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10-31-2007, 09:22 AM
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Contemporary Keyboard Magazine Article
My great friend Mr. Bill found this old ish from Oct 1980 with Christine on the cover. The mag practically looks mint (i guess he had it in a box somewhere). Christine looks beautiful on the cover (that carried a $1.50 price tag).
Here's the article...since I'm bored and all... --CHRISTINE McVIE by Bob Doerschuk-- Finally the dust has settled, but it took a long time. Already its hard to believe that there was such a stir a year ago, when what many had hoped to see as the musical millenium of Top Fortydom was ushered in with the release of Tusk. The balloon budgeted double album that Fleetwood Mac fans had been anticipating for nearly 3 years set off a field day for rock critics. Words like "daring, eccentric, svelte, compelling, adventurous" and even "a safe, enjoyable buy" were bandied across newspaper and music magazine pages for a couple of weeks. Interviews were granted, press conferences staged, concerts announced. The City of LA joined in the fun, proclaiming Oct 10, 1979--the day of the LPs unveiling--Fleetwood Mac Day, and immortalizing the event with a gold star in front of Fredericks on Hollywood Boulevard. Expectations were running high. After all, the bands previous, and much less expensive endeavour, RUMOURS, had jarred the industry by appropriating the Number 1 slot in the chart for 6 months back in '77, selling well over 12 million copies, chalking up a Grammy, and finally catapulting the long-lived group into the semi-legendary status reserved for those few in rock who can captivate the public imagination without resorting to martyrdom. But, the peculiar thing was that for all its polish and craftsmanship, Rumours was hardly a musical milestone. It was no Sgt. Pepper, no Highway 61, no Tommy. Lyrically, it made no profound statements. If it blazed any new trails, they were mellow, placid pathways rather than exciting new avenues. With Rumours, the era of the armchair rocker seemed at hand. In truth, the essence of the FM legend lay more in the whispered stories of Fleetwood Mac's private lives--the rumours--than in the music. For some reason, gossip about who was married to whom among the bands personnel and alumni, who had split up, who had lost his mind, who had become a religious cult zombie, seemed to intrigue many people more than the music. Clearly, if they were to build artistic reputations equal in magnitude to their commercial success, they had to come out with a killer album. And so came TUSK, elaborately packaged, digitally mixed, augmented by the 112-piece USC Trojan Marching Band, all to the tune of more than one million dollars. We can look back on all the hooplah now one year later, and the judgement from the longer perspective must be mixed. On the one hand, the album was undoubtedly a hit; within 4 weeks of its appearing it had clambered up to Number 2 on the charts and to date had sold more than 4 million copies. But when measured against the long shadow of Rumours, these figures pale a bit. By June 1980, Tusk was off the Top 200 in Billboard, but only 2 months earlier Rumours was still being listed. Indeed, nearly a year after Rumours hit the stores, it was still selling 200,000 copies per week. If there are any morals to be drawn from this, one might be, You Cant Win Em All. At least with equal impact. But perhaps the grander lesson is: You cant measure the stature of a band by the sales alone, or maybe even by the music it makes. If Mick Fleetwood, John McVie, Lindsey Buckingham, Stevie Nicks, and Christine McVie are massive figures on the rock horizon, there is a reason for it, and at the least, it doesnt boil down to mere hype. There is a chemistry, a sense of history and dedication, and a complicated intermingling of talents that helped make this band the great success it is today. Christine McVie has not been with the group from the beginning but, along with Fleetwood and ex-husband John McVie, she is an important part of the foundation from which the present character of the quintet has grown. She penned many of their most popular tunes--Over my Head, Say You Love Me, Dont Stop and You Make Loving Fun among others--and established herself as one of the most distinctive singers on the scene. Her milky smooth style, reminiscent of neither the harsh Janis Joplin school, nor the folky Joni Mitchell approach, gave her an instantly identifiable sound. In addition to all this, she plays all the bands keyboard parts, a role that is often overshadowed by her singing and composing. Never a flashy soloist, she nevertheless had developed a repetoire of tonal shadings on organ and electric piano and is one of the more tasteful accompanists in the world of concert rock. Occasionally a perceptive reviewer may get past cliched commentaries on her image as this "woeful woman child who's in perpetual pursuit of 'daddy'" and notice that her keyboard playing has substance. Even Christine McVie's rhythmical electric keyboard chords add a throbbing pulse to the proceedings, one apparently surprised critic once wrote. The 3 senior members of Fleetwood mac have a common background in the British blues underground of the 60s, a heritage that is obscured by the groups current sound, but which shaped its early style and continues to affect McVie today. Her family's musical tastes were somewhat more formal however. Born in Birmingham with the unlikely surname of Perfect, Christine could trace her talent back to her grandfather, an organist who had performed at Westminster Abbey, and her father, a classical violinist on the faculty of the local university. In the living room of her Beverly Hills home, McVie talked with CK about those early years. "I was trained classically. I started taking piano lessons when I was about that big (she indicates with her hand a few feet above the floor). I played the cello for a while too, in the 2nd orchestra. But then my brother, who was four years older than I, got into traditional jazz. He brought home some music by Fats Domino, and one day I found some of it lying around the piano stool, so I started reading and playing it. I just developed a liking for it, and soon I was getting his records. Otis Spann, Freddie King, and people like that. I guess you could say that a lot of my training has been pretty much in the experience of playing this kind of music." By age 12 young Christine had already lost most of her interest in formal piano studies, so she embarked on a five year program at art school, where she specialized in sculpting. She has never lost her interest in the blues, though, and this led to her involvement with Chicken Shack, one of the pioneering English blues bands. "When I was at college working on my degree I got to know several members of this band called the Sounds of Blue" she recalls. "The bass player was Andy Sylvester, and after the Sounds of Blue dissolved he joined Chicken Shack. Well, Mike Vernon, who worked for CBS in London was interested in having Chicken Shack make a record, but he suggested that they needed a keyboard player. So they got in touch with me, and asked me if I wanted to do it." But by this time Christine had left school in search of a more satisfying routine. "I went to London, where i became a window dresser for an exclusive store" she explains. "I was actually qualified to be an art teacher, but I didnt want to teach. Anyway, when Chicken Shack called me up i was so bored with being around the store I said YEAH, I'll join! We made our debut at the Windsor Jazz Festival, which was this massive series of concerts. There were bands playing on different stages all over the place." "There was also this place where Fleetwood Mac made their debut" McVie adds. "They were on the bigger stage, and our gig was to support them; we were like their opening act. Thats how I got to know John." The magnitude of the Windsor Festival reflected the interest in the blues that was growing among young Britons. TS McPhee and the Groundhogs, John Mayall's Bluesbreakers, singer Jo-Ann Kelly, and the first incarnation of Fleetwood Mac were among those who generated this interest, but there were also a number of American expatriate blues artists in Englad and they found many eager listeners, including McVie. "They were coming in by the truckload, because the kids in England just couldnt get enough" she notes. "They opened my ears to lots of different blues piano styles. I wasnt a wild, honky tonk piano player by any means. Thats why I used to listen to people like Freddie King, who was pretty restrained, and BB Kwing, who played very sophisticated blues. It wasnt the Champion Jack Dupree barrelhouse stuff that I was influenced by." The main focus of Chicken Shack was guitarist Stan Webb; Christine concentrated on backing him up on vocals and keyboard, although even she was attracting attention from such notables as Peter Green, the highly regarded lead guitarist in the original Fleetwood Mac. In his Authorised Biography of Fleetwood Mac (now out of print), Samuel Graham assessed her impact with Chicken Shack: "They were not much of an outfit. Webb was not Peter Green, and the torpid Chicken Shack records were unfortunately more typical of British blues than early Fleetwood mac records had been. Nevertheless, it was with that band that Christine earned the respect of the likes of Peter Green as a player of taste and integrity." Christine did take the spotlight on the bands most popular record, "I'd Rather Be Blind," a cover of an earlier single by singer Etta James. Released during the summer of 1969, this performance earned McVie the Best Vocalist award from Melody Maker magazing that year. "That was our one big hit, I think" she muses. "We were fairly authentic for a mediocre sort of white blues band. The old Fleetwood Mac was much better; they did some beautiful, and to my mind, very authentic blues. Chicken Shack did pretty well in Europe, but after I left, it was over." The best vocalist award naturally gave Christine's career a sudden boost, and the immediate result was a project that now, looking back, she regrets. "After I'd won the Melody Maker award, things were sort of confused," she states. "I was already with John, and he was in Fleetwood Mac, and I was with Chicken Shack. We never saw anything of one another, so I left the band. Then one day my manager called me up and said to me rather frantically, "You've got a do a solo!" And I so I made my big solo album, which I'm very embarrassed about. She stops, and with a slight tinge of sarcasm remembers the name of the LP: "The Legendary Christine Perfect Album. I think they re-released it around the time that Rumours was out. It had a big sticker on the front saying 'Featuring Fleetwood Mac's Superior Vocalist' capitalizing on the fact that Fleetwood Mac had become so successful." A laugh, and then a resigned shrug, "Well, at least it sold me a few more copies." Her reservations about that record are based on a feeling that she was still far from the artistic maturity she has come to display in recent years. When first released in England, the solo disc was respected enough to chalk up a second Melody Maker Best vocalist prize in 1970, but in retrospect it does display McVie in a much more rudimentary stage of development than her audiences are used to today. "When I made that record, I wasnt really sure about my talent, or about what direction I wanted to go in musically," she points out. "There were people all around who were trying to make me into this kind of singer or that kind of singer. Mike Vernon was a great help in many ways--I'm playing music now partly because of what he did to get me started--but even he was pushing me into becoming sort of a black-style English singer. I didnt really feel artistically together until I joined Fleetwood Mac." Christine's formal association with Fleetwood Mac began in 1970, when she contributed background piano and vocals to their LP Kiln House, and painted the picture that adorns its cover. This record and the subsequent one, Future Games, which featured her for the first time as a full member, both sold respectably, making it into the lower levels of the American top 100. Two later albums, Bare Trees and Mystery To Me were able to reach gold record status with more than 250,000 sales but with the release of Fleetwood Mac (1975) the pace picked up to platinum. Buoyed by a $25,000 AM radio ad campaign that used McVie's song "Over My Head" as a signature theme, Fleetwood Mac lodged itself in the charts for more than 70 weeks, and set the stage for Rumours. There are now four keyboards in Christine's setup: A Hammond B3 organ, a Yamaha CP30, and two acoustic Yamaha pianos, a console and a grand. Various other instruments have passed through her collection over the years, however. "I was in essence boxed in completely by keyboards" she laughs. "Thats what was wrong: I was so stacked in with keyboards that no one could ever see me. It was like being in prison. People would look and say 'Look at Christine back in her cave' Mick and I would laugh about it, because he had the same sensation, being stuck behind his drums all night." Among the instruments that were cut as McVie streamlined her setup were a Rhodes electric piano and an ARP String Ensemble. "The ARP was taking up space on the stage, and anyway I hardly ever used it," she explains. "In the old days we mainly used it to do 'Sunny Side of Heaven'. I only used the Rhodes on one song too. But it was too soft. The Rhodes was great to play on something like Rhiannon, because it was so bell-like, but on anything else it would kind of get lost among the guitars." When looking for a harder sound, McVie used to rely on the Hohner Pianet. "I liked the old Hohners, but they dont make them anymore," she sighs. "Before they went off the market I bought about six of them to used for replacement parts, but now that a transistor blew out of one of them I'm down to my last one. they would break down a lot onstage too, I'm telling you. It would make the most awful, atrocious noise...this crackling hiss and farting all over. It would like some sort of alien parrot trying to get through to you. I never used a Wurlitzer because in essence the Wurlitzer was like the Rhodes. I never much liked the sound--too soft for me." The Yamaha CP30 now satisfies McVie as a replacement for the Pianet. She recorded with it for the first time on Tusk, and aproximates the Pianet sound live by engaging the first 3 stops on both groups of stops, and using more bass than treble. Her model was modified to eliminate a loud hum that occured when the volume pedal was opened all the way, but otherwise she has had no complaints about it. "It can sound a lot like the Hohner," she says, "and it can sound like a Rhodes, really pretty and clean. It has great variety, a volume pedal, a nice sustain, and a dual pitch control where you can tune it just a little out of phase with itself to get a fatter sound, which I like to do. You can use it for so many things I used to have; I needed 3 keyboards in the past, I only need this one now. Besides I think it would be pretentious of me to have a huge stack of keyboards, since I'm not a brilliant keyboard player. I get by, but I'm by no means a genius, and I don't pretend to be. I don't want to come off like Keith Emerson. So long as I can get the sound I need, I'm happy to just stay with the keyboards I have onstage now." The B3, the instrument she most frequently plays, has been portabilized by Keyboard Prodcuts. Christine has no settings that she regularly favors. "I used the drawbars a lot; in fact, I dont think I have ever used anything else but the drawbars." she admits. "Sometimes I perk it up with a bit of percussion too, but I don't think there's any particular sound I go for every night. I try to get whatever sound suits the track best when we're recording, and I just look for something that sounds good when we're live." The group has used synthesizers on stage and in the studio, but Christine prefers to work without them whenever possible, or even to the leave the synth lines to someone else. "Dennis Wilson tried to get me interested in the Moogs, but I'm just not interested in electronics. Obviously I'm more fascinated by organic sounding things, like plain ordinary pianos." "But, we have recorded some synthesizers--we've used a Minimooh and an Oberheim. And I remember using a Multimoog on 'Crystal'. It wasnt even mine though. There was some mad little professor guy running around twiddling all the knobs for me while I played t. I think he slept with the damn thing," she adds with a laugh. "but we dont really need them too much. I cover most of the sound that we use on the records with that I have. And people tell us that we still sound pretty big for a band with four instrumentalists." A synthesizer nonetheless can be heard at a Fleetwood Mac concert, being played offstage during the song "TUSK" by Jeff Sova, the band's keyboard roadie. At one point, Jeff relates in a telephone conversation with CK, the group was thinking of expanding his performing role even more: "We had some rehearsals where I was playing on four songs...'Not That Funny'--but we dropped them from the set because it was interfering with my stage work, and I guess it wasnt necessary. But on Tusk, I'm using an old Oberheim Four voice to play the part the USC Marching Band did. That's the only synth you'll hear at the show now." in case the Four Voice breaks down, the bands keeps an OB-X with a cassette interface to duplicate the program, standing by. During one earlier tour, Fleetwood Mac did carry an additional keyboardist, Doug Graves, but that idea was soon abandoned. "He was there to back me up but I think it was decided that after the first two or three concerts, I was better off without him. The band wanted me to expand my role and have a little more freedom, so he played some organ behind me, but he didnt play the same way I did. I may not play very well, but I play the way it suits the band." Perhaps the most unsual feature of Christines instrumental array is her pair of acoustic pianos. The console, a Yamaha, is used during 2 songs in the concert set; 'Sara' and 'Not That Funny'. During the former tune, a metal bar on a rail is moved against the strings to produce a honky tonk effect. The console is set on a stand that raises it a foot and a half above the platform so Christine can stand while playing. A mic has also been mounted on it to allow Lindsey Buckingham to sing harmony by her side on 'Sara.' Grand pianos have been used in the past at live shows. Several years ago they took a 4'6" Hamilton on tour, but because the sound never satisfied them, the instrument was replaced by their current stage piano, a six foot Yamaha C3. The grand is also used on only 2 songs, 'Dont Stop' and 'Songbird'. After being played, it is removed from the stage by a scissors lift on a dolly. "When the piano disappears, its kind of a nice effect...the kids in the front row get a kick out of it. All of a sudden this big piano is gone and they're saying 'WHAT happened?' But it's showbiz." "I've had a Steinway in my home for about 3 years now but I suppose the Yamahas have always been my favorites. We had a huge one when we did Tusk. We even had the boss of Yamaha--I forget his name, but it was like Mr. Yamaha himself--come by to tune it up and adjust the sound for me. It sounded like a Bosendorfer. it was just incredible. I'm still trying to wrangle a deal to get that piano over to the studio once a month for me to play on." Once upon a time, though, Fleetwood Mac traveled without the luxury of having its own grand piano in tow. "Thats why I started carrying mine around. The instruments we were given to use were all so unpredictable. Most of them were bad, and since we didnt carry a piano tuner around with us either, we had to rely on the tuner they provided us while our equipment was being set up, or during sound check. Often we found broken hammers or twangy strings, and even if there were good pianos around they wouldnt let us use them most of the time because we were a rock and roll band. I guess they thought we were going to start jumping up and down on the keys or setting fire to them!" Both the grand and the console are amplified thru Helpinstill pickups. on the grand piano, the pickup has been modified by replacing a passive preamp with a Claire Brothers AC power preamp; a Seinheiser 451 mic is also used with the larger piano. The upright pickup was also augmented once by a mic, a Sony ECM50, and the feed from it and the Helpinstill were blended by the engineer, Trip Khalef, at his Claire Brothers board. The organ signal is sent thru three Leslie speakers, one positioned near Christine, one near John, and the first near Lindsey. Each one has been boosted to 180 watts by Keyboard Products and fitted with JBL speakers. Three amp racks, each with 2 Yamaha TM-2200s at 250 watts, and a Yamaha F1030 crossover unit, amplify the CP30 via three Mitchell cabs. The bottom cab contains a 15" JBL speaker and there are two 12s in the middle cab and four 10s on the top. The are no effects pedals in the McVie setup, but there is one other keyboard--an accordian. She comes out to the front of the stage when the band performs the song 'Tusk' and lends a hand on the instrument. "I never planned on learning accordion. I didnt even intend to play it, it was just lying around the stage one day. I wasnt sure what I was going to play on 'Tusk'. I thought I might wind up playing some kind of percussion, but I just picked it up and started doing the riff. It's very easy to play if you can play the piano. Coordinating the bellows can get dodgy sometimes; you just have to get one end in and the other end out, then bring the bottom out and the top in. It's kind of like a stomach action. I'm still learning about the chord buttons, though. I've figured out the theory of them, but I'm still practicing...I don't use them onstage yet." Away from the stage and the studio, Christine uses her various keyboards to help her in writing new material. She has no set formula for composing--sometimes the words come first, sometimes the music; often the lyrics are written at the keyboard, but occasionally not. She acknowledges that the instrument she happens to be writing at can have an effect on how the song evolves. "If you're playing a soft sounding instrument like a Rhodes, you're not going to write honky tonk, raucous rock and roll. The character of the instrument will be imbedded in whatever you write." Despite the fact that she has authored a number of hit tunes, Christine avers that she has never geared her material toward a preconceived commercial idea. "I've never written with the intention writing hits. I guess I'm a commercial writer, though. My songs do tend to come out two verses, bridge, guitar solo, last verse and tag. When I've finished a piece I do have my opinion about whether it will sell, of course, but I'm not always right. Over My Head was a very unpredictable hit, as far as I'm concerned. The fact that it was bigger than Say You Love Me surprised everyone." "Over My Head was originally recorded with only vocals and a dobro, and drums." The decision was made later to augment the basic tracks with Christine on a Vox Continental organ, but even so it was literally considered the least likely track on Fleetwood Mac (1975) to be released as a single. Songs are learned on an informal basis in Fleetwood Mac. There are no charts, not even organized head arrangement. "They come together pretty easily, since we spend X number of months in studio together either listening to each other, or jamming. We pretty much know how they all go after a while, what kind of guitar Lindsey should play and what kind of keyboard I should play to get the full effect." Much of Christine's work involves figuring out keyboard parts for tunes written by other members of the band. Her experience at devising arrangements has made her aware of certain qualities that characterize their work. "well, normally there's a characteristic isnt there? In each song...either a riff, or an underlying musical theme that makes the keyboard part clear if you look for it. Take Dreams, or Sara, for example. There's a particular piano part in both songs beneath the basic structure, and it stems from the way Stevie approaches the piano itself. She isn't a great player, but what she plays you can elaborate on. Still, I think she should play onstage. She's getting better all the time. If she would play piano on just one song, it'd be ****in great! Then she'd be known as a musician as well as a singer." The songs of Lindsey Buckingham make different demands, especially since his recent explorations of the harder new wave style. "What Makes You Think You're the One' from Tusk, is especially tough to play. You have to keep crashing away at the chords through the whole thing. By the time it's finished, my wrists are like spaghetti. I really have to hammer the acoustic piano. My wrists arent that strong, and if I have to hack to hard they start breaking down. Fortunately after playing a song like that I take a break, have a drink, or move over to the accordion, or just stagger offstage somewhere until i recover." The unusual gathering of songwriters and singers, with diverse ranges and styles may also occasionally force McVie to play in unusual keys, but is usually not a problem for her. As a keyboardist she finds it easier to play in D, B-sharp, A, and F. Once in a while a key has to be changed as a result of someone's shifting vocal range. "My range seems to be getting higher. I just cant sing as low as I used to. I dont know how I ever recorded some of those songs in such low keys. Lindsey often changes his songs to. He records a song in E, and then changes it to F. That affects the vocal blend a lot." In concert, most of Christine's work involves background playing. She takes few solos. She has discussed expanding her role as a soloist with the rest of the band, and would welcome more opportunity for taking leads on piano. One thing she isnt interested in is hiring another keyboardist to play impressive solos. "I never want a studio guy. I wouldnt mind working with another keyboard player, but not a studio guy. It sounds very off, but we're really snobbish about doing everything ourselves whenever possible, so I'd rather just play the piano lines myself." Even with more time in the keyboard spotlight, McVie doesnt harbor illusions about her performance. The success of the band hasnt altered her perspective on her own playing. At heart, Christine still sees herself as the same pianist who looked through her brother's Fats Domino books for inspiration. "I'm not a connoisseur of great keyboard ideas. I am a sensitve keyboardist (she laughs). I play well within the framework of the band. I listen well to what the others are doing, and i dont just bash out regardless and soar above everybody. I'm very good at jelling musically, and I think I'm using more chords than I used to, but I'm not adventurous enough. Let's face it, I'm an adequate amateur at best. At heart, I still like to play the blues more than anything else." WHEEWWWW. My hands are tired. Ps. That took nearly 2 hours to type.
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#2
10-31-2007, 01:55 PM
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 You could've saved yourself (AND your fingers) 2 hours that you'll never get back by just referencing the article here in the Penguin's "Blue Letter Archive" Blue Letter Archive: Christine McVie - Contemporary Keyboard Magazine 1980 "B-sharp".....otherwise known as "C".Oh, and to be grammatically correct, the caption in your sig should read "Lindsey Buckingham & me".
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Among God's creations, two, the dog and the guitar, have taken all the sizes and all the shapes in order not to be separated from the man.---Andres Segovia Last edited by chiliD; 10-31-2007 at 02:41 PM..
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#4
10-31-2007, 04:49 PM
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if the implied beginning of that sentence is "this is ..." then either "me" or "i" would be correct. speaking in a strictly textbook sense, "i" would be correct in that context as the linking verb requires a pronoun in the nominative case. however, "me" is considered acceptable by almost everyone as "i" after a linking verb seems a bit stilted in everyday speech ... so your "correction" is a good suggestion but not necessary. however, if the implied beginning of that sentence is "this is a picture of ..." then you would be right, the preposition "of" demands an object in the objective case. what i can't figure out is why you would assume he was making a grammatical error, unless it was just to wank off to how grammatically superior you supposedly are to brandon (and, presumably, everybody else who failed to notice the "mistake."). 
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#5
10-31-2007, 06:04 PM
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 I have this magazine...great article & some real nice pictures too.
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#6
10-31-2007, 07:35 PM
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always helpful Steve... Anyway, I had never seen or read the article before so I didnt know how readily available it was. I enjoyed it, and took it upon muh'self to type it up for the rest of you guys. I suppose, yeah, I should've checked the archives first! Is it Lindsey Buckingham & me? I always thought it was "I"..? But I think it depends on how you reference it, right? Like if you're speaking, you'd say "Lindsey Buckingham and I met ...." but if you write it in the sense that I used, to describe an object (like the photo), would it be "Lindsey Buckingham & me?" I'm not sure on that one.
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#7
11-01-2007, 12:52 AM
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You say it as if the other person isn't there.
You wouldn't say "this is a photo of I", so you wouldn't say "this is a photo of Lindsey Buckingham and I". "This is a photo of me." "This is a photo of Lindsey Buckingham and me."
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Yup. I'm in hell.
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#8
11-01-2007, 01:26 AM
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I've always partially blamed Eliot for the mixup:
LET us go then, you and I, When the evening is spread out against the sky I also had something to say about Christine & "studio guys" (whom she refers to in the article) & had it all typed up (it was a masterpiece), but the forum froze on me & crashed the browser. (Firefox couldn't restore the session.) Does this happen frequently to other ledgies? This board crashes my browser probably five of every ten times I post. I have a feeling it's the server.  
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#9
11-01-2007, 12:45 PM
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Talking of Michelangelo. Perhaps one of the greater choruses ever written.
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 save the cheerleader - save the world
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#10
11-02-2007, 12:04 PM
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Just a tip from a computer oldtimer.
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-Joanne (from Cape Cod)
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#11
11-02-2007, 01:21 PM
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You mean, how it was funny she used used practically all studio guys on her 1984 solo album?
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#12
11-02-2007, 02:35 PM
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the best pop-rock is always slightly off-kilter & always highly personal: Beatles, Fleetwood Mac, Police, Elvis Costello, U2, VU, Talking Heads, Prince, etc. Fleetwood Mac was always aesthetically better off reminding listeners of Squeeze or Sly & the Family Stone than the Eagles or Billy Joel.
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moviekinks.blogspot.com
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#13
11-04-2007, 11:57 AM
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Given his apparent love of Georgian verse, Danny Kirwan might have done something even greater with that modernist Eliot couplet...
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#14
11-04-2007, 12:00 PM
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#15
11-06-2007, 03:41 PM
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Hawkins and Ferrone are awesome. The guitar work on In the Meantime I found, dull. I much prefer the guitar work on her solo 1984 record.
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