My rant about concert setlists - Page 6

amber · #76 11-05-2005, 05:34 PM

Quote:

Originally Posted by David

I don't believe that seeing the concert makes the general mob buy the new FM album. The rabid fans have the album by the time the concert rolls around, & for everyone else, they're just out for a party night. I have trouble believing that the people I see drinking 20 beers & yapping to their friends all through the set & wandering around & playing tag & going back to the concession stands every 20 minutes -- trouble believing that these people go buy the new FM album after attending the show.

I don't think concerts sell albums in Fleetwood Mac's case any more. The band has its fan base, & those 700,000 people in this country buy the new album, & the other million who see them on tour just drop it when they get home.

I think there was more of that concert+album sales connection in the old days. But nowadays the rules have all changed for getting played on the radio, selling albums, selling shows, etc. The entire industry just isn't going to work the way Fleetwood Mac expects it to work any more.

That's mostly true, I would think. But does FM know that? And also, don't they just have to tour to make the money back for the release of their album?

strandinthewind · #77 11-05-2005, 05:36 PM

Quote:

Originally Posted by amber

That's mostly true, I would think. But does FM know that? And also, don't they just have to tour to make the money back for the release of their album?

Which is the rub. If they would record on a smaller scale they would not be so beholden to the powers to be. But, they will never do that and I can't say I blame them as recording in a fab house in Bel Air as opposed to LB's basement on his MAC does have its advantages

amber · #78 11-05-2005, 05:37 PM

Quote:

Originally Posted by strandinthewind

I agree - there is little significant correlation between increased CD sales in towns where they perform, etc.

Interestingly, I think La Nicks is the only one who gets your statement "The entire industry just isn't going to work the way Fleetwood Mac expects it to work any more." I think her comments in the DR doc. demostrated that.

In the end, they, like so many other huge acts, have little options to sustain relevance in the corp. music scene. They could opt out of that, but why would they want to. La Nicks indicated TISL was what she wanted from an artistic point of view, so why would she go to a private label, etc.

How does her label affect how TISL turned out artistically?

would she have not had enough money to pay producers and everyone with a smaller label?
I mean, would her songs have been worse?

(I honestly don't get exactly how that works.)

amber · #79 11-05-2005, 05:38 PM

Quote:

Originally Posted by strandinthewind

Which is the rub. If they would record on a smaller scale they would not be so beholden to the powers to be. But, they will never do that and I can't say I blame them as recording in a fab house in Bel Air as opposed to LB's basement on his MAC does have its advantages

Um...isn't Lindsey's basement a fab basement in a fab house in bel air? (or somewhere fab) With tons of studio stuff?

strandinthewind · #80 11-05-2005, 05:40 PM

Quote:

Originally Posted by amber

How does her label affect how TISL turned out artistically?

would she have not had enough money to pay producers and everyone with a smaller label?
I mean, would her songs have been worse?

(I honestly don't get exactly how that works.)

I am unsure what you mean. I was talking about her being happy from an artistic perspective doing it the way she is doing it. I used TISL as an example because she indicated that process yielded what she considers a masterpiece.

I am unsure I answered your question

dissention · #81 11-05-2005, 05:40 PM

Quote:

Originally Posted by amber

But does FM know that?

They should by now if the SYW sales are any indication.

strandinthewind · #82 11-05-2005, 05:41 PM

Quote:

Originally Posted by amber

Um...isn't Lindsey's basement a fab basement in a fab house in bel air? (or somewhere fab) With tons of studio stuff?

LOL - probably, but his place is sooooo last year. They need a new house representing neutral ground

dissention · #83 11-05-2005, 05:42 PM

Quote:

Originally Posted by strandinthewind

Which is the rub. If they would record on a smaller scale they would not be so beholden to the powers to be. But, they will never do that and I can't say I blame them as recording in a fab house in Bel Air as opposed to LB's basement on his MAC does have its advantages

"This is not about art..."

strandinthewind · #84 11-05-2005, 05:43 PM

Quote:

Originally Posted by dissention

They should by now if the SYW sales are any indication.

I think Mick thought they were going to sell millions of records. He even said so in the DR doc when he said something like even is this record just sells a few million, etc. So, up until then, perhaps FM thought they would sell far larger numbers than actually sold. I do think La Nicks was well aware of that reality prior to SYW though.

estranged4life · #85 11-05-2005, 05:44 PM

night-after-night, At least it makes it easy to list the tracklistings of the bootlegs of the shows online since all one needs to do is change the date/location info.

David · #86 11-05-2005, 05:44 PM

Quote:

Originally Posted by amber

Um...isn't Lindsey's basement a fab basement in a fab house in bel air? (or somewhere fab) With tons of studio stuff?

Maybe he doesn't want the rest of the band & entourage in his home. Remember what he did in 1986 when they were recording Tango? He had a trailer brought in & parked on his driveway & the band was "invited" to hang out there.

Can't say as I blame him, either. What was the name of that woman who was constantly around Stevie in the documentary? Was that one of Stevie's umpteen assistants, I imagine? I wouldn't want that woman around my home, stalking around behind Stevie & her dog like Hamlet's ghost. I'd be polite about it, but I would be thinking, "What the feck is this woman doing here while we're trying to record?"

David · #87 11-05-2005, 05:45 PM

Quote:

Originally Posted by estranged4life

night-after-night, At least it makes it easy to list the tracklistings of the bootlegs of the shows online since all one needs to do is change the date/location info.

LOLFOEFL!! Brian, you always have virtually the most sensible reasoning!!

strandinthewind · #88 11-05-2005, 05:45 PM

Quote:

Originally Posted by dissention

"This is not about art..."

LOL - and exactly what context was that two second blurb in again?

Yet, people love to throw it up ever now and then to mean La Nicks cares nothing for art and will foresake art for finances any day of the week

amber · #89 11-05-2005, 05:46 PM

Quote:

Originally Posted by strandinthewind

I am unsure what you mean. I was talking about her being happy from an artistic perspective doing it the way she is doing it. I used TISL as an example because she indicated that process yielded what she considers a masterpiece.

I am unsure I answered your question

Well, yeah, I guess I just wondered what big costs that you have to pay back does for the artistic process, exactly. I mean, I realize that if it had to be done on a shoestring that you might not get exactly what you want. But it seems to me there is a lot of room between "shoestring" and whatever the Mac does that would still yield a great product, especially considering the years of experience everyone has.
For instance, How did TUSK cost 20,000 dollars a day to record? Back then? And I know we are speaking of now, but really, how does that happen? And, say...BN - I'm sure that album wasn't very expensive to produce, but it turned out very well.
Again, I'm using those two as examples of why I don't get that there has to be super enormous amounts of money involved.

strandinthewind · #90 11-05-2005, 05:48 PM

Quote:

Originally Posted by David

Maybe he doesn't want the rest of the band & entourage in his home. Remember what he did in 1986 when they were recording Tango? He had a trailer brought in & parked on his driveway & the band was "invited" to hang out there.

Can't say as I blame him, either. What was the name of that woman who was constantly around Stevie in the documentary? Was that one of Stevie's umpteen assistants, I imagine? I wouldn't want that woman around my home, stalking around behind Stevie & her dog like Hamlet's ghost. I'd be polite about it, but I would be thinking, "What the feck is this woman doing here while we're trying to record?"

If I am not mistaken, FM has never really been just the band and the producer in the studio. There have always been many other people around.

But, I agree that LB did not want that craziness (all of the people and the band) in his house 24/7 - and who can blame him.