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  #46  
Old 04-16-2021, 02:09 PM
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They performed for two nights in Cleveland. As I mentioned in another thread I was so excited for a perfect digital copy of my perfect soundboard bootleg. It was the version from 20/20 that I was hoping to have but they used the Angel recorded on the other show than the version we saw on tv. I didn't care for it on first listen because I was so let down that it wasn't what I had hoped for but now after two more listens I really like it a lot. But it still does not compare to my soundboard from the other night from Cleveland. So if the labeling is right, this version of Angel was recorded on May 20,1980 and the version I wanted(from 20/20) was recorded on May 21, 1980.
Thank you for those extra details, vivfox. So can you share the 20/20 Angel from May 21? I donít think I have a super-clear audience recording of that night in Cleveland. Itís been so long ago. The only super-clear recordings of the tour I had were the soundboards: Rehearsals, St. Louis, Yokohama, Melbourne, Sydney, Atlanta, and Mobile ó and now the pieces from the deluxe sets.
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  #47  
Old 04-16-2021, 02:13 PM
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In my opinion this is the BEST Live vocal of Landslide Stevie has ever done and this should hopefully be released on some future live record by the band.
This LA 1977 recording is a great performance. Also good were Las Vegas and Osaka, two of my first bootlegs.

My favorite renditions have always been from the mirage tour, especially Irvine Meadows, Oakland, LA, Denver, and Detroit.

I also have a strange affection for the 1990 Burbank Studio rehearsal from ROCK STEADY.
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  #48  
Old 04-17-2021, 12:00 PM
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In my opinion this is the BEST Live vocal of Landslide Stevie has ever done and this should hopefully be released on some future live record by the band.

Good GRIEF, that is gorgeous! Thank you so much! I've never heard this one. Wow.
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  #49  
Old 04-18-2021, 12:51 PM
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Good GRIEF, that is gorgeous! Thank you so much! I've never heard this one. Wow.
I'm glad you love it as much as I do. This is the only Live FM song I am "forcing" my non FM fans (family& friends) to listen to. LOL

Correct date for this show is: 8/29/77

Last edited by vivfox; 04-18-2021 at 12:55 PM..
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  #50  
Old 05-02-2021, 04:32 PM
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The only thing I was completely wowed by was the live version of Brown Eyes, which is fantastic.
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  #51  
Old 05-06-2021, 09:58 AM
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The only thing I was completely wowed by was the live version of Brown Eyes, which is fantastic.
That one blew me away, too.
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  #52  
Old 05-06-2021, 02:56 PM
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Since I heard about this reissue, I decide I wouldn't buy it. I have more than enough FM live songs. Probably I'll get one or two songs from iTunes (Hold Me for sure) but that's it.
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  #53  
Old 05-06-2021, 03:38 PM
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I remember a recent interview where Stevie made a comment along the lines of ďwith Tusk, we were touring for an album some of us didnít care for, singing songs we werenít crazy aboutĒ or something to that effect. If she was referring to herself and Christine, then that would explain why Christine didnít sing many songs from Tusk live for that tour. I think Stevie sang Sara, Sisters of the Moon, and Angel, and on subsequent tours she sang Storms and Beautiful Child.
I do wonder if they would have found some extra affection for all of those songs if Tusk had sold better. I love the vibe of Tango, but Family Man and Welcome to the Room Sara are not favorites of mine (and aren't as good as anything on Tusk, IMO) -- but it had 4 hit singles and sold a lot of copies, and we haven't heard a peep from anyone complaining about the non-hits. And you could make the same argument for the retro hate of SYW in some camps. Well one camp mostly.
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  #54  
Old 05-06-2021, 06:41 PM
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I do wonder if they would have found some extra affection for all of those songs if Tusk had sold better. I love the vibe of Tango, but Family Man and Welcome to the Room Sara are not favorites of mine (and aren't as good as anything on Tusk, IMO) -- but it had 4 hit singles and sold a lot of copies, and we haven't heard a peep from anyone complaining about the non-hits. And you could make the same argument for the retro hate of SYW in some camps. Well one camp mostly.
I dont think that is a fair comparison IMHO. The non-hits on Tango were still very safe and very commercial songs. Tusk had very few commercial songs. I also think they promoted the album with an incredible world tour and even a video (which was not that common in 1979). Fleetwood Mac never did much new material while promoting new albums but they did a fair share and they transformed them live extremely good (IMHO).
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  #55  
Old 05-06-2021, 07:10 PM
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Since I heard about this reissue, I decide I wouldn't buy it. I have more than enough FM live songs. Probably I'll get one or two songs from iTunes (Hold Me for sure) but that's it.
Same. It's not worth $100. And they can shove the vinyl, or at least offer a non vinyl version.

I remember Mirage was going for $86 ish, and I finally found it for $43, after a couple months of waiting and searching. I won't pay a penny more than that for Live.

This is just like $500 concert tickets. Only for "exclusive" fans. You'd think they'd price this at $40, and sell three times as much. Sounds like a Mick scam, although he's not smart enough to pull this off.

I wish they'd offer the extra live disc for sale only. I'd buy that in a second.
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  #56  
Old 05-08-2021, 11:11 AM
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Originally Posted by HomerMcvie View Post
It's not worth $100. And they can shove the vinyl. You'd think they'd price this at $40, and sell three times as much. Sounds like a Mick scam, although he's not smart enough to pull this off.
Hahahahahhaaahahhaaaa!!!
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  #57  
Old 05-08-2021, 02:26 PM
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Same. It's not worth $100. And they can shove the vinyl, or at least offer a non vinyl version.

I remember Mirage was going for $86 ish, and I finally found it for $43, after a couple months of waiting and searching. I won't pay a penny more than that for Live.

This is just like $500 concert tickets. Only for "exclusive" fans. You'd think they'd price this at $40, and sell three times as much. Sounds like a Mick scam, although he's not smart enough to pull this off.

I wish they'd offer the extra live disc for sale only. I'd buy that in a second.
Shame on you! How is Mick supposed to afford his lifestyle and not declare bankruptcy again if you don't buy this.
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  #58  
Old 05-08-2021, 03:15 PM
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I remember a recent interview where Stevie made a comment along the lines of ďwith Tusk, we were touring for an album some of us didnít care for, singing songs we werenít crazy aboutĒ or something to that effect.
Mick doesn't mention that in his first book, but he did tell about the tour rehearsals:

Stevie later tells me that there are nights she doesn't want to come and rehearse. I know how she feels. We all know that Fleetwood Mac is a job, a lovely sort of job, but hard work all the same. There's a frayed edge to tonight's rehearsal. We all sound a bit tired, and the tour hasn't even begun. Yet other nights we sound sharp and stirring, even to ourselves. We know that somehow this long year on the road will be one of the linchpins of our career together.
We didn't know at the time that it would almost kill the band.
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  #59  
Old 05-08-2021, 03:26 PM
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Shame on you! How is Mick supposed to afford his lifestyle and not declare bankruptcy again if you don't buy this.
Mick deserves to spend his remaining days living in a trailer, buying his groceries with food stamps!

(There's nothing wrong with anyone living like that, but his horrible lifetime of decision making should come with a price to pay)
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  #60  
Old 05-08-2021, 03:36 PM
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More info about the tour, afterwards. Interesting about how he refers about the Tusk album. And contradictory to say They didn't understand how to run a rock band, when in previous pages he admits that Fleetwood Mac is a JOB. By that time there were differente members managers. John, Chris, and Mick were still with Mickey Shapiro, Stevie had signed Irving Azoff, and Lindsey got another one.

The basic complaint, of course, was that we'd been on the road for months and hadn't made much money.

I explained that we'd undertaken this tour in order to sell a difficult record, which by that time was up to five million in sales. Yes, we'd grossed some big numbers, but our overhead was murderous. We spent a fortune on the road, running a fat ship. We decided to be comfortable, and we lost control. If Stevie wanted a hotel suite painted pink with a white piano in it, what are you gonna do? Say no? You can't do that in a Holiday Inn! Pink rooms and pianos cost real money. These were my decisions, because they had to be. There was no management company as a buffer between me and the band. To complain about anything, as musicians love to do, they had to address a band member me. People were honest with their feelings under this system, but they didn't like complaining about money. Even so, early in the tour I tried to change to cheaper hotels. All the others complained and I said the hell with it. From then on we went first-notch. We had everything.

Irving Azoff: "You should've made more money. Why isn't there more money after a year on the road?"

The accountant, meanwhile, was looking over the books and frowning. Impressive amounts of cash were missing, having been spent on various extravagances. The countants and lawyers were not used to this. They didn't understand how to run a rock band. They said to me, "How can you consider yourself a manager when you let this kind of thing happen?" But had they ever tried to say no to friends who also happened to be members of the world's biggest band? But that didn't matter.

John Courage was fired by the band's lawyers right after this meeting.

My turn came a bit later. It was a very shifty scenario. The lawyers didn't say we had done anything wrong, but it was bordering on that. There was an unspoken implication that money was missing. We felt unjustly accused by ignorant laymen. It was most unpleasant. John Courage had been working for Fleetwood Mac for almost ten years, and is one of the most honest people I've ever known. And my end had consisted of taking 10 percent of the band's net, not the gross like most managers. I got paid after expenses and had no publishing, and got to work my brains out.

Granted, some kind of split was inevitable, but it was real ugly the way it was done. It was a big meeting. Everybody was there, and all the recriminations of the past eghteen months were played out. We had been pilloried for making the most expensive record in history. Tusk had only gone to number three, where Rumours had been number one. We made no money on tour. Some money was unaccounted for. It was like an Indian Council, everyone seated in a circle, five musicians and the lawyers with their wretched files in their laps.
Irving Azoff made it plain that he was there to clean up the mess and take care of business. "I represent Stevie, and she ain't doing nothing unless . . ."

His basic message was this: "Hey, Mick, it's over. From this point forward, we ain't paying no management commission, no office overhead, legal fees, accounting fees, nothing. We're out for now, goodbye."

Stevie had given Azoff the power to leverage a position in the band, and Azoff had just taken us over. Running through my mind was our ongoing friendly rivalry with the Eagles, the other California glamour band of the 1970s. Fleetwood Mac and the Eagles were like Coke and Pepsi, Hertz and Avis: same age, same look, same demographic. Who is this guy? The Eagles' manager! Does he want to kill Fleetwood Mac? But he wasn't trying to wreck anything. He was one smart tucking guy, that's all. None of the other members of the band said anything.

The end result was that I was off the throne. It was the democratisation of Fleetwood Mac. Ever since, we've had review by committee managers, lawyers, business managers. The Gang of Four.
I was very hurt by all this. I walked outside into my garden and just sat for a long time. Chris, John, Stevie, and Lindsey tried to make it clear that they weren't mad at me, that they considered me to have acted like an over-indulgent father. But I felt humiliated and flogged in front of my community. It was horrible. If that's what they want to do, I thought, Duck it. At that point there wasn't going to be much to manage anyway, since we were all about to devolve into solo projects for a few years.


I just think it was a huge mistake to give the tour management responsibility to an addict. That couldn't work well. Plus, I've never read that he had taken business mgt courses
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