Quote:
Originally Posted by cascade13
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?
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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.
