The Ledge

Go Back   The Ledge > Main Forums > Lindsey Buckingham
User Name
Password
Register FAQ Members List Calendar Mark Forums Read


Make the Ads Go Away! Click here.
Reply
 
Thread Tools Display Modes
  #16  
Old 05-11-2002, 08:03 PM
Hawkeye Hawkeye is offline
Addicted Ledgie
 
Join Date: Jun 2001
Posts: 4,322
Default

when is it going to be released in stores.
__________________
Never Dance with the Devil

He Will Burn You Down
Reply With Quote
  #17  
Old 05-13-2002, 10:47 AM
CarneVaca CarneVaca is offline
Moderator
 
Join Date: Dec 2001
Posts: 3,228
Default

Don't expect to see it in stores. You'll have to order it online.
Secondly, Brian, I will be glad to help, but it will have to wait until I get a new computer. Right now, I am at less then 200 megabytes of space, so adding music files would not be wise.

And finally, I am happy to report I received it on Friday. It starts out with a fairly sober version of Over and Over. And then it starts getting weird. I had already heard Save Me a Place, and the final take is a little more refined. Wonderful. I like the carnival feel of it. Sara is mixed a little weird, and I think it could have benefitted from a slighly better production. Storms is a highlight. There's s a violin through the track, and it sounds wonderfully haunting. What Makes You Think You're the One is another highlight. Here, David Lowery takes a more sedate, melancholy approach. I'm sure he realized it would be hard to replicate Lindsey's anguish in the original. Sisters of the Moon is spoken and uses a dance backbeat. Very good listening. Let's see, what else. Nice job on Tusk, though there's an interlude that is entirely too long. Honey Hi is a hoot. It is sung in some very poor Spanish. The only instrumentation is a mandolin, against a backdrop of the sounds of Tijuana daily life. You hear car alarms, kids running through the streets, etc. Angel is a nice ska version, which deteriorates toward the end of the song. Other cool stuff: I Know I'm Not Wrong and their take on That's Enough for Me and Walk a Thin Line. I was a little disappointed in Not That Funny, one of my favorites in the original, but, hey, you can't win them all.
Reply With Quote
  #18  
Old 05-14-2002, 10:17 AM
Les's Avatar
Les Les is offline
Addicted Ledgie
 
Join Date: May 2000
Posts: 1,207
Default

Thanks for the review. I'm looking forward to this. David, have you gotten yours yet? Thoughts?
Reply With Quote
  #19  
Old 05-14-2002, 12:43 PM
David's Avatar
David David is offline
Addicted Ledgie
 
Join Date: Apr 2002
Location: California
Posts: 14,904
Default

Quote:
Originally posted by Les
Thanks for the review. I'm looking forward to this. David, have you gotten yours yet? Thoughts?
I just talked to some friends at work, where I had my copy of "Tusk" shipped. They said it arrived yesterday, but since I've been out sick with a sunburn for two days, I won't get to hear it until tomorrow.

I was telling somebody on the mail list I'm on that, as far as these Fleetwood Mac cover projects go, I like them when they're quirky & charismatic & even subversive; I don't want to hear somebody try to be Fleetwood Mac any more because I've heard a lot of people try to do that & none of them has succeeded. So the next best thing is to bring a sense of tribute to your cover through your idiosyncrasies & your savvy. When Elton John puts together a turgid, synthesizer-filled mess & calls it "Don't Stop," that's not a tribute to anything but Elton John's inchoate & inaccurate sense of who Fleetwood Mac is. He comes across as a boob -- the Ed McMahon of rock -- for all the lack of conviction & personality in his "Don't Stop."

I'm bound to enjoy this CVB project because there's a genuine tribute in their subversive approach: it doesn't reek of corporate-think & record company corruption. However, bands who set out to subvert Fleetwood Mac & simultaneously pay homage to the original's style run the risk of losing listeners' benevolence if their musicianship is wretched. That's the only problem with the "Patron Saints of Pop" project a few years ago: the level of musicianship on some of the tracks was far below the level needed to carry out avant-garde musical ideas. There was just an almost total lack of technique on some of those covers (like Jumbo's "Tusk") & the cacophany a band like Jumbo created made you aware only of their amateurishness instead of their creativity. The technique has to be there in order to make any sort of statement or create any sort of lasting vibe. Lindsey isn't great because he banged on a box of Kleenex; he's great because he created something stark & unusual & interesting by banging on the Kleenex box & because his subversive idea contained all his frustration & disgust with conventional music-making, which had a stranglehold on pop.
Reply With Quote
  #20  
Old 05-14-2002, 01:57 PM
CarneVaca CarneVaca is offline
Moderator
 
Join Date: Dec 2001
Posts: 3,228
Default

Dang, David! I couldn't have said it better myself. Let me know what you think of the Campers' renditions. In some cases, I think you will agree the production could have been better. However, considering these tracks were recorded in 1987, only to be cleaned up in the last six months or so, it's pretty amazing that the band was still able to produce a mostly compelling piece of music.
Reply With Quote
  #21  
Old 05-16-2002, 10:30 AM
Les's Avatar
Les Les is offline
Addicted Ledgie
 
Join Date: May 2000
Posts: 1,207
Default

I was telling somebody on the mail list I'm on that, as far as these Fleetwood Mac cover projects go, I like them when they're quirky & charismatic & even subversive; I don't want to hear somebody try to be Fleetwood Mac any more because I've heard a lot of people try to do that & none of them has succeeded. So the next best thing is to bring a sense of tribute to your cover through your idiosyncrasies & your savvy.

Amen. I don't hate the Legacy tribute, but I don't hear a lot of heart in it. The quality of the renditions on the Patron Saints CD is the sort that still leaves me sometimes trying to figure out if I like it or not, but the spirit of the Patron Saints covers is more...pure or something. It's a spirit that I would tend to think Lindsey would enjoy too. He seemed not at all ungrateful about Legacy, but perhaps somewhat bemused about the idea of it.
__________________
madness fades
Reply With Quote
Reply

Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is On

Forum Jump


Blues: The British Connection by Bob Brunning  picture

Blues: The British Connection by Bob Brunning

$12.99



Bob Brunning Sound Trackers Music Series Hardcover 6 Book Lot Pop, Metal, Reggae picture

Bob Brunning Sound Trackers Music Series Hardcover 6 Book Lot Pop, Metal, Reggae

$56.99



1960s Pop by Brunning, Bob picture

1960s Pop by Brunning, Bob

$5.16



Bob Brunning Sound Trackers Music Series Hardcover 6 Book Lot Pop, Metal, Reggae picture

Bob Brunning Sound Trackers Music Series Hardcover 6 Book Lot Pop, Metal, Reggae

$79.99



1960s Pop - Hardcover By Brunning, Bob - GOOD picture

1960s Pop - Hardcover By Brunning, Bob - GOOD

$6.50




All times are GMT -5. The time now is 12:18 PM.


Powered by vBulletin® Version 3.8.11
Copyright ©2000 - 2024, vBulletin Solutions Inc.
© 1995-2003 Martin and Lisa Adelson, All Rights Reserved