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#316
12-17-2015, 10:49 PM
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The cruel irony. File sharing contributed to my losing my 8 year long job in the adult industry because people kept pirating our stuff and they had to cut the staff down due to loss of revenue. I fought tooth and nail trying to convince people to support artists and studios, in movies, music (and yes, porn) by paying for the media rather than illegally downloading it. And now here I am getting screwed by the very system I stood up for.  
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#317
12-18-2015, 01:43 AM
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Unless you're using an older receiver that doesn't have HDMI, I'm not sure why you have to listen through your TV.
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#318
12-18-2015, 04:11 AM
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I don't have a stereo. I have a computer. I used to import CDs into iTunes and listen on my computer, and take the music with me into my car with my iPod. I can play DVDs and CDs on my Playstation and the sound goes through my TV. The sound isn't bad but it's not as good as a decent stereo.
And I can't upload the music to the cloud because I don't have it on my computer. I have a stack of CDs that are sitting next to my computer that I can't play.
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#319
12-18-2015, 04:58 PM
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If not, perhaps a friend can rip the CDs for you and put the digital files on an external drive, and then you can load them to whatever device you use to sync your iPod? I guess I'm a bit confused about this dilemma you're in!
__________________
I'm not the man you think I am. My love has never lived indoors - I had to drag it home by four, hired hounds at both my wrists, damp and bruised by strangers' kisses on my lips. But you're the one that I still miss. Neko Case
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#320
12-19-2015, 08:37 PM
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I'm confused over on how Amazon know its a gift.I dont recall the gift feature on there.
__________________
Skip R........  Stevie fan forever and ever amen.......the Wildheart at Edge of Seventeen and the Gypsy..... My sweet Buttons .I love you. RIP 2009 to 08/24/2016
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#321
12-20-2015, 12:00 PM
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The answer to all these problems with having a computer with no CD drive or a solid state drive that is too small is Amazon
A usb external drive is $20-$30http://www.amazon.com/Best-Sellers-E...ics/1292112011 An external hard drive to rip stuff too if you lake space is $30-$100 After you have successfully ripped the music it can be transfered to a iPod ir iPhone or even to the cloud. If yiu opt for a external Usb cdrw drive you can even make mix cds The possibilities are endless and you can keep thr drives and keep using them
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#322
12-20-2015, 08:32 PM
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So NOBODY hears a second Lindseyvoice on the live SMAP?
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#323
12-20-2015, 09:09 PM
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Ive had that version of that same live show a while now. Im fairly certain that low voice is stevie. She has a very low low voice which is surprising for that era
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#324
12-20-2015, 11:31 PM
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https://www.youtube.com/watch?v=z5Pe9X5Lp90 Last edited by WayOfTheDragon; 12-20-2015 at 11:36 PM..
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#325
12-21-2015, 12:02 AM
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12-18-2015 Huffington Post by Mike Ragogna
http://www.huffingtonpost.com/entry/...b08ea2326b3e24 The Return of Tusk: Fleetwood Mac's Exotic Classic Expands, Plus Anomalisa, Myriam Phiro, Jeremy Nash, American Darlings, The Paperboys, and Sea Caves Exclusives When Fleetwood Mac's Tusk finally was unveiled to the masses back in 1979, it critically dropped like a white elephant. After releasing two of the best, almost flawless pop albums of the seventies--Rumours and Fleetwood Mac--folks expected the band's formula of non-stop, potential singles to remain intact. Instead, Tusk spread its sonic experimentation across two albums, its creative overlord, Lindsey Buckingham, having utilized virtually every studio toy at his disposal. Add to that USC's marching band drumline-ing across the focus single/title track plus servings of un-Mac-like musical performances and song lengths, and you get Buckingham's musical vision/version of what a late-seventies album was supposed to be. Fleetwood Mad had arrived and considering the relationship breakdowns and band's highly-publicized drug culture, it was a miracle this previously-considered overthought, overwrought product made it to vinyl at all. Fleetwood Mac's shifting business and leadership dynamics and partner trade-ups shouldn't have been surprising considering the musical institution's member roster evolved following every few albums (remember Peter Green and Bob Welch?) and the inevitable shake-up cyclicly was due. All of this very public Mac stress delighted journalists who gleefully spread the word. Regardless, devoted fans still were hooked on the band that strutted siren Stevie Nicks and the sophisticated Christine McVie, and they would spend their last dollar for this sweet fix. So the album sold well though it did shock Macheads, and the returns (when stores want a refund for unsold product) were large since product shipments allegedly were as bloated as Tusk's track count and excesses. Then again, at the time, returns were a given and built into the business plan for virtually every album release. As a single, the title track "Tusk" wasn't a flop; its "TUSK!" chants and overall adolescence was electrifying. Still, it wasn't embraced like the usual, undeniable Mac anthem ("Rhiannon," "Don't Stop," "Dreams," etc.) probably due to its cryptic poetry ("Why don't you ask him what's going on? Why don't you ask him who's the latest on his throne?"). The reality was that no matter how ambitious and applaudable the 45 was, it didn't change music as we knew it, which seemed like its mission. Stevie Nicks'"Sara" became the album Tusk's biggest hit and its commercial saving grace; the followup singles, "Think About Me" and "Sisters Of The Moon," came off like second stringers, akin to Rumour's lightweight "I Don't Want To Know." Add to that Lindsey Buckingham's dark "Not That Funny" and "The Ledge" and it was like the Fleetwood Mac we knew and loved had been euthanized. With the release of the super-deluxe Tusk and its abundant, additional content--including a vinyl pressing--this head-scratcher of an album both gets a thorough examination and, finally, its due. Naturally, the remastered album sounds fuller than its original CD release and closer to the vinyl sonics, and the 5.1 surround mixes utilize instruments, vocals, and arrangement groupings previously denied this project. The crazy amount of work that went into Tusk's undertaking is uncovered further with a rarities disc that contains demos, outtakes, and remixes. There are also two live CDs that put the emotionally and physically exhausted Fleetwood Mac's fatigue front and center. What's presented here may not be fantastic but it's engaging, with performances of newbie compositions like "Sara" and older hits like the always dazzling "Landslide" stealing the show. And the alternate version of Tusk disc--comprised of different mixes and takes--is interesting, but Mac's first go-round is the definitive version, even though this "what if?" is smartly assembled. After this huge historical analysis and with so many decades following its initial release, Tusk can be rationalized as a commercial misstep that served a bigger purpose. Lindsey Buckingham's genius has been outed through the years, project after project, and Tusk, obviously, was this scientist's first true laboratory, so he should get a break for an experiment or two that went haywire. Stevie Nicks and Christine McVie's lead vocals delighted on practically all of their songs, no problem there. Even former Mac member Peter Green paid a visit to the track "Brown Eyes," and to this day, everyone loves those USC marching band rascals, though not necessarily on a pop record heard every ten minutes on the radio. A big nod goes to the sound, expertly constructed by the project's talented co-producers Richard Dashut and Ken Caillat (father of Colbie). Not much more can be said about Tusk except that its opening song "Over And Over" got it right. Its message of sanity prevailing through adversity applied to this incarnation of the group...at least until they changed doctors a few years later (Doctor Who reference...anyone?). This version of the band--Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood--survived long enough to record the Mirage and Tango In The Night albums, whose creative heights may not have been achievable without Tusk. Put in another context, Tusk could be considered Fleetwood Mac's middle child that demanded more attention and pretty much was, maybe until now, misunderstood.
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#326
12-21-2015, 12:04 AM
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Boston Herald
Keep music fans grooving with boxed presents Jed Gottlieb Thursday, December 17, 2015 http://www.bostonherald.com/entertai...boxed_presents • Fleetwood Mac, “Tusk Deluxe,” $119.98. You’ll have to love “Tusk” as much as Lindsey Buckingham to pick up this monster: five CDs, four sides of vinyl and a DVD. Trying to follow up “Rumours” couldn’t have been harder. Thankfully, Buckingham and the rest of the Mac didn’t try for “Rumours II.” “Tusk” remains the classic lineup’s darkest, most daring release. For those already in the cult, this package reveals a dozen outtakes, loads of demos, extended notes, new interviews and 22 unreleased performances from the band’s 1979 tour. Worth the price of admission: the mostly unhinged and awesome version of “The Chain” recorded live at Wembley Stadium in 1980.
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#327
12-23-2015, 12:33 AM
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4.5 ****
Tusk (Deluxe Edition) Tusk (Deluxe Edition) Fleetwood Mac Rhino By Barry Walters December 22, 2015 Read more: http://www.rollingstone.com/music/al...#ixzz3v7RpaNVQ The Mac's wild, punk-y follow-up to 'Rumours' hits just as hard 36 years later, especially on this extras-packed reissue While the music scenes of England, New York City and scattered bohemian enclaves the world over embraced punk's do-it-yourself radicalization in the late Seventies, nearly every superstar of sunny southern California kept on making smooth and glossy soft rock as if Joey Ramone and Johnny Rotten had never happened. This didn't comfort Lindsay Buckingham. The pressure to follow Fleetwood Mac's astronomically successful 1977 LP, Rumours, with a follow-up just like it drove the singer-guitarist to turn to Talking Heads, Elvis Costello and other upstarts for inspiration and liberation. And so he began what became 1979's famously experimental and eclectic double-disc, Tusk, at home with the deliberate goal of shaking things up. While Buckingham crafted his unconventional solo recordings, the Mac had Studio D at L.A.'s Village Recorder built to their specifications, where they added to his songs and recorded their own with results that veered from demo-quality rockabilly to exacting balladry. Both capitalized on the freedom that came with their success: Because drummer Mick Fleetwood himself managed the band, absolutely no one but the musicians and their near-exclusive producer-engineers Richard Dashut and Ken Caillat had any input. Tusk may have been the first album to cost a million dollars, but much of it was in spirit and practice nearly as DIY as the era's New Wave. Sequenced for maximum disruptive effect, Tusk alternately reassures and startles: Christine McVie's placid lullaby "One More Time (Over & Over)" opens the album with a soothing dose of musical morphine, but gets followed by the wake-up call of Buckingham's anxious "The Ledge," the album's most punk-influenced track. As confirmed in the interviews that accompany this deluxe five-CD/two-LP/one-DVD box set edition, much of Tusk – like its predecessor – is a Rashomon-esque account of life within the band as seen through the sharply contrasting viewpoints of their three songwriters. One of Stevie Nicks's most delicate and downhearted songs, "Storms," wallows in the guilt over her affair with then-married Fleetwood, and the subsequent karmic payback she endured when her best friend secretly moved into his house. Buckingham's confrontational "Not That Funny" addresses Nicks, by then his ex, whom he saw as getting caught up in celebrity culture. It's this candid quality that makes Tusk so contemporary even decades later. That forthrightness gets magnified exponentially by the deluxe edition's supplemental discs. One of them, "The Alternate Tusk," presents the entire album via divergent versions of every song, including an early, piano-led rendition of Nicks's "Sara" that lingers for nearly nine minutes; and Buckingham's languid "That's All for Everyone," here featuring entirely different lyrics. Another disc, "Singles, Outtakes, Sessions," demonstrates through multiple editions of some tracks like Buckingham's "I Know I'm Not Wrong" – the first song recorded for the album, but the last one to be definitively completed – how the album evolved during Tusk's year-long creation. The version of "Save Me a Place" on this disc lacks the weeping bluegrass harmonies that define the released take, but Buckingham's vocal here is even more pained. Two discs of "Tusk Tour Live" serve as a considerably longer and looser alternate edition of the band's 1980 live album, which chronicled that same world trek. And the set's audio DVD provides a new 5.1 surround sound mix by Caillat that maximizes the album's one-of-a-kind combo of punky verisimilitude and surreal opulence, and drives one point home harder than ever: No other band could've recorded Tusk. Read more: http://www.rollingstone.com/music/al...#ixzz3v7S5nk5t Follow us: @rollingstone on Twitter | RollingStone on Facebook
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#328
12-23-2015, 01:41 AM
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran)
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#329
12-23-2015, 07:25 AM
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Yes! I can hear Stevie a bit too, but there has GOT to be a second Lindsey voice.
__________________
"and the woman may be awestruck and the woman may truely care, but the woman is so tired...so the woman disappears...come in out of the darkness, bella donna....my soul"- Stevie Nicks, "Bella Donna" ---In memory of my mom, Donna Jean (Jeannie) Allen Commins, 1957-2008- My Bella Donna.
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#330
12-23-2015, 09:30 PM
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I got an early Christmas present. So I connected my turntable to my digital 8-track and made this video for YouTube. Here's one of my faves from the vinyl...Angel!!! It sounds amazing!!!!
 https://www.youtube.com/watch?v=X1rKaVIXm3A Last edited by Rod~A~Little; 12-24-2015 at 12:02 AM..
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Bekka Bramlett I GOT NEWS FOR YOU CD NEW & SEALED
$124.99
RARE Fleetwood Mac Dave Mason Bekka Bramlett Era 93 Original WB Press Kit w 8x10
$69.99
BEKKA BRAMLETT I Got News For You CD (2009) US Shongaloo 1707
$50.76
NEW - JOE COCKER - Take Me Home HTF UK CD Single feat. Bekka Bramlett
$7.69
Brooks & Dunn "It Won't Be Christmas Without You" CD: Arista 07863-67053-2
$10.99
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