|
|
Thread Tools | Display Modes |
#121
|
|||
|
|||
Quote:
|
#122
|
||||
|
||||
Quote:
|
#123
|
|||
|
|||
You're mistaken at least when it comes to me.
I care not a whit about how sincere a public apology is (sincerity is for private matters). The content is the point. An apology from Stevie would go a long way with me. I would evaluate only its content, not its motivation. |
#124
|
|||
|
|||
Quote:
I'm indifferent towards Tom Petty and I basically dislike the production of all Stevie albums after Bella Donna. I liked Lindseys production work until TITN, where his production for FM stalled. What was inspiring on Tusk, turned fussy on TiTN and got annoying on SYW. Noone will know where Stevie would be without Lindsey, we also don't know where he would be without Stevie. I tend to think that both would have had some success, as talented, goodlooking and driven they both were. |
#125
|
|||
|
|||
With the possible exception of TISL imho Stevies solo work generally sucks production-wise (sorry).
|
#126
|
|||
|
|||
Quote:
Though Lindsey receives co-writing credit for his guitar work, the song that garnered the FM invite is Stevie's (plus she was the only writing when BN started, so they wouldn't have even had a record deal without her). Without them both, neither gets into Fleetwood Mac. They were each good enough to make it, but needed each other to make it as big as they did, and with as much staying power. Last edited by cbBen; 12-14-2018 at 03:53 PM.. |
#127
|
|||
|
|||
Quote:
Stevie's production is terrible on her albums. It's one of the main reasons I simply cannot listen to them. They're so BORING. Like the demo of Juliet on the re-released Tango is SO much better than the finished track on OSOTM. Just so dull and unlistenable! What bad choices. And while I consider myself #TeamLindsey and genuinely LOVE the production on Tango, I do agree with you on Say You Will. I wanted to love that album (I still want to love it) but I just don't. The production makes it a real snooze fest trying to get through it. I used to chalk it up to Christine being a huge missing piece that they couldn't really overcome in terms of chemistry... but I think if I'm truthful, it's too long, and the production just doesn't hold my attention. (There are a few tracks I love and I basically whittle it down to an EP when I listen to it). This is basically my first confession of being so critical of this album...sorry! Lastly, I agree with Stevie and LB both needing each other to achieve their successes. They both brought important aspects to the table in the '70s to launch the band to the big time, and we all know how their personal drama fueled the flames of success in the public eye. Without each other, who knows... maybe both would have been big separately? Maybe they would have hit it big as a duo and gotten married etc? Maybe neither, who knows... fun to speculate, impossible to know. |
#128
|
||||
|
||||
I don't think it's all terrible, just uninventive. It doesn't express any excitement about the potentialities of the recording studio. In Lindsey's astute metaphor, it's not dabs of color and texture on a canvas.
Consider something in Lindsey's catalogue that you'd never find on a Stevie Nicks solo album produced by Iovine or Hine or Shanks: Love from Here, Love from There on Law and Order. A lot of us think it's a throwaway—and maybe it is—but it's a quirky, inventive, creative throwaway. It's "purpose" as a track is not to highlight a lyric or a structure but to replicate in modern terms the brass and wind mix in traditional three-part jazz. Lindsey is super-creative here, thinking outside the box. He uses different guitars (one of them a Gretsch), effects (including a fuzz box) and settings (gain, overdrive, and all) to mimic the sounds of a trumpet (cornet), clarinet, and trombone. Not only does he duplicate the formal sound properties of each of those three instruments but he also writes an almost contrapuntal interplay of their melodic lines that simulates the arrangements of early jazz records, which obviously influenced him. Some of you guys probably consider the end result a wash and not worth all the "inventiveness." But I and I hope others think it's an exuberant use of the medium that dispenses with formulaic tropes in pop song recording. And maybe, as such, in its own little way, it pushes the art into a new direction. This sort of playfulness and creativity with orchestration is just not part of Stevie's presentation. She's a more straightforward, less ironic musician who wants one thing from her instrumentation: vocal support. If you stripped all the vocals from the tracks on her albums and on Lindsey's albums (or some Fleetwood Mac albums), you would have a pretty bland collection of instrumentals in the former case and a fascinating parade of sounds in the latter case. Lindsey likes to build instrumentals first, and then lay the song and lyric over like layers of paint. He wants the underlying track to have a personality of its own. Kate Bush does the same thing. (In my opinion, they've both been intermittently successful.) Then again, Stevie isn't really creating her instrumentals—the hired guys are, under the direction of the producer. Stevie's giving a thumbs up or a thumbs down, but she's not doing the painting. Imagine Stevie attempting to work with a synth or a workstation to use its full capabilities (not just plonking on the keys, which is what she is shown doing in some photos of her at a synth). It's hard to imagine because it would just never happen. The ONLY reason to strip the vocals off a Stevie Nicks solo track is to use the instrumental for karaoke (like Night of a Thousand Stevies). The instrumental would contain no intrinsic merit.
__________________
moviekinks.blogspot.com |
#129
|
||||
|
||||
Quote:
yes must have been Stevie's exceptional guitar work on Frozen Love that convinced Mick who needed a guitarist that Linds is it. your last sentence i agree with.
__________________
"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#130
|
|||
|
|||
Without Stevie there is no recording of "Frozen Love" for Mick to hear. It's fair to argue that one added more value to the partnership than the other. I'll I'm saying is remove either from the equation and there's no Mac invite.
|
#131
|
||||
|
||||
Quote:
LB always said he started writing music because Stevie wanted him to.
__________________
"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#132
|
||||
|
||||
Quote:
__________________
"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#133
|
||||
|
||||
Quote:
__________________
Joe |
#134
|
||||
|
||||
Quote:
Great post.
__________________
Joe |
#135
|
||||
|
||||
Quote:
Quote:
|
|
|
I Got News for You - Audio CD By Bekka Bramlett - VERY GOOD
$249.52
RITA COOLIDGE CD THINKIN' ABOUT YOU BEKKA BRAMLETT LETTING YOU GO WITH LOVE 1998
$12.00
The Zoo Shakin' the Cage CD Mick Fleetwood Bekka Bramlett Billy Thorpe
$10.79
It Won't Be Christmas Without You by Brooks & Dunn (CD, Oct-2002, Arista)
$5.21
Bekka (Bramlett) & Billy (Burnette) - Bekka & Billy - 1997 Almo Sounds - Used CD
$9.00