Your Thoughts Fleetwood Mac EP?
It's sad that the four song EP is almost certainly the last Fleetwood Mac studio material with Lindsey and quite likely the last new material from the band period. For me, Lindsey's contributions on the EP are better than his Say You Will material. Sad Angel is an all-time great Fleetwood Mac song and one of my favorite songs ever.
I'm also a huge fan of Miss Fantasy although I can see why it might not fit everyone's taste. I also love It Takes Time. It's unlike anything Lindsey has ever done in or out of Fleetwood Mac. Without You is straight garbage and it doesn't have anything to do with the fact that it's a Stevie song. The song is so lifeless and dull and uninspiring. Lindsey deserves some blame for not getting more out of it but at the same time Stevie has a history with songs like this. Without You is right there with Second Time. They're two of the dirt worst songs in the history of Fleetwood Mac. |
Wrong.
The last FM album was Buckingham McVie. Which(imo) is the best thing they've done since Mirage. And best of all, that bitter old hag wasn't on it. It's a happy, joyous album! |
I agree Buckingham/McVie was the last Mac album
Disagree and thought the EP was crap Disagree and think Say You Will is brilliant. Its so Lindsey. I don't understand how if you are a Lindsey fan you don't appreciate Say You Will. But if you wanted real....Mirage is really the last Mac album that included the Rumours 5 working together on real songs. In many ways after Mirage, Fleetwood Mac jumped the shark once the solo careers went full tilt and someone's drug use over took their talents. Once the Mirage tour ended, it was like putting Humpty Dumpty back together again. |
I love Sad Angel
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I love Extended Play-and I love that it was put out w that title, I do think it was an intentional spin on the 'EP' format terminology.. very tongue in cheek, very Lindsey.. Fleetwood Mac at play, nothing to prove, just creating in their late career.
Could Stevie have actually contributed more than a 40+ year old song and made it much better? Absolutely. But Sad Angel is classic Fleetwood Mac, I love Miss Fantasy in all its mellow, breezy glory & we finally got a Lindsey piano ballad w It Takes Time :nod: |
It's good but no, not as good as Say You Will. Nothing remotely close to the order of Steal Your Heart Away, Murrow, Everybody Finds out, Destiny Rules.
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Just saying Say You Will is vintage Lindsey. He worked so hard on the album and each track really shows his musical and production talents. I was over-reacting to the majority on this forum who appear to not appreciate Say You Will. I hear him on every note and production value. While some may say Tusk is under produced, Say You Will is produced perfectly IMHO. IMHO, some don't get the musical genius of Lindsey. There are several tracks on Say You Will that are Lindsey at his finest. Perhaps because I listened to Say You Will a million times with headphones, I hear things some may not. Gosh remember before I-pods, there was the carrying case for a portable CD player? LMAO well, I jogged many miles down Miami Beach listening to Say You Will probably a million times with my CD player carrying case LOL. |
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I agree.....Say You Will is another Buckingham masterpiece and followed by another masterpiece the BuckMcVie album. It just sucks that the three songwriters never seem to be on the same page. |
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Can you imagine merging both these albums with taking the best from each? The lyrical writing from the song writers on both albums was perfection. |
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There are plenty of his Mac songs that I admire--"Big Love," "Eyes of the World," etc., etc.. But I don't hunger for them. I only listen to them when I have the album on. |
I also think the album Out of the Cradle, Gift of Screws and Seeds We Sow are the albums for me. I like Go Insane too. Law and Order and Under the Skin are lowest on my scale.
But I enjoy a lot of his FM output. It's just that when I get an album, I'm not judging his input based primarily on the songs he has on it. Not too worried about the Popeye problem, as serious as it may be. |
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His music philosophy is also close to my heart: the way he's compelled to labor over every track with the firm conviction that even subtle variations in formal characteristics (like sonics or effects) make listeners feel different. There are other people like that in rock, but the mainstream rock approach is just the opposite: set up your equipment, power through something, and record it transparently. It's fine—that approach has its place in music. But there's also the equally valid Lindsey Buckingham approach. It's for him as much as for us. He learns something new about his own tendencies and skills when he spends weeks on the back-and-forth experimentation on a single track. "I like what I just did, but what if I try it this way, irrespective of what we ultimately plan to do with the track?" It's a critique of the more superficial, immediate method, where you don't spend days tweaking barely noticeable rhythm guitar lines or workstation effects because it isn't "cool." Yes, there's stuff of his that sounds labored right off the bat, but some of Lindsey's most lasting work is the sort that sounds more superficial, yet reveals its thought complexities over time. We've mentioned a lot of those elements on the Ledge, like the reference to the old Max Steiner movie music in You Do or You Don't, or the way the motif of Stephanie is drawn out and used foundationally in Eyes of the World to support a track that's both boppy and desperate. We could have a million conversations about track choices and ideas in Lindsey's work, but imagine having even one such conversation about Stevie's. Stripped of her vocals and lyrics, those tracks would mean nothing to anyone. |
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You talked about the triumph of Lindsey debuting the new arrangements of Big Love (and Go Insane) for his solo show. I wish he'd done more of that. We have outtakes here and there, with Gift of Screws and with the FM album releases we have gotten. But we haven't had the chance to track transformations in his solo work as much as I would like, because they would reveal, what I would like to perceive as, the transformations in him. |
Lindsey doesn't hit it out of the park every time, but who does? As has been said earlier, when he gets it right, he gets it very right.
And he feeds us all. For people like me, there's the more "normal" stuff; for other folks, there's the stuff he's produced the heck out of until most of it sounds completely unnatural. |
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The Dance originally being planned as an MTV Unplugged seemed to force the band to try new things, a few of which made it to the surface. Unfortunately, it never really happened again. But Lindsey's done this a few times: Trouble, Big Love, Go Insane... you could even make the argument he does it with Never Going Back Again in a strange way. Go back and watch them perform it on "Live in Boston" vs. what he was doing at later Mac/solo shows. Quite a transformation. |
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Yikes, don't mention the last NGBA. It's an insult to Brushes. You know what annoys me about Lindsey is the way he didn't change his GOS songs when Stevie's voice was added. I wish he had used Say You Will as an opportunity to reimagine the songs. I suppose I understand it. On the one hand, as focused fans, we had bootlegs and so a new arrangement of an old song doesn't deprive us of material, because we had the unfinished stuff. But the artist has to think of all listeners. And I guess he doesn't want to change what he thought was a good version of his song, just because he's adding an additional vocal track to it. Same thing with Sleeping Around the Corner. I loved Lindsey's album version, but since I had that, I wanted something a little more different on the BuckVie album. As for the recurring Steal Your Heart Away and Bleed to Love Her, I must grit my teeth. I don't need songs that sound like what we already had. I want Crystal to Crystal. Michele |
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"Sleeping Around the Corner," and "Bleed to Love Her" were also favorites of mine in their original versions but yes, it's disappointing when you play the CD and discover that they sound the same as the ones that had been widely released before (an "Amazon exclusive" is still a wide release because you no longer have to physically go to a store to get it, which may or may not actually have a copy, not to mention its easy availability for streaming.) |
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I just think he was happy with, and had grown attached to, what he had already created. Plus there were time, cost, and logistical factors that may have influenced the decision. Remember Stevie joined at the end of the process for vocal overdubs only. Had he started it from scratch, I think he could have made "Steal Your Heart Away" only worse. He certainly wasn't thinking about what people had on bootlegs. He was thinking of a broader audience along the lines of who had bought The Dance. |
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You once did a little review of NGBA that had me laughing heartily in accord for five straight minutes. |
Extended Play is a good release.
My favorite track from Extended Play would be "It Takes Time". Lindsey playing piano was a positive step forward. (Lindsey's keyboard work in the studio, especially the Fairlight CMI, is underrated.) A piano had been absent awhile. Fleetwood Mac went ten years without new material. If the band was not making albums, releasing extended plays should have been the direction. Extended Play was the first. Additional extended plays would have been or, with the present band, would be welcomed. |
In this age of streaming, they could even have put out a single song now and again rather than a full album or even an EP. But then I guess that would have led to in-fighting over whose song got released when. :(
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Stevie didn’t want to work on the album, the other 3 started and then gave her what they had to pick 2 songs to release for streaming before their 2013 tour. She picked Sad Angel and Miss Fantasy. They added her vocals to those but then she decided there can’t be only LB songs coming out so she pulled her ancient demo and insisted on EP instead. |
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Interesting that Christine was the only one that LOVED making Tango. John had trouble getting his groove to play. Stevie was in rehab or never there or showing up drunk. Lindsey was pissed at Mick buying drugs in his driveway and trying to just get the process over with. Christine says she loved this experience making Tango with Lindsey. So you are correct, it sort of was BuckVie, the early years. |
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No, I'm being smart. Love Without You, love The Second Time. Love All Over Again. (Christine song, current tour closer song.) |
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Tango as BuckVie 1.0 is an interesting notion. And given all of that parallels/similarities, that might be the way people should look at it in the history books. All the same people, essentially, just a different name on the cover. |
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