#121
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i would never break up with you - you know that
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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#122
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#123
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Moderators, please move to the Lindsey Buckingham board.
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#124
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Or the sexually awkward forum. It's like a baseball catcher's forum here...
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran) |
#125
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Thanks, Elle! It was a hard decision to omit “Come” but If I had to chose one of his “doesn’t sound like Fleetwood Mac” tunes, I went with Murrow.
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#126
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Oh my Lord, I wasn't even thinking that... but ... that's hilarious.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#127
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I worked part-time at Best Buy, and I really just did it out of my own excitement What was weird is that Best Buy got no promotion materials for it. No promo copy of the album, only a 24x24in vinyl slick that slid into the aisle endcaps... which overall was odd because Best Buy had heavily promoted The Dance.
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#128
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I do think the context of the times is also worth noting. Napster was probably at its peak in the 3-5 years after The Dance came out so a lot of the industry was not sure what to do. Looking back though, it does seem clear that Stevie was always going to use the momentum from The Dance to revive her solo career — the tanking of Street Angel is what made her even consider FM. A different band would have made better use of the momentum collectively, but it’s not really that surprising that they didn’t.
Looking back on the album itself, I remain a fan of the new songs Stevie brought to the sessions (Illume, Thrown Down, Destiny Rules, Not Make Believe) and some of the GoS songs (especially Down on Rodeo, but NOT Come or Red Rover). I do think some of the production on Stevie’s old demos is too busy for my taste (Running Through the Garden, Everybody Finds Out, Smile at You). In retrospect, it would have been better as a shorter album with bonus tracks maybe. But I’m glad we had a chance to hear so many of these songs and also that Lindsey was able to keep making new music afterwards. |
#129
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Quote:
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#130
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Quote:
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My heart will rise up with the morning sun and the hurt I feel will simply melt away |
#131
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I love this album. It has some of my favorite LB songs --- my top list of his FM songs would be I'm So Afraid, Go Your Own Way, and Big Love and then I'd skip to many of his songs from this record: Peacekeeper, Bleed to Love Her, Steal Your Heart Away, and Miranda.
My two complaints are 1) Lack of Christine songs 2) I wish Smile At You was recorded more like the demos without the sound effects, not sure of the tech language. |
#132
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#133
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But I do love the 24 Karat Gold version of If You Were My Love, and I also love the Mirage outtake of If You Were My Love. It depends on my mood. The final version on 24KG is moodier/darker and makes me feel sad/reflective, the outtake version funkier and more upbeat and defiant. It's like Silver Springs. Sometimes I want The Dance version, sometimes I want the Rumours version. |
#134
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Anusha, I will have to reach deep inside myself to forgive you for not loving “Red Rover.”
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moviekinks.blogspot.com |
#135
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Alas, I’m on board for a lot of Lindsey’s experimental stuff but not Red Rover.
I also prefer Stevie’s demos from the Rumours-Wild Heart timespan to most of what she has released as final versions later. In general I actually think that the production on Trouble in Shangri La got the essence of the demos better than what came out later on SYW or 24KG. Goes to show you that it’s better to record good songs when you have them and then figure out how to release them. |
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