NY Madison Square Garden 4/8

[elle]

Originally Posted by michelej1

I agree that it's always been a highlight at FM shows, even though I don't like the studio version of the song, it's always swept me off my feet live, which is why his One Man Show performance of the tune left me feeling so deflated in comparison. I hated to see that happen to a song like this and don't think it should have been in that setlist.

It always sounds good with a band and this time around, ISA was especially scintillating. I don't know when/if FM might tour again and I'm so glad at least it's there, better than ever for 2013, no matter what happens in the future.

Michele

you know i cannot not react to this.

i understand there are several people here who hated OMS ISA, but there are just as many of us who loved loved loved it. so it's a wash as far as superfans go.

however, more general audiences at OMS were just as appreciative, standing, clapping and hollering for OMS ISA (as well as Come!), as they are at Mac shows or when he'd do it with the backing band at solo shows. those audiences had the right to hear it too. it felt even more intense to many of us, the way he was doing it at OMS.

[michelej1]

Originally Posted by elle

however, more general audiences at OMS were just as appreciative, standing, clapping and hollering for OMS ISA (as well as Come!), as they are at Mac shows or when he'd do it with the backing band at solo shows. those audiences had the right to hear it too.

I hope they never hear it again like that.

Michele

[elle]

Originally Posted by michelej1

I hope they never hear it again like that.

Michele

whoever they are, i just know that i want to hear it like that again!!!!!

[michelej1]

Originally Posted by elle

whoever they are, i just know that i want to hear it like that again!!!!!

Yeah, you may want it, but I'm doing incantations here that you don't get it. We'll see who wins. Actually, you probably will because Lindsey is attached to the song, so he'll do it. I'm on the losing side. But I don't want you or anyone else to get it.

I have nothing against Lindsey doing it solo though, if he has a band. I enjoyed it on previous solo tours. I liked Come fine on OMS, in fact better than I did in the past. I just hope that if he tours alone again -- which I support -- that he changes his setlist.

Michele

[elle]

Originally Posted by michelej1

Yeah, you may want it, but I'm doing incantations here that you don't get it. We'll see who wins. Actually, you probably will because Lindsey is attached to the song, so he'll do it. I'm on the losing side. But I don't want you or anyone else to get it.

I have nothing against Lindsey doing it solo though, if he has a band. I enjoyed it on previous solo tours. I liked Come fine on OMS, in fact better than I did in the past. I just hope that if he tours alone again -- which I support -- that he changes his setlist.

Michele

oh i definitely hope so too! and adds that long-promised request section.

i think he might actually add more rockers if he does OMS2, now when he's seen they are workable.

[redtulip]

Originally Posted by elle

you know i cannot not react to this.

i understand there are several people here who hated OMS ISA, but there are just as many of us who loved loved loved it. so it's a wash as far as superfans go.

however, more general audiences at OMS were just as appreciative, standing, clapping and hollering for OMS ISA (as well as Come!), as they are at Mac shows or when he'd do it with the backing band at solo shows. those audiences had the right to hear it too. it felt even more intense to many of us, the way he was doing it at OMS.

Me!!! Loved OMS ISA so much! Definitely my favorite version so far. I haven't watched any of the Live 2013 videos of it yet though as I want to wait until my show to see it.

[michelej1]

Fleetwood Mac comes to Prudential
Sunday April 21, 2013, 10:15 AM

http://www.northjersey.com/arts_ente...tml?c=y&page=1

BY JIM BECKERMAN STAFF WRITER The Record

Some bands have a fan base. Fleetwood Mac has a clone base.

There they were at Madison Square Garden April 8, as no doubt they will also be at Newark's Prudential Center this Wednesday: The Stevies.

These are women – mostly middle-aged, but then so was most of the audience – who style themselves after the witch goddess herself, Stevie Nicks. Translucent shawls, hippie hats, tons of fringe.

Stevie herself, when she appeared onstage in New York as part of the band's 34-city world tour, was dripping with fringe. Fringe cascaded off her mike stand. Ribbons dangled from her tambourine. Even Mick Fleetwood's drum kit seemed covered in the stuff. Conspicuous among his accessories was the bell tree: that fringe of dangling tubes, gently brushed by the player to create a sprinkling of musical fairy dust.

All very '70s – as were the trippy kaleidoscopic images and Rorschach blots projected behind the stage, and Mick Fleetwood's funky knee-pants. It was in 1977, of course, that "Rumours" became one of the most successful albums of all time (31 weeks on the charts, 40 million copies sold, the sixth best-selling album in U.S. history).


Kept its audience


Launched in 1967 and reaching its pinnacle of success in the late 1970s and '80s, Fleetwood Mac has easily carried its audience – mostly from the 1970s and '80s also – along with it into the 21st century. Along the way, they've created hits, including "Go Your Own Way" and "Don't Stop," that seem likely to last as long as anything in the short-attention-span-theater that is pop.

Above all, they have a mystique: an odd one, maybe, tied in with moony mysticism and 1970s excess, but still real. "Puh-leeze, Mummy," says a toddler in a 1980s Tom Wolfe cartoon, tugging on the sleeve of her trendy mom. "Nobody wants to hear about coke, Acapulco, or Fleetwood Mac."

It isn't every band that inspires such loyalty. It's worth asking why.

One reason is clearly Nicks herself. She's one of the first, though not the last, of the Earth-mother-goddess-oracle rock stars that become the obsession of a certain kind of fan.

From her, arguably, descend all the Tori Amoses, Sarah MacLachlans and Sheryl Crows, with their breakup songs and Delphic lyrics and gypsy occultism. Now 64, Nicks' voice is a bit huskier than when she first sang "Dreams" and "Rhiannon" back in the 1970s, but in a good way: It's a voice with character. It sounds lived-in.

The show Fleetwood Mac did at Madison Square Garden, the same one they will presumably be bringing to Prudential and the first they've done since 2009, is in some ways a greatest-hits compendium: most of "Rumours," much of "Tusk," a few new songs and a few seldom-heard old ones, including "Without You" (a love song, from Nicks to guitarist Lindsey Buckingham), written in the early 1970s, and "Sisters of the Moon," not performed since the early 1980s. But the sound is tight, confident, aggressive.

Apart from the band's signature Mamas & the Papas harmonies, which perhaps lack a bit from the significant absence of singer-keyboardist Christine McVie (she's sitting out this tour), it's hard to imagine the group sounding better.

It's not every band that has a front person as strong as Nicks, and she isn't even the only one. Guitarist Buckingham, also up front, anchors the band every bit as much. Fleetwood Mac is the sum of many parts: key to its impact, and reflective of the odd way the band formed.

It started in the late 1960s as a conventional British blues band, with drummer Mick Fleetwood and bassist John McVie (the Fleetwood and the Mac). Then it got cross-pollinated with Southern California-style pop when Nicks and Buckingham joined in 1975. Fleetwood Mac must be one of the few bona fide trans-Atlantic bands in pop history — half Brit, half American.


Lots of styles


The mix of personnel, and backgrounds, has led to an impressive range of sounds and styles. Fleetwood Mac can turn on a dime from bluegrass ("Never Going Back Again") to blues ("I'm So Afraid") to power pop ("Tusk," performed this tour with steamroller force, complete with faux horn section). There's room for Buckingham's superb finger-picking guitar ("Say Goodbye"), and also for an epic Mick Fleetwood drum solo ("World Turning")

To many fans, the drama onstage is augmented by the drama behind the scenes: who was married to whom (John McVie to Christine McVie), who was an on-again off-again couple (Nicks and Buckingham), and who caught whom on the rebound (Fleetwood, romancing Nicks).

No wonder Nicks spins around onstage. It's enough to make anyone dizzy.

[michelej1]

[Excerpt from passage that mentions Lindsey at FM concert. Also click to see nice picture of Lindsey at the Today show, I think]

The New York Daily News, May 5, 2013

The great guitar solo has been making a comeback lately, heard at Eric Clapton's 'Crossroads Festival' and Fleetwood Mac's Garden concert

Read more: http://www.nydailynews.com/entertain...xzz2SRaMichael Schwartz

Photo caption: Lindsey Buckingham gave a master class in the guitar solo during Fleetwood Mac's April concert at Madison Square Garden.



Starting in 1975, guitar solos became synonymous with all things indulgent, corny and tired. In the decades since, solos have certainly thrived at the margins — at jam-band festivals, in prog-a-thons, amid smaller jazz clubs or at metalheaded shredder meets. But much of what you’ll hear there only reinforces the punks’ original whine. Many of the solos sound just as self-involved, and noodley, as the haters’ claim.

At the same time, events like “Crossroads,” or Fleetwood Mac’s concert at the Garden one week later, prove that, when done right, solos can be every bit as meaningful and memorable as songs.

At the Mac show, Lindsey Buckingham gave a virtual master class in how to structure a long solo in the song “I’m So Afraid.” He escalated the drama in precise measure for more than five minutes until the sense of need and desire built to a virtual happy-ending resolve.

Tellingly, Buckingham first created that solo right before such things became verboten: 1975. While solos still thrive in bands as big as Phish or Government Mule, without a mass culture to support them, they’ve lost their focus and full musicality.

There’s no better example of this than the career of Derek Trucks. He’s unquestionably the greatest six-string player of his generation. But while his current, live work with the Allman Brothers approaches the genius of the band’s first flush, his own albums — products of contemporary culture — lack the fine connections between solo and song that perfect both. At their best, solos have a melodic assurance and emotional depth as finely For those who’ve forgotten how powerful that alchemy can be, here’s a look at 15 of the Greatest Guitar Solos of all time. And, before you write your, “Hey, moron, how could you forget ...” notes, I can already think of 100 genius-level solos I’ve left out.

Top 15 Guitar solos:

1. Eric Clapton and Duane Allman on Derek and the Dominos’ “Why Does Love Got to Be So Sad?” (1970): The way the guitars pull out of the first chorus has to be the single most compelling start in solo history. From there, the tension just keeps building.

2. Johnny Winter and Rick Derringer on “Good Morning Little School Girl” (1971): There’s no better two-guitar handoff than Winter’s first loop-de-loop challenge to Derringer’s wily, coiled answer.

3. Duane Allman and Dickey Betts on the Allman Brothers’ “Blue Sky” (1972): No guitarists have ever extended a melody longer in a solo setting.

4. Duane Allman and Dickey Betts on the Allmans’ “Whipping Post” live (1971): The guitar break as a three-act, epic drama.

5. Mick Taylor on the Rolling Stones’ “Sympathy for the Devil” live (1969): While Keith Richards mainly holds the rhythm, Taylor’s extensions bore straight through the heart of the riff.

6. Jimmy Page on Led Zeppelin’s “Stairway to Heaven” (1971): The ultimate solo-as-bridge — between the acoustic part of the song and the three-chord crescendo.

7. Jimi Hendrix “All Along the Watchtower” (1968): Hard to choose a Jimi fave, but this one epitomizes his depth and fire.

8. Jimmy Page on Led Zeppelin’s “Since I’ve Been Loving You” (1970): Page’s bluesiest burn.

9. Jimmy Page on Led Zeppelin’s “Whole Lotta Love” (1969): The break that comes out of Robert Plant’s vocal freak-out has to be the crunchiest playing in history.

10. Eric Clapton on Cream’s “White Room” (1968): The wah-wah at its wildest.

11. Neil Young on “Down by the River” (1969): Grunge, 20 years earlier, and 20 times grungier.

12. Robert Fripp on King Crimson’s “21st Century Schizoid Man” (1969): Fripp’s spidery solo created math-rock, four decades early, and made the guitar sound like a tool of Satan.

13. Richard Thompson on Fairport Convention’s “Sloth” (1970): Tying the solo to 500 years of Celtic music, Thompson turned that history psychedelic.

14. Carlos Santana on Santana’s “Soul Sacrifice” live (1969): No one has a more voluptuous tone than Carlos, graced by a Latin lilt as well as fingerings as fiery as a solar flair.

15. Tom Verlaine and Richard Lloyd on Television’s “Marquee Moon” (1977): Twin solos alive with lunar mystery.


Read more: http://www.nydailynews.com/entertain...#ixzz2SRb4goYq

[michelej1]

[Excerpt from passage that mentions Lindsey at FM concert. Also click to see nice picture of Lindsey at the Today show, I think]

The New York Daily News, May 5, 2013

The great guitar solo has been making a comeback lately, heard at Eric Clapton's 'Crossroads Festival' and Fleetwood Mac's Garden concert

Read more: http://www.nydailynews.com/entertain...xzz2SRaMichael Schwartz

Photo caption: Lindsey Buckingham gave a master class in the guitar solo during Fleetwood Mac's April concert at Madison Square Garden.

********
Starting in 1975, guitar solos became synonymous with all things indulgent, corny and tired. In the decades since, solos have certainly thrived at the margins — at jam-band festivals, in prog-a-thons, amid smaller jazz clubs or at metalheaded shredder meets. But much of what you’ll hear there only reinforces the punks’ original whine. Many of the solos sound just as self-involved, and noodley, as the haters’ claim.

At the same time, events like “Crossroads,” or Fleetwood Mac’s concert at the Garden one week later, prove that, when done right, solos can be every bit as meaningful and memorable as songs.

At the Mac show, Lindsey Buckingham gave a virtual master class in how to structure a long solo in the song “I’m So Afraid.” He escalated the drama in precise measure for more than five minutes until the sense of need and desire built to a virtual happy-ending resolve.

Tellingly, Buckingham first created that solo right before such things became verboten: 1975. While solos still thrive in bands as big as Phish or Government Mule, without a mass culture to support them, they’ve lost their focus and full musicality.

There’s no better example of this than the career of Derek Trucks. He’s unquestionably the greatest six-string player of his generation. But while his current, live work with the Allman Brothers approaches the genius of the band’s first flush, his own albums — products of contemporary culture — lack the fine connections between solo and song that perfect both. At their best, solos have a melodic assurance and emotional depth as finely For those who’ve forgotten how powerful that alchemy can be, here’s a look at 15 of the Greatest Guitar Solos of all time. And, before you write your, “Hey, moron, how could you forget ...” notes, I can already think of 100 genius-level solos I’ve left out.

Top 15 Guitar solos:

1. Eric Clapton and Duane Allman on Derek and the Dominos’ “Why Does Love Got to Be So Sad?” (1970): The way the guitars pull out of the first chorus has to be the single most compelling start in solo history. From there, the tension just keeps building.

2. Johnny Winter and Rick Derringer on “Good Morning Little School Girl” (1971): There’s no better two-guitar handoff than Winter’s first loop-de-loop challenge to Derringer’s wily, coiled answer.

3. Duane Allman and Dickey Betts on the Allman Brothers’ “Blue Sky” (1972): No guitarists have ever extended a melody longer in a solo setting.

4. Duane Allman and Dickey Betts on the Allmans’ “Whipping Post” live (1971): The guitar break as a three-act, epic drama.

5. Mick Taylor on the Rolling Stones’ “Sympathy for the Devil” live (1969): While Keith Richards mainly holds the rhythm, Taylor’s extensions bore straight through the heart of the riff.

6. Jimmy Page on Led Zeppelin’s “Stairway to Heaven” (1971): The ultimate solo-as-bridge — between the acoustic part of the song and the three-chord crescendo.

7. Jimi Hendrix “All Along the Watchtower” (1968): Hard to choose a Jimi fave, but this one epitomizes his depth and fire.

8. Jimmy Page on Led Zeppelin’s “Since I’ve Been Loving You” (1970): Page’s bluesiest burn.

9. Jimmy Page on Led Zeppelin’s “Whole Lotta Love” (1969): The break that comes out of Robert Plant’s vocal freak-out has to be the crunchiest playing in history.

10. Eric Clapton on Cream’s “White Room” (1968): The wah-wah at its wildest.

11. Neil Young on “Down by the River” (1969): Grunge, 20 years earlier, and 20 times grungier.

12. Robert Fripp on King Crimson’s “21st Century Schizoid Man” (1969): Fripp’s spidery solo created math-rock, four decades early, and made the guitar sound like a tool of Satan.

13. Richard Thompson on Fairport Convention’s “Sloth” (1970): Tying the solo to 500 years of Celtic music, Thompson turned that history psychedelic.

14. Carlos Santana on Santana’s “Soul Sacrifice” live (1969): No one has a more voluptuous tone than Carlos, graced by a Latin lilt as well as fingerings as fiery as a solar flair.

15. Tom Verlaine and Richard Lloyd on Television’s “Marquee Moon” (1977): Twin solos alive with lunar mystery.


Read more: http://www.nydailynews.com/entertain...#ixzz2SRb4goYq

[ragrsrocalot]

^^I was at both of these concerts. While I was still on a high from the Mac on Monday, the Crossroads concert was a 5 hour nonstop guitar jam that took me even higher. Never, did I ever imagine that I would see all my guitar heros under one roof like that. Grateful for that experience! But, I was thinking to myself, why isn't Lindsey here. I believe he is definitely deserving of sharing the stage with anyone of these players. While I was thinking about this, his performance of I'm So Afraid,( which only days earlier, at the very same place ) kept popping into my mind. It was amazing!!! I know he has collaborated with Eric before, and I would LOVE to see the two of them play live together, in that type of setting. I wonder if he was, or will ever be invited to take part in any future Festivals.

[Fleetwood Mik]

I just subscribed to this forum. Here are some pictures from the NY show:









Kind regards, Remko (from Holland)

[vivfox]

Originally Posted by Fleetwood Mik

I just subscribed to this forum. Here are some pictures from the NY show:
Kind regards, Remko (from Holland)

Welcome to The Ledge and thank you for sharing your awesome photos!!!! I loved the one of Lindsey by himself and the one of he and Stevie where they are both singing while looking away from each other. Do you have more to share?

[Fleetwood Mik]

Thank you, Vivfox! :-)

I put some more pictures on the Amsterdam thread. And in two weeks some more from the second show in Amsterdam. I hope I can take more pictures of Stevie then.

These were the best four from NY. The distance to the stage was quite larger then :-) 3 Meters in Amsterdam vs 70 (?) meters in NY makes a big difference. But we still had some amazing good seats over there.

I totally loved the concert in NY. It was awesome! It was my first time in NY and even the US.

Greetings, Remko