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I saw it in Cleveland in a small bar/club. I was in heaven. Just say we'll meet again.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#47
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When I met Mick backstage in 2009 he claimed Lindsey said for the tour he wanted extra musicians on stage like back up singers, percussion, extra guitar players etc all so that the songs would sound as close to the records as possible. Who knows if he was telling the truth.
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#48
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You have a painstakingly crafted arrangement from a studio recording and if that song is a hit or it has some value that can be exploited in a live set (like, say, “Eyes of the World” or “World Turning”), it has to be paraphrased. The more complex its construction in the studio, the more paraphrasing it needs. Based on what Lindsey has always said, that necessity to rephrase songs differently for the live set seems to have been more confining than liberating. I’m sure he has always loved opening up and letting loose with searing solos and “yelling and screaming” (as he called it in his 1981 Innerview with Jim Ladd). But he’s also been bummed out with the live situation in Fleetwood Mac: four people, give or take an extra part here or there, to paraphrase all the voicings — and having to eliminate many of them because you’ve run out of hands or singers and nobody in the band knows how to use the prerecorded stuff so that it sounds real and not artificial. That frustration is what drove him to do what he did in 1993 for his tour. The Cradle set was intricately rehearsed and mapped out like a blueprint — they probably used guitar and vocal charts like horn charts for a jazz band (or like the charts Rickie Lee Jones and Tom Scott crafted for her amazing Pirates album). Lindsey toured with Fleetwood for many years without getting the opportunity or the approval to do what he wanted with ambitious arrangements. Not that the others were to blame for blocking him. But imagine trying to get the 1982 band together for two or three months of serious rehearsal to plan something so sophisticated. It was probably all Mick could do to get his band into rehearsal for three weeks of facking around.
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moviekinks.blogspot.com Last edited by David; 10-29-2020 at 10:01 PM.. |
#49
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It was actually a red herring. Nothing in what he said disputes the assertion that if Lindsey had stayed, they would have still used auxiliary players, that it wasn’t something that was dictated by Stevie, which was the only point I was making. In both cases, there was a degree of recreating sonic layers from the albums. Based on the rather extreme lengths Lindsey went through to do that in 1993, it completely stands to reason that he would have gone along with, if not altogether insisted, on augmenting the band, especially for the TITN material. I don’t think any of them were interested in “paraphrasing” too much with that album.
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Lindsey was always vague about the band’s future in the TITN interviews. The more they were interviewed, the more obvious it was he didn’t want to be there anymore. Quote:
And, if they were already augmenting the band, why wouldn’t she bring her backing singers?
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#50
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1. Lindsey never signed any contract to tour in 1987 because he would have been in breach of contract for leaving before rehearsals 2. The entire reason for the meeting at Christine's house was because Lindsey was non-committal about touring and it was a last ditch effort to convince him. 3. Yes the promoters start moving the parts of such a tour. The album was successful and it was going to be a big deal i.e. the first Mac tour in half a decade. 4. Lindsey gave his final NO right before rehearsals would have started so that is why Rick and Billy just fell into place 6 weeks before the tour 5. Christine stated in 1987 she knew Lindsey was leaving after the album. She also stated he was part inspiration of the song Little Lies. He was not open about leaving but always dropped hints which were the "little lies." People talk in general terms all the time. In 1985 Don Henley did an interview with Musician magazine stating that some members of the Eagles and Fleetwood Mac may join a new band together. That was an off the cuff pipe dream comment. When Lindsey did talk about touring, he gave his thoughts about adding musicians. Same sort of thing. That statement was never put into any reality since he really was not on board. I was being funny when I said he did not mean Stevie's solo back up singers.
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My heart will rise up with the morning sun and the hurt I feel will simply melt away Last edited by Macfan4life; 10-30-2020 at 05:51 AM.. |
#51
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Billy got a call from Mick the day after the fight asking him to join. That was the first time Billy had any involvement in being in the band or on the tour. In fact, his solo career was taking off at that time and he had a new record deal. He had to fight to get out of that deal to join the band and tour. Rick then joined after Billy was already on board.
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'Where words fail, music speaks' Mick Fleetwood |
#52
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#53
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Just going on what Billy wrote in his autobiography. You are right though- I read it again. Mick called Billy and asked him to join. While on the phone he asked Billy to get in touch with Rick and offer a place to him as well. Rick happened to be in a studio with Billy and Roy Orbison at that exact time.
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'Where words fail, music speaks' Mick Fleetwood |
#54
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I do like when they stripped it down to the girls. Or, Go Insane solo. SYLM up front was great. Landslide made me barf. I did like the Mirage Tour version where Christine plays the keys on it.
I never liked Stand Back as a FM piece. I wished she had chosen something else. I'd love to see How Still My Love done by FM. Her solo band was a bit wonky for me. I never cared for it. I think as time went on, they wanted to cover more sound. They all need coverage in present time. All 3 voices have aged. But, kudos to them for working with worn out tools.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#55
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I understand why Lindsey didn’t like the paraphrasing. He had worked so hard on creating studio gems only to pare them down for a live show. He doesn’t strike me as the type who can divorce himself from the finished product. The thing is, there’s also an art to stripping down a song to its essentials and taking it to a different place. A concert is a completely different way to experience the music. It SHOULD be different. Very different.
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#56
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I think those shows made Lindsey a better musician. I watched him over the years trying to cover so many parts and fills. Now, his solo shows have a ton of backing tracks. I understand why he does that. He wants Don't Look Down to have those great effects. And as they all age, it's just a necessary evil. Here's to missing the old days. I think Stevie gets blamed a lot because she broke up the 3 part harmonies by adding her posse.
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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; 10-30-2020 at 06:54 PM.. |
#57
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Lindsey has been for years now saying how surprised people were when they would hear FM live, since live the sound is so different and so much more rock. that FM albums are more pop while FM live band was rock'n'roll. he was always proud of the heavier concert sound.
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"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash" |
#58
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By the time the Dance came around, I was a bit underwhelmed. I was ecstatic they were back. But, it was light.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#59
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I guess what I’m saying is I’ve always loved FM’s split personality: their live music was, even from it’s earliest days, meant to be an abstraction of the disciplined records. One used to go to Mac concerts to be bewitched (and not just by Stevie’s twirls). The transformation from sonic studio professionals to raucous yet inventive rock-n-rollers was worth seeing. For whatever reason, by 1982, LB was over it, wanted a more polished sound. Perhaps this was his recognition that FM’s fan base was getting older, more yuppified? Or maybe he himself was tired of tearing apart his precious darlings on stage...Either way, the desire to sound like the albums goes against the band’s natural strengths. Last edited by aleuzzi; 10-30-2020 at 10:02 PM.. |
#60
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I remember when I first heard “Doing What I Can” live. It possessed a raw fervor at which the studio version had never hinted. Live can make generic genuine.
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