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  #76  
Old 03-17-2017, 11:17 PM
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It's like a dream come true, that so many are now seeing her in her true light. A completely self absorbed narcissist.

This ain't the Ledge of 10 years ago. Thank god!!!
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  #77  
Old 03-17-2017, 11:32 PM
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oh there is some SERIOUS airbrushing/photoshopping going on in that photo
yeah, John was airbrushing the original (see above).

and here's a really large version - https://pbs.twimg.com/media/C7FH4HvV4AIpI_-.jpg
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Last edited by elle : 03-17-2017 at 11:58 PM.
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  #78  
Old 03-18-2017, 10:54 AM
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I just bought the issue for 0.99. That seems a reasonable price for an issue to me.
Thank you for posting, i also picked up the digital copy from Google Play Newsstand for 99p
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  #79  
Old 03-18-2017, 12:49 PM
jbrownsjr jbrownsjr is offline
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yeah, John was airbrushing the original (see above).

and here's a really large version - https://pbs.twimg.com/media/C7FH4HvV4AIpI_-.jpg
maybe they left it raw on purpose... I think overall the photographer didn't do a very good job.
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  #80  
Old 03-18-2017, 04:16 PM
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interesting excerpt from Play On quoted in the article -

As Mick Fleetwood writes in his 2014 memoir, Play On: We worked on all of those songs as a group for a few weeks until they became fully realised. Each day the energy built and the excitement grew because it was like being in a boot camp where everyone was so focused that results happened quickly. Lindsey and Christine were two musicians who fell in with each other immediately; it was a departure for him, as hed been used to working only with a poet. Whereas a lot of what Lindsey did for Stevie was interpretation, building musical soundscapes for the stories she told so beautifully in her lyrics, Chriss songwriting came from the blues and got right to the point. Lindsey took that and ran.
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  #81  
Old 03-18-2017, 04:23 PM
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maybe they left it raw on purpose... I think overall the photographer didn't do a very good job.
It's a bit of a 'nothing smile' from Christine. Maybe she can't smile. She'd have been better off mirroring Lindsey'd nonplussed expression.
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  #82  
Old 03-18-2017, 04:25 PM
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so Christine let go of her green card when she retired back to the UK in the 90s. no wonder they re-recorded Sleeping around the corner! getting her papers in order is probably completely apt for her again right now!
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  #83  
Old 03-18-2017, 04:28 PM
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Thank you for posting, i also picked up the digital copy from Google Play Newsstand for 99p
yes, i was just able to, also. apple store was giving me trouble and as i don't have android phone anymore i didn't even consider that google play may still be available even without it but finally tried and it worked. so go google!
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  #84  
Old 03-19-2017, 01:29 PM
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interesting excerpt from Play On quoted in the article -

As Mick Fleetwood writes in his 2014 memoir, Play On: “We worked on all of those songs as a group for a few weeks until they became fully realised. Each day the energy built and the excitement grew because it was like being in a boot camp where everyone was so focused that results happened quickly. Lindsey and Christine were two musicians who fell in with each other immediately; it was a departure for him, as he’d been used to working only with a poet. Whereas a lot of what Lindsey did for Stevie was interpretation, building musical soundscapes for the stories she told so beautifully in her lyrics, Chris’s songwriting came from the blues and got right to the point. Lindsey took that and ran.”
This is so telling how their relationship is about great chemistry. Versus one of fake publicity and/or some soap opera story for kids carry on about. It's about the music. After all, they are musicians. Lindsey finally didn't have to deal with. "Here make this a song for me."
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Last edited by jbrownsjr : 03-19-2017 at 01:34 PM.
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  #85  
Old 03-19-2017, 03:24 PM
bombaysaffires bombaysaffires is offline
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This is so telling how their relationship is about great chemistry. Versus one of fake publicity and/or some soap opera story for kids carry on about. It's about the music. After all, they are musicians. Lindsey finally didn't have to deal with. "Here make this a song for me."
well that's not entirely accurate, is it? In fact, Stevie has developed a pretty strong sense of how she wants her songs to come out since she's moved into a solo career some 36 years ago. Her frustration these days comes from the fact that Lindsey still tends to think it's 1979 and that his interpretation of how her songs should go is better than hers. He hasn't been able to fully embrace listening to her vision for her songs. Granted she doesn't have the same technical skill or vocabulary to communicate her ideas but she knows what she wants ..... but within FM it's become a thing to not rock LB's boat about production.

If you noticed on SYW she didn't come in with really bare songwriting demos...i.e., just her and the piano and no idea how she wanted to make them into commercial records as in the past. She came in with full DEMOS with her idea for how she wanted them to sound. In fact if you watch the SYW doc when LB hears them he says to her something about "I like what he did with that, there's some stuff there I can just use" i.e. take what she created with whoever she arranges her demos with and basically take credit as producer on the album for having come up with every possible piece of how her songs were put together. That drives her nuts as well. He might polish things up but she doesn't ask him to be the ground-up producer of her rawest material anymore nor has she for some time. She brings solid ideas and he tweaks them. Which is what a producer is PAID to do. It's what Jimmy Iovine did for Tom's albums, or what George Martin did for the Beatles, etc. No one discounts those guys' abilities just because they collaborated. Yet when Stevie works with a producer she's an amateur.

Stevie and Lindsey have never found that spot where each can get the credit for what they brought to the table. She has given him credit as a producer from the get-go acknowledging his role back as far as the first couple FM albums. But for decades he didn't in interviews etc really acknowledge her talent as a writer.. and if so it was always this backhanded thing like "I was the one who would take Stevie's songs, whatever they were, and turn them into records". The "whatever they were" always said with a sort of dismissive smirkiness for which I did not like him for a long, long time. He's gotten better since the 2000s.

On the other hand I agree with you about the fake soap opera crap onstage.
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  #86  
Old 03-19-2017, 03:29 PM
jbrownsjr jbrownsjr is offline
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Originally Posted by bombaysaffires View Post
well that's not entirely accurate, is it? In fact, Stevie has developed a pretty strong sense of how she wants her songs to come out since she's moved into a solo career some 36 years ago. Her frustration these days comes from the fact that Lindsey still tends to think it's 1979 and that his interpretation of how her songs should go is better than hers. He hasn't been able to fully embrace listening to her vision for her songs. Granted she doesn't have the same technical skill or vocabulary to communicate her ideas but she knows what she wants ..... but within FM it's become a thing to not rock LB's boat about production.

If you noticed on SYW she didn't come in with really bare songwriting demos...i.e., just her and the piano and no idea how she wanted to make them into commercial records as in the past. She came in with full DEMOS with her idea for how she wanted them to sound. In fact if you watch the SYW doc when LB hears them he says to her something about "I like what he did with that, there's some stuff there I can just use" i.e. take what she created with whoever she arranges her demos with and basically take credit as producer on the album for having come up with every possible piece of how her songs were put together. That drives her nuts as well. He might polish things up but she doesn't ask him to be the ground-up producer of her rawest material anymore nor has she for some time. She brings solid ideas and he tweaks them. Which is what a producer is PAID to do. It's what Jimmy Iovine did for Tom's albums, or what George Martin did for the Beatles, etc. No one discounts those guys' abilities just because they collaborated. Yet when Stevie works with a producer she's an amateur.

Stevie and Lindsey have never found that spot where each can get the credit for what they brought to the table. She has given him credit as a producer from the get-go acknowledging his role back as far as the first couple FM albums. But for decades he didn't in interviews etc really acknowledge her talent as a writer.. and if so it was always this backhanded thing like "I was the one who would take Stevie's songs, whatever they were, and turn them into records". The "whatever they were" always said with a sort of dismissive smirkiness for which I did not like him for a long, long time. He's gotten better since the 2000s.

On the other hand I agree with you about the fake soap opera crap onstage.
I have to say, I was impressed with Illume, Running, Thrown Down. I do have to give her credit. She came in and played those tunes for him, Mick and John.
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  #87  
Old 03-19-2017, 04:43 PM
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If you noticed on SYW she didn't come in with really bare songwriting demos...i.e., just her and the piano and no idea how she wanted to make them into commercial records as in the past. She came in with full DEMOS with her idea for how she wanted them to sound.
But that leads to another issue.

The album initially started out as a Lindsey solo album, which meant he had the challenge of taking her songs and making them cohesive with his mostly finished songs. I mean, I feel bad for Stevie, but SYW would have sounded even more disjointed had Lindsey not made those changes.
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  #88  
Old 03-19-2017, 04:48 PM
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But that leads to another issue.

The album initially started out as a Lindsey solo album, which meant he had the challenge of taking her songs and making them cohesive with his mostly finished songs. I mean, I feel bad for Stevie, but SYW would have sounded even more disjointed had Lindsey not made those changes.
That's why I'm so excited about this project. They actually wrote together going back and forth. Lindsey let Christine take his material and do something with it. That's amazing for him. And then he admitted she came up with something better than what he would have come up with.

A true collaboration.
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  #89  
Old 03-19-2017, 06:06 PM
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so Christine let go of her green card when she retired back to the UK in the 90s. no wonder they re-recorded Sleeping around the corner! getting her papers in order is probably completely apt for her again right now!
Seriously, what odd lyrics from Lindsey.

Michele
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  #90  
Old 03-19-2017, 06:08 PM
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it was a departure for him, as hed been used to working only with a poet.
Beautiful description from Mick, working with a poet.

Michele
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