sub-Pet Sounds habitat that rarely stretches its limbs, instead feeling boxy and rushed. Space finally appears with Can’t Wait Too Long, a fragment of an abandoned song from 1968 that glides as if riding a thermal, and leads into the meat of the album, the anguished ballad Midnight’s Another Day: “All these people, they make me feel so alone.”

It would be unfair to compare it to Smile, the work of a much younger, independent man, even if Midnight’s Another Day clearly reaches for the same rarefied air.

Yet That Lucky Old Sun does recall a previous Wilson album: Orange Crate Art, recently reissued, was an overlooked early Nineties collaboration with Van Dyke Parks that was less sonically ambitious but similarly in love with California. Neither album has the emotional richness of Wilson’s career highlights but, after the decades he spent in bed or on a psychiatrist’s couch, it would be churlish to listen to them and not, at least, smile.
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  #139  
Old 08-28-2008, 09:01 PM
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Quote:
Originally Posted by Tango View Post
[
Since the Beach Boys began to fracture in the mid-Seventies, Brian Wilson, left to his own devices, has written love songs to both Stevie Nicks and his sister-in-law
What song was that? I thought he had a crush on Chris. Michele
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  #140  
Old 08-29-2008, 08:37 AM
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38. Fleetwood Mac – Rumours, 1977
#38 is one of the most successful rock records of the 70’s, just packed with hits and solid pop songs. Yes, Stevie Nicks and Christine McVie deserve much credit for the Mac’s success, but this is really Lindsey Buckingham’s show. A criminally underrated guitar player, great singer, songwriter and visionary arranger and producer, it is Buckingham who brings it all together. Much has been made of the personal turmoil within the band at the time inspiring the great music (Christine and bassist John McVie’s marriage was breaking up, Lindsey and Stevie were also breaking up at the time, Stevie and drummer Mick Fleetwood were having a fleeting affair). But whatever the tortured inspiration, they turned out one hell of a record where the majority of the tracks were huge chart and/or radio hits. Music may be a cathartic way to deal with your life issues, but it is something altogether different when your estranged ones are in the same band with you. It is hard to get away at that point. Stevie Nicks has since commented how difficult it was for her to sing back-up vocals on Lindsey’s song “Go Your Own Way,” when the lyrics were clearly addressed to her (“Tell me why everything turned around / Packing up, shacking up, is all you wanna do”), while Christine McVie’s newly ex-husband John McVie has to play bass on her exuberant “You Make Loving Fun,” which celebrates her newfound joy in moving on to a new lover. Soap opera material never sounded so good.

http://gonnaneedabiggerboat.blogspot...s-s-40-36.html
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  #141  
Old 08-29-2008, 08:43 AM
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Quote:
Originally Posted by michelej1 View Post
What song was that? I thought he had a crush on Chris. Michele
Believe it or not, it's called Stevie. I don't know if it's been released with Brian singing it, but I found a cover of it on a tribute album:

http://www.answers.com/topic/carolin...the-beach-boys

The cover is on iTunes.


I just snoped around a bit. Nancy says it's unreleased (by Brian), but she has the lyrics up here:
http://www.buckinghamnicks.net/sn/un...ed/stevie.html

(we're all capable of multiple crushes!)

Last edited by Tango; 08-29-2008 at 08:51 AM..
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  #142  
Old 09-04-2008, 08:18 PM
michelej1 michelej1 is offline
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Noel Gallagher put FM in his Top 10, list, but it was PG's Fleetwood Mac, because Noel won't include a band that has women on his list.

This is the list:

Gallagher's top ten are as follows:
The Beatles
The Rolling Stones
The Who
Sex Pistols
The Kinks
The La's
Pink Floyd
The Bee Gees
The Specials
(Peter Green's) Fleetwood MAC

This is an article about it from the Guardian UK:

http://blogs.guardian.co.uk/music/20...o_women_r.html

It's safe to say that Noel Gallagher's attitude to the internet is more modern than some of his other views. The curmudgeonly guitarist has been "blogging" his way through Oasis' American tour via Oasisnet.com, and along the way, we've learned that he's rude to people who ask for photos, can't bear the thought of a fan selling him underpants, and likes to make High Fidelity-style music lists. Depressingly, we've also learned that his views on women are even more outdated than his taste in music.

Earlier this week, Noel posted his "Top 10 bands of all time" list, a "traditional debate" conducted in the dressing room. He says it "never gets any less interesting for me", but with a Top 5 of the Beatles, the Rolling Stones, the Who, the Sex Pistols and the Kinks, I'm inclined to disagree.

Perhaps the inevitable classic rock slant came out of the strict criteria under which it was produced. Noel excludes solo artists and collectives like Public Enemy, both of which make sense for this subject. But then there's this incongruous rule: "No female artists." And he's very serious about this - even Fleetwood Mac, who scrape in at No 10, are "Peter Green's Fleetwood Mac", before Christine McVie and Stevie Nicks got anywhere near them.

There's a reason why there are no women in Noel's hall of fame. The list has one band formed in the 50s, six formed in the 60s, two formed in the 70s and, daringly, the La's, who got together as late as 1983. His tastes are restricted almost exclusively to rock music from the 60s. It was a time when female artists could be pop stars, soul singers or members of girl groups, but only Janis Joplin was really a rock star. Even Marianne Faithfull, as rock'n'roll in attitude and behaviour as the best of the boys, recorded folk songs in the 60s, giving Sister Morphine to the Stones because they could get away with it. It's not until the Runaways, in 1976, that female rock bands start to get a look in.

So Noel's list is unimaginative, predictable and about as exciting as a petrol station Dads Rock! CD, but you can't blame him for not including any women - neither the era nor the genre he champions produced any female rock stars that would fit into his tight and narrow window. But if that is the case, if he's really just aware of the deficiencies of the time, then why mention it at all? It's strange to stick this "no female artists" rule there in the first place - it implies that women, obviously a different musical species, would somehow damage the great rock canon. It'd be nice to think he's saving Aretha Franklin, Patti Smith, Joni Mitchell and Kate Bush for his solo artist list, but considering that this is a man who recently ordered Mark Ronson to buy a guitar and learn three chords, that could be leaning towards optimism.

Last edited by michelej1; 09-04-2008 at 08:31 PM..
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  #143  
Old 09-05-2008, 12:06 PM
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Jokes on him...Christine was a session player for the early Mac :P
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  #144  
Old 09-05-2008, 12:12 PM
michelej1 michelej1 is offline
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Originally Posted by SteveMacD View Post
Jokes on him...Christine was a session player for the early Mac :P
Yeah, I know, Eddie Money said the same thing in 2006 and I was thinking, but wasn't there someone with estrogen on Then Play On . . .

www.boston.com/news/globe/living/articles/2006/08/08/these_80s_hitmakers_still_offering_two_tickets_to_paradise/

EDDIE MONEY ANSWERS QUICK QUESTIONS

Biggest jerk: Elvis Costello. He's a [expletive expletive]. [Expletive] is in the [Rock and Roll] Hall of Fame and I'm not. Also this guy [Don] Barnes, the singer in 38 Special. For some strange reason his wife said I was hitting on her. I would never hit on somebody's old lady.

Sammy Hagar or David Lee Roth? David Lee Roth. You know, he's had a lot of troubles and an ego bigger than a [expletive] house. I also feel sorry for the guy. Maybe I like David Lee Roth because he reminds me of myself.

Groupies: You know what, there's always a lot of good-looking women who come to the shows. I've got my weight down. But I've got a beautiful wife and I'm pretty monogamous. Cheating on my wife would be like doing cocaine.

Favorite album (not your own): ``Then Play On," Fleetwood Mac. Peter Green was such a great guitar player and the band was just smoking. I like anything that Fleetwood Mac did before they got the chicks in the band.
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  #145  
Old 09-05-2008, 01:59 PM
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Quote:
Originally Posted by michelej1 View Post
Yeah, I know, Eddie Money said the same thing in 2006 and I was thinking, but wasn't there someone with estrogen on Then Play On . . .

www.boston.com/news/globe/living/articles/2006/08/08/these_80s_hitmakers_still_offering_two_tickets_to_paradise/. I like anything that Fleetwood Mac did before they got the chicks in the band. [/B]
To each his own, I guess.
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  #146  
Old 09-20-2008, 04:04 PM
michelej1 michelej1 is offline
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People are disrobing to . . . Albatross!

Albatross!

Here is a review of an X-Rated UK play called "Blue Room" from the Doncaster Free Pres:

http://www.doncasterfreepress.co.uk/...tle.4508991.jp

One reviewer has described The Blue Room as "pure theatrical Viagra" and it is safe to say some may well check out the show for its sex and little else.
But look beyond the bums and boobs and you'll see two young and accomplished actors taking on a brave challenge. Its takes balls (ahem) to get your kit off and romp around on stage and while the peformances occasionally leave a little to be desired, its certainly a play you won't forget in a hurry.

And you'll never listen to Fleetwood Mac's Albatross in the same way ever again!
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  #147  
Old 09-24-2008, 10:14 PM
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After touring to support Screws through October, Buckingham will reunite with his bandmates again next spring for a tour. In March, Sheryl Crow announced plans to collaborate with the band, but Buckingham says the idea never moved beyond a casual conversation. "If you're bringing someone in just to do Christine McVie's stuff," he adds, "doesn't that sort of degrade it into kind of a lounge act?"

[From Rolling Stone Magazine Issue 1062 — October 2, 2008]

http://www.rollingstone.com/news/sto...return_to_rock
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  #148  
Old 09-25-2008, 02:26 PM
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What did Devendra Barnhart do when he met Lilo?

http://www.actressarchives.com/news.php?id=12318

“We ended up talking about Fleetwood Mac, who we’re both obsessed with,” Banhart said of his conversation with Lilo."I haven't talked to her recently. She's taking care of herself. I'm trying to give her some space, because I think now is a tough time for her."
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  #149  
Old 09-26-2008, 03:27 PM
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This is from a review of the film, Man on a Wire:

http://www.telegram.com/article/2008.../1011/FEATURES

While Marsh is lucky to have an unabashed character such as Petit to focus his attention on, the director uses devices such as the perfect music to help underscore a given scene. The choice of the haunting but airy “Albatross” instrumental by Fleetwood Mac to accompany a scene of an earlier Petit tightrope walk across Sydney Harbor makes for a wonderfully orchestrated and illustrated snapshot.
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  #150  
Old 09-26-2008, 04:02 PM
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This was on a blog: Gear Talk about The Chain:

http://philramble.wordpress.com/2008...ectric-guitar/

The guitar sounds very nice. You know it seemed like suddha-dhanyasi also to me - basically the shadjam wasnt resolved in my mind clear enough (particularly in absence of any tampura) and I guess I latched on to the ma.

Also the snippet between the 7s and 10s reminded me of “The Chain” by Fleetwood Mac which I believe is minor pentatonic i.e. suddha-dhanyasi - (could be wrong) - that may have been the culprit for me.

Arun
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