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#31
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Also LB stated directly on his Twitter when he was still taking questions that producing Bob's solo version of Sentimental Lady and giving him a hit was done as a favor to Mick who'd asked him to help Bob out. Seems like Lindsey's been the one helping Mick out in all sorts of ways over the years, including putting him Mick on a path to making money-- think about all that income that still keeps rolling in year after year off the albums.... Compared to tour money which is there and then it's done and gone. Yet Mick still sees Stevie as his path to money. Explains a lot about why he's always going bankrupt.
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Last edited by bombaysaffires; 10-10-2019 at 03:40 PM.. |
#32
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Like a dog without a home Since you went and left me I'm lonely to the bone. I want you back!
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#33
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He has certainly done many, many favors for Fleetwood. Makes me wonder why. Did he see Mick as some sort of big brother? The pattern was always: Lindsey does Mick a favor. Mick kicks Lindsey in the teeth. Lindsey, after picking himself up, does Mick another favor.
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#34
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Well, I despise Mick, but Tusk was his favor to Lindsey. Mick made that happen. He convinced the others to let Lindsey do it. He told them Lindsey might leave the band if he couldn’t. He soothed ruffled feathers and buffered Lindsey. You know that album was one man’s vision out of the five band members and Mick used his authoritative position to level things so it wasn’t one against 4.
Also, I love Lindsey and I am content (thrilled) for him to have the personality he has but he’s, um... well, especially back then more than today, he was arrogant, bossy, demanding and difficult. Mick indulged him (because he thought Lindsey was largely responsible for the band’s success) and was a conduit. He was also in the studio with Lindsey all night long. He may have been drunk and coked out, but he was there. Mick did things to warrant Lindsey’s gratitude, loyalty and his love, once upon a time. |
#35
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#36
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins Last edited by SteveMacD; 10-21-2019 at 01:11 AM.. |
#37
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As an artist, Lindsey is markedly different from Mick, which I thought I made clear. You have a statistical (rather than an aesthetic) bent to your thinking, which is why you are often blind to my context and subtext. Both Lindsey and Mick love trying something new—they are both explorative pioneering spirits, drawn to the idiosyncratic—but Lindsey is clearly a far more conscientious artist than Mick, and imbues his experimentation with a moral fervor for artistic (and business) integrity and sophistication. Mick engages repeatedly in artistic or business moves (or acts that combine both, such as overseeing production of a concert video or a marketing campaign) that sometimes skirt tastelessness or crassness. Mick forays into shlock in ways that Lindsey has no respect for, and Lindsey's reactions are almost always justifiable and reasonable. Mick's 1990 book, for example, degraded the name of Fleetwood Mac; it was shoddily compiled, executed for the crassest salacious reasons, and riddled with uncraftsmanlike errors and faults of judgment and taste. Mick has done countless things like that book in both musical and business terms. Unlike Lindsey, Mick doesn't even partially separate his bean-counter side from his creative side, whereas Lindsey has almost always separated the two, and when he couldn't, he always prioritized the creative side. Your reference to Trouble as a solo track instead of a Fleetwood Mac track (presumably because you think it's an obvious single) is inaccurate and largely irrelevant. There's no indication anywhere that Lindsey sat down deliberately to write a single with Trouble, first of all, and the track he ultimately crafted has enough sonic and lyrical merit that it would be idiotic to categorize it as a crass appeal to the mass audience. It's a quirky personal statement that is nonetheless pop. Yes, I realize that Lindsey called it the obvious single, but that's in the context of that particular album.
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#38
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The first four tracks of Bwana, Trouble, Mary Lee Jones, and Tell You are such a wonderful concise start of the album. In that context, Trouble feels like a sharp and terse interlude into the stylings of Mary Lee Jones. As much as I love some of the tracks on Mick's albums. Lindsey actually understands his own concepts/visions and even has a grasp of the "avant Gard" elements in his pop. Whereas, Mick sort of throws a Hail Mary and hopes it lands into something that gives him funds, artistic accolades, or popularity. AND...needs other writers to help him formulate that end result. I often wonder if he let Tusk happen just to keep the Rumors 5 together (anticipating another selling album afterward). vs. I see Lindsey's vision and I am going to back him up to let this compelling art make it's birth.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" Last edited by jbrownsjr; 10-22-2019 at 01:09 PM.. |
#39
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Back to the topic of the thread, my suspicion is that it may not have been purely a case of Mike not knowing. There may have also another element at play:
Fleetwood Mac - I Don't Want to Know: https://www.youtube.com/watch?v=UwHHCn4sDec Last edited by cbBen; 10-21-2019 at 08:48 PM.. |
#40
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I also don't buy for a minute Stevie hadn't likely already been at Mike, hence Mick saying, this isn't Stevie, this is me asking. That's just my take on it, TPATH was a brotherhood, & it's pretty anti rock n roll "bro-code" to take the lifelong gig of your supposed friend whom you respect, if he just got ****-canned (for no good reason that I can see at this late stage in the game). Doesn't make you look like the solidly cool dude you have always seemed to be, does it? Now THAT would be something to think about, IMO. As far as the rest, I don't think Neil or Mike EVER considered themselves continuing FM members.
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"If we go, go insane We can all go together In this wild, wanton world We can all break down forever " 💔 |
#41
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Oh, it was definitely the former. I don’t think even Mick would bother to deny that
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#42
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I mean, can you imagine Jimmy Page or Keith Richards copying someone else's solos? |
#43
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That’s what I kept saying last year. “Mike Campbell does not want to play this stuff with another guy’s licks.” I don’t care what Mike himself tells the reporters. When you’re in a band that does covers, for example, it’s a very different line of work from what you do in a band that does originals. And when you join another established band just to tour the catalog, you’re a cover man. Mike Campbell is not Rick Vito.
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moviekinks.blogspot.com Last edited by David; 10-25-2019 at 04:02 PM.. |
#44
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There's just something about his response that rings disingenuous to me. I find it damn near impossible to believe Stevie didn't tell her "him or me" story to Mike first. I completely agree that this is not creatively ideal for Mike, who has well-earned rock artist chops of his own. I have always been a TPATH fan. (American Girl is my favorite driving song , loud & fast) It must be hard for him, missing Tom, missing his own band, I'm sure by now he's eager to get back to doing his own thing.
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"If we go, go insane We can all go together In this wild, wanton world We can all break down forever " 💔 |
#45
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He may think he's doing his good friend Stevie a favor.
She thinks she's doing him a favor, giving him something big to do that keeps him busy and not sinking into any sort of depression over Tom. He gets to make a bunch of money (his songwriting royalties can't be bad either) and as he noted, he gets to travel around in private jets playing in big arenas. Probably both interpretations have some validity. But they are rationalizations after the fact.
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