New Fleetwood Mac tribute album to be released September 14

[Serrart]

I'm listening. I loved Angel, Storms is nice, I could have done without Craig Wedren on SOTM (liked St. Vincent though, would have been way better with only her) . Quite flat Kate Elson on GDW (ok, only Stevie can sing them), better Lykki Li on Silver Springs . I really enjoyed the Kills on Dreams. Antony very good (predictably) on Landslide

[michelej1]

New York Daily News 3 out of 5 Stars August 14, 2012
Read more: http://www.nydailynews.com/entertain...#ixzz23dhvP4SX

All hail Fleetwood Mac: A tribute disc to Stevie, Lindsey and more with ZZ Top & Marianne Faithfull

Like the Bible, people can read into Fleetwood Mac whatever they want.

With a storied, 45-year history involving 16 musicians and seven key songwriters — each of whom had a turn at the helm through five distinct incarnations — there’s an uncommonly deep trove of material to interpret to your heart’s content.

That cuts a virtual blank check to anyone wanting to make a Mac tribute CD. Happily, the one concocted by music supervisors Randall Poster and Gelya Robb takes a playful and creative approach to its love object.

It does, however, have a bias. Given the fact that 10 of the 17 songs came from the pen of Ms. Nicks, the set can sometimes seems like a CD answer to the Night of a Thousand Stevies. But it makes sense that the focus would fall on the original Gypsy. She’s the band’s most quirky, vulnerable and known star. By contrast, her onetime paramour, Lindsay Buckingham, drew just two salutes, while poor Christine McVie gets the loneliest number one. The set delves deep into history to give three cuts to Mac’s first guitar hero, Peter Green. These yield a revelation.

Green’s classic, snaking blues riff in “Oh Well” has always been played frantically. But ZZ Top’s Billy Gibbons slows it down into a deliberately funky grind that’s pure sex. Why didn’t anyone think to do it like this before?

Alterna-guitar gods Lee Ranaldo and J. Mascis gorgeously distort Green’s dreamy instrumental “Albatross” (Mac’s first hit in 1969), making it even more haunting, while Trixie Whitley brings her magnificently throaty alto to Green’s little-known “Before the Beginning.” It bristles with need.

Nearly all the stars playing Stevie fiddle smartly with the arrangements and intentions. The Kills deliver “Dreams” as punk blues, flipping its focus. Where Stevie’s used anger as an undercurrent, here it’s front and center, curdling lyrics that once offered advice into a curse.

Best Coast’s Bethany Cosentino lightens “Rhiannon” with a Beach Boys-like bounce, while Marianne Faithfull shoots out the lights on “Angel,” moving it from wistful to world-weary.

It’s nice to hear men’s voices on one Nicks song. Will Oldham and Matt Sweeney give “Storms” a demo’s intimacy. The quaver of the transgender Antony makes “Landslide” even more crushing.

By album’s end, things do start to get noodly and meandering, collapsing into MGMT’s perverse, nine-minute slog through Bob Welsh’s “Future Games.”

Then again, it’s nice that someone thought to do a Welsh song at all — and not the obvious one, either (“Sentimental Lady”). It would have been even nicer if someone tackled songs by Jeremy Spencer or the criminally overlooked Danny Kirwin, who penned a host of great pieces, both rocking and gorgeous. Luckily, what’s here has enough striking moments to make fans pine for the best thing a tribute could inspire: A sequel.


Read more: http://www.nydailynews.com/entertain...#ixzz23diHgkdX

[michelej1]

Guelph Mercury, August 15, 2012
http://www.guelphmercury.com/whatson...-fleetwood-mac

Various Artists (Hear Music)

Compiling a tribute record to an artist is a lot easier when the artist in question has many different phases of its career. Yes, Fleetwood Mac became one of the biggest bands in the world by selling a kajillion copies of the 1977 California breeze-pop album Rumours, but they also started out as a British blues band and took post-fame detours into experimental weirdness. This is why artists as disparate as ZZ Top’s Billy Gibbons, power pop band the New Pornographers, chanteuse Marianne Faithfull and synth-pop goofs MGMT can all rally around the Fleetwood Mac flag for this album, which holds together much better than far too many similar star-studded projects do.

That’s partially because it’s obvious these artists are huge Fleetwood Mac fans — they’re more than ready to go for deep cuts instead of well-worn greatest hits. It’s telling that there are three times as many songs here from the much-maligned weirdo favourite Tusk (six) as there is from Rumours (two), though Lykke Li deserves credit for breathing life into the forgotten Rumours-era b-side Silver Springs. Shockingly, no one touches the group’s last big album, 1987’s Tango in the Night, whose sonic landscape sounds like it was a direct inspiration for several artists here. Only three artists dare dip back to the band’s blues period, including Black Dub’s Trixie Whiteley and a team-up of ’80s alt-rock guitar legends J Mascis and Lee Ranaldo. Groups like Washed Out and Tame Impala take Fleetwood Mac’s sun-fried Californian vibe to extremes, substituting synths for acoustic guitars to achieve otherworldly, dreamlike states.

Of the more popular songs here, Best Coast turn Rihannon into a jaunty, hand-clappin’ ’50s number, while the Kills pull apart Dreams to just a lead vocal, the most minimal guitar possible, and a single drum beat every two bars in the verses. The unknown Gardens & Villa do Gypsy, and plenty of other second- and third-tier artists deliver fine performances and interpretations. If a tribute album is supposed to enhance your appreciation of the artist in question while bringing out the best of everyone involved, than this is a swinging success.

[BombaySapphire3]

I thought it was kind of odd as well that there was nothing from Tango and three from Mirage if you include the great bonus track Hold Me.I really like the album .It is much much better than Legacy..didn't Mick oversee that one

[michelej1]

http://www.scpr.org/blogs/newmedia/2...le-love-criti/

By Tony Pierce for Southern California Public Radio, August 15, 2012

There's a scene in Alex Cox's 1986 punk rock film "Sid and Nancy" where Chloe Webb's Nancy gets into a fight with Gary Oldman's Sid. They are at Sid's mother's house and Nancy is trying on his mom's scarves and frilly things and bouncing on a bed when Sid slaps her. Suddenly we see Nancy running down the street still in the woman's clothes when she catches her reflection in a window and yells, "AAGGHH! I look like [expletive] Stevie Nicks in hippie clothes! Help me! Help!"

And she immediately strips down to her underwear right there in the street.

The critics' reaction to the Fleetwood Mac tribute album "Just Tell Me That You Want Me" is much like Webb's character: One minute it's fun and games with the idea of groups like Best Coast, MGMT, and The New Pornographers reimagining deep cuts from the Mac, but when reality sinks in, it just isn't as fulfilling as what was hoped for.

"The tinkering these acts do with Fleetwood Mac’s songs is mostly on the surface, making them sound either more electronic and alien or more old-fashioned and rootsy, without really illuminating them in any significant way," Noel Murray complains in his A.V. Club review where he gives the compliation a C+.

The new release was produced by Randall Poster, a hugely successful music supervisor who struck gold last year with a well-received Buddy Holly tribute, "Rave On Buddy Holly."

Unfortunately, this record isn't that one, which may not be the fault of Poster, or any of the artists, argues Rachael Maddux in Pitchfork. "The fact that the collection is a bit of a mess is a shame, but also a tribute to the band in its own way," she says, rating the collection a 5.6 out of 10.

Many critics noted that despite the fact that Fleetwood Mac has been around 45 years (!) 10 of the 17 tracks covered on "Just Tell Me That You Want Me" are songs penned by Nicks.

Nicks, it turned out, is a tough act to follow. USA Today's Elyse Gardner wrote that "The Kills turn 'Dreams' into a lifeless dirge, and Best Coast messes around with the chords in 'Rihannon'. But both tracks end up pale reflections of the originals, down to the dusky vocals." Gardner's headline read, "Fleetwood tribute album is less than Mac-nificent".

So why so many Nicks songs?

"We put together our master list of songs that we would have to have in consideration," Poster told the Wall Street Journal recently. "We tagged about 30 tracks. The Stevie songs are the most magnetic, in a way, and the most famous and challenging. A lot of those songs were taken on by singers who have a distinct sound themselves. We didn’t want this to sound like bands sitting around a campfire singing Fleetwood Mac."

To quote a famous banner, Mission Accomplished.

[michelej1]

Las Vegas Weekly 3 out of 5 stars
http://www.lasvegasweekly.com/news/2...ibute-fleetwo/
Smith Galtney, Wed, Aug 15, 2012 (4:10 p.m.)

Brought to you by the same folks who curated last year’s Rave On Buddy Holly, this Fleetwood Mac tribute seems a tad unfair in its obsession with Stevie Nicks. Of its 17 tracks, a whopping 10 are Nicks compositions, with four tipping their hat to Mac’s pre-California/pre-platinum early years and only two giving it up for Lindsey Buckingham. Poor Christine McVie appears only once (!?!), but the New Pornographers manage to right that wrong by turning her radiant “Think About Me” into the album’s greatest bit. Other highlights include Best Coast’s clap-along recast of “Rhiannon,” Lykke Li’s lovely, echo-drenched reading of “Silver Springs,” Antony’s faithfully spare performance of “Landslide” and Marianne Faithfull’s devilish spin on “Angel.” But despite some winning blues and psychedelic detours, the second half gets bogged down with about three too many ho-hum interpretations of lesser Nicks songs. And the covers of “Gypsy” and “Dreams” are pretty useless.

[vivfox]

Originally Posted by michelej1

Poor Christine McVie appears only once (!?!), but the New Pornographers manage to right that wrong by turning her radiant “Think About Me” into the album’s greatest bit.

I agree wholeheartedly. It's my favorite remake on this record.

[Macfanforever]

Originally Posted by michelej1

Las Vegas Weekly 3 out of 5 stars
http://www.lasvegasweekly.com/news/2...ibute-fleetwo/
Smith Galtney, Wed, Aug 15, 2012 (4:10 p.m.)

Brought to you by the same folks who curated last year’s Rave On Buddy Holly, this Fleetwood Mac tribute seems a tad unfair in its obsession with Stevie Nicks. Of its 17 tracks, a whopping 10 are Nicks compositions, with four tipping their hat to Mac’s pre-California/pre-platinum early years and only two giving it up for Lindsey Buckingham. Poor Christine McVie appears only once (!?!), but the New Pornographers manage to right that wrong by turning her radiant “Think About Me” into the album’s greatest bit. Other highlights include Best Coast’s clap-along recast of “Rhiannon,” Lykke Li’s lovely, echo-drenched reading of “Silver Springs,” Antony’s faithfully spare performance of “Landslide” and Marianne Faithfull’s devilish spin on “Angel.” But despite some winning blues and psychedelic detours, the second half gets bogged down with about three too many ho-hum interpretations of lesser Nicks songs. And the covers of “Gypsy” and “Dreams” are pretty useless.

Sounds like the reviewer is not a Stevie fan.But.

I agree.They could of add more of Christine tunes on it.

[michelej1]

Toledo Free Press, August 16, 2012
http://www.toledofreepress.com/2012/...ut-worthwhile/

Mack: Tribute to Fleetwood Mac uneven, but worthwhile
Written by Jason Mack | | [email protected]

Various artists, “Just Tell Me That You Want Me: A Tribute to Fleetwood Mac”

With so many hits and lesser-known gems, Fleetwood Mac is the perfect candidate for a cover album. Few of the artists featured are recognizable, but there is a good blend of unique takes and direct covers in the compilation.

The Lee Ranaldo Band opens the album with the instrumental track “Albatross.” The peaceful, bluesy cover is an interesting way to kick off the album but might work better as a closer.

British singer Antony was smart to do a straightforward take on “Landslide.” He sounds more like Tracy Chapman than Stevie Nicks, but it works. It doesn’t come close to the original, but no cover of “Landslide” ever will.

The great thing about this album is it got me listening to Fleetwood Mac songs I never heard before. The best example is Trixie Whitley’s Led Zeppelin-esque cover of “Before the Beginning.” It’s the best song on the album with an early ‘70s trippy rock feel, strong vocals and smooth guitar riffs. I only knew a handful of the artists featured on the album going in, but I plan to get to know a few more of them now with Whitley at the top of the list.

Best Coast’s upbeat cover of “Rhiannon” sounds like it belongs on a CD for kids. It completely misses the point of the song and is a low point of this album. The vocals are reminiscent of Nicks, but the music is far from Fleetwood Mac.

Karen Elson, former wife of rocker Jack White, also sounds just like Nicks but with much better results on her cover of “Gold Dust Woman.” It’s dangerous to stick so exactly to the original when doing a cover, but Elson’s vocals are solid enough to make it worth a listen.

MGMT went in the exact opposite direction, using a heavily synthesized and electronic sound in their cover of “Future Games.” The background music is cool, but the robot singing ruins the track. This would have been an amazing and imaginative cover if they had used regular vocals. More than nine minutes of the robot voice is too much to handle.

With 19 songs, you’re going to have some hits and misses. The ratio is nearly split down the middle, but the hits are good enough to make the album worth a listen for any Fleetwood Mac fans.

**1/2 out of 5

[michelej1]

Globe and Mail, August 17, 2012, 3.5 out of 4 stars

A tribute album that rethinks and rehears Fleetwood Mac’s greatest hits

Brad Wheeler

The Globe and Mail,Published Friday, Aug. 17 2012, 5:00 PM EDT

The thing about a tribute album to Fleetwood Mac is that the songs of the Go Your Own Way people have always been intertwined with their lives and complicated inner-band loves. The iconic material is not so standalone. But it is not even just that. Fans attached their own circumstances to the outpourings of Stevie Nicks and the others. “Like a heartbeat, drives you bad,” Nicks sang, “In the stillness of remembering what you had, and what you lost.”

Some of us were in the shine of our lives when Fleetwood Mac rode the FM dial and soared platinum-disc high. Stuff was summer music, all year long. But Just Tell Me That You Want Me, from the same curators who a year ago brought us Rave On Buddy Holly (a commendable salute to the genius Texas hiccupper), isn’t an exercise in nostalgia. Rather, like the best tribute albums, instead of being a retread or a retreat, it is a mission to rethink and rehear the originals. Can you deal with that? Are you open, or are you closed?

The 17-song release (plus bonus tracks Hold Me by the L.A. sister act Haim, and The Green Manalishi by the psychedelically inclined Entrance Band) begins with an instrumental written by Peter Green, Fleetwood Mac’s guitar-playing co-founder. Albatross is rendered by Sonic Youth’s Lee Ranaldo and Dinosaur Jr.’s J Mascis, who respectfully admire the original’s haunting, cinematic feel. It’s only a little over four minutes long, but it feels like forever – and that is meant favourably.

Another Green-written number from 1969, Oh Well, is heavier fare, with ZZ Top’s Billy Gibbons going purplish into the blues. Excellent cowbell dangling happens. Gibbons croaks like he’s swallowed his beard, and the whole thing screams for a Quentin Tarantino zombie movie. It’s the harshest and most devastating of shrugs: “Don’t ask me what I think of you, I might not give the answer that you want me to – oh, well.”

Then comes the sunny Best Coast, who work with hand-clapped beats and bopping girl-group pop on Rhiannon, lightening up the original and representing the California side of Fleetwod Mac’s duel citizenship. Stacking it next to the deep-in-the-cellar blues preceding it is what some people call artful juxtaposition. Others might call it jarring. Oh well.

What I would call the New Pornographers’ version of Think About Me is bright, colourful andjust a stitch twee – an irresistible thrum, as was the Christine McVie-sung original. “Baby, once in a while, think about me,” is the lightly suggested petition, from a lover on the more giving side of a relationship.

And by all means, let’s think about McVie, who resists Fleetwood Mac reunions. Two of her songs appear here, compared to 10 by Nicks, four by Green, two by Lindsay Buckingham and one by the late Bob Welch (Future Games, which receives a synthetic, softly cathartic treatment from MGMT).

Highlights include the ethereal Swedish songstress Lykke Li, who sings blue-green on an echo-laden Silver Springs, an elegant curse set upon an ex-lover (Buckingham), issued by Nicks – “Time casts a spell on you, but you won’t forget me.”

Most poignant is Antony Hegarty, the high-voiced talent who warbles affectingly on the acoustic-picked Landslide, another penned by Nicks. “Can I handle the seasons of my life?” is the question. It’s a song about growing up. And that never gets old, even if we do.

[michelej1]

August 16, 2012, mxdwm.com by Alyssa Fried
http://www.mxdwn.com/2012/08/16/revi...fleetwood-mac/


Tribute to Greatness A Little Less Than Great

A band that’s been around 40 years has seen its share of covers, and Fleetwood Mac is no exception. Recent memory bears Smashing Pumpkin’s haunting “Landslide,” and Hole’s snarling “Gold Dust Woman.” Just Tell Me that You Want Me – A Tribute to Fleetwood Mac, the 17-track tribute album to the legendary band, eschews known entries for the all-new, and embraces fellow classic artists alongside the newbies, the traditionalists with the experimentalists, to offer a wide array of artistic interpretations of Fleetwood Mac songs. The end result is hit-or-miss, with some artists going for straight covers, where others achieve reinvention.

The best tracks are seemingly grouped together. Early on we get the 1-2-3 punch of Trixie Whitley, Billy Gibbons & Co., and Best Coast. Whitley–a 25-year-old Belgian with the lived-in voice of a woman twice her age–adds soulful bite to “Before the Beginning,” where the original relied on an easy groove to do all the work. Gibbons similarly transforms “Oh Well” by removing the fast giddy-up of the original to create a dark, stomping slow burn built over a single writhing bass riff, making the original sound cartoonish by comparison. Best Coast rounds out this group with a sunny, upbeat “Rhiannon.”

The next winning streak kicks off with Lykke Li who applies her own echoed vocal to lovely effect, bringing out the hurt, loss and eventual threat of “Silver Springs.” Karen Elson’s delicate voice makes the crashing doom of “Gold Dust Woman” all the more potent, while Matt Sweeney and Bonnie “Prince” Billy bring a sweetened acoustic “Storms.” Just past this half-way point, the album takes an electronic bent, updating the 80’s synths of “Straight Back” with Washed Out’s layered guitars and vocals. Electronic sound–whether retro or modern, spacey or noisy–continues throughout the rest of the album with Tame Impala, Gardens & Villa, The Crystal Ark and album-closer MGMT. For some reason, The Kills are placed in the middle of this second half to break the trance with a spare “Dreams,” featuring an undercurrent of violence weaved into the distortion.

The majority of artists on Just Tell Me that You Want Me evoke fresh life out of songs by a band with their own long, storied career.

[michelej1]

For Folks' Sake
http://www.forfolkssake.com/reviews/...od-mac-tribute

Compilation | Just Tell Me That You Want Me – A Fleetwood Mac Tribute

17 August 2012
By For Folk's Sake

For a band with such an inspirational back catalogue, it is a crying shame that many of the young generations would not know ‘Tusk’ or ‘Go Your Own Way’ unless it appeared on an episode of Glee or Geordie Shore (apparently the former have already “paid tribute”). So you can breathe a sigh of relief that today’s folk community have contributed heavily to a new tribute to the great Fleetwood Mac.

The album starts off in a very pleasant fashion with Lee Ranaldo Band’s (featuring J Mascis) version of ‘Albatross’. Next appears one of the more celebrated artists on the compilation, Anthony, singing one of the more well known songs, ‘Landslide’. Whilst Anthony’s trademark vocals are a perfect match for this poignant number, I would have liked to have seen him do something a bit different with it, instead of playing it safe.

One of my personal highlights on this album comes from Trixie Whitley and her take on ‘Before the Beginning’. Sleek, soulful and brilliantly produced, Whitley’s beautiful vocals almost cause you to forget the original.

Other notable contributions come from Tame Impala. As expected, the Australian band offer up one of the more unique covers on the record. Love it or hate it, no one can fault their innovation. Best Coast brings us an upbeat poppy ‘Rhiannon’, whilst Matt Sweeney and Bonnie ‘Prince’ Billy create a stunning, tender version of ‘Storms’ in which their voices blend beautifully.

The likes of the legendary Marianne Faithfull and The Kills offer up very credible takes on their respective songs and for the most part this is a great tribute to a great band. One negative aspect of Just Tell Me That You Want Me is the glaring omission. Where is ‘The Chain’? Or ‘Go Your Own Way’? Or even ‘Songbird’?

Like every compilation, there will be songs on here that you will only listen to once. And there will be others that potentially replace the original in your hearts. One thing is for certain: this record reaffirms the greatness and importance of Fleetwood Mac and is a must-have for any past, present or future ‘Mac’ fan.

Words: Carly Goodman

[michelej1]

Hitfix, Review: Fleetwood Mac tribute, 'Just Tell Me You Love Me' mixes up the formula

MGMT, Lykke Li, Best Coast, and the Kills reinterpret classic tunes

By Melinda Newman Tuesday, Aug 14, 2012
http://www.hitfix.com/news/review-fl...up-the-formula

As is usually the case with such endeavors, “Just Tell Me You Love Me,” a tribute to Fleetwood Mac, is a total mixed bag.

Out today, it’s just the sort of album for which iTunes was invented. Fans of Antony (of Antony & The Johnsons) poignant, faithful rendition of the gentle, lovely “Landslide” may not want the fuzzy version of instrumental “Albatross,” delivered more than capably by Lee Ranaldo Band featuring J Mascis.

As a whole, the 17-song tribute breaks down into two specific camps: fans of the ubiquitous hits from “Fleetwood Mac” and “Rumours” will gravitate toward the songs they grew up with while followers of the band’s earlier bluesier, pre- Stevie Nicks/Lindsey Buckingham incarnation will dig the more experimental material provided by folks like ZZ Top’s Billy Gibbons and his swampy take on “Oh Well” or MGMT’s nine-minute trippy version of “Future Games.”

This collection was curated for Concord by the same folks who put together the “Rave On Buddy Holly” last year and it is squarely aimed at the Pitchfork crowd with such artists as Lykke Li, on a haunting “Silver Springs,” and Karen Elson, who provides an echo-y, spare take on “Gold Dust Woman.” To their credit, it feels like the producers allowed the artists free rein to interpret these songs as they wished.

Some acts take the originals and turn them into their own creations: The Kills twist “Dreams” into a harder, darker, much more menacing tune than the original; Best Coast gives “Rhiannon” a sunshiny bounce; The New Pornographers reinvent “Think About Me” as a power pop tune via Cheap Trick; Gardens & Villas’ spaced-out, dreamy take on “Gypsy” works better than it should; The Crystal Ark find a nice work around to the marching band on “Tusk” that still provided a full-bodied sound.

There are few flat-out disasters here, but, sadly, there are just as few home runs that make this collection feel like a must-have. It will appeal more to fans of the acts featured here who will want to see how their favorite artist reinterpret a track rather than to Fleetwood Mac fans. For them, this collection will just send them scurrying back to the originals.

[michelej1]

Various artists: Just Tell Me That You Want Me: A Tribute to Fleetwood Mac
By Piet Levy of the Journal Sentinel August 16, 2012
http://www.jsonline.com/entertainmen...166417836.html

Contrary to breathless pitches from music writers and publicists over the years, there will never be a "next Fleetwood Mac." However, the closest heir apparent to emerge from "Just Tell Me That You Want Me: A Tribute to Fleetwood Mac" is most certainly the New Pornographers.

The Canadian power-pop supergroup, featuring Neko Case, Carl Newman and Destroyer's Dan Bejar among its ranks, doesn't flirt with psychedelia or blues the way Fleetwood Mac did, but its sweet, coed harmonies and peppy instrumentation are a match for Mac's pop spirit, evident through its relatively straightforward but fitting cover of "Think About Me." It's the most arresting cover on a 17-track compilation that is, inevitably, a mixed bag.

The most interesting interpretations include a more brooding "Sisters of the Moon" from Craig Wedren and St. Vincent, with fuzzy electronic ambience and pounding drums, and the guitars on "Rhiannon" have been swapped for poppy piano on Best Coast's cover.

On the downside, Antony's theatrical warble robs "Landslide" of its simple majesty, and the Crystal Ark sinks Mac's once mighty "Tusk," swapping the bold marching band section for lifeless electronica.

The rest of the tracks fall somewhere in between - and of course, nothing beats the originals.

- Piet Levy

[michelej1]

[Ha, Stevie said that in 1991. She wasn't even half way through the mini-series at that point]

USA Today
http://www.usatoday.com/life/music/n...rty/57095176/1

Indie faves honor Fleetwood Mac on 'Just Tell Me That You Want Me'

In a 1991 interview quoted in the liner notes for Just Tell Me That You Want Me: A Tribute to Fleetwood Mac, Stevie Nicks says that the band that made her a star "goes on like a miniseries." The group's different seasons, and lineups, are acknowledged in this new collection, which includes covers by the New Pornographers, Marianne Faithful, MGMT, The Kills and Craig Wedren with St. Vincent, among other alt-pop artists. But emphasis is put on the band's creative and commercial peak years, which yielded classics such as Rihannon, Dreams, Gold Dust Woman, Silver Springs and Tusk, all included here. — Gardner