Mick Interview on Rumours at 45 Years Old

[jbrownsjr]

I agree that SS doesn't belong on Rumours. The main reason being that it wasn't. I don't even like the studio version. I love the Dance version with the piano intro, the beautiful blend of the three voices, the great guitar, and the passion.

[bombaysaffires]

Originally Posted by jbrownsjr

I agree that SS doesn't belong on Rumours. The main reason being that it wasn't. I don't even like the studio version. I love the Dance version with the piano intro, the beautiful blend of the three voices, the great guitar, and the passion.

completely disagree.
The studio version is perfection.
Her voice alone....it was recorded when she was at both the height of her natural talent and her skill in employing it to its greatest effect.
On The Dance version she had already begun her descent into bellowing out her songs... far too loud and far too lacking in the subtle nuance that exists on the studio version.
The layers of guitar on the studio version are sublime and not really possible live because Lindsey has to pick ONE guitar to play live versus playing all the guitar parts in the studio.

The Dance version is a bit too sledgehammer-y for me compared to the studio version.

[aleuzzi]

Originally Posted by bombaysaffires

completely disagree.
The studio version is perfection.
Her voice alone....it was recorded when she was at both the height of her natural talent and her skill in employing it to its greatest effect.
On The Dance version she had already begun her descent into bellowing out her songs... far too loud and far too lacking in the subtle nuance that exists on the studio version.
The layers of guitar on the studio version are sublime and not really possible live because Lindsey has to pick ONE guitar to play live versus playing all the guitar parts in the studio.

The Dance version is a bit too sledgehammer-y for me compared to the studio version.

I feel the opposite. To my ears, her vocals on the the original/studio version sound shaky and immature. Her vocals on THE DANCE version are, I think, glorious. There, she approaches the song with the wisdom and gravity it requires. What was once a charming yet somewhat precious song with country-pop underpinnings became a cathartic, forceful, show-stopping ballad. She owned that song and that performance. A triumph.

[elle]

Originally Posted by aleuzzi

I feel the opposite. To my ears, her vocals on the the original/studio version sound shaky and immature. Her vocals on THE DANCE version are, I think, glorious. There, she approaches the song with the wisdom and gravity it requires. What was once a charming yet somewhat precious song with country-pop underpinnings became a cathartic, forceful, show-stopping ballad. She owned that song and that performance. A triumph.

yeah i think original Rumours era Silver Springs is pretty-ish, slightly familiar melody lifted from someone else's song, but just boring. not standing out.

emotions she put in the performance of it in the 90s made it a stand out.

and then of course she and LB kept acting out those same emotions throughout the rest of their tours. she really should have done it with Finn. i bet it wouldn't change her longstanding act, like it didn't on the other songs.

[UnwindedDreams]

Originally Posted by elle

and then of course she and LB kept acting out those same emotions throughout the rest of their tours. she really should have done it with Finn. i bet it wouldn't change her longstanding act, like it didn't on the other songs.

The classics like Silver Springs, Sara, Songbird, Over My Head were missed by me at the last tour. But I'm a believer in that they should've only played '75 on songs (including BTM songs) because Stevie wasn't on the Green, Kirwan, and Welch stuff. But I know there are fans who wanted the blues rock played. I wasn't happy when they did Oh Well in 2009.

Certainly Crystal, Love is Dangerous, and Freedom would've been more appropriate to sing rather than Don't Dream It's Over, I Got You and Free Falling.

[bwboy]

Originally Posted by UnwindedDreams

The classics like Silver Springs, Sara, Songbird, Over My Head were missed by me at the last tour. But I'm a believer in that they should've only played '75 on songs (including BTM songs) because Stevie wasn't on the Green, Kirwan, and Welch stuff. But I know there are fans who wanted the blues rock played. I wasn't happy when they did Oh Well in 2009.

Certainly Crystal, Love is Dangerous, and Freedom would've been more appropriate to sing rather than Don't Dream It's Over, I Got You and Free Falling.

Oh man, I love your thinking here! Although I have to admit, I had no problem with Don’t Dream It’s Over and Free Falling being performed. But Crystal, Love is Dangerous, and Freedom would have been awesome. I Don’t Want to Know, also. And instead of All Over Again (which I enjoyed), As Long As You Follow would have been the ultimate for me.

[UnwindedDreams]

Originally Posted by bwboy

Oh man, I love your thinking here! Although I have to admit, I had no problem with Don’t Dream It’s Over and Free Falling being performed. But Crystal, Love is Dangerous, and Freedom would have been awesome. I Don’t Want to Know, also. And instead of All Over Again (which I enjoyed), As Long As You Follow would have been the ultimate for me.

I think if you're proud of your own work, you play it for an audience! I would have loved to have heard Save Me, Skies the Limit, No Questions Asked over the pre-75 stuff.
Love is Dangerous would've been great with Neil. But BTM wasn't touched.
Don't Dream, I Got You, and Free Falling shouldn't have been in a Fleetwood Mac 50 Years set. They may as well have done Super Freak, If I Can't Have You, and Night Fever if they weren't going to do FM songs.

Sorry but I don't like All Over Again, it dragged for me and it was tacky that the lyrics were on the screen. Warm Ways would've been a perfect closer.

[elle]

Mick Fleetwood Opens Up About Lindsey Buckingham And Stevie Nicks' Current Relationship https://t.co/i8bDZ6kJLW pic.twitter.com/FNp0q9nV0n

— Metalhead Zone (@metalheadzone1) February 12, 2022

Mick Fleetwood Opens Up About Lindsey Buckingham And Stevie Nicks’ Current Relationship
Su Yeniocak
February 12, 20222 mins read

Fleetwood Mac co-founder Mick Fleetwood recently mentioned the complicated relationships between Fleetwood Mac members Stevie Nicks and Lindsey Buckingham. Touching upon the relationship that has become a spider web, he wished to have resolved everything.

The drummer Mick Fleetwood formed Fleetwood Mac in 1967 with the guitarists Peter Green and Jeremy Spencer. The band went through a few lineup changes, but their career took a successful turn after the folk-duo Stevie Nicks and Lindsey Buckingham joined in 1974 as an inseparable couple. Fleetwood Mac earned their places on the top of the charts with their new pop-rock hit songs.

Their personal relationships were as dramatic as they were successful. Joining as a romantic couple, Buckingham and Nicks went through an awkward and tense phase after their breakup. However, they were still able to work together as ex-partners for Fleetwood Mac. In fact, their separation even inspired them to create hit songs, often targeting each other.


Nonetheless, in 2018, Stevie Nicks expressed that she couldn’t bear Buckingham and his mocking attitude anymore. She gave the band the ultimatum saying that either Buckingham leaves or Nicks will. The band took Nicks’ side and fired Buckingham on the grounds that Nicks doesn’t want to appear on stage with him ever again. Even though Buckingham went back to his solo career afterward, the tensions were not completely resolved, which according to Mick Fleetwood, was upsetting.

Here is what Mick Fleetwood said about Nicks and Buckingham:

“I’ll just say it… Stevie and Lindsey, I don’t think certainly, are resolved fully, and I wish they were, I visualize those moments as the years trickle by somehow. But I truly, somewhat sadly think that that will go into the rainbow somewhere and never really change. But there you go.”

Buckingham and Nicks’ relationship ended in 1977, but they continued to work together. The tensions started to build up after Nicks fell in love with Mick Fleetwood and Buckingham got uncomfortable. In 1987, Buckingham quit Fleetwood Mac later to reunite, because he wanted a break from his ex-girlfriend and to focus on his solo work.

https://rockcelebrities.net/mick-fle...-relationship/

[Macfan4life]

I take issue with the line "the band took Nick's side and fired Buckingham".

It should read: "the band was blackmailed by Nick's efforts to cast out and fire Buckingham before going on tour. Nicks is a huge draw for "Fleetwood Mac fans" The band members went along with Nicks's ultimatum to secure lucrative tour proceeds.


Sorry I've always been a stickler for correcting the record

[David]

Originally Posted by bombaysaffires

The studio version is perfection.

In Fleetwood Mac terms, it is.

The layers of guitar on the studio version are sublime and not really possible live because Lindsey has to pick ONE guitar to play live versus playing all the guitar parts in the studio.

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.

[elle]

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.

man. now i want to go listen to it and see what i've been apparently completely missing.

Silver Springs original version to me was similarly to white album, somehow dry and emotionless. maybe it was just bad speakers i listened on?

[Macfan4life]

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.

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

[On Ice]

I'll keep saying it till I'm blue in the face lol, Silver Springs is the best song Stevie nicks ever wrote and everything about it is spot on. The melody, the music, the lyrics, her perfect vocals- at the height of her talent, wow, just wow. Should've, would've could've, been released it ahead of Rumours as a single- we would not be talking about it as a Dance triumph (it is), but in the context of their classic work. It didn't have to make the track list on Rumours to still have an impact. The band had a history of singles not being on albums, so it would've been a great marketing tool. The song is everything that made Stevie great in the first place and if her writing had continued in this form, imagine how many songs would've been covered by others over the years. Instead, she deteriorated to Welcome to the Room...Sara

[aleuzzi]

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.

I agree with you regarding the quality of the orchestration. There are some quality moments in the backing track. But for me, the main problem with SS in its original form is Stevie Nicks. Her vocal doesn’t command the song. Her singing sounds a bit like scratch vocals for another more confident singer to work from. Before its 1997 reemergence I used to find the song “pleasant” but “transitional” because she couldn’t manage the right vocal attack. All of that changed in 1997 when her voice wrapped perfectly around the melody.

[Macfan4life]

Originally Posted by aleuzzi

I agree with you regarding the quality of the orchestration. There are some quality moments in the backing track. But for me, the main problem with SS in its original form is Stevie Nicks. Her vocal doesn’t command the song. Her singing sounds a bit like scratch vocals for another more confident singer to work from. Before its 1997 reemergence I used to find the song “pleasant” but “transitional” because she couldn’t manage the right vocal attack. All of that changed in 1997 when her voice wrapped perfectly around the melody.

I totally got the same feeling. Stevie took command of SS in 1997 and her vocal brought out the power of the song. However, the fragility of her voice and singing from the 1977 studio version creates a very vulnerable singer and vocal.
When I heard the 1997 version live, I instantly liked it and immediately thought it was better because her vocal was standing up to this guy. It brought the song to another level. But after all these years, the studio musical track and vocal beats out the Dance. I think we were all under the Dance spell (or maybe just me). I love the vulnerability of her vocal. Its very similar to Sara. The studio track wanders and her vocal shows vulnerability. However Sara live takes the song to new levels. Its powerful. I suppose each is good for their own reasons. But if someone put a gun to my head and said, PICK. I would pick the studio track.