#31
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Is there anything left to say?
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#32
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Not for 1992. Things had changed. Put Tango out in 1992 and it wouldn't have been nearly the hit it was. Had Lindsey made OTTC quickly and gotten it out in 1988, who knows.
Last edited by cbBen; 01-07-2020 at 07:27 PM.. |
#33
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better Stevie vocal? Easy... Dreams. That was when she had the full upper range and basically her voice went wherever she wanted it to. By Tusk her voice was getting really shot. The rehearsal/working versions of Storms she can barely sing at all she's so hoarse (and LB clearly doesn't give a sh&t)
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#34
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Speaking of Tango. Big Love is really a Lindsey solo song. I bet even if was released as a song in 1987 as a Lindsey solo song, it would not have charted. The huge buzz of a reunited Mac put those songs front and center with MTV. But that's my point and Lindsey's frustration. Unlike Stevie, why do my solo songs never get played. I remember Lindsey making a crack to Rolling Stone in 1982 that his songs on Mirage never get played.
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My heart will rise up with the morning sun and the hurt I feel will simply melt away |
#35
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"...every time, you don't come..." "my little demon..." oh dear... |
#36
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At that time there was a radio that used to play Can't come back very often. It became one of my favorites, with Gypsy. Then a friend of mine got the (vynil) album, it sounded terrific!
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#37
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Do you mean, "Can't Go Back"? I love that song!! They really played it in Peru? That's awesome.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#38
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I think I'm objecting to the entire style of Fleetwood Mac production in the Buckingham and post-Buckingham era. I know her keys are more prominent on the five Bob Welch era albums and on the 'Fleetwood Mac' album than they ever were again (except on some of her own songs and the rare ballad where the keys were a lead instrument). Her keyboards are not used enough on 'In the Meantime' and they're definitely not used enough on 'Buckingham McVie'. I know Christine herself has spoken of her keyboard playing as "part of the rhythm section," but I really dislike this characterization. Can it possibly be true that Christine has never felt confident of her own keyboard playing? What other explanation can there be for this production style that submerges her keyboards under a layer of sound?
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-Joanne (from Cape Cod) |
#39
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What the hell was I thinking? Yes, of course I meant Can't Go Back! I probably got some glasses of red wine while writing that.
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#40
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I think he clearly craved success, but he wanted it on his terms. He thought he could convert people and somehow change the definition of “radio friendly.” It wasn’t that he had no interest in sales. He was hoping to sell something more innovative and unique, but could not. |
#41
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#42
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I'm intrigued that they played it in Peru.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#43
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#44
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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; 01-22-2020 at 10:05 AM.. |
#45
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Of course I have and I love it. I also love her jazz chord playing on the live Bermuda Triangle from a year earlier. But for some reason(s) her sturdier, more aggressive playing rarely translated to studio records—at least not after 1972. I wish it had.
Last edited by jbrownsjr; 01-22-2020 at 10:05 AM.. |
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