Quote:
Originally Posted by strandinthewind
He wanted it to fail
If critical success and personal triumph were all he cared about then and the hell with selling any records, then why would he need FM to propel him back in the limelight? Why not just release your solo stuff and if it sells one copy who cares - you have critical and personal success. He wanted the recrod to sell for whatever reasons, but it could not sell without FM. Isn't that clear as a bell?
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No, it's not as clear as a bell to me. For one thing, I don't think he was under the illusion that his solo record would sell big with or without FM, since none of his past solo records had. But he wanted people to hear it. Maybe more people would hear it after being reminded that LB was that guy who was once with FM. It's easier to get booked on tours and to get airplay (to the extent that he'd get any at all) when people have some idea who you are.
But anyway, even if it is as clear as a bell to you, it's helpful having Lindsey's actual words, because I don't think everyone would take the same conclusions from them as you do.
Quote:
Originally Posted by strandinthewind
Well, that is his own fault. GOS was mostly written before The Dance and certainly it should not have taken him three years to pitch it to WB  As for TITN, he left the band and then had to do a record. Tusk likely helped 1981's L&O. He waited too long for 1984's Go Insane. If he'd just hurry a little, his use of FM might be more effective 
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If capitalizing on FM had been his main goal, I think he
would have hurried a little, made more FM albums (the long interval between
Mirage and
Tango was placed at his door by the rest of the band) and also stayed in the band longer to give the greatest boost possible to this solo career that he has always hoped would make him millions and millions.
Michele