Quote:
Originally Posted by David
In Fleetwood Mac terms, it is.
The studio track exemplifies Fleetwood Mac's strengths with orchestration. And it has a quality that a lot of other top-notch examples of orchestration on Mac albums don't have: real heart instead of sonic puzzles and showmanship. Maybe that's why the studio track doesn't interest some listeners. When you listen to the shimmer and sparkle on other tracks, the arrangement of the instruments feels like a conscious demonstration of the technology in the building, Lindsey's serendipitous cleverness, and the expertise of the engineers. But Silver Springs feels totally committed to an expressive need to convey something that has profoundly shaken its songwriter. (Not in ten thousand years would any of Stevie's solo studio bands have built anything this complex and emotionally subdued around a song of hers.) That beauty is like a documentary of the moods in the room at Sausalito. The interplay of instruments -- like Japanese wind chimes -- feels like nature. What these musicians in their late 20s and early 30s did in 1976 with Silver Springs is the equal of the "feel" Peter, Jeremy, Mick, John, and Danny achieved with their greatest work in 1968 and '69.
Both Danny and Lindsey were devoted to the music of Django Reinhardt, and maybe there's a little Django in their best studio work.
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I agree with so much of this. Silver Springs got re-introduced in 1997 and the updated live version did turn heads and it was fantastic. But many embraced this version because it turned out to be the showcase of The Dance.
The original version is a musical and lyrical masterpiece. Its very intricate. I like both versions but the studio version has that magical and mystical Fleetwood Mac sound that's SCREAMS the mid 70s Fleetwood Mac sound. Just listening to the music track without vocals would make people hit the buzzer and say - Thats Fleetwood Mac. Its also very Rumours not for only sound but the bitterness of breaking up with Lindsey. I can feel Stevie's sulk when she was told it was being left out. This song a B side is probably the best B side ever
IMHO its better than Sara and many would melt down if Sara was left off Tusk or say it ruins the flow of Tusk
Part of me LOVES that Silver Springs got its due in 1997. But part of this irks me because it was a Stevie Nicks song and it just reinforced the Stevie Nicks is Fleetwood Mac stuff. It also relaunched her solo career the next year with Enchanted. Maybe there was a Lindsey or Christine song lurking in their past could have also showcased the band in 1997
Growing up in the 80s hearing Silver Springs on the radio was rare but it did happen. I remember running to the radio to turn it up. It was such a treat and made my day. Remember in those days you could not instantly hear a song unless you owned a copy. I did not own a 45 of GYOW so I was lost in the shuffle. BTW, praising Silver Spring should not equate not liking IDWTK. That is a false narrative.
SS is my second favorite musical track of the Mac (Oh Daddy being #1). These are not my all time favorite Mac songs but the musical tracks to these songs are pure magic with Lindsey on guitar and that classic thumping rhythm section of Fleetwood Mac. Even Chris's sparkling piano is pure joy. Its magic! Yes, its better than dreams!!!!
https://www.youtube.com/watch?v=tqOLTlZ_CcM