"24 Karat Gold: Songs From The Vault" album discussion episode of Phonogenics 101

[David]

Originally Posted by mitzo

I like it too. It's all Stevie, indulgent, whacky, touching, real. For the first time, really. At the age of 66.

What saves it for me is the presence of so many good relics. There’s no way to ruin songs as good as “All the Beautiful Worlds” and “Belle Fleur” and “The Dealer.”

It was my fault and my move and my wine

You cannot ruin a song with a line that good.

[BigAl84]

Originally Posted by David

He would butcher it. But he’s been butchering “Dreams” for forty years and everybody’s used to it, so we’d probably get used to a degenerate “Silver Springs.” That poor song got kicked around in 1976, so it seems inevitable that it would still get kicked around today.

I was always curious how Stevie so quickly gravitated to Waddy as somebody who had to be accustomed to Lindsey's style of playing etc. When she heard Waddy chomping through Dreams, Sara, Gypsy, or Angel for the first time did she hear that and go "Oh yeah, that sounds spot on..I love it!" She used to talk about being intimidated to find a drummer like Mick for her solo bands, but doesn't seem to blink at guitar players half-a$$ing it.

Even in 2018, how anyone in the band heard that rendition of Gypsy and thought they were ready to go on national TV (Ellen) and perform, is beyond me.

[David]

Originally Posted by BigAl84

I was always curious how Stevie so quickly gravitated to Waddy as somebody who had to be accustomed to Lindsey's style of playing etc. When she heard Waddy chomping through Dreams, Sara, Gypsy, or Angel for the first time did she hear that and go "Oh yeah, that sounds spot on...I love it!" She used to talk about being intimidated to find a drummer like Mick for her solo bands, but doesn't seem to blink at guitar players half-a$$ing it.

Waddy has always been a hit-or-miss with me in a Stevie context. He power-chords through a lot of delicate studio work when it’s a Fleetwood Mac song. But I know he also used his style to excellent effect on studio songs like “If Anyone Falls” and live songs like “Outside the Rain” (he always gave it a lot more vitality and balls than Campbell did on the record), “How Still My Love” (in 1983, the song was incredible — a macabre highlight of the night), “If Anyone Falls,” “Stand Back,” “I Can’t Wait,” “Rock and Roll,” and “Fall from Grace.”

I was watching live footage from 1977 of Andrew Gold doing “Lonely Boy” and there is Waddy, working with the drummer to give that song onstage propulsion and elation. Then I went back and listened to the studio track. I had forgotten that Waddy played on that, too, and helped as much as anyone make it a hit for us kids in summer camp who were running around the pool with that song playing on the speakers. Back in the day, Waddy really helped drive home tons of songs. He had great ideas and a style that may not have been subtle but was a bolt of lightning when he and the song melded together, whether it was Ronstadt or Jackson Browne or Andrew Gold. Stevie knew Waddy even before that, as we know, and she must have felt as musically comfortable with him as with Lindsey’s zappier, quirkier playing. On acoustic guitar, Lindsey leaves practically no space because of his Travis thumb constantly going, but on electric guitar, Lindsey leaves a lot of space by letting the rhythm section build tension by sudden shifts of dynamics (listen to his punctuational style on “The Chain” from Wembley). I think Waddy was used to playing with drummers who were more traditional and busier than Mick Fleetwood — and we first got used to hearing the Mac songs with Mick as metronome (kick and snare, kick and snare, high hats down low).

[Macfan4life]

Originally Posted by David

Waddy has always been a hit-or-miss with me in a Stevie context. He power-chords through a lot of delicate studio work when it’s a Fleetwood Mac song. But I know he also used his style to excellent effect on studio songs like “If Anyone Falls” and live songs like “Outside the Rain” (he always gave it a lot more vitality and balls than Campbell did on the record), “How Still My Love” (in 1983, the song was incredible — a macabre highlight of the night), “If Anyone Falls,” “Stand Back,” “I Can’t Wait,” “Rock and Roll,” and “Fall from Grace.”

I was watching live footage from 1977 of Andrew Gold doing “Lonely Boy” and there is Waddy, working with the drummer to give that song onstage propulsion and elation. Then I went back and listened to the studio track. I had forgotten that Waddy played on that, too, and helped as much as anyone make it a hit for us kids in summer camp who were running around the pool with that song playing on the speakers. Back in the day, Waddy really helped drive home tons of songs. He had great ideas and a style that may not have been subtle but was a bolt of lightning when he and the song melded together, whether it was Ronstadt or Jackson Browne or Andrew Gold. Stevie knew Waddy even before that, as we know, and she must have felt as musically comfortable with him as with Lindsey’s zappier, quirkier playing. On acoustic guitar, Lindsey leaves practically no space because of his Travis thumb constantly going, but on electric guitar, Lindsey leaves a lot of space by letting the rhythm section build tension by sudden shifts of dynamics (listen to his punctuational style on “The Chain” from Wembley). I think Waddy was used to playing with drummers who were more traditional and busier than Mick Fleetwood — and we first got used to hearing the Mac songs with Mick as metronome (kick and snare, kick and snare, high hats down low).

You are preaching to the choir David. How Still My Love was definitely the highlight of 1983. I loved the dance she would do with Benmont's solo towards the end. But you are right, Waddy's guitar on that song was impeccable. Also during the bridge when Stevie had passion, grabbing the mic, "STANDING IN THE DOORWAY..........YOU GO YOUR WAY. BUT YOU DONT FORGET ME,"
The highlight for me too!

The quality of this video is not great but this is one my all time Stevie performances. Her band is tight with Waddy and Benmont adding their own licks to the song. Stevie is so high but rocking it. Notice how the band slowly slows waiting for her to get back to the microphone for the second verse as she fetches a hat from the audience. We get some side kicks here and there. But after the singing, her dance and her clapping off beat is just too much. These were the days Stevie was so playful with the audience.
https://www.youtube.com/watch?v=if0lkSZM8Ag

[BigAl84]

I definitely agree he brings it 100% on a lot of her live solo material! Without a doubt his guitar work is the highlight of the RAL tour for me (in addition to crazy Stevie)

[UnwindedDreams]

Originally Posted by BigAl84

I definitely agree he brings it 100% on a lot of her live solo material! Without a doubt his guitar work is the highlight of the RAL tour for me (in addition to crazy Stevie)

I really liked Frank Simes on Enchanted Tour when Waddy was found to have child pornography on his computer.

[Macfan4life]

Originally Posted by UnwindedDreams

I really liked Frank Simes on Enchanted Tour when Waddy was found to have child pornography on his computer.

Les Dudek rocked the house down on the Whole Lotta Trouble Tour. I never cared for her 1989 band when Carlos Rios took over the guitar. He is a fine guitarist but Waddy and Les have a rock edge to them that is really good on stage.

[jcalzaretta]

I am still hoping for Volume 2 so we can finally get Sanctuary, Forest of the Black Roses and Julia