#46
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I think Nicks wants this tour to last a long, long time:
"If we get out there (on stage) and we're just having a great time, then we're going to say we could go on forever doing this. Who knows, let's just say a prayer and hope this goes on forever!" - Stevie Nicks from Destiny Rules Documentary |
#47
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gerald
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#48
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It's not contrived at all. |
#49
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Or, one member takes over (Read: Paul McCartney pissing off the rest of the Beatles, post-Sgt Pepper)
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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 |
#50
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Somebody has got to be in charge, though. With the Stones, it's definitely Mick. Even though he and Keith clash, ultimately Mick is the make-or-break guy.
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#51
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But, others may disagree. Last edited by strandinthewind; 03-16-2004 at 03:19 PM.. |
#52
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I agree.
If you don't have a leader in a band...how DO you compromise because someone needs to make that ultimate decision. Don't they?
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**Christy** |
#53
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Seriously though, it's ridiculous to argue over commercialism vs. artist integrity, because Fleetwood Mac IS a commercial band. And, whether folks like to admit it or not, Lindsey is a commercial artist. He does his own thing, certainly, but he has never been involved in a project that has not had a huge marketing push behind it. Fleetwood Mac releases are one thing, but this holds true for his solo projects as well. If he wasn't at all concerned with being commercially viable, and with selling albums, then he'd be off on some tiny indie label somewhere. The fact that he's not, tells me that he's equally as concerned about album sales. So no matter what he might say to the contrary, his actions prove otherwise. Now, in saying this, I'm not blasting Lindsey. I couldn't care less if he or anyone else in the band is concerned with selling albums. There's nothing wrong with wanting to sell albums... it is the music business. And we're not talking about some alt-rock garage band here, we're talking about Fleetwood Mac, and its members. I think Stevie, for instance, has proven time and time again that, while remaining mindful of the fact that she needs to sell albums in order to be able to make more albums, she also has artistic integrity. You can make commercially appealing albums, while also staying true to your artistic impulses... but it involves compromises. As we saw quite vividly in the documentary. So I think it's ridiculous to argue these points, when Lindsey is obviously as interested in selling albums as anyone else in the band is. Whether he wants to admit it or not.
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"Although the arrogance of fame lingers like a thick cloud around the famous, the sun always seems to shine for Stevie." -- Richard Dashut, 2014 |
#54
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The main difference between Lindsey's and Stevie's approach is that he wouldn't push a song for its commercial appeal. But Stevie does, and it was very clear. Here's the nuance: They both want commercial success. Stevie will give the label what she thinks will be commercial sounding and, presumably, tailor some songs for that purpose. Lindsey wants the commercial success, but he wants it on his own terms. Now you and I know that commercial success doesn't necessarily happen on your own terms, though it can. But give the man credit for continuing to "push the envelope," as he likes to say. |
#55
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And I completely agree that his influence pushes Fleetwood Mac to some very lofty heights. But I also don't see anything un-commercial about the bulk of his music. For every "Bwana" or "The Ledge," there's a "Trouble," "Slow Dancing," or "Soul Drifter." He hasn't taken any radical left-turns like Bowie has, and he hasn't turned his back on major labels like many other artists have. His music is essentially commercial, albeit quirky. Sure, Stevie wrote "Say You Will" in the hopes that it would have broad commercial appeal, and I still really don't see anything wrong with that. If you want to sell those albums, then you have to include some songs that will help you achieve those ends. And really, stylistically, "Say You Will" isn't that unlike the kind of material Christine would have contributed if she were there... so it's not like Stevie was trying to appeal to the Britney Spears crowd. It's just that she was trying to help fill whatever void Christine's absence would leave, in terms of radio-friendly songs. And really, aside from that one tune, the rest of Stevie's contributions are classic Nicks. Again, it's all well and good to want things on your own terms. There's nothing at all wrong with standing up for what you believe in. But, as the saying goes, sometimes the ends justifies the means... and if you want to sell albums, and Lindsey does, then you better be willing to play ball. You make some compromises... you give the record company a few of the kinds of songs they want, and then you can fill the rest of the album with the songs you want (and is it really that difficult to give the record company two or three radio-friendly songs, when that still leaves you with room for nine or ten of the songs you'd prefer?). Otherwise, you go off and make the kind of music you want, with no compromises, and release it in relative obscurity. Rightly or wrongly, those are the choices. And any artist who has a fundamental problem with Door #1, has the option of taking Door #2.
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"Although the arrogance of fame lingers like a thick cloud around the famous, the sun always seems to shine for Stevie." -- Richard Dashut, 2014 Last edited by Johnny Stew; 03-16-2004 at 05:29 PM.. |
#56
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Re: I agree.
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No one single person should be making all of the decisions... it should be a mutual agreement. One-side relationships don't work, and neither do one-sided bands.
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"Although the arrogance of fame lingers like a thick cloud around the famous, the sun always seems to shine for Stevie." -- Richard Dashut, 2014 |
#57
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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 |
#58
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Re: Re: I agree.
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Well, it worked GREAT for CCR until John Fogerty relented and made it a democracy right before the Mardi Gras album...they lasted for that one album and the subsequent tour, then broke up.
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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 |
#59
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I totally think LB writes for commercial viability and did so on this record. Look at BTLH and SYHA - two classic commercial singles if I've ever hear a single. Plus, they are both brilliant IMO, even though he has said they are too commerical (there he is whining again )
Serviously, I think LB is well aware when he begins a record that he will for whatever reason make the largest commotion possible to push for some brilliant new uncommerical sound (whatever that is ) when he knows full well that he is going to have to have a commercial aspect to the record - hence SYHA and BTLH. I think he balances that very well. Long live LB!!!! |
#60
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Re: Re: Re: I agree.
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