Mick and Stevie RULE!!!

[face of glass]

Originally posted by dissention
I find a lot of his tortured artist/naive about the business talk to be quite comical, myself.

In the double album issue I think he was being naive, talking about “eating the cost” and intently pushing for its release. Not to mention releasing material that’s of such divergence that it will often divide most people.

In short, the content of SYW doesn’t matter for a lot of people who have been to see FM this tour; they don’t even care if there’s new material out or not. But when the tours are gone, along with ‘em bootlegs, the studio albums will stay. And that’s what Lindsey is aware of.

If he really isn’t interested in the ticket prices issue then to me that speaks more of the age-old fact that Lindsey Buckingham isn’t interested in tours and is more concerned about the studio work.

He is quite the ridiculous, over-the-top, drama queen, bull**** artist...but he's a musical genius nonetheless. And I don't buy much of anything that he says.

I don’t buy everything either but I still think he has a long way to go to SN’s level; after all then he’d discuss THE relationship in more detail and give us better hints of what his songs are about.

[strandinthewind]

Originally posted by face of glass
. . . I don’t buy everything either but I still think he has a long way to go to SN’s level; after all then he’d discuss THE relationship in more detail and give us better hints of what his songs are about.

He is worse - his fave flushes and he acted like a school boy called out by his crush

Long live LB

[face of glass]

Oldies but goldies:

Originally posted by Johnny Stew
But whatever she says and does, she'll never be able to catch a break from some people.

I think that at this point in her career she shouldn’t be allowed a break musically. I (who am nothing but a harmless mosquito circling around her hair) will leave her alone when she sticks with Lindsey only because I know that Lindsey won’t let her get away too easy.

Originally posted by strandinthewind
He is worse - his fave flushes and he acted like a school boy called out by his crush

Hey, I’d say they’re both about equal in the whole game now, what with Lindsey speaking of the inspiration behind “Say Goodbye” and going along with it on stage. In the past the man was somewhat bothered by it though (except for “The Chain” bit on stage, and that was probably supposed to be symbolic). Not letting the three-part harmonies (or SN) to be put on to any of his songs after 1977 (except for The Dance and SYW) is probably the best example of the man wanting to shake off the Rumours package.

In the end I think he’s fine now; he gets to release a record with little compromises on a large label that doesn’t know how to market the material but puts it out anyway because it’s FM; the album is a good excuse for touring and then he gets to play the rock god, gets a lot of cash and can always tell those who accuse him of selling out to listen to the songs on the album. So I do think he’s having his cake and eating it too.

Long live this thread.

[wondergirl9847]

I see Lindsey as someone who wants to put out his own version of "pushing the envelope". What I mean is, I don't think he wants to go total psycho on the music industry and put out some freakazoid album for the sake of being a freak. He makes POP/ROCK music and he knows that. The fact he made Red Rover, Murrow and Come show that he can mix the freak inside him with the commerciality of Fleetwood Mac.

Is there some sort of definition of experimentation? I don't think there is. It's whatever is in that crazy brain of his...and that goes for every musician.

I just don't get why everyone wants to put him in a certain box.

[dissention]

Originally posted by trackaghost
It's just I get slightly annoyed with hearing people say "oh Stevie only wants to do commercial music". Well, Lindsey does too!

I think the doc showed that Stevie is just a tad more concerned about making her music more commercial than Lindsey, I don't think anyone can deny that with her saying "I pray to the commercial gods!"

If someone can explain to me how Murrow, Come, and Red Rover are commercial, I'll be happy to listen. Of course they all want commercial appeal, but I think Stevie has the distinction of wanting her music to appeal to the most people, therefore making it more commercialized. All it takes is a simple listen to her tracks next to Lindsey's. No, no one else makes such great songs as Stevie's these days, but they are more commercial than all of Lindsey's stuff combined. I applaud her for actually going through with Illume the way it is, though. That is the weirdest song she's EVER recorded and isn't the least bit commercial.

[face of glass]

Reiteration (from my part) to the very end:

Originally posted by trackaghost
Lindsey could have easily put out his album on an independent label made it as extreme as possible, and only sold them to hardcore fans. Kinda like Prince I suppose. But the fact is, despite the "I'm a real artist" posturing, Lindsey wants to sell lots of records too.

Lindsey knows that Fleetwood Mac are supposed to appeal to certain types of audience only (the nostalgic/the AOR listeners); not to the underground people and yet a lot of his tracks still have many qualities that are bound to the underground/indie traditions. Not all of them do but I think at least five tracks from SYW fit into that (although you could say that a couple of them are walking the tightrope between the two worlds).

I do think that Lindsey knows a lot of people at the concerts do not care if Fleetwood Mac have a new album out or not. The release of SYW doesn’t matter to them; they all come just to hear the old hits. Lindsey probably also had a hunch that SYW wouldn’t sell that much, no matter what it contained. So it wouldn’t really have mattered if it had sold the 300,000 copies or the approx. 900,000 that it has sold now. The band makes the most money from touring and most people only come there to listen to the old songs. I’m sure he’s accepted the situation a long time ago and has nothing against getting all the money and going along with the whole game that the alternative folk (possibly) view as polished, staged and insincere business deal.

So that’s why I don’t think there’s much compromise on SYW; there’s no need for that at this point in their career when it’s the tours that matter the most financially. So he doesn’t want to sell a lot of records, IMO. Or at least he doesn’t want to sell on the Rumours level because then he’d be forced to compromise. But he’ll never release an extreme experimental album because it doesn’t interest him.

He is on a large label and with Fleetwood Mac because he wants his material to reach out the biggest possible audience and because he loves working with Mick, John and Stevie. But LB is probably aware that his tracks will never appeal to an entire single type of audience only because of the overall diversity in sound.

So that’s why I don’t find anything drama queen-like or purely “real artist posturing” in his behaviour, or anything contradictory in it, for that matter. He isn’t about extremism or purism; he’s too eclectic for all that.

Sure he's experimental and has a certain amount of artistic integrity, but only within the confines of a commercial sound.

If by “commercial sound” you mean traditional song structures then I do agree. I don’t think he’s ever wanted to step out of those. And there are artists who work inside the same structures, are endorsed by the indie press and still aren’t labelled as commercial yet I think they should.

I don’t have any problems with calling something “commercial”. Commercial or accessible, it’s the same for me. But I do see how people think the former has a negative clang to it.

To me everything on Tusk is fairly commerical (hell the oddball title track Tusk was a number 2 hit here in the UK) apart from The Ledge.

While I do think that the success of “Tusk” in the UK was mainly because it was the first single from a long-awaited album, I do agree with you again. And I don’t think “The Ledge” is uncommercial at all. It’s a memorable song but it’s just recorded in a weird way.

Fleetwood Mac had been boxed, labelled and defined with Rumours so I think the “uncommercial” tag that Tusk has is mainly because of the arrangements and the recording methods. The songwriting didn’t change but the other changes were enough to scare a lot of people away for good.

Probably the least commercial stuff he's done is DW Suite and Play In The Rain, on Go Insane, the rest is very easy on the ear.

And I think these are easy on my ear at least; they don’t have the usual Buckingham song structures in them but they’re still accessible and memorable. They both sound like two or three traditional songs put together anyway.

I'm not saying he doesn't like to "push the envelope" or whatever his latest saying is these days, but come on admit it, he's pushing the envelope of a commerical sound.

I agree with that. BTW, I guess the “envelope-pusher” term originated from Stevie:

I am not what you'd call an envelope-pusher," Nicks says. "Lindsey is there to make sure our band isn't too safe. I'm there to make sure it isn't too nuts. It's all about that balance between us. - NY Daily News

I don’t really agree with Stevie’s comment anyway because I think Lindsey can make compromises on his own too.

Maybe it's because I've listened to much harder edged music throughout my life, but those songs to me (except Red Rover but then that's not exactly Amon Dull is it?) wouldn't sound out of place on Radio 2.

And it’s also surprising that Radio 2 (of BBC) isn’t playing them. Would that have something to do with the Fleetwood Mac package and the fact that those people wouldn’t necessarily appreciate “Steal Your Heart Away” or “Peacekeeper”?

But yes, once again those three are commercial and accessible. But the commerciality in those songs doesn’t scream out of every pore and it isn’t blatantly obvious. And I can say that for Stevie’s songs too.

Come is a nod to Zeppelin and Murrow is not half as radical as a lot of Talking Heads stuff.

IMO, “Come” is too harsh, violent, self-conscious, exaggerative and tongue-in-cheek (and yes, these all can be found inside the track) to be fit for Zeppelin or the core audience of that band or the classic rock format. I can imagine indie types getting kicks out of it though; if they could only learn to accept (and dig) long solos.

I’d also say that the Talking Heads and Lindsey are just about equally radical. Even the Heads’ most experimental album, Remain In Light, has traditional, memorable songs in it even though it all goes through the polyrhythms and Belew’s/Eno’s electronic treatments. The sound of that band went closer to the mainstream when Eno stopped producing them and that’s not surprising. Eno, after all, abandoned the pop song structures at the end of the ‘70s and chose a totally experimental path for his own projects. It was he who kicked the Talking Heads’ rear ends and that resulted in that innovative work released in between 1978-80. Much like Lindsey’s work within Fleetwood Mac (except that they didn’t really innovate and they never will).

And I don’t think that Amon Düül II, who you mentioned earlier, were overtly radical either. Even within their most experimental work I often hear clearly recognizable song structures. Tear the 20 minute opuses of Yeti and Tanz Der Lemminge into smaller pieces and you have mainly your usual pop/rock songs.

I just wanted to state that Lindsey's art is about making good commercial music for the masses.

My belief is that he hasn’t been trying to write to the biggest masses since Rumours and very possibly even Rumours wasn’t about that. ChiliD once stated that Rumours was pop experimentation that became mainstream and I agree with him.

What I was trying to say here is that I think the “corporate rockers”, those on the major labels, and the protesters of commerciality, those on the independent labels, are both selling out in their own way. Both have their audiences that usually expect the certain kind of music from the artists. The classic rock types want the things to stay the same as they were on that good old album 30 years ago, or they want the same with little differences. The indie types often expect some kind of experimentation from their favourite artists.

All of these artists, no matter what stance they support, are marketed through tried and well-proven channels; magazines, radio stations and programmes geared towards certain target groups. In that way no one will ever get to hear anything “uncomfortable” when everyone is trying to be totally happy inside their own boxes.

When one looks at Lindsey’s whole catalogue I don’t think it goes along with the whole labelizing game at all. Like I said, I think the values of the traditional, of the classic rock, of the pure, naive hippie emotions are involved. And the values of the post-modern, of punk and new wave, of the overt self-consciousness are in there too. Sometimes both sides are in almost equal balance, sometimes the other might take over for a while.

That’s why I think he’s a very difficult artist to sell. Warners simply don’t have a clue of what his solo work is about. The underground elitists will most likely just despise “Bleed To Love Her” and the soft-rock/classic rock/traditionalists would just hate “Murrow”.

But until he releases his 60 minute jazz-funk odyssey or that experimental feedback album with Kevin Shields, I won't be convinced that Lindsey wants to be anything but a commercial artist despite his protests.

I even think this is selling out in a way because there’s always a certain kind of audience that buys this stuff. Always the same channels are used for marketing etc. With Lindsey the channels that are used today don’t seem to fit; hence his lack of success.

Originally posted by wondergirl9847
I just don't get why everyone wants to put him in a certain box.

I hear you girl. “No one falls into a simple set of labels”. A comment from a liberal wuss perhaps but I think it fits his music perfectly. And I daresay he shouldn’t be put inside a box.

As of why I think Stevie is more commercial than Lindsey; I did try to explain that but what the hell; I’ll do it again.

Stevie Nicks’ solo albums have always been worked upon through the traditional music industry format for solo singers, both male and female. While that does not necessarily prevent experimentation and is not necessarily reflective of the quality of music it still shows that she hasn’t really questioned her working habits. Many times the results depend upon the people she chooses to surround herself with. It doesn’t matter what I think, I think it’s all too mainstream but that’s my problem.

For me it seems that people like Björk and PJ Harvey are achieving less mainstream-ish results when they refuse to follow the usual patterns (and I could say the same of Lindsey with Tusk) and the music seems to be more in their control but that would be pidgeonholing once again.

I think SN is a very smart woman in that she knows what’s selling and wants her solo albums to have some of that too. Or then she knows how to hook up with people who can do that for her. Either way, I do think she has a better business sense than LB.

The problem for me is when all her solo albums start to sound the same and it seems like she wants to work inside the same format all the time. Whether that is calculation; an attempt not to drive all the fan package and the recently found listeners away or a sound she truly prefers is not known.

But that’s why I think Lindsey is less commercial than Stevie at the moment even though he’s not hugely left-field. His arrangements don’t go with the whole “target group” thinking while Stevie’s solo albums are very likely approached from that viewpoint.

Of course it all comes down to what Johnny Stew said in another thread:

Originally posted by Johnny Stew
I've never said or believed that there's anything particularly innovative about the production of Stevie's albums, and some people definitely feel they're far too mainstream.
Perhaps they are... but, at the same time, Stevie possesses such a unique voice, both lyrically and literally, that the production (in my humble opinion) should always be secondary.

I do believe that her unique performance can transcend the whole production and I don’t think there’s anything commercial in her writing in the end, as there isn’t in Lindsey’s.

Once again, if you take the voice over the music then you see nothing wrong with Stevie’s albums and that’s how it should be. I can’t follow suit.

If this develops into another hard argument between me and Sharon then I should’ve once again seen that coming. I should just learn to let it go, right?

[teedee]

I think lindsey is most definatley interested in releasing that experimental solo cd. it s just that since the label wasnt interested in that solo project, he was trying to do it thru a double cd with the mac. doesnt the doc cover that, he wanted it for personal reasons too, to get more of his songs out. he knows that fm as a whole is the avenue for him to get those songs of his out there and heard, by fans going to the show or buying a fm cd. one could say lindsey is using the system, fm may be more commercial but he used it to get his solo material out there on cd, one way or another. i dont look at anyones music as commercial or not commercial when referring to sn or lb, yes stevie said it in the doc, for say you will. but lindsey also agreed to be a part of fm again knowing what they were all about. as for stevies solo career and her not being experimental on them, she never went solo with those intentions , it was just another avenue for her to get her songs out there, like she said 3 , 4 songs every couple of years is not alot, for a writer like her. as for lindseys come, rr, Murrow, compared to the rest of the syw cd, yeah they are not like say you will or silver girl, but they are also not like syha or pk or wtwct or miranda or btlh, . again athese songs were meant for his solo project, and to compare such songs like those to the rest of syw, sometimes it looks like they were just thrown on there to make him happy, and dont really fit with the rest of the cd. its purely a lindsey show when he does come live, his solo , which is incredible , is just that a solo performance. if he is so experimental why didnt he have any of these experimantal songs on out of the cradle.. and dont get me wrong i love that cd, its his best work ever. but i dont think its fair to fault one for wanting commercial success and the other for using the commercial avenue to get ones music out there. if lindsey really didnt care to lose the money on his solo project and only reach a small number of ppl , then he should of done that just like the movie maker that was living in his two bedroom apartment , but was happy doing what he was doing.

[face of glass]

Originally posted by teedee
I think lindsey is most definatley interested in releasing that experimental solo cd.

if he is so experimental why didnt he have any of these experimantal songs on out of the cradle..

That seems like a contradiction but nevermind. I don’t think Gift Of Screws is experimental, except only when viewed against the background he’s supposed to be coming from. There’s at least five songs on the album that do not deviate significantly from the common understanding of what Fleetwood Mac’s music is supposed to be like and I believe they also would have made the final version of the album.

If you think “Wrong”, “This Is The Time”, “Street Of Dreams” and “Surrender The Rain” do not have any experimental qualities in them then you simply have a different understanding of “experimental” than I do. Being experimental doesn’t necessarily mean that you have to put a crude distortion on every guitar part.

…sometimes it looks like they were just thrown on there to make him happy, and dont really fit with the rest of the cd.

They fit in with the diversity that he has always had in his solo music. A double album isn’t necessarily about the perfect track flow; it often represents a chance for the band to branch out.

I don’t fault Stevie and Lindsey for the modes they’ve chosen to work in. But I do think that in the current climate Lindsey doesn’t just fit in and I daresay he shouldn’t be made to fit in. The times and the attitudes will change anyway.

[wondergirl9847]

The underground elitists will most likely just despise “Bleed To Love Her” and the soft-rock/classic rock/traditionalists would just hate “Murrow”.

That is one of the reasons I love Lindsey so much! I don't listen to ONE type of music and I believe that music lovers (not the masses who do stick with one type their whole lives) everywhere are that way. I love the craziness of Red Rover, but I love the traditional sounding SYHA as well.

I'm a dial flipper. I can go from my classic rock station to the country stations, to Top 40, to classical to jazz to friggin Radio Disney.

I don't wanna be pigeonholed or stereotyped and I don't want Lindsey to be either.

"You're not like other people,
you do what you want to." - Stevie Nicks

[teedee]

Originally posted by face of glass
That seems like a contradiction but nevermind. I don’t think Gift Of Screws is experimental, except only when viewed against the background he’s supposed to be coming from. There’s at least five songs on the album that do not deviate significantly from the common understanding of what Fleetwood Mac’s music is supposed to be like and I believe they also would have made the final version of the album.

If you think “Wrong”, “This Is The Time”, “Street Of Dreams” and “Surrender The Rain” do not have any experimental qualities in them then you simply have a different understanding of “experimental” than I do. Being experimental doesn’t necessarily mean that you have to put a crude distortion on every guitar part.



They fit in with the diversity that he has always had in his solo music. A double album isn’t necessarily about the perfect track flow; it often represents a chance for the band to branch out.

I don’t fault Stevie and Lindsey for the modes they’ve chosen to work in. But I do think that in the current climate Lindsey doesn’t just fit in and I daresay he shouldn’t be made to fit in. The times and the attitudes will change anyway.

didnt mean to sound like a contradiction, sometimes i think lidsey contradicts himself. he faults fm sometimes for playing it safe, all the while he talks about his solo work being experimental and not following the usual songwriters formual. them he doesnt release his solo with this typ of music but puts it on a fm cd. no i dont think his music on ootc was experimental, and i know it doesnt have to have that distortion sound to mean its experimental, at least not in my book, but lets not forget everyone quotes rr or murrow or come as the experimental songs, because they are the rougher sound or what ever. then when stevie does a song that doesnt have a loud distortion in it , its oh well she is playing it safe again. personally ootc is his best solo work, and i do love the tracks on s y w, i get them, but when the average listener hears the whole cd, you always hear well i liked stevies songs but some of lindseys are a bit hard to listen to. i dont mean that she is better or he is worse, just that if he isnt looking for commercial success, then he should be very happy with the way his solo career is going and stop trying to make people get something , that they may not want to get,,if music doesnt touch you , you cant make it touch you by tryng to explain it or pick it apart, that doesnt work. its sad in a way cause he is a music genious, in the same respect i think fm is very lucky and they know it to have him part of the group again esp as producer and arranger and guitarist.

[teedee]

Originally posted by CarneVaca
[B]Lindsey mentioned that apparently he found out about Mick's change of heart through some indirect channel. Or did I misunderstand that? This was during the footage with Lindsey in the car. I'll have to review it, but it seemed that something less-than-straightforward happened there.


[b]

Admit it, even you must have gotten a giggle or two from her rather naive 10-27-year-old-buyer comment. It was goofy and charming all at once. I mean, come on Stevie, teenagers aren't going to rush out and buy FM's new album. The Dance was different because a lot of kids had heard those songs in their parents' record collections and they were therefore pre-disposed to like the stuff. Frankly, I don't know too many 10-year-olds who rush to the stores for any albums.

Even from a business perspective, 30- and 40-somethings are the ones who would buy the album, and this group being more value-savvy than teenagers, would have loved to get a double disc. Besides, as it later became clear, the second disc would have cost pennies per copy to put out. It really was a non-issue and I'm still a little baffled as to why ultimately the idea was scrapped. It seems that fear, more than reality, drove this decision. I also was curious about Lindsey's comment that Stevie might drop out after doing 40 dates on the tour and it would therefore not be cost effective. Puzzling words, which seemed somewhat out of context. Had she threatened to do that?

[b]

I agree with this, and I don't think anyone was arguing otherwise. At least, not I.



Well, they went with Needham because Stevie didn't like Chris' mixes. Lindsey seemed to instinctively know who would do the mixes that would best serve the songs. And he was afraid Chris would do an assembly-line approach that Lindsey simply didn't want, and rightly. Here is another example in which Stevie was pushing for commercial and Lindsey was pushing for what would best serve the songs.

Stevies comment about who buys records was true, meaning todays music is guided towards the teeny boppers , and she meant those kids arent going to be interested in FM. then she stated older ppl have morgages and troubled kids, buyin records isnt their first priority. we know that older ppl buy records too, but she was making a point that maybe you failed to get. if this were lindsey saying this you would all be pattin him on the back for caring, but not stevie. everyone loved when lindsey stated i dont care if i have to eat the money, or if we only sell 300, 000 copies, fine if it were a solo project, but its kinda crazy to ask fm to feel the same way, but in the end what did lindsey say, i have to pay for my new house and raise a family, hey lindsey , you should be able to pay cash for that house even before syw went on tour.

[Cammie]

Thanks a LOT... for the Great Debates about
Who Rules in The Studio!!! Commercial "gods"
or Just Good Music!Your sorta' wrong in the last
paragraph explaining Lindsey! He said it was...
His Own Solo Songs,not the FMac cd,that would
ONLY SELL 300,000 copies! But Mick and Carl S.
expected to $urely SELL Millions of Units of Their
Single cd of 18 Tunes!So They RULED!!!Bye,Sky

{teedee...They should not be hurting for money!
Unless music doesn't make the millions we think!}

[face of glass]

Originally posted by teedee
sometimes i think lidsey contradicts himself. he faults fm sometimes for playing it safe, all the while he talks about his solo work being experimental and not following the usual songwriters formual. them he doesnt release his solo with this typ of music but puts it on a fm cd.

For all I know the only critique for playing it safe has been directed at Mirage (which I don’t entirely agree with), Behind The Mask and Time (which have almost zero Lindsey involvement). And I think that the last two are the closest the post-Welch FM have got to playing it safe; making the sound almost thoroughly smooth on the ears. I don’t think he has any complaints of the music on FM albums he’s appeared on as a significant contributor (sans Mirage).

I also don’t think he’s making the songwriting his biggest focus. The studio, along with his guitar, is his main instrument; it’s the arrangements/production that are the best way for him to express himself.

no i dont think his music on ootc was experimental

I think there is the sense of experimental, of unusual, on OOTC, a bit less than on his other solo albums maybe but I think that was because he had left FM at that point and wanted to reach out into the areas that Stevie and Chris had covered earlier. But the unusual is there, in the harmonies of “Don’t Look Down”, in the quirky, chaotic splatter of “Wrong”, in the forced violence of “This Is The Time”, in the self-centred depression of “Street Of Dreams” and in the symphonic washes of “Surrender The Rain”. Not to mention his riffage almost throughout the album.

The things may not jump at you like they do on SYW but that’s most likely because OOTC was aiming for a homogenous sound and SYW is not. Rumours, Tusk and TITN also aimed for that sound too. But even then, no matter how smooth some of the things might sound to people, there’s always the sense of unusual, of something being out of touch, of something that just isn’t willing to fit in to the commonly accepted framework. That factor comes from Lindsey Buckingham and it’s the thing that for me made the whole Rumours line-up stand out from the AOR muck.

lets not forget everyone quotes rr or murrow or come as the experimental songs, because they are the rougher sound or what ever. then when stevie does a song that doesnt have a loud distortion in it , its oh well she is playing it safe again.

It’s not about distortion. It’s about unusualness. Something that truly makes the song stand out from its comrades.

As Lindsey states in that 1981 article posted in the forum:

I hate turning on the radio and being able to guess what an entire song is going to sound like in the first five seconds. I don’t mean there aren’t good songs on the radio-there are-but don’t you get tired of hearing that same approach over and over again?

That’s what I think is LB’s biggest strength; he may repeat some of the things but he always assembles them together so that the feel and the construction are different.

Stevie doesn’t do that. Teedee, I personally think that she has had about two or three moods up her sleeve for her entire career and I think that is because she hasn’t got the skills, the will and the need to change things. She just wants it to have the contemporary production and everything else stays the same. “I don’t change baby, you don’t change, it’s all the same, Rhiannon”.

Subtlety is her biggest pull but that subtlety can be something that only the fans can hear. It’s something I can’t always hear anyway. That’s why there’s the danger of everything sounding the same and then it might come off as calculated.

I can think of only very few Lindsey Buckingham songs that people could feel completely neutral to. I think he wants to generate a reaction of some kind in people. Love it or hate it but you can’t ignore it. And I can say that of Stevie too but once again, disregard the voice and the music can approach the level of total neutrality.

i get them, but when the average listener hears the whole cd, you always hear well i liked stevies songs but some of lindseys are a bit hard to listen to.

Are you speaking about the “average FM listener”? The “soft-rock crowd”?

I wouldn’t speak of the listeners of alternative music as “average” but there’s still millions of us all over the planet and for them Lindsey’s songs wouldn’t be hard to listen to.

…trying to make people get something , that they may not want to get…

Are you trying to say that he should compromise? Work in a certain mode only? I wouldn’t endorse that.

I don’t think he’s on a mission of sorts; I don’t think he’s trying to combine different target groups intentionally.

There might have been discussions he’s been having with record executives; he might have been told to tone down his quirks or to decide which audience he should try to bow down to. If there were those then it appears to me that he can be very stubborn with his music. If there weren’t any discussions then he’s just simply being naive when he wants to release all this widespread material. And I daresay it’s the right kind of naivety, especially when he doesn’t have to sell records any more.

… if music doesnt touch you , you cant make it touch you by tryng to explain it or pick it apart, that doesnt work.

But you can separate the analysis from the enjoyment of music itself. For instance, if at the Ledge everyone was constantly trying to write from a purely emotional point of view then the posts would be close to uninformative if people I know nothing about were to write such stuff. Use some common sense here people

I’m not trying to make Stevie’s music appealing to me by analysing it. It wouldn’t work. But you can always discuss your feelings regarding the music and why it feels lacklustre in parts. I don’t think anyone here is, in the end, speaking from the brain. We’re all speaking from the heart, even though we may wrap it up in fancy talk.

Lindsey Buckingham hits a larger palette on the scale of human emotions for me than Stevie Nicks. Even in his most experimental moments he never loses my feelings. Stevie has a smaller palette but she has more shades.

That’s why I don’t think Lindsey should compromise in the way his music sounds. It just would limit his personal expression a lot.

[teedee]

Originally posted by Cammie
Thanks a LOT... for the Great Debates about
Who Rules in The Studio!!! Commercial "gods"
or Just Good Music!Your sorta' wrong in the last
paragraph explaining Lindsey! He said it was...
His Own Solo Songs,not the FMac cd,that would
ONLY SELL 300,000 copies! But Mick and Carl S.
expected to $urely SELL Millions of Units of Their
Single cd of 18 Tunes!So They RULED!!!Bye,Sky

{teedee...They should not be hurting for money!
Unless music doesn't make the millions we think!}

no he was commeneting on being happy if the double cd only sold 300,000 . if it was about his solo cd, the band wouldnt of had an issue with it. and there wouldnt have been the big debate about the double cd. go back and watch it.

[teedee]

[i]Originally posted by face of expression a lot. [/B]

its not about distortion, i know that,
i dont think OOTC is or has an experimental sound. its a shame that cd didnt reach a larger audience.



i do not think of fm as an alternative band.....


the people who bought syw, maybe newer fans, was who i was referring to mostly , but there have been some older fans that mad e the same comments on lbs songs as well.



as for music and feelings. if you like a song, it needs no explaination. i was not talking about a song expressing emotions,ex its about love, i was talking about if you personally like a song, it moves you in some way , doesnt matter what the subject is.


as for you r other comments about lb and sn's palette, thats a personal opinion. as far as im concerned, i dont think there will ever be another songwriter like stevie, nor another guitarist like lindsey,