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Originally Posted by shackin'up
They sold out big arena's in 88 because the name was re-established by the works of LB who produced a new contemparary sounding Mac.
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That's not at all accurate. Stevie Nicks was still a big name in her own right during the
Tango days, and Christine's songs were all over the radio (moreso than Lindsey's or Stevie's). Yeah, Lindsey produced the album well enough. But that's not why people bought the album. The band was all over the radio and MTV in 1987, and Lindsey's quitting the band probably did more to generate even more interest in the band than any of his actual music or production.
Quote:
Originally Posted by shackin'up
His name has never been big in the eyes of the the crowd, so nobody was really aware that the creative force of the band was lacking. BTM did well, because Christine's great songwriterskills for singles. She could keep the legacy alive through "Save Me", a bland song, but still sounding vintage "Radio-Mac".
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Plus, the Fleetwood Mac brand still meant something, although it was beginning to slip. The problem I see with that album is that Christine and Stevie had fairly bland songs on the album and they somehow chose to use the blander stuff from the new guys. It's the era of what could have been.
Quote:
Originally Posted by shackin'up
But the ship was sinking. When Stevie left nothing was left. Not that she had delivered ANYTHING wothwhile for years, The crowd couldn't live with a Mac without Nicks. I won't say much negative things about the Time line-up, but they just chose the wrong direction by trying to copy Ther rumours line-up in concert.
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No arguements there, though I have to point out that it wasn't just a Billy Burnette-era Fleetwood Mac thing.
Combined Time,
Cradle, and
Street Angel didn't sell 400,000 albums.
Quote:
Originally Posted by shackin'up
Art? Lindseys contributions to SYW were alone more art than the whole production of the band since 88.
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Eh, I'll reserve judgement on that. Considering the last studio album Lindsey was significantly involved in had been released ELEVEN years earlier, it should have been good. If I spent eleven years overthinking an album, it would probably be a major artistic statement, too. This is why I tend to be a fan of guys like Robert Pollard who release a lot of great music every year. Bob's a big exception to just about any rule, but last year alone he released an album full of unreleased demos from the pre-Guided By Voices days, an album full of his stage banter (funny stuff), an EP, a "best of" package for the Fading Captain Series (which was a series of Bob's side projects), and four full-length albums. Bob also released a magazine of his collages (many of which have been used for album covers). Now, it's hit or miss with Bob, but he probably releases one or two albums worth of great music EVERY year.
Quote:
Originally Posted by shackin'up
I agree on the artistic level of the live concerts. That reproduction approach is not my style either, but it's done quite impressive and with ooomph. I saw four SYW shows, and the weren't lackluster at all, although very overperfected. But let's be fair: lindsey rocked it with a pleasure that was felt all over the arena.
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The only pleasure I really got was from listening to John McVie, who was the only one that didn't have at least two others covering his parts. The overperfected/reproduction thing, along with the same canned speeches night after night just killed it for me, and I saw three variations on the set the three times I saw them.
A remote interest in indy rock has all but killed any enthusiasm I've felt for this band. Worse yet, it has caused more in the way of frustration in that they COULD be an amazing band on their own if they'd throw a little caution to the wind. But playing it safe and spouting off psychobabble bores me to tears.