^^^^ Thanks for the quote... I think that's more than a hint. :lol:

I just listened to the new version and was underwelmed. The movie version was epic by comparison.

It's not a great tune. I was so excited to buy it because I thought the B/N revisited thing would make the music come alive. It sure did not. Having said that, the 24K is so generic compared to the B/N version.

It seems far from being a dig toward Lindsey. She didn't say she disliked the duo version; she just loves the song and wanted to revisit it and tweak it to sound more like the demo. I hear absolutely no hint of spiteful drama in her explanation.

Don't really see it as a dig towards Lindsey, those are perhaps your thoughts. Nicole simply said, "There's the slightest hint of 'I like the demo better' in this comment below"

I agreed.

I think it should represent different aspects of their other albums... A warm and light and fun guitar track, a driving guitar solo-oriented thing featuring the three contributing singers, a quirky Lindsey song (wouldn't be complete without it) a mystical Stevie song about love and birds and mythical creatures, and a rock-solid Chris song with a great rhythm section. Throw in some funky Tango-inspired tracks and some flowing creativity, and it really could be a great showcase...

I also think it would be nice to have a popular, well-played single. And if it sounds too "mellow classic rock" it will go nowhere, so if chart success is an objective, then an 80's inspired sound has to happen, possibly with Stevie on vocals, considering she has had the most exposure to young people the last few years. If not, then all three of them (preferably).

One thing I know is that I really don't want to hear something like SYW, or something with lot of songs with a very fast acoustic guitar. PLEASE, NO!!!!!!!!

With Chris on board, that Must change. But, we won't hear something like Mirage or Tango, and not like Rumours or Tusk, for sure. I don't want songs like the EP ones, so it's hard to say...but maybe an album with an "old" sound would be great!
Regards!

I love both the Twister version and the 24K version. :)

I couldn't disagree more. I feel Lindsey's 21st century fast-acoustic songs like Bel Air Rain, Rock Away Blind, Red Rover, Shut Us Down, etc are the best individual songs of his career. Not just that, those type songs are truly unique in style and are what sets Lindsey apart from other artists.

What I really wouldn't want to hear from him is more middle of the road gutless dreck like his EP and recent soundtrack contributions. :eek: Say what you will about Lindsey's fast-acoustic songs, but they have artistic teeth to them.

Mystified is as light as air, but a fine rarefied air indeed! It's not meant to be a song of message, but one of mood and atmosphere. The spare, uncluttered lyrics compliment Lindsey's musical arrangement, creating an easy listening landscape; a pillow-like album track that doesn't demand much from the listener.

Would I be splitting hairs too much by talking about the "sound" of songs versus their artistic integrity? Part of what brings me back to the White Album and Rumours is their warmth, for lack of a better word. On the albums since then, Lindsey seems to aim for a more detached, sterile feel. "Red Rover" is a great example, especially compared to the studio versions of, say, "Never Going Back Again" or "Landslide," which are largely acoustic guitar-based aside from the vocals. It's not necessarily the speed of Lindsey's playing, or even the layering of his vocals (which admittedly isn't my favorite effect), but something else in the acoustics. To my ear, "Twisted" is the closest they've come to that older sound. Maybe someone with a little better handle on music production can clarify what they're hearing?

I definitely agree about the missing warmth in Fleetwood Mac's/Lindsey's 21st century music. Actually, Richard Dashut commented on how even Stevie's latest album lacked that warm sound. In any event, I don't blame the modern coldness on Lindsey's skills as a musician, but instead on his skills as a producer. This is why I've wished for the return of Richard Dashut & Ken Caillat into any future Mac recordings. I think a hugely essential part of the FM magic sound was lost when the band parted ways with those two.

That being said, there are exceptions where I think Lindsey has really exceeded as a producer. The cold metallic sheen he implements on songs such as Bel Air Rain and Rock Away Blind is what makes those songs utterly sparkle out of speakers. Any sort of warmth in the production of those songs would have blunted that effect. Lindsey can also pull off warmth in production when he wants to. Songs like Down On Rodeo and Destiny Rules are beautiful examples. :)

And, those two albums were recorded on ANALOG TAPE...not a digital computer hard drive. And, using a tube (or "valve" for the Brits) powered mixing board.

Not too many recording studios still using tape. So, maybe they should use Dave Grohl's studio to record their next album (since he's got the old Neve mixing board that was at Sound City).

Were the Sound City boards tube? I only ask because the studio I record in has the old Electrodyne console from Sigma studio in Philadelphia, and it's solid state.

Some info on "Sound City" and the Neve 8078 console "Sound City"

:lol: Trouble and Italian Summer are middle of the road poppy adult contemporary gutless dreck. song like Sad Angel from *his* EP is light years better song than these; it doesn't even compare. :nod:

I think you're onto something here.

The right producer might be able to put what Fleetwood Mac actually is (and was) into perspective a bit more than what the 5 might be able to do on their own. Years and years of drama, solo albums, hiatuses, and egos might still be a fog they will have to maneuver through. Now who that would be I don't know. I honestly think Rick Rubin would be the best choice in helping them really deliver something amazing but also keep them going in a good direction without letting certain members overly indulge.

some interesting points! also something to remember - "warm" Down on Rodeo came from the same GOS production sessions as "cold" Red Rover. Come came from the same sessions too.

Lindsey is just very versatile and not easily pinned down to style, seems to like and is interested in many different musical styles, and can go in any of the several very different musical directions. when i first started listening to his music, being pulled in by perfect warm melodic pop of Second Hand News, these many different musical directions was something completely frustrating to me. how can the same guy write Rodeo, Steal Your Heart Away, Bleed to Love Her, Red Rover, Gift of Screws, Time Precious Time, Tusk, Go Your Own Way, Trouble, Second Hand News, and Say Goodbye? some of those songs i absolutely adore, while others i absolutely despise. and they definitely don't nearly fit in the same musical genre.

like rumours

see, too my ears White Album and Rumours have a completely different sound and production. White Album is cold, disconnected collection of some good and some exceptional songs sounding completely boring when put together. warmth you are talking about and that you hear in soundtrack version of Twisted is similar to Dashut-Caillat-Buckingham warmth of Rumours. Thrown Down from SYW has that similar sound, and that may be why so many fans of Rumours sound seem to latch onto it so much.

this difference in sound and warmth actually makes sense, considering the producer of White Album is Keith Olsen.

like you, i'm just describing what i'm hearing and feeling when hearing it and would love to hear opinions of people with at least some handle on music production.

Here's what I'd love to hear:

Stevie Nicks songs that rival her brilliant set for the Tusk album.

Christine McVie songs that reach the heights of her best pop music, ala "Say You Love Me," "You Make Lovin' Fun," "Everywhere".

Lindsey Buckingham songs that bridge the gap between radio candy ("Go Your Own Way" or "Second Hand News") and eccentric genius ("Tusk")

Perhaps there are different interpretations of 'warmth' but in addition to those two I don't exactly find Tusk to be cold either. To my ears, even Lindsey's songs have a soft 'warmth' on Tusk.

I'd like an album of around 12 songs (though a double album released in two volumes would be ideal).

I'd like a good, creative, interesting, striking cover.

Just out of curiousity, and without any personal agenda or opinion, what about the chances of Richard Dashut's return to the mixing board?

you should ask him:rolleyes:

Those expectations set the bar high, but they accurately describe everything most of us hope for; a cohesive and balanced blend of each of their individual attributes.

I think Richard is dealing with some health issues. I don't think he'd subject himself to the demands of that job.

Sad Angel is not better than Trouble.

Michele

you know how you say sometimes that you hate that Little Lies album version defined the sound of FM for people? that's how i feel about Trouble just million times worse.

first of all i can listen to album version of LL, although don't like it much. and i love this year's live version! i can't listen to any version of Trouble, live or even worse album. once when the album version moves on from those promising weird starting sounds into blah boring middle of the road gutless (i like that characterization for it!) pop song. it may be a good pop song but of the kind of pop i can't stand.

plus Trouble defines Lindsey's solo career for people who know nothing about his music, and they seem think that's pinnacle of his solo output (cause it charted the highest). it saddens me to no end. plus i am still subjected to it at his solo shows. lose-lose. :distress:

At this point .I really dont care if the Mac album just have a solid tone like the EBS system "Emergency Broadcast System" with Stevie,Lindsey and Chris holding the note.LOL............................................................

I like Trouble.

The album should be fine.

Agreed!!! Damn you Elle and your hatred for one of my fav Lindsey tunes. :mad:;)

I don't get the hate for "Trouble" either. But, we all have our opinions. I mean, I'd be just as happy if Fleetwood Mac went on as a quartet without Stevie and not talk about this "last act" crap. I'd rather have the "we'll quit when we're good and dead" mantra, but by the time Stevie gets her head out of her butt, they might all be dead anyway.

Wouldn't we all....

Re: "Trouble"

It's very catchy, and I've often thought that if it had been on the Mirage album, they could have mimicked Rumours' singles run of: Buckingham/Nicks/McVie/McVie ("Go Your Own Way," "Dreams," "Don't Stop," and "You Make Lovin' Fun") with "Trouble," "Gypsy," "Hold Me," and "Love in Store". Similar to how they mimicked it on Tango with "Big Love," "Seven Wonders," "Little Lies," and "Everywhere".

I'm also still hoping for a double album, titled Red Sun, after one of the Buckingham/McVie songs they've recorded. I love the imagery of that, especially if it really is meant to be their last album. And if its their last, they really should go out with a double.

I'd rather have two albums.

Wow. I'm actually obsessed with the idea of that title.

Though the possibility of a double might more or less teeter on the quality of material Stevie will or will not eventually produce.

Now, I wouldn't defend Holiday Road or even Did You Miss Me, but Elle's treatment of Trouble is unconscionable.

Michele

Mmmm I like your point of view, thanks! :)
I won't deny that his style and his way to play are simply amazing, and that's why I really like his contributions. I really enjoyed One Man Show!

Well, anyway, it's OK, he can create those songs for a solo album, but for a FM album, I think he can -or would, or must- create another kind of songs. I guess they've got lot of tracks from the Mirage and the Tango sessions. Why they don't work with those? Stevie re-recorded herself The Dealer for her last album, and it was from the Tusk sessions too...And Christine maybe returned with a box of surprises! What I'm saying, is that they can sound like the 80s Mac, but maybe closer to the 21st century sound.

Regards!
Mark.

I love the imagery of that, too!

I've always loved the bright production sound on the white album. But you are right in noting that the album sounds very different from Rumours. One of Olsen's decisions was to bring the bass and drums up more prominently in the mix. That gives the album a kind of solid underpinning but, at the same time, it's rather light on the top end--comparatively little integration of guitar or vocals into the mix. As songs, Rhiannon, Warm Ways, and Say You Love benefit much from the production. Others, however, seem to want to open up more.

I wish the bass was featured more in the mix from Rumours, but other than that, it has a warm, integrated feeling. And the musicians appear to be more confident. Lindsey in particular.