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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#47
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Posted by chiliD
Bob himself on his website has a MTM era live "Black Magic Woman" Care to point out exactly where we can find this little pearl? I looked but didn't spot it. Sounds like just the thing to turn doodyhead onto! Posted by jbrownsjr May I add The City to this... I love that jam.... Somebody's on the ball. Posted by SteveMacD The German show is okay, but the band sounded a bit timid. They rocked on the Seattle show. I take it you haven't acquired the set from the Palace Theatre in Waterbury? Posted by TrueFaith77 Speaking of, where are these Live recordings during the Welch era? Many of these bootlegs can be found at ThrownDown.net in the form of torrents. Then it's just a matter of finding a seeder with the pipes and TLC [YMMV]. Enrollment is required. |
#48
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Madelow:
Although I enjoy Christine's Welch-era music, her songwriting and singing both improved after Linds & Stevie joined the band. Still can't figure out if it's the songs themselves, or the arrangement and production values. But, you can certainly hear the difference, beginning with"Warm Ways" on the White Album. Don't get me wrong, there are some wonderful Christine songs pre-Rumours, but the majority of her best work is clearly during the Buckingham-Nicks time. SteveMacD: I dunno if I completely agree. I think Spare Me A Little Of Your Love and Why easily stand up to anything she ever did with Stevie and Lindsey. Also, I don't hear too many major differences between her songs themselves on the white Fleetwood Mac album from the earlier work. Why stop there? Beyond Spare Me A Little Of Your Love and Why, you could easily cite gems like Show Me A Smile, Dissatisfied, Remember Me, Did You Ever Love Me, Believe Me, The Way I Feel, Heroes Are Hard To Find and Come A Little Bit Closer. Cristine's dark inflection on Keep On Going is as good as anything she ever did pre or post B&N imo, though that may partly be due to BW's provocative lyrics and a great arrangement into the bargain. Her harmony accents also helped take some of those mid era Mac tunes over the top, starting with Mission Bell in 1970. She was pure gold in that realm on MTM. Madelow: Still can't figure out if it's the songs themselves, or the arrangement and production values. Chris penned a lot of gems in the late [B&N] era, but she also had 20 years to compose them before her Mac days were done. I'd say her 5 years per-B&N - as highlighted above - stand up quite admirably against the maturation which followed. Those songs laid the groundwork for the flowering you speak of. There was no meteoric curve or breakthrough one can readily point to, but certainly more gloss and sheen as time went along - occasionally bordering on MOR - plus a lot more material co-written by others (a la musical partners). SteveMacD: They recorded Bare Trees in a week, but spent three months recording white Fleetwood Mac album. BT in a week?? Source details or fail. Also what was the time frame for the FM white album = February-April '75 @ Sound City in LA? |
#49
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During one of our rare weeks off, early in 1972, we cut our second album in six months, Bare Trees, in a few days at a studio near Wembly with our usual engineer, Martin Birch. -Mick Fleetwood, My Life and Adventures In Fleetwood Mac, pages 105-106.
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
#50
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What can I say, the monkey's back for more punishment. Actually this time, as opposed to Lindsey's prophesized guitar army (of our dreams) which still blows me away, I'm just setting you up for an easy kill in the name of pimpin'. It's rare to find any recording specifics behind the Bare Trees production on the Net. Then again, when it comes to Mick's recollections, they're not always picture perfect either. I'm still trying to make sense of this one, as found elsewhere:
"We recorded the one with the dog and the dustbin on the front [PGFM, the Mac's first album] at Decca's studio off Regent Street, and it was probably done in about three days, all live. We set our PA up in the studio and played it like a gig. We were immediately successful. Our first album didn't quite get to Number 1 but it was way up in the charts for a whole year. Yet it was nearly all covers." - Mick Fleetwood from Debauchery! How Fleetwood Mac Survived It, Q Magazine, May 1990 Decca's Regent Sound A studios on Soho's Regent Street? I always had it PGFM was done at CBS Studios on New Bond. Wasn't it during their Mayall tenure that they called Decca Studios home, to wit the facility on Broadhurst Gardens in West Hampstead? Beyond that, didn't Mike Vernon first offer PGFM to Decca as a co-production, but they turned it down since Vernon and Green were insistent that Blue Horizon trump their label, and thus CBS entered the picture? Questions, Answers? Answers, Questions! In any case, I'm a bit surprised BT was cut in but "a few days" time (though I always heard it was done in an expeditious manner), in fact I almost find a span that short hard to believe considering what they produced. If that's really the case, that's quite an accomplishment, as I never heard of Kiln House or Future Games being brought to full circle quite that quickly. Based on MF's comment, this most likely can be dated from January 1972 then (and not late '71) as the album was released in March (afaik), and from the Wembley area merely confirms it was done at De Lane Lea Music Centre. EDIT: If you (or anyone else) have any additional specifics regarding the Bare Trees production from published or online sources, kindly furnish them. Last edited by snoot; 01-11-2009 at 10:29 PM.. |
#51
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Quote:
You're right that Mick Fleetwood's recollections of events are not always a reliable source, but in this case he's backed up on at least part of his story. Huw Pryce, the band's first roadie, is quoted in Martin Celmin's biography of Peter Green "...it was Jeremy who had the idea to play through the PA to get a live blues sound in the studio. The first album was mostly DI'd [direct input into the tape deck] but for Mr. Wonderful we had speakers and amps all over the studio and Mike Vernon positioning microphones." Quote:
Lewry's book states that Future Games was recorded in June-August 1971 at Advision Studios in London. Is that the same as what you've heard about these sessions, snoot? What we really need here is for Bob Welch to join in the discussion here...are you out there, Bob? |
#52
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You're right that Mick Fleetwood's recollections of events are not always a reliable source, but in this case he's backed up on at least part of his story. Huw Pryce, the band's first roadie, is quoted in Martin Celmin's biography of Peter Green "...it was Jeremy who had the idea to play through the PA to get a live blues sound in the studio. The first album was mostly DI'd [direct input into the tape deck] but for Mr. Wonderful we had speakers and amps all over the studio and Mike Vernon positioning microphones." Jeremy for the win! Interesting concept, no? No further info on how long the sessions lasted, but Peter Lewry's book "Fleetwood Mac: The Complete Recording Sessions 1967-1997" shows the Bare Trees recording as being done in "early 1972" at De Lane Lea. Interestingly, it looks like the album was released in the US before the UK - March in the US and not until August in the UK. Lewry's book states that Future Games was recorded in June-August 1971 at Advision Studios in London. Is that the same as what you've heard about these sessions, snoot? What we really need here is for Bob Welch to join in the discussion here...are you out there, Bob? Yes Bob, please don't be shy! lol Welch would set us all on our heads I'm afraid, then double back and slap us around some more for good measure (all the while lovin' it, but then, so would we). As for Bare Trees initially being released stateside, this is true as by that point that's where everything mattered in Macland. The Brits and continental Europeans had largely turned their back on FM by FG, finding it hard to let go of the PG era sound. The Yanks had a far easier transition however, most having been weaned on the post-TPO sound, where the fusion of blues, folkish-rock, psychedelia and rock n roll all sort of came together in the evolving Mac machine. In the US, most went backward to discover those early Mac blues releases. Recall they barely charted here, with only TPO nearing Top 100 status (and doing no better than +Top 100 territory remains a far cry from commercial bragging rights). As for Future Games, yes I have always had it as being recorded between June through July 1971 at Advision, and August for the trailer. The trailer in this case being the instrumental What A Shame that the band quickly threw together at the insistence of the blue suits at Reprise who felt that seven tracks was low-balled and inappropriate. To show you how relatively meager that production was in terms of plentitude, they had nothing else to hand over! So back to the studio they went to cut that 2 minute ditty, which imo basically shows its 2 minute worth. That's also why that track got the band's complete authorship, since it was basically done on the fly in the studio in (relatively uninspired) jam fashion. This to me is but another reason Bare Trees seems so remarkable, in that it came but 6 months after FG (whereas FG came a full year after Kiln House), and was recorded remarkably quickly. Be that as it may, FG + BT make really nice bookends to the Kirwan era, and showcase what potential that 21 year old lad with Boilerhouse origins had to offer. First Green, then Spencer, and soon Kirwan in their wake. *sigh* |
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