What Should A New Fleetwood Mac Album Sound Like?

[DauphineMarie]

I think it should represent different aspects of their other albums... A warm and light and fun guitar track, a driving guitar solo-oriented thing featuring the three contributing singers, a quirky Lindsey song (wouldn't be complete without it) a mystical Stevie song about love and birds and mythical creatures, and a rock-solid Chris song with a great rhythm section. Throw in some funky Tango-inspired tracks and some flowing creativity, and it really could be a great showcase...

I also think it would be nice to have a popular, well-played single. And if it sounds too "mellow classic rock" it will go nowhere, so if chart success is an objective, then an 80's inspired sound has to happen, possibly with Stevie on vocals, considering she has had the most exposure to young people the last few years. If not, then all three of them (preferably).

[moon]

One thing I know is that I really don't want to hear something like SYW, or something with lot of songs with a very fast acoustic guitar. PLEASE, NO!!!!!!!!

With Chris on board, that Must change. But, we won't hear something like Mirage or Tango, and not like Rumours or Tusk, for sure. I don't want songs like the EP ones, so it's hard to say...but maybe an album with an "old" sound would be great!
Regards!

[TrueFaith77]

I love both the Twister version and the 24K version.

[louielouie2000]

Originally Posted by moon

One thing I know is that I really don't want to hear something like SYW, or something with lot of songs with a very fast acoustic guitar. PLEASE, NO!!!!!!!!

I couldn't disagree more. I feel Lindsey's 21st century fast-acoustic songs like Bel Air Rain, Rock Away Blind, Red Rover, Shut Us Down, etc are the best individual songs of his career. Not just that, those type songs are truly unique in style and are what sets Lindsey apart from other artists.

What I really wouldn't want to hear from him is more middle of the road gutless dreck like his EP and recent soundtrack contributions. Say what you will about Lindsey's fast-acoustic songs, but they have artistic teeth to them.

[PenguinHead]

Originally Posted by FuzzyPlum

I've just listened to Mystified about ten times over.

I think it must rank as Fleetwood Mac's must underrated song (or at least top 3).
The vocals of both Christine and Lindsey are like smooth chocolate together. This features some of Lindsey's finest guitar playing...just played straight, not trying to be clever (remember this Lindsey?).
Christine's lyrics aren't exactly deep- in fact, they are perhaps even simpler than most of her songs (which is saying something). However, they lend themselves well to what is a tender, laid back, chilled piece of music. It also reminds me of Warm Ways in its simplicity.

Mystified is as light as air, but a fine rarefied air indeed! It's not meant to be a song of message, but one of mood and atmosphere. The spare, uncluttered lyrics compliment Lindsey's musical arrangement, creating an easy listening landscape; a pillow-like album track that doesn't demand much from the listener.

[cascade13]

Originally Posted by louielouie2000

I couldn't disagree more. I feel Lindsey's 21st century fast-acoustic songs like Bel Air Rain, Rock Away Blind, Red Rover, Shut Us Down, etc are the best individual songs of his career. Not just that, those type songs are truly unique in style and are what sets Lindsey apart from other artists.

What I really wouldn't want to hear from him is more middle of the road gutless dreck like his EP and recent soundtrack contributions. Say what you will about Lindsey's fast-acoustic songs, but they have artistic teeth to them.

Would I be splitting hairs too much by talking about the "sound" of songs versus their artistic integrity? Part of what brings me back to the White Album and Rumours is their warmth, for lack of a better word. On the albums since then, Lindsey seems to aim for a more detached, sterile feel. "Red Rover" is a great example, especially compared to the studio versions of, say, "Never Going Back Again" or "Landslide," which are largely acoustic guitar-based aside from the vocals. It's not necessarily the speed of Lindsey's playing, or even the layering of his vocals (which admittedly isn't my favorite effect), but something else in the acoustics. To my ear, "Twisted" is the closest they've come to that older sound. Maybe someone with a little better handle on music production can clarify what they're hearing?

[louielouie2000]

Originally Posted by cascade13

Would I be splitting hairs too much by talking about the "sound" of songs versus their artistic integrity? Part of what brings me back to the White Album and Rumours is their warmth, for lack of a better word. On the albums since then, Lindsey seems to aim for a more detached, sterile feel. "Red Rover" is a great example, especially compared to the studio versions of, say, "Never Going Back Again" or "Landslide," which are largely acoustic guitar-based aside from the vocals. It's not necessarily the speed of Lindsey's playing, or even the layering of his vocals (which admittedly isn't my favorite effect), but something else in the acoustics. To my ear, "Twisted" is the closest they've come to that older sound. Maybe someone with a little better handle on music production can clarify what they're hearing?

I definitely agree about the missing warmth in Fleetwood Mac's/Lindsey's 21st century music. Actually, Richard Dashut commented on how even Stevie's latest album lacked that warm sound. In any event, I don't blame the modern coldness on Lindsey's skills as a musician, but instead on his skills as a producer. This is why I've wished for the return of Richard Dashut & Ken Caillat into any future Mac recordings. I think a hugely essential part of the FM magic sound was lost when the band parted ways with those two.

That being said, there are exceptions where I think Lindsey has really exceeded as a producer. The cold metallic sheen he implements on songs such as Bel Air Rain and Rock Away Blind is what makes those songs utterly sparkle out of speakers. Any sort of warmth in the production of those songs would have blunted that effect. Lindsey can also pull off warmth in production when he wants to. Songs like Down On Rodeo and Destiny Rules are beautiful examples.

[chiliD]

Originally Posted by cascade13

Part of what brings me back to the White Album and Rumours is their warmth, for lack of a better word.

And, those two albums were recorded on ANALOG TAPE...not a digital computer hard drive. And, using a tube (or "valve" for the Brits) powered mixing board.

Not too many recording studios still using tape. So, maybe they should use Dave Grohl's studio to record their next album (since he's got the old Neve mixing board that was at Sound City).

[SteveMacD]

Originally Posted by chiliD

And, those two albums were recorded on ANALOG TAPE...not a digital computer hard drive. And, using a tube (or "valve" for the Brits) powered mixing board.

Not too many recording studios still using tape. So, maybe they should use Dave Grohl's studio to record their next album (since he's got the old Neve mixing board that was at Sound City).

Were the Sound City boards tube? I only ask because the studio I record in has the old Electrodyne console from Sigma studio in Philadelphia, and it's solid state.

[BlueDenimLamp]

Some info on "Sound City" and the Neve 8078 console "Sound City"

[elle]

Originally Posted by louielouie2000

What I really wouldn't want to hear from him is more middle of the road gutless dreck like his EP and recent soundtrack contributions. Say what you will about Lindsey's fast-acoustic songs, but they have artistic teeth to them.

Trouble and Italian Summer are middle of the road poppy adult contemporary gutless dreck. song like Sad Angel from *his* EP is light years better song than these; it doesn't even compare.

[pauls90]

Originally Posted by louielouie2000

In any event, I don't blame the modern coldness on Lindsey's skills as a musician, but instead on his skills as a producer.

I think you're onto something here.

The right producer might be able to put what Fleetwood Mac actually is (and was) into perspective a bit more than what the 5 might be able to do on their own. Years and years of drama, solo albums, hiatuses, and egos might still be a fog they will have to maneuver through. Now who that would be I don't know. I honestly think Rick Rubin would be the best choice in helping them really deliver something amazing but also keep them going in a good direction without letting certain members overly indulge.

[elle]

Originally Posted by louielouie2000

I definitely agree about the missing warmth in Fleetwood Mac's/Lindsey's 21st century music. Actually, Richard Dashut commented on how even Stevie's latest album lacked that warm sound. In any event, I don't blame the modern coldness on Lindsey's skills as a musician, but instead on his skills as a producer. This is why I've wished for the return of Richard Dashut & Ken Caillat into any future Mac recordings. I think a hugely essential part of the FM magic sound was lost when the band parted ways with those two.

That being said, there are exceptions where I think Lindsey has really exceeded as a producer. The cold metallic sheen he implements on songs such as Bel Air Rain and Rock Away Blind is what makes those songs utterly sparkle out of speakers. Any sort of warmth in the production of those songs would have blunted that effect. Lindsey can also pull off warmth in production when he wants to. Songs like Down On Rodeo and Destiny Rules are beautiful examples.

some interesting points! also something to remember - "warm" Down on Rodeo came from the same GOS production sessions as "cold" Red Rover. Come came from the same sessions too.

Lindsey is just very versatile and not easily pinned down to style, seems to like and is interested in many different musical styles, and can go in any of the several very different musical directions. when i first started listening to his music, being pulled in by perfect warm melodic pop of Second Hand News, these many different musical directions was something completely frustrating to me. how can the same guy write Rodeo, Steal Your Heart Away, Bleed to Love Her, Red Rover, Gift of Screws, Time Precious Time, Tusk, Go Your Own Way, Trouble, Second Hand News, and Say Goodbye? some of those songs i absolutely adore, while others i absolutely despise. and they definitely don't nearly fit in the same musical genre.

[welcomechris]

like rumours

[elle]

Originally Posted by cascade13

Would I be splitting hairs too much by talking about the "sound" of songs versus their artistic integrity? Part of what brings me back to the White Album and Rumours is their warmth, for lack of a better word. On the albums since then, Lindsey seems to aim for a more detached, sterile feel. "Red Rover" is a great example, especially compared to the studio versions of, say, "Never Going Back Again" or "Landslide," which are largely acoustic guitar-based aside from the vocals. It's not necessarily the speed of Lindsey's playing, or even the layering of his vocals (which admittedly isn't my favorite effect), but something else in the acoustics. To my ear, "Twisted" is the closest they've come to that older sound. Maybe someone with a little better handle on music production can clarify what they're hearing?

see, too my ears White Album and Rumours have a completely different sound and production. White Album is cold, disconnected collection of some good and some exceptional songs sounding completely boring when put together. warmth you are talking about and that you hear in soundtrack version of Twisted is similar to Dashut-Caillat-Buckingham warmth of Rumours. Thrown Down from SYW has that similar sound, and that may be why so many fans of Rumours sound seem to latch onto it so much.

this difference in sound and warmth actually makes sense, considering the producer of White Album is Keith Olsen.

like you, i'm just describing what i'm hearing and feeling when hearing it and would love to hear opinions of people with at least some handle on music production.