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#196
01-10-2008, 01:15 PM
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And yes, Tusk is the whole group. That's my point. If you'll look above, you'll notice that we're just getting Stevie pictures and info. I probably do have a reputation for being at least slightly anti-Stevie. It's not so much that I'm anti-Stevie... I do like her. I'm anti-Stevie-getting-all-the-attention. It rubs me the wrong way a little harder when it comes to Tusk, too, because that is really Lindsey's brainchild. That's not to say that the whole group isn't magnificent on it, because they are and it wouldn't be what it is without all of them. But if Stevie's going to get all the attention on one album-era, it sure as heck doesn't need to be Tusk. Tusk is sacred to me. <3
__________________
Yup. I'm in hell. 
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#198
01-10-2008, 01:29 PM
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__________________
Yup. I'm in hell.
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#199
01-10-2008, 01:51 PM
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#200
01-10-2008, 02:36 PM
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Here are a couple of Tusk article comments that aren't already on the site:
http://query.nytimes.com/gst/fullpag...gewanted=print Following the ups and downs of Fleetwood Mac through the years has been a little like following a particularly convoluted soap opera. The band's original lead guitarist left to take religious vows, and at one point a manager with whom the group was quarreling sent an ersatz Fleetwood Mac out on the road. Musicians have come and gone. When the band's latest configuration prospered, with platinum albums and successful world tours, the musicians' personal relationships began to suffer. John and Christine McVie dissolved their marriage, and the romance between Lindsey Buckingham and Stevie Nicks, Fleetwood Mac's most recent recruits, turned sour. But along with Mick Fleetwood, the band's drummer and manager, they managed to keep Fleetwood Mac together. A happy ending? Not quite. After working in recording studios for two years, Fleetwood Mac released ''Tusk,'' an ambitious, eccentric double album. Fans and critics who had admired the group for its lush pop-rock found the new record puzzling, and the tour that followed it was uneven. There were several problems, the most serious of which was that Stevie Nicks seemed to be losing her voice. Will Fleetwood Mac retain its immense popularity, and if so, will its five members continue to put aside their personal differences and function as a unit? Will Stevie Nicks overcome her vocal problems? The soap opera continues. The latest episode, a double album called ''Fleetwood Mac Live,'' (Warner Brothers) which was recorded on the ''Tusk'' tour, isn't very revealing. On ''Tusk,'' Lindsey Buckingham emerged as Fleetwood Mac's unofficial musical director, and his inventive guitar work and quirky vocals are responsible for the new album's liveliest and most interesting moments. Miss McVie is a fine songwriter and an appealing, atmospheric vocalist, but her live performances tend to be sober and professional, and Miss Nicks, who's normally more outgoing, sounds distant and restrained here. Too much of the music sounds like five individuals contributing letter-perfect parts to someone else's project. Obviously, ''Fleetwood Mac Live'' is a holding action. What trials and tribulations await the band around the next curve in the road? Stay tuned.
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#201
01-10-2008, 02:40 PM
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[Hey Linds, if so many people had not recorded Tusk off the radio, then maybe the album would have sold even more and then the whole WB bonus checks flying out the window story would be quite ironic]
Boston Globe (MA), April 3, 1980 Section: CALENDAR TO PLAY OR NOT TO PLAY THAT IS THE QUESTION RECORD COMPANIES AND RADIO STATIONS FACE Jim Sullivan The relationship between record companies and album-oriented rock FM radio stations is no longer the perfect friendship although they still need each other. For the record company, radio airplay gives artists valuable exposure, leading to greater record sales; for the radio station, record companies supply them with new music - its lifeblood - arrange interviews with artists, develop promotional giveaways, set up concert broadcasts and, of course, buy advertising. But a monkey wrench has been thrown into the system. It has prompted verbal warfare in radio and record industry trade magazines and strained the relations between record and radio personnel. The issue is radio stations playing new albums in their entirety without commercial interruption, which many record company executives view as an invitation to listeners to tape albums off the air instead of buying them in a store. (Although older albums are played at times, it's the playing of new releases that has strained the friendship.) Album features are nothing new; many stations have been doing this, with encouragement from record companies, for years. However, last year was the year when the recession caught up with the record industry. As the squeeze on entertainment dollars tightened, people bought fewer albums forcing record companies to trim their budgets and their staffs; an A&M Records executive estimates that 2000 record industry employees were laid off in the last year. While no one believes home taping single-handedly put that many people out of work, record industry executives believe that it had substantially contributed to the decrease in sales. Blank recording tape sales have risen dramatically over the past six years. Merchandising magazine editor Ron Schneiderman said 1979 sales of blank cassette tapes exceeded 240 million units - up from 149 million sold in 1974 and 9 percent higher than 1978's total. It seemed painfully ironic to record companies that their radio "partners" were making things so easy for listeners to tape their favorite albums by paying only for blank tapes. (A 90-minute cassette generally costs about $4.50 and would allow the taping of two albums. The average list price on an album is $7.98, though most stores discount albums to $5.99.) The controversy began to steamroll late last fall when Electra/Asylum president, Joe Smith, published a full page "open letter to broadcasters" in Billboard magazine in which he called the promotion of hometaping "the most dangerous threat, thus far, to our well-being. "When a radio broadcaster announces that he will be playing an important new album without interruption," Smith continued, "and suggests that his listeners get their tape machines set up; when manufacturers of blank tape sponsor clean hours' of music and recommend that the contents be recorded; when advertisers make their pitch for tape machine sales around the same theme; then all of us - artists, writers, publishers, and record companies - are being drastically whipsawed." Two weeks later, the chief executives of all major record companies jointly issued a similar statement (also printed in Billboard) through the Recording Institute of America Assn. (RIAA) to radio executives condemning the practice. While the brouhaha has subsided in the first quarter of this year, RIAA president Stan Gortikov, says "I still regard it as a major problem. The heat has diminished but that doesn't mean the problem is any less now than what it was." The controversy puts the record company promotion personnel in the strange and ironic position of requesting stations not to air their records. "It's like being caught between a rock and a hard place," says Mike Bone, Arista Records vice president of promotion."It's like you want it, but you want it your way. It's a very difficult position to be put in. We want exposure but we want it spread out over a period of time." Ed Hynes, Columbia Records vice president of promotion, says he directed his 47 local representatives to ask radio stations not to feature Pink Floyd's double album "The Wall." "I've had incidents where our people around the country have threatened to pull ads off radio if they tracked the album," says Hynes. "But you can't threaten that way, and you can't cajole; you've got to ask radio to please not do it. You've got to discuss it and have a little respect for them when you're asking." The situation in Boston is not nearly so charged as it is in other major markets - such as Philadelphia, where the three FM rockers go head to head nightly with album features. Of Boston's top commercial album rock stations, WBCN doesn't have an album feature and WCOZ does it only on Monday nights. (WCOZ did break its format in January when it played the "Top 50 Albums of the Decade" - one album in its entirety every night.) "Some of the record companies aren't exactly sure how to handle it - at least in our case," says WCOZ's music director, Bob Slavin. "It's a difficult thing for them to ask us not play their records all the way through, although one label (A&M) has asked us not to do it. The two industries are very close to each other. If we announce: Don't forget tomorrow night we are going to play the new Led Zepplin album and be sure to get your tape recorders ready' and make a big deal of it, it makes record companies more sensitive - it's like poking them in the eye with a sharp stick." WBCN's program director Tony Berardini says, "We don't play whole albums because we feel it's poor programming. Unless you're dealing with a super- super-superstar like a Rolling Stone or a Fleetwood Mac who is going to appeal to the broadest possible demographic, you are likely to have a good portion of your audience tune you out." However, two album rock stations outside Boston with signals clearly reaching the city - WCGY in Lawrence and WAAF in Worcester - make album features a key part of their programming. Ed Coleman, WCGY program director, says his station has had weeknight album features at midnight for more than two years and has gotten a good response from listeners. "I tend to agree a little bit with both sides - the record companies have a valid point. But - I don't think this is being naive - I think people want to get an overview of an album. Sometimes you hear something on the radio by a band and say that's pretty good' and somebody on the air will hype the album and you end up buying it and it's awful. We set this up to avoid that. I understand the problem now with taping, but I don't know if it's that prevalent." WAAF program director Dave Lee Austin says that the album features (one each night, six nights a week at midnight and six in a row on Saturday) are his station's most popular feature, and he has no plans to alter it. "We strive to have a special identity from our competitors in Boston," he says, "and one of them is by playing albums. It's a very strong tool that has researched well. This doesn't mean people are taping them; this means people are listening to them. Very often we feel they'll use them as an audition." Austin says that there have been discussions with various record company people about the policy, but no pressure to put an end to it. "They've tried to make us aware of the weakened economic position they feel album plays put them in," he says. "We listen carefully . . . and we make a decision based on maintaining WAAF's strength in the marketplace. What's important is to keep my station superior and give the features the audience wants. "And," he adds, "it's not that the record companies haven't been living off the fat of some good years, the Saturday Night Fever' years, the Peter Frampton years." J. D Brenner, A&M East Coast album promotion director, says that that may have been the case in the past. "But five years ago we were driving Chryslers that got 8 miles a gallon. Now, it's a question of 2000 record companies employees put out of work." Brenner admits the issue is not a simple one to decide. "There are pros and cons but radio lives off our new artists. A lot of them divorce themselves and say they're not in the business to sell records - which is true, they're in the business to sell new acts the record companies have signed, that they want for live broadcasts. But when a radio station is doing a live broadcast of a new group but promoting the playing of a new album at midnight, he says, "They are helping us in one way and they are hurting us in another." A sampling of Boston area retailers shows little concern with the album play issue. When asked whether the uninterrupted airplay of an album has an adverse effect in album sales, Strawberries buyer Jerry Warren says, "oh, definitely" although his explanation is based more on gut feeling than substantiation. "For example, with the Fleetwood Mac album ( Tusk'), I know a couple of radio stations that played it in its entirety so a lot of people put it on tape. If they've got it on tape, why are they going to buy the album? All they've got to do is pay the price of an empty cassette." The Harvard Coop's popular records manager, Jay Kaminski, says he's against the uninterrupted airplay but says, "I don't think it's hurt because sales are up. While I don't particularly care for it, it's had no retail effect." "I'm kind of stuck in the middle on this," admits Steven Pofcher, manager of the Kenmore Square New England Music City, "because I'm not totally business . . . it's not real good for the record companies but it's great for the consumer - especially when record prices keep going up." How widespread is taping off the air? Two recent surveys suggest it may be substantial. A survey conducted by the Burkhart/Abrams Radio Consulting Firm (which consults 120 album-oriented rock stations in programming) showed that 18 percent of the 3000 radio listeners polled had taped entire albums from the airwaves within the past three months. The people surveyed were between the ages of 18 and 34 drawn from 13 states (including Massachusetts). Another survey conducted by the Washington firm of William R. Hamilton and staff for the Copywright Royalty Tribunal revealed that 70 percent of the 1500 people they surveyed who taped albums would have bought the album if they hadn't been able to tape it. The record industry has no easy solution to the situation - though the suggestions put forth have ranged from the ludicrous and reactionary to the more rational. Ben Bartel, a major stockholder in two West Coast retail chains, takes the prize in the former category. He suggested in a letter published in Billboard, " . . . an immediate approach to Congress to foster legislation prohibiting media from playing more than five minutes of any recorded work in any given two-hour period." Aside from the extreme unlikelihood of Congress imposing that kind of restriction on radio, Bartel's suggestion would not only eliminate album plays - it would effectively ban songs like "Hey Jude," "Stairway to Heaven" and "Free Bird" from the air. A more moderate approach (though still sure to rest uneasily with some program directors) is a compromise, according to Arista's Bone, suggested by the Burkhart/Abrams firm - to substitute "artist's features" for album features. With these the station would still play tracks from a new album but would intersperse them with older songs and commercials so a listener couldn't simply turn on his tape recorder and have a copy of the album. The real long term problem, Bone says, may be that as sales dim, record companies would be less able and willing to invest and work with new talent - thus depriving radio and public of new music. "If the record companies continue to do badly," he says, "they're not going to be able to continue to sign and develop new artists like the Dwight Twilleys, the Sports and the Graham Parkers." "Then," Bone continues, "radio stations that used to play records will go all news and talk and everybody will end up watching television." He laughs, and adds, "that's being sort of flip, but it's a possibility, I guess."*
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#202
01-10-2008, 02:55 PM
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01-10-2008, 03:43 PM
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This message has been deleted by trackaghost.
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#203
01-10-2008, 03:51 PM
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Remember when that DJ played the whole of The White Stripes' Icky Thump last year and immediately it was all over the internet? Stuff like that still happens. But really if playing Tusk in its entirety had an adverse effect on sales, I wonder if it had more to do with the fact that fans expecting Rumours didn't like what they heard rather than home taping.
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#205
01-10-2008, 06:05 PM
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People will always find a way to get illegitimate copies. Unfortunate truth. But there will always be people like me who.. even with downloads of the legal and illegal varieties.. will still buy the hard copy of the album to have the booklet and pictures and another piece to add to the collection.
And yeah, those are Rumours pictures, but at least they weren't just of one member, Betsy. Although I am curious as to wtf the Ouija still love me... is about. Those are the shots for the Rumours tourbook, yeah? But on that, it doesn't say ouija... 
__________________
Yup. I'm in hell.
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#206
01-10-2008, 06:27 PM
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#207
01-10-2008, 08:41 PM
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Aside from being a fan, if you really like a song, you aren't going to feel satisfied with a recording you made off of the radio. Even today, if I like a song, I'd rather have the hard copy than an MP3, for the sound quality. By the way, the packaging for the Enchanced SYW is very annoying too, with no place to put the card with the track listings. Hard to tell how an album or cd sounds, if you're always having to throw it against the wall in exasperation. Michele
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#208
01-10-2008, 08:53 PM
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#209
01-10-2008, 11:07 PM
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I just wanted folks to know that I knew the photos were from Rumours, but I liked the shoes ~~~ so I posted the photos. I bought an old magazine off of Ebay from 1978, I think, and those two photos were in it. I will have to look.... Maybe it was called Circus? The first Circus magazine that I bought was from 1976 and had all photos of Christine, with her on the cover even! The article was very flattering too.
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I Got News for You - Audio CD By Bekka Bramlett - VERY GOOD
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RITA COOLIDGE CD THINKIN' ABOUT YOU BEKKA BRAMLETT LETTING YOU GO WITH LOVE 1998
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It Won't Be Christmas Without You by Brooks & Dunn (CD, Oct-2002, Arista)
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