The Ledge

Go Back   The Ledge > Main Forums > The Early Years
User Name
Password
Register FAQ Members List Calendar Mark Forums Read


Make the Ads Go Away! Click here.
Reply
 
Thread Tools Display Modes
  #1  
Old 08-01-2015, 10:29 AM
aleuzzi's Avatar
aleuzzi aleuzzi is offline
Addicted Ledgie
 
Join Date: May 2003
Posts: 3,926
Default Night Watch

I was blaring "Night Watch" from my car radio last night, listened to it three times in a row. While I have always loved the song, I think last night was the first time I truly experienced its full sonic textures--all those harmonies in the second half, the frenetic guitar figures weaving through the steady, eerie bottom supplied by bass/drums/piano, the seamless shifts from CSNY-ish acid folk to an unexpected tour of the underworld to a breathtaking drum and guitar-driven climax that flames, bursts like a shattered star and then dies away on a wave of African drums. It occurred to me that this is the first song in the Fleetwood Mac catalogue to exploit the full range of possibilities in a studio. No song before this demonstrates as much engineered sophistication or polish. One can see how the production helps shape the construction of the song. It's truly remarkable in this way. An unheralded classic.
Reply With Quote
.
  #2  
Old 08-10-2015, 02:41 PM
dino dino is offline
Addicted Ledgie
 
Join Date: Jan 2005
Posts: 629
Default

Quote:
Originally Posted by aleuzzi View Post
I was blaring "Night Watch" from my car radio last night, listened to it three times in a row. While I have always loved the song, I think last night was the first time I truly experienced its full sonic textures--all those harmonies in the second half, the frenetic guitar figures weaving through the steady, eerie bottom supplied by bass/drums/piano, the seamless shifts from CSNY-ish acid folk to an unexpected tour of the underworld to a breathtaking drum and guitar-driven climax that flames, bursts like a shattered star and then dies away on a wave of African drums. It occurred to me that this is the first song in the Fleetwood Mac catalogue to exploit the full range of possibilities in a studio. No song before this demonstrates as much engineered sophistication or polish. One can see how the production helps shape the construction of the song. It's truly remarkable in this way. An unheralded classic.
Good track! Don't forget Peter Green's mournful guitar part (the guitar with echo on).
Reply With Quote
Reply


Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

vB code is On
Smilies are On
[IMG] code is On
HTML code is On
Forum Jump

FLEETWOOD MAC personally signed 45 - CHRISTINE McVIE
$200.84
FLEETWOOD MAC personally signed 45 - CHRISTINE McVIE pictureFLEETWOOD MAC personally signed Greatest hits LP cover - CHRISTINE McVIE
$90.37
FLEETWOOD MAC personally signed Greatest hits LP cover - CHRISTINE McVIE pictureChristine McVie Poster Fleetwood Mac Old /Warner Brothers
$29.0
Christine McVie Poster Fleetwood Mac Old /Warner Brothers pictureFLEETWOOD MAC STEVIE NICKS MICK CHRISTINE MCVIE LINDSEY GRAMMY AWARD POSTER
$24.99
FLEETWOOD MAC STEVIE NICKS MICK CHRISTINE MCVIE LINDSEY GRAMMY AWARD POSTER picture1978 Press Photo Christine McVie Rock Singer Songwriter - RRV30495
$19.99
1978 Press Photo Christine McVie Rock Singer Songwriter - RRV30495 picture



All times are GMT -5. The time now is 02:34 PM.


Powered by vBulletin® Version 3.6.8
Copyright ©2000 - 2018, Jelsoft Enterprises Ltd.
© 1995-2003 Martin and Lisa Adelson, All Rights Reserved