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  #46  
Old 12-21-2018, 09:02 PM
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sodascouts sodascouts is offline
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Quote:
Originally Posted by vivfox View Post
If you are asking, The City of Hope is (I think) the name of the cancer hospital where Robin and later Chris Nicks got help for their issues.
No - I was quoting the lyrics. I see now it would have been better to use quotation marks than italics for that, though, to avoid confusion.

At any rate, thank you for providing the information, because I'm sure there are probably posters who do not know this.

For anyone who wants to know more, you can visit the website here: CityofHope.org
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  #47  
Old 01-02-2019, 02:18 PM
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Originally Posted by cbBen View Post
For all the back and forth in Destiny Rules over who would mix the album, to my ear Lord-Alge ("Destiny Rules") and Needham (everything else) are not particularly distinguishable from one another. "Destiny Rules" is generally mixed like the rest of the songs.

What does everyone else think?

Three other things:

1. This is a great album.
2. Boy did they pick the wrong songs for singles, and the wrong song for the title track.
3. Notwithstanding Lindsey's claim that starting with Mirage they wouldn't let him experiment, he sure does a lot of it here and on Tango.
To me Destiny Rules sounds different than the rest of the album. It's got that distinct Fleetwood Mac sound.
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  #48  
Old 01-02-2019, 02:26 PM
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Originally Posted by AncientQueen View Post
Dave Stewart for gods sake, how was that even possible?
Actually Dave is pretty respected as an arranger and producer in the industry.
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  #49  
Old 01-02-2019, 04:51 PM
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Originally Posted by gldstwmn View Post
To me Destiny Rules sounds different than the rest of the album. It's got that distinct Fleetwood Mac sound.
Yes! It's shot through with Fleetwood Mac.

There's a seventies Fleetwood Mac sound (mountain folk music and Byrds harmonies) and there's an eighties Fleetwood Mac sound (androgynous harmonies and adult contemporary [AC] music), and Destiny Rules is one of the few examples I can think of after 1979 of the seventies Fleetwood Mac sound. It's why I love it so much. It's that roots country sound mixed with a little psychedelia and flower-child melodicism (like One Tin Soldier or Teresa Kelly's Johnnie from the Billy Jack soundtrack, or Fleetwood Mac's own World Turning, Over My Head, The Chain, I Don't Want to Know, and That's All for Everyone).

It's the Fleetwood Mac image of the inner-sleeve photo of Rumours—the Fleetwood Mac of cutoffs, wine bottles, suede boots, beards, and greasy facial skin.
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  #50  
Old 01-03-2019, 07:27 PM
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Quote:
Originally Posted by David View Post
Yes! It's shot through with Fleetwood Mac.

There's a seventies Fleetwood Mac sound (mountain folk music and Byrds harmonies) and there's an eighties Fleetwood Mac sound (androgynous harmonies and adult contemporary [AC] music), and Destiny Rules is one of the few examples I can think of after 1979 of the seventies Fleetwood Mac sound. It's why I love it so much. It's that roots country sound mixed with a little psychedelia and flower-child melodicism (like One Tin Soldier or Teresa Kelly's Johnnie from the Billy Jack soundtrack, or Fleetwood Mac's own World Turning, Over My Head, The Chain, I Don't Want to Know, and That's All for Everyone).

It's the Fleetwood Mac image of the inner-sleeve photo of Rumours—the Fleetwood Mac of cutoffs, wine bottles, suede boots, beards, and greasy facial skin.
Thank you both for addressing the topic of the thread. I'm curious to get people's thoughts.

What about the instrumental part of "Murrow"? Isn't that in the vein of the classic seventies FM sound?

Last edited by cbBen : 01-03-2019 at 07:38 PM.
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  #51  
Old 01-03-2019, 08:38 PM
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Listening now, I hear how "Destiny Rules" has much less in the way of bells and whistles than, say, "Running Through The Garden."
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  #52  
Old 01-05-2019, 10:06 AM
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Originally Posted by cbBen View Post
Thank you both for addressing the topic of the thread. I'm curious to get people's thoughts.

What about the instrumental part of "Murrow"? Isn't that in the vein of the classic seventies FM sound?
Murrow doesn't sound like classic Mac to me at all. It sounds more like a Lindsey solo track.
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  #53  
Old 01-05-2019, 01:54 PM
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Quote:
Originally Posted by cbBen View Post
Thank you both for addressing the topic of the thread. I'm curious to get people's thoughts.

What about the instrumental part of "Murrow"? Isn't that in the vein of the classic seventies FM sound?
yep. ISA instrumental part all over again. so much so that when they were recording the Soundstage, Lindsey ended up laughing at himself for going into ISA solo instead of the Murrow solo.

Murrow is a great song, many interesting elements there. it was also that new direction while still firmly FM that Lindsey was trying to take FM in, to get them to still be musically relevant. something that majority of band members kept resisting since Tusk.
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  #54  
Old 01-06-2019, 03:35 AM
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Quote:
Originally Posted by David View Post
Yes! It's shot through with Fleetwood Mac.

There's a seventies Fleetwood Mac sound (mountain folk music and Byrds harmonies) and there's an eighties Fleetwood Mac sound (androgynous harmonies and adult contemporary [AC] music), and Destiny Rules is one of the few examples I can think of after 1979 of the seventies Fleetwood Mac sound. It's why I love it so much. It's that roots country sound mixed with a little psychedelia and flower-child melodicism (like One Tin Soldier or Teresa Kelly's Johnnie from the Billy Jack soundtrack, or Fleetwood Mac's own World Turning, Over My Head, The Chain, I Don't Want to Know, and That's All for Everyone).

It's the Fleetwood Mac image of the inner-sleeve photo of Rumours—the Fleetwood Mac of cutoffs, wine bottles, suede boots, beards, and greasy facial skin.
Those are some SERIOUSLY imaginative & accurate descriptions David!
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  #55  
Old 01-06-2019, 07:41 AM
guillamene guillamene is offline
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Some very interesting and perceptive comments in this thread about SYW. I was always struck by the fact that - apart from being named as an 'additional performer'- Christine is virtually ignored on this release. I expected-perhaps naively- the album to be dedicated to her, but no. Same at the concerts on the SYW tour: not a mention, almost as if she had never existed or contributed to the band. This was borne out later by LB's comments that, basically, she had left, she was gone for good and that was that, her decision etc. etc. This subsequently made me think that, deep down, it must have been a somewhat bitter pill for him to swallow when she returned to the fold in 2014.
Indeed , this has been a feature of this band: once someone has died/left, that's it - gone and -apparently-forgotten .Sad!
That said, I love the album and the sound and production (apart from the fact that it could shed two or three songs)
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