Not my favorite but I like it from the 5 albums.
 

Warm Ways
Songbird
What Makes You Think You’re The One
Oh Diane
You and I pt 2


I still really do like all 5 of these tracks….just not my favorites from these albums.

I like them too, actually WW is one of my favorites. But in the case of NTF, just the Mirage live version, and not listening but watching it with a glass of Merlot. It's a fun performance. I don't listen to the studio version often.

I love the instrumental part of the song. They are jamming their collective asses off.

WW isn't a favorite, but I actually love playing the keyboard parts on it, so PLAYING it has grown on me.

I actually really do “Like” the studio version of NTF but I’m definitely not a fan of the live versions at all.

To understand this thread correctly, this is one song from the 5 from the last 5 albums that is liked but not a favorite? In other words, its meh?

I'm So Afraid (but its killer live and a favorite if that makes sense)
I don't want to know
Tusk (ok shoot me) but I like it live
Book of Love (I hate Oh Diane but this is about songs being meh not hate)
Family Man

I understood it's about songs I do like, but are not in my top list. Meh would be a lack of interest or enthusiasm, so they make me indifferent. If that was the point, my list would be:

Crystal (yeah, shoot me too).
I do like and enjoy all Rumours songs.
Not that funny (again, I enjoy the Mirage live performance but the studio... ,meh)
Book of Love
Mystified

I agree with this list, EXCEPT for Book Of Love. Oh Diane can suck it.

haha! you're a piece of work.

Make a recording of the keys isolated. I'd love to hear it.

Blue Letter
Never Going Back Again
Sara
Cant' Go Back
Caroline

I do it on a Rhodes sound, with tremolo. Imma tremolo addict.

So is Christine in some concerts. haha

Hmm. You’re making me think at 10 in the morning, Bly.

white: Blue Letter (rollicking is about the best I can say for it; Stevie’s and Lindsey’s harmonies elevate it greatly)
Rumours: Never (nice little ditty that didn’t take on any anguish until 1980 onstage)
Tusk: Beautiful Child (a little snoozy but heartfelt; done beautifully in 2003)
Live: Dreams (didn’t get interesting onstage until 1979–80–82, and then got dull as dishwater again in the late 80s; no fault of the song, which is Stevie’s masterpiece)
Mirage: Wish You (pretty, of course, but doesn’t have much of a personality in the production; seems unimaginative, as if the band ran out of ideas)
Tango: Caroline (interesting lyric but lots of clicking and clacking in the percussion that sounds like somebody’s poor brain at Six Flags; the repeating harmony vocal figure is probably the first time the band tried a Middle Eastern thing)
Mask: Affairs (she obviously had help from Rick or someone with the modulation, with the descending walking bass during the chorus, but mostly unimaginative work from Greg Ladanyi)
Time: Hollywood (not a great Chris hook; as forgettable as a traffic pattern in a parking lot)

I'm stuck in Indiana, fixing up a rental property for a couple of weeks. All I have is a guitar, and a POD with headphones.

Not That Grating
 

I'm going through a Not That Funny renaissance of late.
Never cared much for the album track, whereas now when I listen in the car I'm hearing more melody or dynamicism or rhythm or bass or something that I wasn't hearing before. Might be the immersive car speaker settings vs listening at home. The drums definitely pop more. Really digging it.

It used to be that if I was able to drop a Lindsey song from Tusk it would be Not That Funny, whereas currently I think it would be What Makes You Think You're The One.

(The notion of dropping a Lindsey song comes from him having more than his share on Tusk (at least by number of songs) and they had to cut down Sara for the CD, etc)

I agree. Tusk CD was the first I got, never got the vynil album. But I'd have chosen The Ledge. It's not a meh song, I actually don't like it.

WMYTYTO is my favorite Lindsey song on Tusk.

Did Lindsey really get more disc time? 2 minute songs don't compare to Stevie's bloated, droning dirges.

I remember the total times were done some time back, but I don't remember the results.

I find the drums on WMYTYTO a bit headache inducing. A bit too military.
Otherwise love the song. I wonder if it would also work as a quieter cover -- in a sort of Over & Over vibe.

As I recall Stevie actually ends up with more actual runtime, but not sure. (Feels like a post I would have made but I'm not about to fish around for it.)

OMG, you should see me driving with it on. I'm hammering out every odd drum beat on it.

Haha, and I do the "Lindsey point" while I'm screaming the lyrics. I tell ya, I ain't right. :woohoo:

Well, at least they're wasn't a 13 minute Gypsy story on it.
I think she won the time clock as well.

In order, my favorites are I Know I’m Not Wrong, What Makes You Think You’re the One, That’s All For Everyone, Save Me a Place, and Tusk.

I love Save Me A Place, The Ledge, That's All, and IKINW.

I think I only hate NTF because I've been tortured for 42 years with the live Mirage version....

OH OH OOOOHHHHHHHHHHHHHHHHHHHHHH!

We agree on something! The ledge is my least favorite song on the album. Its been debated here over the years that the most conventional song on Tusk (Think About Me) is placed back to back with the least conventional song on Tusk (The Ledge). Was it done on purpose?
The Ledge is first side and very early on Tusk which gives Tusk that quirky vibe. In reality the album is not that quirky. If the Ledge was buried on side 4 maybe that adjective would not have been used to describe the album.
If I had a sit down interview with Lindsey this is something I would ask him about because there is too much circumstantial evidence either way. Some say Tusk flows nicely (but after hearing it a million times that would be natural), while others say Tusk was purposely choppy and that is another appeal of the album is the flow is unconventional and surprising.

BTW, was there not something in Mick's book about Warner's reaction when they heard The Ledge, like WTF?

Mick said something to the effect that when the record company heard the album for the first time, they said they executives looked like they could kiss their Christmas bonuses goodbye.

I hate the Ledge and Not That Funny, almost as much as I love Lindsey’s other songs. They assault my senses from the first note. I would wager that sensation was kind of what Lindsey was going for- not an assault, but rather a strong reaction. My reaction went way south, unfortunately. Learning much later that he demanded being able to make some of his songs solo just fed into my dislike for them, although I’m appreciative that Mick, Christine, and John had no part in making the music of those songs.

No Warner quote about specific songs, but there are comments about the obvious concern for business.

The Warner Bros. executives, meanwhile, listened to Tusk and saw their much-anticipated Christmas bonuses fly out the window. No way, they said, was this package going to sell tonnage. But we never wavered once. We were too far into what we were doing, and at that point there was no question of hacking the album down to one record. The whole thing had become just too massive. Word on the street was that we were going to go into the record books as having spent the most money in history recording an album, but we didn't care. (We knew, incidentally, that the Eagles had spent more.) We understood the company's point of view. They wanted us to continue our usual groove and make a lot of money for everyone.

Monday Morning (it’s pleasant and bouncy but doesn’t amaze me)

Nothing from Rumours—love it all.

Over and Over/I Know I’m Not Wrong

Straight Back

Caroline/Mystified — (total B/B+ level work)

I sort of have a memory Lindsey commenting about the Ledge and Warner in some past interview. I could be wrong but for some reason its in the back of my mind.

There were times on the 1980 tour where the band took it through a six- or seven-minute minimalism breakdown, like a John Adams fantasia — with short phrases repeated an impossible number of times so that your ear begins to hear an architectonic transformation through the steady pulsation. (And just like the concert hall minimalists, Fleetwood Mac worked with tape loops slowly drawn out of phase with each other.)

John Adams wrote Shaker Loops, Steve Reich wrote Variations for Winds, Strings, and Keyboards, and Fleetwood Mac stretched “Not That Funny” and “World Turning” into their own form of minimalism. (On the latter, John McVie serves as the pedal point drone in Dorian mode, linking the medieval church composer Pérotin to Fleetwood Mac’s folk-punk. Or maybe I’m reading too much into it.

Hollywood Bowl FINAL NIGHT Not That Funny