Mick Interview on Rumours at 45 Years Old

[UnwindedDreams]

Originally Posted by SteveMacD

Eventually, there was yet another incident and they decided to move on.

What is "yet another incident"? Wasn't Stevie hurt because he smirked behind her during her speech? That's the incident, no?

[SteveMacD]

Originally Posted by UnwindedDreams

What is "yet another incident"? Wasn't Stevie hurt because he smirked behind her during her speech? That's the incident, no?

That’s what Irving told him, there was apparently an outburst about “Rhiannon” being played before they went on that was actually the last straw.

It’s something that in a different context would likely have been glossed over. But after a tenuous and still ongoing negotiation, especially after Lindsey burned his bridges with Irving, who’d just resurrected the Eagles with Vince Gill, and after the untimely death of Tom Petty/sudden availability of Mike Campbell, why bother? Especially when they wanted to play older songs with the pending release of the new career retrospective.

[UnwindedDreams]

Originally Posted by SteveMacD

That’s what Irving told him, there was apparently an outburst about “Rhiannon” being played before they went on that was actually the last straw.

It’s something that in a different context would likely have been glossed over. But after a tenuous and still ongoing negotiation, especially after Lindsey burned his bridges with Irving, who’d just resurrected the Eagles with Vince Gill, and after the untimely death of Tom Petty/sudden availability of Mike Campbell, why bother? Especially when they wanted to play older songs with the pending release of the new career retrospective.

I guess the outburst about Rhiannon was what made Stevie say she was done with him. She said he was difficult at Musicares.

[HomerMcvie]

Originally Posted by UnwindedDreams

Why didn't they fire him after Say You Will or even sooner?!

$he needed FM to be 2/3 of the singers. They did it without Christine. Once Christine returned, Old I'm Not The Bo$$ began sharpening her ax. Now that Christine was back, $he knew $he could get away with it.

[HomerMcvie]

Originally Posted by elle

difficult as BuckVie album existence hurting her feelings.

and also difficult as possibly hurting Irvings bottom line. the guy who makes all oldies bands forget about being artists and become his touring ka-ching machines.

Yep. How DARE they do a project without her. They showed her that they didn't need her to make a great album.

BuckVie was the beginning of his end.

[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 HomerMcvie

Yep. How DARE they do a project without her. They showed her that they didn't need her to make a great album.

BuckVie was the beginning of his end.

and yet, if i ask you and others here as FM fans (not talking here about any SN fan disguising themselves as "FM fan") whether they'd rather have intact classic 5 touring jukebox, or BuckVie, LB box set and Lindsey Buckingham albums, i suspect most would by far prefer having those 3 albums to the jukebox tours.

and i'd further suspect so would Lindsey. way better for his musical legacy.

[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.

[HomerMcvie]

Originally Posted by elle

and yet, if i ask you and others here as FM fans (not talking here about any SN fan disguising themselves as "FM fan") whether they'd rather have intact classic 5 touring jukebox, or BuckVie, LB box set and Lindsey Buckingham albums, i suspect most would by far prefer having those 3 albums to the jukebox tours.

and i'd further suspect so would Lindsey. way better for his musical legacy.

Yeah, I'd say 70% of "FM" fans are really just $tevie fans in sheeps, err, goat's clothing. No $tevie, no FM!!!!

I'll be eternally thankful for BuckVie. It was the perfect (recording) ending for the band, for me. I mean, the old goat wasn't going to record with them anyway, so what's the point of the jukebox tours? I'll just watch Mirage and bootlegs, and live in their heyday.

[SteveMacD]

Originally Posted by elle

and yet, if i ask you and others here as FM fans (not talking here about any SN fan disguising themselves as "FM fan")

What does that even mean? Is it like how you’re a LB fan disguised as a “FM fan?”

whether they'd rather have intact classic 5 touring jukebox, or BuckVie, LB box set and Lindsey Buckingham albums, i suspect most would by far prefer having those 3 albums to the jukebox tours.

And then there are fans like me who’d rather have the current lineup sans Stevie do a Bare Trees 50th Anniversary Tour.

[elle]

not sure whether this is from the same apple podcast, or Mick is doing a series of interviews now -

https://kiisfm.iheart.com/content/20...fleetwood-mac/

Rock News
How Mick Fleetwood Wrestled With His Lack Of Songwriting In Fleetwood Mac
By Andrew Magnotta @AndrewMagnotta
Feb 11, 2022

Photo: Getty Images North America

While Mick Fleetwood doesn't have a great many songwriting credits in Fleetwood Mac's catalog, he says he now understands that his most crucial contribution to the band was keeping it together.

There were certainly plenty of moments when the band could have ended — plenty of players have come and gone over the years — but Fleetwood and his bassist and fellow co-founder John McVie persisted through it all, keeping Fleetwood Mac alive.

Still, Fleetwood admitted in a recent interview, there were times when he looked at the groups songwriters and wondered what he was bringing to the table.

"I didn't really know what it was I was really contributing," the drummer said. "I do know now."

Who brought those talented songwriters together? Who kept them together? Who helped bring those visions to life? The drummer says Fleetwood Mac might have kept going for so long because he was insecure as to what would happen to him if the band stopped.

Now, with the band's future uncertain, Fleetwood says he regards the Fleetwood Mac catalog as his "song."

"...[H]earing our body of work from time to time, that actually now comfortably does cross my mind," he explained. "I go, 'Well, no, I didn't do that — but this is my song. This is my song.' ... These lovely incarnations of Fleetwood Mac ... being around incredibly talented people that we were able to invite into the band, and mercifully, with really fantastic unbelievably storytelling results. That to me is like my song now."

Indeed, when you think about the messy, complication relationships within Fleetwood Mac — the fact that the band's most beloved album, Rumours, is about literal breakups between bandmembers — it's a wonder the band managed to continue.

The very idea of the band, to Fleetwood, was a "safe harbor."

"[To] anyone around me that were full of doubt, I said, 'This is not going to disintegrate," he added. "And then a whole other scenario happened, which was the beginning of the journey, the wave of what this body of work created."

It remains unclear if Fleetwood Mac will resume in the post-pandemic world. Stevie Nicks canceled all of her solo concerts last year "in hopes of a brighter 2022," but Christine McVie has expressed doubts that she or John could be coaxed out into another tour.

Fleetwood has been open about his desire to reunite with Lindsey Buckingham, who was fired from the band in 2018, but he added that such a reunion is unlikely to include Nicks.

[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