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#151
10-25-2013, 02:59 PM
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I probably said this 100 times .I like to add what radio station will play their new music.
Radio did a great job on round filing Stevie's IYD CD and the tunes from the FM EP. How good is new music if they cant get to promote the new tunes for a new recording. Peace Keeper and SYW did great with airplay in 2003. The only station probably would play the FM new tunes are Classic Rock ,Rock, Light rock and River formatted stations. Look on the other hand and they just record the songs just for us hardcore fans and now I feel honored . Thank You Stevie ,Lindsey,Mick and John.
__________________
Skip R........  Stevie fan forever and ever amen.......the Wildheart at Edge of Seventeen and the Gypsy..... My sweet Buttons .I love you. RIP 2009 to 08/24/2016 
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#152
10-25-2013, 02:59 PM
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So, I think my post was actually on topic and should not be moved to the BN thread.
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#153
10-25-2013, 03:08 PM
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Also I love SWS and SFSM so I'm happy with his current work, regardless of his reason why. (Ok, this post maybe off topic, but I'm responding to a question so I think I should get a break here)
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#154
10-25-2013, 03:17 PM
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#155
10-25-2013, 04:57 PM
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I am a pretty big fan of Say You Will and hate it didn't sell as well. I do wish, however, that Christine had been a full part of it. If so, Say You Will would have exploded.
Not in order (although I should,) these are the songs that should've been on SYW, combined with works from In The Meantime: What's The World Coming To Friend Thrown Down Calumny Say You Will So Sincere Peacekeeper Steal Your Heart Away Bleed To Love Her Destiny Rules Silver Girl Sweet Revenge or Forgiveness I really enjoy "Running Through The Garden" and "Everybody Finds Out," but didn't have them as Stevie's selections because the latter wouldn't fit, and if I'm not mistaken, Stevie's not a big fan of the former. Of course, Christine's songs would have Lindsey's touch on them, so probably improving the guitar work, and adding the classic harmonies between the three. I also imagine that other songs would have come about, but since that's even more speculation, I won't go there. I don't know if this collection of 12 would be the perfect first studio album with the Rumours lineup since Tango In The Night, but it would've been a big seller.
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#156
10-29-2013, 01:23 AM
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And that being said, I would think that Lindsey would *crave* a new FM album, especially if it is about money and staying relevant. He's fully aware of the band's recognition, and an album (especially with Christine) would keep that going. But I would think it'd have to be soon...From listening to Christine's most recent performances (in Hawaii and London,) she may have been a bit rusty/her range is diminishing? She is my favorite, no doubt, and it makes me so happy the reunion happened, but it was something I observed through the videos.
But. Considering I love, love, love her blues vocals, I would be totally fine with that too.
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#157
10-29-2013, 01:59 AM
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 I think she sounds really good, considering her age and her vices, especially the smoking. Sure, her vocal range has indeed diminished, but whatever she still had still sounded wonderful and her playing is as sharp as ever. With writing, singing and playing, she'll be back into shape in no time. And I'm also inclined to think that with this news about John, they would really scramble to get at least one more album going (including Christine, perhaps especially her) once John's cancer goes into remission, plus settle any other unfinished businesses (of which they have many, I'm sure) they would have.
__________________
 "What a f**king stupid shirt you're wearing." - Christine McVie
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#158
10-29-2013, 08:27 PM
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full M Music and Musicians interview
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http://mmusicmag.com/m/2013/10/fleetwood-mac-2/ FLEETWOOD MAC These days the road has never been smoother for the Hall of Fame rockers Fleetwood Mac has been virtually synonymous with two things—classic songs and internal drama. Both aspects were epitomized on the group’s 1977 multiplatinum album Rumours, but only recently has their legendary volatility been stripped away. “If you go back to 2003, when we were coming off the making of Say You Will, there was still a bit of tension between Stevie and me,” says Lindsey Buckingham of his Fleetwood Mac foil, singer-songwriter Stevie Nicks. “That polarity worked onstage and made for an interesting show. By 2009 when we toured again that tension had sort of been neutralized. Now it’s swung completely the other way—we’re getting along great.” That camaraderie has been playing out to perfection on tour and in the studio. Prior to hitting the road, Buckingham, Nicks, Mick Fleetwood and John McVie (Christine McVie left the band in 1998) cut eight songs with producer Mitchell Froom. Four of those tunes—three by Buckingham, one by Nicks—were compiled onto an EP titled Extended Play. “I thought it would be great to cut some new stuff,” says Buckingham. “It was a great experience.” Meanwhile Fleetwood Mac’s shows are drawing more fans than at any time since the early 1980s. “I take that as evidence people not only have a renewed appreciation of what we’ve done,” says Buckingham, “but also that they’re fully accepting of the band in its present incarnation.” In a candid conversation, Buckingham delves into the band’s inner dynamic and the future of Fleetwood Mac. How did you write for the EP? The way I write for the band has cross-pollinated with how I write as a solo artist. With solo work you could make an analogy to painting, where you’re sitting one-on-one with a canvas. Writing for the band, especially in the old days, was more like moviemaking—you bring in a song the same way you have a script before you start rolling cameras. Over the years those two ways of working have entered the same arena for me. What defines a song as a Fleetwood Mac song isn’t so much the song as it is simply having John and Mick on it. They put a stamp on the song that’s quite individual and distinctive. And Stevie? Stevie writes lyrics and then puts them away. Later she’ll pull them out and begin trying to attach melodies. It’s a slightly less free-associative thing compared to the way I do it. What makes the whole thing work is that her process and her style don’t necessarily fit with mine. You could make that case about Fleetwood Mac. The members don’t necessarily belong together—but it’s the synergy of these things that makes it work. Why bring in an outside producer? I produced Say You Will, and it created a certain tension with Stevie. Her perception of that album was fairly negative, and she wasn’t happy with me when we got to the end of that process. I didn’t want to put myself in that position again. I wanted someone with the ability to mediate the situation. What’s touring like now? It’s great. We take these breaks, and everyone’s individual lives wind their way down the road, and when we come back together the equation is slightly different every time. When you’ve been doing this for a while, the perception from the audience shifts a bit. Both those things have changed for the better on this tour. It’s sort of a lovefest onstage now. Plus, in the past three years, the crowd’s appreciation of the body of work seems to have ramped up. And the audiences are skewing younger. What’s changed without Christine? The way things evolved when we got with Mitchell Froom wasn’t significantly different from when Christine was there. When Christine left, what it did for me, ironically, was allow me to be more of who I am, which is kinetic and connected to the physical and emotional side of what I’m doing onstage. When Christine left, suddenly we were dividing the material more or less down the middle. That gave me the impetus to explore things—guitar pieces and so forth. Having two writers has allowed me to grow a lot within the context of Fleetwood Mac. Any lessons learned over the years? There was a point at which the success of Rumours became not about the music, but about success itself. At that point you’re not only functioning in something like a tabloid world, you’re functioning in an area that has a danger of eating you up and encouraging you to lose the sense of who you are and why you’re doing what you’re doing. There’s an axiom in the business that more or less says, “If something works, run it into the ground and then move on.” But what we did in the post-Rumours environment was to make the Tusk album. That was my brainchild—I’ll take the credit or the blame. That album confounded everyone’s expectations, but it also represented a choice toward risk-taking, a choice to take the high road in terms of why you’re doing something. Is a full-length album expected soon? The way we do things in Fleetwood Mac is always a political minefield. If it’s not Stevie, it’s me—someone is always causing trouble. [laughs] I know Warner Brothers is dying to get an album from us, even though we’re not signed to them anymore. Stevie needs to come to the table with some material. She has one song on the EP, but it’s not a new song. In order to contemplate a new album, Stevie has to want to do it. We’ve talked about it in general terms and decided we would just go out on the road and do this. When this year is done, we’ll have to figure out our 2014. Does Stevie have reservations? It’s a little complicated for her. She’s coming off the project with Dave Stewart a couple of years ago. She had a wonderful experience making that album. She watched me take three years off to do Under the Skin and Gift of Screws, and she’s seen how that helped me grow. Plus, she doesn’t just toss songs off the way I do. She hasn’t said this—this is just me—but knowing Stevie, she’s probably thinking, “If I have to write five new songs, do I want to give them to Fleetwood Mac?” And that’s fair enough. I think she’s feeling a bit protective and territorial about the experience she had doing her solo project. And I can totally relate to that. But at some point we have to be a band and we have to make commitments. I think the key with Stevie is not to push her too much. She doesn’t want to feel she’s backed into a corner. Are you optimistic about the band? Absolutely. I don’t know how you could not be, when you look at the business we’re doing, the reception we’re getting, and how well we’re playing. There seems to be something afoot that’s quite remarkable this time around. It would be a shame not to play that out. There are a lot of things we could do next year—an album or more touring. This band has a great history. It’s worth dignifying. –Russell Hall
__________________
 "kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#159
10-29-2013, 10:24 PM
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"that they're now accepting of the present incarnation"...he pisses me off, every time he goes off on this.
__________________
Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran)
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#161
10-29-2013, 11:29 PM
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Lindsey is, to say the least, and interesting fellow. I would have preferred him and Stevie continue cranking out albums as the principal writers of Fleetwood Mac than going and doing solo albums. I feel like, while he knows FM is a cash cow, he has a pretty big ego, and feels the need to have full artistic control. And that's fair - as a musician, I've done that too. But I think it would've been more constructive if this interview had been done with Stevie, Mick, and John in the room.
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#162
10-30-2013, 02:01 AM
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She didn't say she had personally grown and got to be more feminine without him around though, so that's a difference between them. Michele
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#163
10-31-2013, 06:54 PM
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They should be working on remastering their catalogue before writing and recording a new album (and I mean the whole catalogue from 1970's Kiln House to 1990's Behind The Mask). I realise that 1969's Then Play On has already been done, and so has the early albums that Sony Music own now (the CBS albums).
Last edited by Andrew Smith; 10-31-2013 at 06:58 PM..
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#164
10-31-2013, 08:09 PM
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#165
10-31-2013, 08:13 PM
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 They didn't write songs together, but Stevie didn't write songs with anyone (as we've heard ad nauseum for the past several years). Chris does play on some of Stevie's demos, but I think in general, Stevie just tended to write her songs by herself or at home or whatever and then hand them off to the band later to work on the arrangement. I doubt Lindsey has anything to do with it at all. I don't see why he would, nor do I see that this is actually an issue with any true cause or explanation.
__________________
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