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  #61  
Old 01-19-2018, 12:24 AM
secondhandchain secondhandchain is offline
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Wow I'm kinda surprised how great this re issue is. Really shows their raw talent on the early takes. Crystal with Lindsey singing by himself on acoustic is so good. His vocals are probably the best I've ever heard on him. Love World Turning, some really great guitar work.
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Old 01-19-2018, 02:45 AM
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  #62  
Old 01-19-2018, 09:07 AM
On Ice On Ice is offline
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This is a great set, hearing the new band in all its pure glory is amazing. Loving the Sugar Daddy early version- Christine Perfexion! Nothing is as great as Stevie's 75-76 live performances- that beautiful precious instrument glad it's captured in clarity here. Lindsey's guitar really did shift the band in a new direction. Superb.
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  #63  
Old 01-19-2018, 09:51 AM
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OMG! Over my Head (early take) is sublime. It actaully SOUNDS like a Chris song. Funky piano! love love love!
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  #64  
Old 01-19-2018, 11:33 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by secondhandchain View Post
Chris's vocals on Sugar Daddy are AMAZING. I really love this version. Of her her early takes are great.
You can hear the keys so well!!
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  #65  
Old 01-19-2018, 11:35 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by deribish View Post
OMG! Over my Head (early take) is sublime. It actaully SOUNDS like a Chris song. Funky piano! love love love!
I know!! I love these early versions. I"m so impressed.
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  #66  
Old 01-19-2018, 11:35 AM
jbrownsjr jbrownsjr is offline
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I don't think so? What ~viable product~ is it on?
Are you pulling my leg??
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  #67  
Old 01-19-2018, 11:41 AM
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Originally Posted by jbrownsjr View Post
Are you pulling my leg??
Yes! As you posted this, I was deleting it, because I realized it wasn't funny.
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  #68  
Old 01-20-2018, 02:49 AM
secondhandchain secondhandchain is offline
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Chris' voice on the chorus of the early take of Over My Head is like honey.
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  #69  
Old 01-20-2018, 04:36 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by HomerMcvie View Post
Yes! As you posted this, I was deleting it, because I realized it wasn't funny.
It's a little bit funny... ~Elton John
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  #70  
Old 01-20-2018, 09:32 AM
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Reissue Review: Fleetwood Mac’s pivotal 1975 s/t LP remains a timeless classic

The Fleetwood Mac story is well known, but endlessly fascinating and one that’s increasingly difficult to picture happening today. Like the Pink Floyd and Syd Barrett story, Fleetwood Mac started in the ’60s as a psychedelic rock band led by a man who’s probably a musical genius and whose mental health and use of psychedelic drugs caused him to leave the band just a few years after they formed (in Fleetwood Mac’s case, said man is Peter Green). Then, like Pink Floyd, they continued on with other singers and found massive fame by the mid ’70s with a sound that hardly resembled their early era. (Also like Pink Floyd, Fleetwood Mac’s early era is still under-appreciated today.) The “classic” era of Fleetwood Mac that we know and love today hit its peak with 1977’s Rumours — the world’s most famous breakup album where all three of the songwriters’ exes are performers on the very songs that were written about them — but that era began in 1975 with Fleetwood Mac’s self-titled album (their second self-titled album and tenth album overall). Fleetwood Mac have been giving expanded reissues to the albums from that era over the past few years, and today comes a reissue of that 1975 self-titled LP, complete with early takes, live recordings, a DVD, rare and unseen photos, and in-depth liner notes.

Fleetwood Mac came about after Mick Fleetwood, John McVie, and Christine McVie were looking for a replacement for guitarist/vocalist Bob Welch, and they happened upon Lindsey Buckingham. Buckingham agreed on the terms that his girlfriend and musical partner Stevie Nicks join the band, and Fleetwood Mac would quickly prove that that was the best thing that ever happened to the band. Stevie Nicks wrote and sang lead on two songs on Fleetwood Mac, “Rhiannon” and “Landslide,” both of which remain two of the most iconic songs not just in Fleetwood Mac’s discography but in all of modern pop music. As someone who grew up in the ’90s, I’m admittedly a little tired of “Landslide” because of all the overplayed covers (like by The Smashing Pumpkins and the Dixie Chicks, who both had hits with the song), but “Rhiannon” still sounds like it could’ve come out yesterday. The endlessly-worshipped gypsy woman that Stevie Nicks became is all there on that one song. The mysterious woman protagonist in the lyrics, the haunting minor-key chord progression, Stevie’s soaring, unmistakable voice — all the elements that would define Stevie Nicks’ best songs for years to come are there. Not to mention Stevie, Christine, and Lindsey’s three-part harmonies in the chorus, the very harmonies that would become a trademark of the band’s sound.

That harmony style was one of the many things about Fleetwood Mac that separated them from their peers and influenced tons of hip modern bands, as fellow ’70s soft rock acts faded away and became dinosaurs. Fleetwood Mac came out during a watered-down period for rock music, and Fleetwood Mac were associated with a lot of those more forgettable bands at the time. Part of what really set them apart, though, were their (bi-regional) ’60s roots. When you think about organic pop harmonies, you think about The Beach Boys, The Beatles, The Mamas & the Papas, The Kinks, but Fleetwood Mac entered that conversation after those bands had either broken up or gone creatively stale. With this lineup of Fleetwood Mac, you had a rhythm section who had actually been in the band when they were a British psych band, and then you had Lindsey Buckingham and Stevie Nicks who never gave up on their 1960s California dreams. Lindsey famously was in a band who once opened for Jimi Hendrix and Janis Joplin, and his fiery guitar solos always had a hint of that West Coast acid rock, while Stevie tells stories at live shows to this day about how 1982’s “Gypsy” was partially about being enamored with the vivid hippie imagery of singers like Janis and Grace Slick. That, combined with a more personal songwriting style than most AOR bands had at the time, resulted in timeless songs like Fleetwood Mac‘s “Crystal,” “World Turning,” “Monday Morning,” and “I’m So Afraid.” There’s a little ’60s jangle, a little ’70s pop shine, and a whole lot of prescient insight into what sounds would hold up in the future.

Fleetwood Mac also has its more dated songs, like the rock n’ rollin’ “Blue Letter” and the piano pop of “Say You Love Me,” but even those moments succeed in a way that similar bands did not. Stevie, Christine, Lindsey, Mick and John had such strong chemistry from the get go, which helped make disparate songs like the radio-ready “Say You Love Me,” the haunting “Rhiannon,” and the cheery “Monday Morning” become essential parts of one cohesive whole. The album has no real fat from start to finish, and no matter how many times I’ve played it in full over the years, I never get tired of it. With this expanded reissue, the early takes give you a nice look into the recording process, and they often sound surprisingly close to the finished versions. But it’s really the live recordings that make this reissue worth picking up, even if you already have the album. Fleetwood Mac have been a fantastic live band for a long time (and still are), and these recordings remind you that they were already a tight-knit unit after only having this lineup for a year or so. Their live show has never been an exact replica of their albums, and here we’re treated to unique live gems like an intensified “Rhiannon” from 10/25/75 and a jammed out, eight-minute “World Turning” from 10/17/75. Also included are recordings of this lineup playing some of the band’s older songs, including must-hear Lindsey Buckingham-sung versions of Peter Green-era classics “Oh Well” and “The Green Manalishi,” the latter of which the band apparently haven’t performed since the ’70s.



http://www.brooklynvegan.com/reissue...eless-classic/
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  #71  
Old 01-20-2018, 10:06 AM
WatchChain WatchChain is offline
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This is the proper deluxe reissue that The White Album has been waiting for. The reissued version in the 90's was a joke. In contrast, this reissue is FANTASTIC!

Some of the best songs in the entire Fleetwood Mac catalog are "Why" and "Spare Me A Little Of Your Love"--it is a treasure to have live versions of these gems with Stevie and Lindsey on harmony vocals.

"Get Like You Used To Be" is pure blues treasure and The Mac burn it up as a set list opener!
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  #72  
Old 01-20-2018, 11:56 AM
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I'm really satisfied with the deluxe edition, especially the 5.1 Surround DVD. It's great to hear all those "lost" vocals.

Mr. Sugar Daddy saying "Hello, Darling" had me cracking up. I'm glad to hear it now, but it's good they edited out that part for the final release.
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Last edited by SpyNote : 01-20-2018 at 07:06 PM.
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  #73  
Old 01-20-2018, 07:12 PM
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Originally Posted by WatchChain View Post
This is the proper deluxe reissue that The White Album has been waiting for. The reissued version in the 90's was a joke. In contrast, this reissue is FANTASTIC!
I agree, they did a fantastic job. I wonder if there was some hold-up in getting all the extra material together. Maybe the 5.1 mix wasn't ready back then?

Someone on Facebook suggested they should have bundled Buckingham Nicks with this reissue. That actually makes a lot of sense, considering Fleetwood Mac would have never happened without Mick hearing tracks from that album. Buckingham Nicks would have finally been on the major label that they, Stevie in particular, always wanted. It just seems like yet another missed opportunity.
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Last edited by SpyNote : 01-20-2018 at 07:15 PM.
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  #74  
Old 01-20-2018, 07:25 PM
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I think this is the format we will see with Buckingham/Nicks. Maybe this will be the next release we get........
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  #75  
Old 01-20-2018, 08:58 PM
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aleuzzi aleuzzi is offline
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Okay, I forked over for the reissue (digital format) solely because I wanted to hear the early versions of the songs.

Surprisingly, I was NOT disappointed! These are not merely recordings minus overdubs but actual early takes, with scratch vocals and occasionally very different instrumental ideas. As usual, I think the final album reflects wise decisions but I have to say I am truly digging the early takes of “Over My Head” and “Sugar Daddy” in particular. On “Over My Head” we get this bright, bouncy piano riff—and for the first time I can see how Christine originally conceived it on her little honer piano. The piano part is similar to that which is used on “Heroes are Hard to Find.” I also love the variations in her voice here. It sounds like a live-in-studio take.

“Sugar Daddy”— wow! If anyone ever doubted Christine’s effectiveness as a keyboard player, they need to listen to her piano and organ work on this. Add to that her bluesy vocal in which, toward the very end of the song, her range hits lower notes than I’ve ever heard from her. The voice on this take is very much a similar, if more developed voice as the one she had on CHRISTINE PERFECT.

I like the electric piano jazz chords and frequent guitar fills on World Turning.

“Crystal” sounds so timeless in it’s barest state. Lovely.

I’ve heard all of the live stuff before except the version of Over My Head. So glad to get that material in digitally remastered form.
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