The mac songwriters listening other's solo works..
 

We have talked a lot about the mac soap opera, including the fights, the breakups, the (possible) slaps, etc.

But talking about JUST music, during all that time (specially the 80s), I wonder if Stevie liked or was just curious about listening Lindsey's albums, or Christine album. And Lindsey or Chris about Stevie's records, etc.. etc..

And did they enjoyed those songs? What could be Chris favorite Lindsey's song? And Stevie's?, and so on.... (did Lindsey have a Stevie's favorite song? so weird during the 80s, hard to separate feelings, isn't it?)

I know Mick listened and sure liked most of his fellow's songs. But the songwriters, I really wonder.

And.. Does Chris have a SYW favorite song? What will Stevie & Lindsey think about In the Meantime?

Should be interesting to know about it.

I remember Stevie said that Lindsey never gave her any feedback or support after she made Bella Donna, and that Trouble In Shangri-La was the first album she made where he actually congratulated her on a job well done.

Stevie must've thought Lindsey's stuff was pornographic. :eek:

?
 

I don't get it. :confused:

I think maybe dissention was referring to the "naughty" aspects of some of Lindsey's solo tracks... like "Love From Here, Love From There," and "Slow Dancing."

I would say that even though as far as we know, Lindsey never took his autographed copy of Belladonna, that he did listen to all of Stevie's solo albums when they came out. I'm sure at the initial listen, there was criticism, followed by much analyzation and then there was hurt because he realized that she didn't need him as much as he wanted her to need him. Now that he's matured and the two of them have not necessarily gotten rid of but instead put their competition aside, he really likes her music, IMO.

As far as Stevie listening to Lindsey's music, I'm sure Stevie was very proud of Lindsey when he released his solo albums. However, I do recall her making a comment, "I wasn't really part of his Go Insane, going insane period..." I don't know that she really enjoyed that album too much.

I would imagine since Christine appeared on Lindsey's first album (and would have been appearing on GOS), that she owns his music and appreciates his talents. They always seemed to share a rapport with one another where the music is concerned.

I'd like to think John owns everyones albums and has listened to them and Mick...well you know he does :laugh:

I remember reading a quote a few years ago about how after TISL was completed Stevie gave Lindsey a copy, and later he said he loved it, but when Stevie went to his house she saw they cd and it hadn't even been opened... does anybody else remember this, or is my mind playing tricks on me?

Yeah I remember reading that too. But I also remember reading that Stevie, Mick and Lindsey listened to the album together right before it came out, sort of like a private thing, I think. So he heard it all the way through at that time. I'm sure that's when he heard it and made the comment.

This is from Stevie's interview with Sonicnet in June 2001 where she's talking about listening to TISL and the demos she put together for the new FM cd with Lindsey and Mick:

"Lindsey and Mick were here two weeks ago. I went back through the song vaults and I pulled 17 songs from a hundred years ago all the way up to now. We listened to Shangri-La, and we listened to the 17 demos, and Lindsey was knocked out. He really hadn't heard all these songs; I guess I just never really played them for him. He had no idea that I was going to present him with 17 songs; he thought maybe we were gonna work on a song. So he called me the next day and said, "I'm driving up the coast and I'm taking notes and I'm very happy with all these songs." So that's about the nicest thing he ever said to me, really. "I'm very happy with all this music" was like, "Oh my God, I can't believe he said that!" So you know, I will follow my Trouble in Shangri-La through as long as it goes, and Lindsey and Mick will work on [the new Fleetwood Mac songs] when I'm gone, and I'll come back and we'll go in the studio and polish it all up. And hopefully a Fleetwood Mac album should be out by the end of next summer. It's very easy to sit down and plan this all out because you never know what's gonna happen. But in the perfect plan that's what I would like".

I'm sure that is just a Rumour. If they were planning on doing a new Fleetwood Mac record I am sure he would be very interested in seeing what her current sound was... Not to mention I am sure he was excited to hear her new record!

Far-out question. Just guessing based on what I know about them, their personalities & their likes & dislikes, I'd say that Stevie likes some tunes here & there from Lindsey's solo work -- like Trouble & Soul Drifter & All My Sorrows. In fact, one radio guy asked her in 1981 whether she had heard "Law & Order" & she said that she heard it & some of it wasn't really her thing but Trouble was a beautiful song in her view. It's likely that a lot of his solo work leaves her cold; his musical concerns don't really coincide with hers. As for what he thinks about her solo stuff, it's probably a similar picture. Her stuff probably strikes him as too mainstream & undisciplined. Her producers gather all these old-school session guys to record with her, & I can't imagine their sound or style thrilling Lindsey all that much, if at all. I'm sure he'd just as soon listen to Beck or White Stripes. Remember, this is a guy who really loves Laurie Anderson -- his head's in a different place from Stevie's. When Stevie utters the word "experimental" in interviews, she sort of spits it out. She's very much a mainstream pop-rock fan (like her enormous fan base), & doesn't seem to really care whether there's a dobro or a balalaika on her song. She just wants the feel to come through directly.

I don't think Lindsey thought Christine's 1984 album was a work of art, either. He probably thought the tracks exhibited solid songcraft (typical of Christine) & competent, no-nonsense performance, but otherwise I can't imagine him finding much personal vision in any of it. Christine probably really enjoys parts of Lindsey's three albums but other parts (Play in the Rain) must leave her cold with their clinical detachment from ordinary arrangements & their self-consciousness.

I think the one solo project Lindsey probably has the most affection for, aside from his own work, is "The Visitor."

:nod: If she had such a stroke over saying the word "bitch," she must've felt corrupted upon first listen to his solo stuff. :laugh: I mean, his music oozes with sex. And "Wrong" must've made her ears bleed!

She sang along with Lola, and that was way back in their beginnings. :shrug:

Stevie Nicks in The Record, February 1982.

"I love Lindsey. I love him very, very much and I wanted Lindsey to make it and I wanted this album to be as successful as...If this album is more successful than my album, I would be so glad. You know, when "Trouble" (the single from Buckingham's LP) came out, I was saying, let it go straight to the top. Because it only makes my life easier when Lindsey is happy. 'Cause when Lindsey is happy, he's really in a good humor and he's wonderful and he and I really get along and we're close. For me, when you love somebody, you want them to be the best."

This is one of the things that drive me nuts about Nicks, & quite possibly one of the reasons that so many people think she's an airhead. She filters her aesthetic responses through an irrelevant prism of psychological or sociological concerns. Her responses are extramusical, the way a child might respond ("I love this movie because it made my mommy laugh"). Her comment above about "Law & Order" is equivalent to my saying that I really love "Say You Will" because my dad works for Reprise & the label needs higher sales this quarter in order for people to keep their jobs.

Then again, some of my pals from this board & elsewhere do essentially the same thing; they'll say, for example, that Bob Welch is their favorite member of Fleetwood Mac because Welch kept the band together through hard times. You kinda go, "Huh?" You wait for an aesthetic response ("His songs are rad," "His guitar-playing is punchy & creative," "He writes puzzling but fascinating lyrics") & the only point they have to make is a sociological one centering on considerations of the band's history.