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  #16  
Old 08-12-2002, 12:36 PM
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I'm NOT saying that the arrangement isn't important. And, yes, Lindsey's production style adds a significant amount to the songs. But, to give more value to the "production" than to the "song" is basically saying that without the "layering" the song itself is worth nothing.

That's what the Beatles fell into, as well. How were they going to play "Strawberry Fields Forever" live? They couldn't...or PERCEIVED that they couldn't (actually, I think they used that as a cop-out excuse to not tour anymore). I've heard other people play solo acoustic guitar versions of "SSF" and they sounded incredible!
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  #17  
Old 08-12-2002, 12:39 PM
BellaDonnaGypsy BellaDonnaGypsy is offline
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OK, I do agree that the song as a whole should be given its value.

But while it would be interesting, I honestly don't think such a stripped down approach is something that Lindsey would go for.

Laura.
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  #18  
Old 08-12-2002, 12:50 PM
CarneVaca CarneVaca is offline
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"No matter how many different styles he goes through, there's always going to be that signature Buckingham sound behind it, so even a radical departure is still going to sound Lindsey-ish.

Laura."

Thank God for that. We want the songs to still sound Lindsey-ish, but we're looking at taking a radical approach to the songs. So, yes, we would have to forgo the texture in the studio recordings. The production is essential with Lindsey's songs. Or is it? Again, I have to go back to Go Insane, Big Love, the acoustic version of Countdown, and Lindsey's take on Here Comes the Sun.

I have no doubt he could rework all these songs and make them sound great live.

Also, I am remiss for having left out "Shuffle Riff" (or whatever the real name of the song is) in my original post. Now there's a song that would sound absolutely killer in a trio setting. Essential blues with a kick-ass riff.
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  #19  
Old 08-12-2002, 12:58 PM
BellaDonnaGypsy BellaDonnaGypsy is offline
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Now that you mention those particular songs, I have to rethink this... the live versions of Big Love and Go Insane have always conveyed more emotion for me than the original studio versions... I think it's because the originals always sound over-produced to me. So that does lend weight to the theory that the production is not the be all and end all. Or does it? Whereas those songs do sound better stripped down, I don't think it's true that every single song of Lindsey's could have the same done to them and still come out with as good an effect. If you were seriously going to put on a live performance with just the three instruments, you would have to be extremely discriminating with the setlist, or you could find yourself detracting from the original beauty of the song.

Laura.
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  #20  
Old 08-12-2002, 01:06 PM
CarneVaca CarneVaca is offline
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"I don't think it's true that every single song of Lindsey's could have the same done to them and still come out with as good an effect."

Absolutely right, Laura. That's why in some cases I'm saying go all out on electric with a power trio of monster proportions. Think what Lindsey could do with that killer riff on Johnny Stew. Or maybe he could totally tone down Eyes of the World and do it as an acoustic song, with him picking the riff and John playing the chords. Or he could simply do Eyes of the World the same way he did it on the Mirage tour, though I'd lean a little more on power chords and less on the riff.

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  #21  
Old 08-12-2002, 01:24 PM
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Quote:
Originally posted by BellaDonnaGypsy
But while it would be interesting, I honestly don't think such a stripped down approach is something that Lindsey would go for.
I get the impression that he'd go for it in a big way -- or would have gone for it at one time.

There were tours way back when the band essentially was a power trio, just LB & Mick & John ripping it up. Christine's instrumental contribution is more about texture (particularly in the rhythm) than actual keyboard attention-getting. Take "I'm So Afraid," for example. I don't know why the power trio couldn't rumble through that song live without the keyboard part, which is just some chords on the B3. Doing that song with the three men wouldn't sound hugely different from the way it has always sounded ... maybe a little less full if the B3 isn't there, but still similar & certainly recognizable.
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  #22  
Old 08-12-2002, 05:39 PM
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Ahhh, yes, but Christine's subtle touches really were the "make or break" factor in quite a few of those tunes. "I'm So Afraid" being one of them. It's amazing how subliminal Christine's keyboards are on a lot of songs...I think that's what makes me appreciate her even more.
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  #23  
Old 08-12-2002, 07:04 PM
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Quote:
Originally posted by David

I get the impression that he'd go for it in a big way -- or would have gone for it at one time.
I was going to say the same thing. I think Lindsey would have or might still dig something just like that.

For Lindsey, it seems it's all in the challenge and the process of getting there. The Cradle tour was a great thing because he got to orchestrate all of his songs just the way he wanted to for the first time ever. It was a challenge to find the right personalities and work out all of the intricate parts one-by-one, and it worked beautifully.

The songs he did alone without the full backup were incredibly well done as well. That was the other part of the challenge and I think he enjoyed that immensely. It was that stripped down part of his performing talents that he carried back over to the Mac when he returned to the Dance (Big Love, Go Insane, and even Landslide because he handled the keyboard line as well that Christine used to play on previous tours). In all of the clippings where he discussed his work on GOS, he talked about stripping away adornments and letting just the guitar or just a very few instruments do the work of a whole track. Taking that into account leads me to believe that a stripped down approach and some radical rearrangements could be right up his alley.
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  #24  
Old 08-12-2002, 07:29 PM
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I'm not sure how many people have had the chance to hear the unplugged version of "Gypsy" that Lindsey and Stevie did for the first Arizona Heart Institute benefit, in 2000, but it was absolutely gorgeous.
In a live setting, I actually think the song stood out better this way, than it ever has with a full band.


(Wishful thinking: during the obligitory acoustic set on the upcoming tour, it'd be cool if they did "Gypsy" instead of "Landslide"... saving the latter for the closing number.)



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  #25  
Old 08-13-2002, 10:44 AM
CarneVaca CarneVaca is offline
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That version of Gypsy is indeed quite enjoyable. I only wish it were available in a higher-quality recording.

As for ChiliD's points about Chris' keyboards, you are quite right. It becomes almost subconscious because she does not solo. That is why the Don't Stop version in The Dance is so interesting, in addition to the brass band of course. Chris does a little blues solo thingy there, and it's very cool.
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  #26  
Old 08-13-2002, 12:24 PM
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Quote:
Originally posted by CarneVaca
As for ChiliD's points about Chris' keyboards, you are quite right. It becomes almost subconscious because she does not solo. That is why the Don't Stop version in The Dance is so interesting, in addition to the brass band of course. Chris does a little blues solo thingy there, and it's very cool.
"Little" is right.

She used to do longer & splashier solos on "Don't Stop" on the Tusk & Mirage tours, when the band would crank out a 12-bar & carry it home. Have you heard any of those? On some nights, she seemed kind of pooped & didn't do much but put texture to the rhythm but on other nights she laid on plenty of her trademark blues riffs (none of them technically demanding but all of them played at just the right points & with what I would, for want of a better word, call delicacy).

Her occasional "little" solos (as opposed to fills) were on almost all the blues shuffles -- "Get Like You Used to Be," "Don't Stop," "Stop Messin' Round," "Roll With Me Henry" -- as well as on "Tear It Up" & even a little organ solo on "Spare Me a Little."

As much as I enjoy her occasional soloing (& have learned all her licks), I am really much more fascinated by her rhythm patterns, particularly in the left hand. It's a style that hinges on the fact that she's left-handed -- no one else does quite what she does with her left hand. In general, the piano player who sounds most like her is (or was) Bob Hall; but Carole King's work on "Smackwater Jack" has the flavor of Christine's style, too, despite the fact that there couldn't have been any direct influence.

Where do you hear Christine's singular left-hand rhythm patterns the clearest? Grab any live version of "Angel" from the Tusk tour. It's essentially the same pattern as what she used on "Hold Me" & "Honey Hi" & "Got a Hold on Me" & others. I'm actually pretty good at it, but only after studying it for a long time.
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  #27  
Old 08-13-2002, 12:33 PM
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David,

Don't leave out the live version of "Bermuda Triangle" where she does the opening piano riffs...her left hand does almost a "JOHN McVie" bass line...which makes me wonder...


...did John's bass playing influence Christine's left hand playing or did Christine's left hand influence John's bass playing??


What little keyboard "chops" I have left, that opening piano part to the live version of "Bermuda Triangle" is just a blast to play.
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  #28  
Old 08-13-2002, 05:09 PM
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Heart The Mac Trio!!!!

Hi Musical Guru's!!!!
I hesitate to speak of this to you all but...
IMHO...I like all Male Trios or even... an all
GUY Band!!I LIKE the maleness! So...I really
think this is a super idea! It then reminds me
of John accompanying Lindsey on bass for
his famous tune...NGBA! I also admired the
boys Country Harmonies on... Cool Water!

If not The Mac...how about Nashville!!! Sky
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  #29  
Old 08-14-2002, 10:56 AM
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I makes me want to have been at those private corporate gigs in the early 90's when the lineup was only Mick, John, Billy & Rick.


Even a lineup NOW of Mick, John, Stevie, Lindsey & Rick would be killer, as long as Rick wasn't delegated to being an "add on"...as long as he got "equal time", that would be awesome!

Ooh...here'd be a hypothetical set, if that were the lineup (of course, they'd probably add on Brett Tuggle on keys, Lenny C on percussion, and Mindy & Sharon for bkgrnd vocals, too):

The Chain
Dreams
I'm So Afraid
Oh Well (Rick vocals)
You Make Loving Fun (Lindsey vocal)
Gypsy
Bleed To Love Her
(new Stevie song)
(new Lindsey song)
I Loved Another Woman (Mick, John, Rick only)
Landslide (Stevie & Lindsey only)
Big Love (Lindsey only)
Long Black Car (Mick, John, Rick + Brett only)
Gold Dust Woman (everybody on stage again)
(new Lindsey song)
(new Stevie song)
Love Is Dangerous (Rick's solo arrangement, but as a duet with Stevie)
Don't Let Me Down Again
Desiree
Not That Funny (with Mick's vest-urbation solo)
Rattlesnake Shake (Rick lead vocal)
Sisters Of The Moon
Tusk

(encores)
Go Your Own Way
Silver Springs

(final encore)
Storms (Lindsey & Rick on acoustic guitars, yet with full band)
Soul Drifter (Lindsey solo acoustic)
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  #30  
Old 08-14-2002, 12:27 PM
CarneVaca CarneVaca is offline
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Interesting, Chil. I know we're talking hypotheticals here, which is what makes this thread fun. But can you see Lindsey leaving the stage during the show? They'd have to drag him out by the collar. I don't see it.

David, I never paid much attention to the organ or piano parts. But now that you mention them, one of my favorite things about You Make Loving Fun is that cool-ass rhythm pattern she does on the keys. What is she using there? Of course I also enjoy Lindsey's licks on that tune.
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