Silver Springs from The Dance

[aleuzzi]

Originally Posted by MacShadowsBall

I don't mean to start a war here, but I have heard "Oh Daddy" referred to as Christine's most "Stevie like" song...

I think you're right. And I read somewhere where Christine said Stevie helped her come up with the line "And I can't walk away from you, baby if I tried." That was a cool tidbit!

[LittleCharmer]

Originally Posted by aleuzzi

Stevie helped her come up with the line "And I can't walk away from you, baby if I tried."

This would make sense, as the line pays no regard whatsoever to grammatical tense

[GypsySorcerer]

Originally Posted by EnchantedKiwi

Stevie also said it was her favourite song by Christine

I thought it was As Long as You Follow.

Which is why I take everything Stevie says with a grain of salt.

[aleuzzi]

Originally Posted by LittleCharmer

This would make sense, as the line pays no regard whatsoever to grammatical tense

Love the scene in Destiny Rules where Lindsey's trying to correct her shifts from third to second person and she says that her lyrics are beyond criticism because they are beautiful. "You wouldn't criticize Bob Dylan's words..." And so forth. I laughed out loud.

[aleuzzi]

Originally Posted by MacShadowsBall

... and how on earth did "Oh Daddy" take over this thread...oh well!

One or two people smack-talked it while claiming Silver Springs should have been included on Rumours.

I'm protective of Oh Daddy because of the reasons I stated above. I can see why someone might not like Only Over You (I like it, but...), though I'm simply baffled when people don't recognize the power of Oh Daddy.

[Fiver]

I'm in the Oh Daddy corner. I love the way the intensity builds in the verses.

I guess it's sort of a grower, the melody didn't immediately strike me on first listen, but I find some of Chris' songs are like that, including Only Over You or Over & Over. I can't speak in the technical sense (I just play stuff by ear), but it seems like those songs are a bit jazzy, a kind of restrained rhythm. And there's always so much going on in those tracks, little flourishes from the guitar or interesting harmony vocals, etc. I love it! I wanna go listen to Oh Daddy with some big noise canceling earphones now.

As for Silver Springs, I definitely agree that the Dance version is best. I heard it first on the remastered Rumours CD and loved it, but where she just sounds angry in the original, the Dance version sounds completely heart-wrenching.

[jmn3]

Originally Posted by aleuzzi

Love the scene in Destiny Rules where Lindsey's trying to correct her shifts from third to second person and she says that her lyrics are beyond criticism because they are beautiful. "You wouldn't criticize Bob Dylan's words..." And so forth. I laughed out loud.

That scene always made me chuckle too....it's scenes like this where I always imagined John and Chris would look at each other, roll their eyes, and have some more wine.

[vivfox]

Originally Posted by aleuzzi

I'm protective of Oh Daddy because of the reasons I stated above. I can see why someone might not like Only Over You (I like it, but...), though I'm simply baffled when people don't recognize the power of Oh Daddy.

Listening to Rumours I always skip over Songbird and Oh Daddy. In the live shows Oh Daddy always sounds good, never to be skipped but for the longest time, like 1977-whenever I wasn't interested in the live Oh Daddy because it was always played after the live Rhiannon. My ears would be ringing and I didn't want to be pulled down from that incredible rush from the Welsh Goddess to the hushed Daddy. But when I listen to those live recordings nowadays, I do enjoy the transition from fast to slow.

[jmn3]

Originally Posted by GypsySorcerer

I thought it was As Long as You Follow.

Which is why I take everything Stevie says with a grain of salt.

Haha, you have to, or you'll make yourself nuts proving her wrong. Stevie, to her credit, tries to be specific on details, but sometimes it just seems odd. Sometimes she's accurate ("when we went into rehearsals on january 5th of this year") and other times, ("we took this song out of the set 12 years ago") not so much. I don't know, I just think to myself, did you need to specify January 5th? Does it matter that rehearsals started that specific day and that you guys decided to play Storms and get it on stage accurately after 30 years? But, that's Stevie...her little rambles are amusing if nothing else.

[jmn3]

Originally Posted by vivfox

Listening to Rumours I always skip over Songbird and Oh Daddy. In the live shows Oh Daddy always sounds good, never to be skipped but for the longest time, like 1977-whenever I wasn't interested in the live Oh Daddy because it was always played after the live Rhiannon. My ears would be ringing and I didn't want to be pulled down from that incredible rush from the Welsh Goddess to the hushed Daddy. But when I listen to those live recordings nowadays, I do enjoy the transition from fast to slow.

If I listen to Rumours in its entirety, say on my iPod, I skip Songbird or move it to the end. I think on vinyl with the different sides, Songbird was a great closer before starting side 2 with The Chain, but if you just play the album through...Go Your Own Way, Songbird, The Chain just don't go together...at least by my ears.

Those 1980 versions of Oh Daddy are excellent, I love the build up to the song..to me it gives it the "spooky" feeling that usually is reserved for Stevie's stuff, while Chris typically has the pop/happy sounding songs.

[jcalzaretta]

This version of Silver Springs is flawless. I remember when it was first played on the radio. Big build up. FM releasing a new old song, a famous B side. Most of us knew what it was. And it sounded amazing. Adding the video made it even better watching Stevie sing to Lindsey at the end.

As for Over My Head and Oh Daddy. I love both of those songs. I was one of the few people at the concert that was so happy to hear Oh Daddy. I think that version of Over My Head was good. Not as good as 1981 Live but still good. Oh Daddy was amazing.

Nothing beats the Oh Daddy from Rumours remasterd side 2 with Stevie singing mostly along Christine. Not sure why Stevie and Christine did not sing like that more often.

[michelle2677]

Originally Posted by vivfox

Listening to Rumours I always skip over Songbird and Oh Daddy. In the live shows Oh Daddy always sounds good, never to be skipped but for the longest time, like 1977-whenever I wasn't interested in the live Oh Daddy because it was always played after the live Rhiannon. My ears would be ringing and I didn't want to be pulled down from that incredible rush from the Welsh Goddess to the hushed Daddy. But when I listen to those live recordings nowadays, I do enjoy the transition from fast to slow.

i agree. i hated OD for the longest time, but then i heard a live version and started "liking" it. who knows, maybe on day i'll like the studio version

[michelej1]

[Silver Springs is mentioned in this 11/28/2010 Newsday article]

Newsday (USA) November 28, 2010

Section: FANFARE

Songs they left behind

STEVE JOHNSON AND MARK CARO. Chicago Tribune; Chicago Tribune staffers Greg Kot, Steve Mills, K.C. Johnson, Christopher Borrelli, Kevin Pang and Amy Guth contributed to this story.

Those who follow music have their own candidates: great songs inexplicably left off albums at the time they were recorded.

The release this month of Bruce Springsteen's "The Promise" highlights the accidental genre, collecting two CDs' worth of outtakes and didn't-make-its from the lengthy recording sessions for the landmark 1978 album "Darkness on the Edge of Town." In Springsteen's case, the many fine songs he left behind mostly didn't fit his theme for the record.

Other times, though, artists get too close to a song and stop hearing what's good about it. Or they think it's too simple, or not really their style.

For a long time, one pleasure of being a music fan was knowing about and trying to get hold of that one great song available only on a bootleg or the back side of an Australian single. Here are some such tunes:

'Surf's Up,' The Beach Boys Brian Wilson scrapped the crazily ambitious "Smile" album in 1967, but the songs lived on, some trickling out on subsequent albums, all finally being remade on Wilson's 2004 version of "Smile." "Surf's Up," that album's centerpiece, also emerged on the Beach Boys' 1971 album of the same name, combining the original backing track, an old Wilson solo performance on piano, newly recorded vocals and instrumental parts, with the coda borrowed from another "Smile" song, "Child Is the Father of the Man."

'I Heard It Through the Grapevine,' Marvin Gaye This 1966 Norman Whitfield-

Barrett Strong composition was first recorded by Smokey Robinson and the Miracles and nixed as a single by Motown chief Berry Gordy, then recorded with whispery soulfulness by Marvin Gaye and shelved, then recorded in an upbeat version by Gladys Knight and the Pips and released to hit status in 1967. Gaye's version was added to his 1968 album "In the Groove" and finally released as a single later that year, staying at No. 1 for seven weeks and becoming the singer's and label's biggest hit to date.

'I Can't Stand It,' The Velvet Underground The Velvet Underground recorded more than an album's worth of unreleased material in 1968 and 1969, with the rocker "I Can't Stand It" among three songs that surfaced on Lou Reed's self-

titled 1972 album. But the original kicked off 1985's 10-track "VU," widely embraced as the Velvets' great lost fourth album.

'Hey, Hey, What Can I Do,' Led Zeppelin This infectious folk rave-up about a wronged lover didn't make the "Led Zeppelin III" final cut but, nonetheless, achieved legendary status on FM radio as a special Zeppelin track. Released as the B-side to "Immigrant Song" in 1970, and on a 1972 Atlantic Records compilation LP, it did not join Zeppelin song collections until the boxed sets began coming out.

'Silver Springs,' Fleetwood Mac One of the most beloved of Fleetwood Mac songs, probably in part because it was left off the mega-selling "Rumours," appearing only on the flip side of the "Go Your Own Way" single. But it's also beloved for its wonderful slow burn, a sense of deep regret and lingering passion that by song's end can no longer be contained. After appearing in boxed sets and the record "The Dance," it finally made it onto "Rumours" in its 2004 reissue.

'Waiting on a Friend,' The Rolling Stones "Plundered My Soul" was a celebrated "Exile on Main Street" leftover released this year, but some true classic Stones songs were longtime dust-gatherers as well. The 1981 album "Tattoo You" was almost entirely made up of reworked leftovers, including "Start Me Up" (a reggae song from the "Black and Blue" sessions remade for "Some Girls") and "Waiting on a Friend," the instrumental tracks of which dated to the 1972 sessions for "Goats Head Soup."

'Blind Willie McTell,' Bob Dylan Dylan is famous for leaving great songs off albums - "The Groom's Still Waiting at the Altar" should have been on "Shot of Love," and "Red River Shore" mystifyingly missed the "Time Out of Mind" cut - but the most famous may be this haunting six-minute ballad recorded for the 1983 album "Infidels." This dark travelogue evoking slavery, bootlegging and an early 20th century bluesman was officially released in 1991 on Dylan's "The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991."

'Bad Day,' R.E.M. Initially recorded during the sessions for "Life's Rich Pageant" (1986), this motor-mouthed precursor to "It's the End of the World As We Know It (And I Feel Fine)" was remade for the band's 2003 greatest hits album "In Time" and released with a TV-news-spoofing video.

'Bob George,' Prince The Purple One recorded a nasty funk album, "The Black Album," as his follow-up to the landmark "Sign o' the Times" but had a change of heart and recalled it just before its scheduled 1987 release. (He recorded the tamer "Lovesexy" instead.) The most extreme of the squelched songs was "Bob George," a foul-mouthed, violent rap from the point of view of a guy whose girlfriend has been seeing Prince's manager. Warner Bros. finally released - and quickly deleted - "The Black Album" in 1994.

'Ordinary People,' Neil Young Young has no shortage of long-shelved songs and projects, but right up there in legendary status was this epic, originally recorded for the 1988 album "This Note's for You" and performed rarely before being abandoned. It finally showed up, all 18-plus minutes, on Young's 2007 "Chrome Dreams II" album.

'Yellow Ledbetter,' Pearl Jam Recorded for the band's debut album, "Ten," this left-off tune redolent of Jimi Hendrix would go on to become a concert favorite and even a modest college radio hit. It was the B-side to the "Jeremy" single and finally landed on "Rearviewmirror," the 2004 greatest hits record.

'Acquiesce,' Oasis Chicago Tribune rock critic Greg Kot called this the British band's best song ever, and many in its fan base apparently agreed. A B-side to the 1995 hit "Some Might Say," it was popular right away and was the lead track three years later on "The Masterplan," a collection of outtakes.

'Sorry and Sad,' Patty Griffin "Silver Bell," Griffin's legendary lost album from 2000, went unreleased when her record label, A&M, essentially decided to drop her without putting it out. A couple of the songs helped seed the Dixie Chicks' mega-platinum CD "Home," and Griffin would put out some on her own later records. But to get, for instance, the first-rate "Sorry and Sad," you'll have to find one of the "Silver Bell" bootlegs readily available on the Web.

'A Magazine Called Sunset,' Wilco In the pantheon of stray Wilco tracks, some fans prefer the emotional directness of "One True Vine." But it's hard to deny the pure pop pleasure of "Magazine," which didn't make it onto "Yankee Hotel Foxtrot" but was made available on "More Like the Moon," a download-only EP "YHF" buyers could get on the band's website.

'Lenin,' Arcade Fire A more straight-ahead pop song than much of the Montreal group's oeuvre, "Lenin" boasts a boppy, almost children's-choir feel on the chorus. It found its way to daylight on "Dark Was the Night," a charity record compiling indie-rock superstars.

Chicago Tribune staffers Greg Kot, Steve Mills, K.C. Johnson, Christopher Borrelli, Kevin Pang and Amy Guth contributed to this story.

[Dodfather]

How did I miss this thread? I think that Silver Springs from The Dance really is one of FM's finest moments. I never, ever tire of it and get caught up in the drama every single time. I wish I didn't sometimes! I'm not a huge "shipper" by any means but this performance... I really think that they either had a screaming match afterwards or the best f***ed up angry revenge sex there has ever been!

[vivfox]

Originally Posted by Dodfather

How did I miss this thread?

You were probably chatting on Nicksfix.