WAS SAY YOU WILL A BOMB? Please Read

[cliffdweller]

Originally Posted by louielouie2000

The Eagles are viewed as American as Apple Pie. So is Wal Mart. Fleetwood Mac is not now, nor has ever been, viewed as American or patriotic. The Eagles had such a giant success because they were both of those things, and to boot they have a country flair to their sound.

The Eagles are patriotic? Don Henley is a raging liberal. Not sure about the rest of the band. My parents are HUGE Eagles fans so I listened to them a lot growing up and heard a lot of stories about the band members, etc. My own impression of them was more of a So. Cal country-rock, stoner, "peaceful easy feeling" hippy type of band, albeit with a countryesque edge, and a bit of hard living mixed in (Life in the Fast Lane is supposed to be about Stevie and Lindsey but it could also apply, loosely translated, to the band who wrote it). When I think of the phrase "American as apple pie" The Eagles do not come to mind.

[Silver Springs]

Originally Posted by cliffdweller

The Eagles are patriotic? Don Henley is a raging liberal.

I think the term patriotic has become a dirty word, most obviously here in the UK. Because when we think Patriotic, we're fed with images of loudmouth louts being offensive, violent and rude against anything they deem as different. Obama's campaign didn't help as YouTube (for example) was flooded with videos of so called Patriots demonstrating their narrow minded opinions during street interviews and rallies. Don't get me wrong, there's nothing wrong with loving where you come from. But alot of people tend to use the Umbrella term as an excuse to be ignorant.

[Jeff_TM]

I like the Extended Say you Will album
I would have put Down on Rodeo, and Not Make Believe Now,I am waiting (version with Stevie's Backing as seen in Destiny Rules). Taking out, and not to hurt anyones feelings, Miranda, Come, Red Rover (should of been on UTS or GoS,imo).

I feel harsh but the songs mentioned could have been on UTS or GoS, but that is just me,

[chiliD]

Originally Posted by cliffdweller

The Eagles are patriotic? Don Henley is a raging liberal.

Since when has "patriotic" become exclusively a conservative/right wing phenomena? "Liberals" can't be "patriotic"?? ****, I didn't get the memo.

[Christopher]

Originally Posted by chiliD

Since when has "patriotic" become exclusively a conservative/right wing phenomena? "Liberals" can't be "patriotic"?? ****, I didn't get the memo.

Agreed. Some politicians & "celebrity" politicians/pundits would like the public to believe it's symbiotic with being a republican/conservative.

[cliffdweller]

Originally Posted by chiliD

Since when has "patriotic" become exclusively a conservative/right wing phenomena? "Liberals" can't be "patriotic"?? ****, I didn't get the memo.

Okay, point well taken, it's just that I don't know a whole lot of liberals who refer to themselves as patriotic, they tend to distance themselves from the term. Also, I don't know if The Eagles refer to themselves as patriotic, but my guess is no. Furthermore? "Patriotic" is not the first adjective that springs to mind when I think of The Eagles. That's all I'm saying.

[peer_gynt10]

Hi! I think this is my first post on the Rumours section, which actually is my favourite FM period. I think one of the reasons that SYW is considered as less of a success is because it is also slowly being written out of the band's history - by themselves. I mean, it wouldn't have hurt to throw in "Thrown Down" in the Unleashed setlist. I know it was all about the hits, but to the casual fan, surely "Storms" and "I know I'm not wrong" were just as obscure. They could at least have given the impression that they have been recording songs after 1987 and maybe even raised interest in some of the recent stuff.

[Sahara]

Originally Posted by peer_gynt10

I mean, it wouldn't have hurt to throw in "Thrown Down" in the Unleashed setlist. I know it was all about the hits, but to the casual fan, surely "Storms" and "I know I'm not wrong" were just as obscure. They could at least have given the impression that they have been recording songs after 1987 and maybe even raised interest in some of the recent stuff.

The latter especially. Very good point

Welcome aboard!

[Jeff_TM]

@ Peer, good point, welcome as well.
To me the album itself fusing to views one new songs by stevie and lindsey trying to put his work for a solo album into the mix...If they ever do an album they must not say this is something they were already going to do on their own.It needs to be fresh(which I think it was was stated for the Unleashed tour reasoning. God bless for Say you will though it is a killer album, just a few songs I like I do love Not make believe..... should have been on say you will in the first place

[wheart]

To me, Say You Will is a Lindsey Buckingham solo album with 8 or 9 bonus tracks featuring Stevie Nicks. It never sounded like a Fleetwood Mac record to my ears and while it did feature some standout cuts (mostly Lindsey's songs) it was just too damn long. Some selective editing would have improved it slightly. Most of Lindsey's songs on this record are fantastic - Stevie's not so much.

[ryan4136]

Originally Posted by wheart

To me, Say You Will is a Lindsey Buckingham solo album with 8 or 9 bonus tracks featuring Stevie Nicks. It never sounded like a Fleetwood Mac record to my ears and while it did feature some standout cuts (mostly Lindsey's songs) it was just too damn long. Some selective editing would have improved it slightly. Most of Lindsey's songs on this record are fantastic - Stevie's not so much.

Well I think as we all know that's really what SYW was. LB's stuff was completed before SN even showed up. Her background was all added in after the fact, and some of those LB songs were never touched.

It's really difficult for this to sound like a true Rumours era album without CM as has been talked about at length. But this album missed on some of the core trademarks of a FM album. FM really is at it's best when songs are based around Mick, and John, with guitar parts added or layered over the top. With great harmony flowing between vocalist.

SYW used a totally different formula, the guitar on this album on nearly every song is the lead intstrument, relegating Mick and John to little more than just a rythm section. (With a few exceptions, John on Smile at You for example)

The album was too long, as I stated earlier in this thread. Either a decision needed to be made to make this album a double and get really creative or go for the biggest market share and go smaller with radio ready hits.


With Christine

1. Thrown Down
2. Friend
3. Peacekeeper
4. Steal Your Heart Away
5. Say you will
6. You are
7. What's the world coming to
8. Silver Girl
9. Say Goodbye
10. Bleed to love her
11. Forgiveness
12. Come
13. Goodbye Baby

Without Christine

1. Thrown Down
2. Peacekeeper
3. Say you will
4. Steal your heart away
5. What's the world coming to
6. Silver Girl
7. Down on Rodeo
8. Destiny Rules
9. Say Goodbye
10. Bleed to love her
11. Come
12. Goodbye Baby

[vivfox]

Taken from the web

Brad asked: "What do you think of Say You Will?"
Well, what I thought was my copy of it is still sitting here in my parents' house, and when I went to grab it, both discs were missing and a spider crawled out.

But then I spent $9.99 on a replacement and, after listening to it for two days, I don't exactly regret it. I don't exactly not regret it, either, though.

I mean, I don't know, I should like this album. I loved Lindsey's tracks when they were passed around as a shelved solo album called Gift of Screws. (This was a different Gift of Screws than the Gift of Screws that came out in 2008.) But maybe that's the problem -- this is a Lindsey Buckingham album.

Which, adding Fleetwood Mac to a Lindsey Buckingham album doesn't do any harm -- when has Stevie Nicks harmonizing with Lindsey Buckingham ever harmed anything? -- and there are a couple of lovely new moments. The way Stevie curlicues up off the main melody at the end of "Steal Your Heart Away." The way her voice haunts Lindsey's on "Say Goodbye." (Though even that's much, much better live.) But on most of the songs, Fleetwood Mac feels like an afterthought. Or not a thought at all: the Say You Will versions of "Come," "Murrow," and "Red Rover" are identical to the Gift of Screws versions of "Come," "Murrow," and "Red Rover." "Peacekeeper" is the only song that really changes with the addition of the band -- it's deeper and more urgent with Mick and John behind it, and any chorus to which Stevie Nicks is added automatically becomes a chorus of fifteen-year-olds. Which is what a song about a nation marching its children off to an endgame of a war (or something) needs!

But you know what song doesn't need a chorus of children? A song about asking a former lover for a second chance. And as long as we're talking about things that don't need to exist: "Illume." "Destiny Rules." The part of "Illume" that re-appears as part of "Destiny Rules." Stevie is really, really uneven on this album -- but the bad lyrics aren't even the biggest disappointment.

Four of Stevie's songs had been around since before this album too: "Thrown Down" was an outtake from her last solo album, Trouble in Shangri-La. "Running Through the Garden" is from at least as far back as '85. "Smile at You" demos were recorded for both Mirage and Tusk, and "Goodbye Baby" grew out of a demo called "The Tower," which I think was recorded in the late '70s.

In their demo forms, those last two were two of my favorites. "Smile at You" was a straightforward rock song built on a solid line: "My first mistake was to smile at you." "The Tower" never got past the piano-and-metronome stage, but I never thought it needed to, the throaty resign of her voice sounded better when there was space around it. And it isn't like she couldn't have done them justice, even twenty years later, even with the way she sounds now. She managed it with the three old demos that turned up on Trouble in-Shangri-La -- no, more than managed it. She made the way her voice had changed work in her favor: the Trouble in Shangri-La version of "Sorcerer," for example, starts out even, settled, so the trill comes out of nowhere and disappears just as fast, and the way that plays against the rest of her voice, and against the lyrics, it's disconcerting, it's menacing. It brings out the best of what she has now.

Say You Will, on the other hand -- the same way the band feels like an afterthought on Lindsey's tracks, Stevie's voice feels like an afterthought on Stevie's tracks. Because they sound like a Lindsey Buckingham album, too, layers of Lindsey's guitars, layers of Lindsey's voice crawling up out of the shadows, that shivering dream atmosphere that works so well when he whispers or yelps against it, but makes Stevie's voice seem jarring and out of place. And it's frustrating, because there are moments where it works despite itself, moments like the verses of "Smile at You" and the middle of "Running Through the Garden," where she sounds more alive than she has in years. "Everybody Finds Out" is the worst song I've ever heard, until it becomes the best song I've ever heard, until it becomes the worst song I've ever heard. And while the lyrics are a little bit to blame, it's mostly the fault of the frantic production -- which, by the way, go pick up Tango in the Night and listen to "Big Love." Now listen to "Everybody Finds Out." Now listen to "Big Love" again. Right?

I guess what I'm trying to say is, the parts are there, but they never come together. It's like something important is missing, you know? It's like something important is missing.

http://girlboymusic.livejournal.com/307298.html

[Meowi]

Let's just say it could be much better.