Do you think...

[Lindsey Jr.]

That Lindsey realises it that he loses himself during GYOW (live)?

I've just seen a performance of that song in Japan (1977) and while it's not as "heavy" as live in Boston, he still loses it...

[shackin'up]

That song is in his genes. i think he'll always love it because it's a song he simple can't perform lackluster.........

[Mari]

There's something interesting about this in Jenny Boyd (ex missus Fleetwood) book, 'Musicians in Tune'. She calls this 'The Peak Experience', a term which comes from psychologist Abraham Maslow, described as:
"a loss of self or of ego or sometimes as a transcendence of self. There is a fusion with the reality of eing observed, a oneness where there was a twoness, an integration of some sort of the self with the non-self. ther is universally reported a seeing of formely hidden truth, a revelation in the strict sens, a stripping away of veils, and almost allways the whole experience as bliss, ecstasy, rapture, exaltation." (pg 158)
In short, losing yourself

then there's a looong quote from Lindsey about reaching that peak in the studio:

'Lindsey Buckingham used the image of the painter and his canvas to describe his own sense of unity with the music he creates: "There's no real defining what [a peak experience] is. It becomes magical; it's very uplifting. It can happen while playing an instrument. The process of my writing is so tied in with working on a twenty-four-track or two twenty-four-track machines and overdubbing. It becomes a painter and his canvas. You go in with certain preconceptions in mind, bu when you have that intimate one-to-one with the canvas, you may impose a certain thing on it, but at a certain point it will start taking on a life of its own and speaking to you about what's needed. That kind of rapport on a one-to-one can provide very thrilling moments, euphoric moments.
When you lock into a track you're playing, it's sort of a unidimensional thing. You may lock into a certain emotional tone, a sort of resonance of some kind. Two tangents meeting is usually one of the points that produces creativity; two things that don't necessarily relate [begin] co-relating and forming soemthing else. That happens more tangibly in the studio, where you suddenly see that if you put this with that, you can visualize, almost see them as shapes, and that kind of thing can go on in multiples. It happens less on lyrics than it does with the form, the shape, and the color -the emotional tone of the music. The initial inspiration feels like it's coming through me. by the time I get it down, that is sometimes gone, but as things evolve, it happens [again]. It has to happen more than once in the process."'

The Full Canvas + Painter Quote, there you go!

right... um.. what were you talking about? I sort of remembered that there was something relevant in that book about this, but err.. well, it's a great book anyway, very interesting read.

[Lindsey Jr.]

Originally Posted by Mari

There's something interesting about this in Jenny Boyd (ex missus Fleetwood) book, 'Musicians in Tune'. She calls this 'The Peak Experience', a term which comes from psychologist Abraham Maslow, described as:
"a loss of self or of ego or sometimes as a transcendence of self. There is a fusion with the reality of eing observed, a oneness where there was a twoness, an integration of some sort of the self with the non-self. ther is universally reported a seeing of formely hidden truth, a revelation in the strict sens, a stripping away of veils, and almost allways the whole experience as bliss, ecstasy, rapture, exaltation." (pg 158)
In short, losing yourself

then there's a looong quote from Lindsey about reaching that peak in the studio:

'Lindsey Buckingham used the image of the painter and his canvas to describe his own sense of unity with the music he creates: "There's no real defining what [a peak experience] is. It becomes magical; it's very uplifting. It can happen while playing an instrument. The process of my writing is so tied in with working on a twenty-four-track or two twenty-four-track machines and overdubbing. It becomes a painter and his canvas. You go in with certain preconceptions in mind, bu when you have that intimate one-to-one with the canvas, you may impose a certain thing on it, but at a certain point it will start taking on a life of its own and speaking to you about what's needed. That kind of rapport on a one-to-one can provide very thrilling moments, euphoric moments.
When you lock into a track you're playing, it's sort of a unidimensional thing. You may lock into a certain emotional tone, a sort of resonance of some kind. Two tangents meeting is usually one of the points that produces creativity; two things that don't necessarily relate [begin] co-relating and forming soemthing else. That happens more tangibly in the studio, where you suddenly see that if you put this with that, you can visualize, almost see them as shapes, and that kind of thing can go on in multiples. It happens less on lyrics than it does with the form, the shape, and the color -the emotional tone of the music. The initial inspiration feels like it's coming through me. by the time I get it down, that is sometimes gone, but as things evolve, it happens [again]. It has to happen more than once in the process."'

The Full Canvas + Painter Quote, there you go!

right... um.. what were you talking about? I sort of remembered that there was something relevant in that book about this, but err.. well, it's a great book anyway, very interesting read.

Bedankt Mari Ik ben er zeker van dat dit nummer een speciale betekenis heeft en dat hij iets van zich afschud telkens hij het live brengt.


For English rearders : I'm sure that this song has a special meaning and that he shakes something of when he playes it live (srry if the last part is translated bad )

[Mari]

Do you think it still has a special meaning for him after having played it for ten thousand times? I wonder about that. I think it's become some kind of vehicle to go nuts, now, rather.

[Lindsey Jr.]

Originally Posted by Mari

Do you think it still has a special meaning for him after having played it for ten thousand times? I wonder about that. I think it's become some kind of vehicle to go nuts, now, rather.

Mhm... it's possible... if it has a special meaning, I totally understand him, for me it means also something, and believe me, I've heard it more than ten thousand times

[wondergirl9847]

I think GYOW is now just a go-nuts song. His quote during the OOTC shows "As long as nobody yells out GYOW too quick, we'll get along just fine." makes me think he's not super-thrilled. Of course, at that particular time in his life, he probably didn't really wanna do it anyways. It's not my fave live song and I wish he'd drop it. *DUCKS*

Hey, who threw the lamp?!



Now, ISA.....that's ALWAYS a powerhouse and he said that, along with Big Love, is his fave to do live. Wish he'd done it instead of Murrow, but it was interesting to hear that on Soundstage.

[skcin]

Originally Posted by wondergirl9847

It's not my fave live song and I wish he'd drop it. *DUCKS*

Hey, who threw the lamp?!

Funny how I wouldn't be upset if Stevie dropped Dreams, which I've heard 1000 times, but I don't want LB to drop GYOW, which I've also heard 1000 times.

I think it's the energy I get from GYOW - I literally jump up & down during the entire song at shows.

[wondergirl9847]

Paula, I think that's the concensus of 99.9% of FM fans. No way would he ever drop GYOW, just like Miss Stevie would never drop Dreams. Sigh...I'd kill to hear Tango or Can't Go Back.

[skcin]

Oh, I'll give you that. TITN would be amazing.

[Jyqm]

Originally Posted by wondergirl9847

Paula, I think that's the concensus of 99.9% of FM fans. No way would he ever drop GYOW, just like Miss Stevie would never drop Dreams.

The silly thing is that it doesn't have be simply a "play it or drop it" issue. If they knew how to mix up their setlists, they could occasionally bring in more obscure material while still playing "Dreams" or GYOW 5 nights out of 6. Or Lindsey could alternate playing GYOW and Tusk, which would open up an entire slot in the setlist to try out some more obscure stuff. Or Stevie could rotate out Dreams, Gypsy, and Sara with the same result.

[Lee]

I think he loses himself in the song on purpose. It's just the song itself is so emotional for him & so high energy. I feel the same way as Paula. I wouldn't want him to drop GYOW. I like seeing him go off on that song for some reason. And BTW, I don't think Stevie would ever drop Dreams b/c I read somewhere that it's her favorite song.

Lee

[Lindsey Jr.]

Originally Posted by Lee

I think he loses himself in the song on purpose. It's just the song itself is so emotional for him & so high energy. I feel the same way as Paula. I wouldn't want him to drop GYOW. I like seeing him go off on that song for some reason. And BTW, I don't think Stevie would ever drop Dreams b/c I read somewhere that it's her favorite song.

Lee

Well... you got the same opinion as me

[mylittledemon]

Originally Posted by Lindsey Jr.

That Lindsey realises it that he loses himself during GYOW (live)?

I've just seen a performance of that song in Japan (1977) and while it's not as "heavy" as live in Boston, he still loses it...

Of course he does...there is something about that song. When I used to play it live in the band(s) I was in, I did the same thing. Its a reaction from the crowd, and that guitar solo at the end gives me chills today when I play it.

[Lindsey Jr.]

Originally Posted by mylittledemon

Of course he does...there is something about that song. When I used to play it live in the band(s) I was in, I did the same thing. Its a reaction from the crowd, and that guitar solo at the end gives me chills today when I play it.

I understand

I like it when he loses it, all this energy, (maybe anger ?) that gets out...

Amazing...