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Showing content with the highest reputation since 09/19/2019 in all areas

  1. 3 points
    Interview with Mike Campbell while in Melbourne, Australia!! Hot off the press!!! https://australianmusician.com.au/mike-campbell-interview-fleetwood-mac-heartbreakers-dirty-knobs/ πŸ’Ÿ
  2. 3 points
    The Campbells visit the Land Of The Long White Cloud (Kiwiland) Rubbing noses !!!!
  3. 2 points
    Big Blue Sky

    F Mac in Austealia & NZ 2019

    And to top it all off, Australian Musician website did this interview with Mike Campbell! Joys of guitar shopping in Lygon Street in Melbourne!! Future plans with Dirty Knobs!!! Interview is also posted on the main interview thread. πŸŽΈπŸ”‡ https://australianmusician.com.au/mike-campbell-interview-fleetwood-mac-heartbreakers-dirty-knobs/
  4. 2 points
    I think it works extremely well in songwriting. It underlines the notion that he's actually only dreaming about being at the top, because kings and queens always evoke fairy tale imagery. In my mind at least. Though for me it's not necessarily being at the top or being rich but more about not having to report to anyone. There's a feeling of loneliness in the song as well, maybe because of the music (like Van Morrison sang, it's lonely at the top!). And to me it's also an ambiguous kind of kingdom the character in the song dreams about or retreads to: "A sweet little queen who can't run away"... not the nicest of implications (lock her up in some tower or something). It's a great, bittersweet song. I think the character is at a real low in his life, so maybe it's about resignation: "Excuse me if I have a place in my mind where I go time to time". Because, that's what the music tells us, the real world is too sad for him to take. At least sometimes.
  5. 2 points
    I hadn't really noticed that, but you are probably right. I did notice that at the July 4, 1986 show with Bob Dylan, TP's bass playing on Rainy Day Women 12 & 35 (aka "everyone must get stoned") is quite prominent, more so than when Howie had been playing during the TPATH set just prior to it. But I figured that was just the way they did that song. It's interesting that TP was a bass player for quite some time, though he also played guitar (including at times I think in the original run of Mudcrutch). The first two singles, "Breakdown" and "American Girl" both rely heavily on the bass, especially Breakdown. I've always wondered if that was because TP as a songwriter was still thinking a lot about the bass part, or if it just turned out that way due to Ron's contribution on bass. BTW if anyone listened to that interview with Ron, at the end he's playing Mike's "Boys of Summer". Which is interesting since that was never played by TPATH as a band, and it was written after Ron had left the band. We'll always wonder what TP might have done with that music, though certainly Don Henley did it justice.
  6. 2 points
    So, what do we want? A public apology from some people for messing everyone else around. No more milking of any metaphorical cows. Let the cows run free. A ban on Eddie Vedder, specifically whenever the original singer is available (just for you, SameOldDrew). Tom to be back, playing rhythm guitar & singing with The Heartbreakers. Some more music, if it's available, please. All of the above.
  7. 2 points
    This is great...….
  8. 1 point
    I'm unaware of "Bathroom Jams', where can I find those? Mike sang Casa Dega? I'd love to hear that.
  9. 1 point
    TomFest

    F Mac in Austealia & NZ 2019

    ^^ Nice article. I like that Klaus Voorman is doing the cover of the Dirty Knobs record. I hope he does some kind of tribute to the Revolver album cover he did. The Knobs do a song off Revolver, so that works.
  10. 1 point
    nurktwin

    Classic Rock Video of the Day II

    9/22/19 TPATH
  11. 1 point
  12. 1 point
    Well I said "style" not "genre". There might be only one very broad "rock" or "rock and roll" genre, but multiple styles within it. I was saying that most bands (I meant most rock/pop bands) have only 2 or 3 styles. Example, Elvis Presley, the king of rock and roll. Elvis basically had two styles that gave him hits, rockers and ballads. He also did some country songs but he isn't normally known for that. So depending on how you view it, he had 2 or 3 styles. And frankly his success with both rockers and ballads stands out, since many bands/artists succeed with only one style. I'm a big fan of The Cars (RIP Ric Ocasek), but they had a fairly limited number of styles. They did mostly "rocking" songs with "new wave" synthesizers and stylings, a few ballads (again with prominent synthesizers) and a few avant-garde pieces ("Moving In Stereo"). Overall though, their songs were limited in style, as is typical of many bands. My point - and it seems to be a losing battle here, so this will be my final post on this subject - is that TPATH were more varied in "style" than most bands. Part of this is due to their longevity, but they also had variety even from the first album. Consider the varying styles of these songs: American Girl, Luna, Century City, Louisiana Rain, Full Grown Boy, US 41, Make It Better, Southern Accents, Blue Sunday, You Got Lucky, It'll All Work Out, It Ain't Nothin' To Me, Nightwatchman, Rebels, Keeping Me Alive, Waiting For Tonight, Mary's New Car, A Wasted Life. To me the above listing of songs (and many more) certainly include "rock and roll" but are quite wide in extended to folk, country, blues, jazz, etc. But - style is in the ear of the beholder. If someone wants to say TP/TPATH was quite limited in style, that's their right.
  13. 1 point
    I always found it interesting how any song Tom or Mike plays bass on that the mix is louder and more prominent than when Ron or Howie played. Just listen to the Mudcrutch albums or any song from the early days that Tom or Mike subbed in on bass. The mix is always more pronounce so you can hear and feel the bass line instead of being buried in the sound.
  14. 1 point
    As an american born and raised in New England (ironic the name of my region) I generally think of term king not so much in terms of British rule but as the "top dog" in an area sort of "we would live like kings if we hit the lottery." so when I hear Tom singing about "It's good to be king, if just for a while, To be there in velvet, yeah, to give 'em a smile" I think more along the lines of Mel Brooks or some rich dude. AND HOLY CRAP I just discovered a misheard lyric by me. All these years I thought he was saying 'to be there with Elvis, yeah give him a smile" !!!!!! I think the video had an Elvis impersonator around the time he sings that so...... mind blown! πŸ˜‚
  15. 1 point
    I apologize for this not being TP but I was VERY excited to hear an old Dan Zanes song "all around the kitchen" in Unbelievable on Netflix it was Ep 5 or so... The Del Fuegos did open for Tom and Tom liked coffee, and Warren is Dan's brother who spread lies about Maxwell house, so I thought you might like to know... * sorry I think I drank too much coffee this morning.... steps away from the keyboard slowly...
  16. 1 point
    Just to be clear, I meant the song "King's Highway" which opens that concert. That's where Scott Thurston is playing bass. For other parts of that concert, Howie does play some bass, as does Scott at times. Also to be clear, I thought Ron was terrific on bass 1976-81. Not just pretty good, but terrific. But to me Howie's bass sounded even a little better in 1982-83 than Ron had sounded, somehow more musical, really a perfect fit with the band. So that's another thing that helped make 1982-83 a "peak period" for me. But only by a small amount, compared with the rest of the Stan years. As to Ron on bass when he returned to the band, he sounded good but didn't stand out to me as great the way he did in the early days. Possibly because he was playing off Steve, and I think Steve's on-beat drumming and emphasis on the bass drum crowded out some of Ron's bass playing. Though to get technical, there is a YouTube interview with Ron, from a couple years ago, where Ron talks about playing off of Steve trying to find a place to fit in the bass line, not exactly on the beat and not exactly in line with the guitars. It's also kind of frustrating to hear him say that he played "American Girl" with an interesting bass part that he doesn't use live (why not Ron?). Also interesting to hear him end the interview by playing part of a familiar song - hint, it's music written by Mike Campbell.
  17. 1 point
    That is exactly what the A&R idjits did with Full Moon Fever. Hard to imagine being in the music business and NOT finding that album solid gold. 😳
  18. 1 point
    I love "Counting on You," as Tom seemed to also, wanting it to be a single (but then, he never played it live, did he?) Funny you mention Roy, because it's a pretty magical moment I reckon when Tom hits the "Yoooou" when singing the chorus that last time.
  19. 1 point
    martin03345

    Changing Mojo's track listing

    Great sequence Shelter. However, I'll forever love "US 41" and "Lover's Touch" even if they are total filler fluff.
  20. 1 point
    You dropped 4 of the best songs from that album?!? You and MJLD are truly something when it comes to album sequencing. "One More Night" is a great album closer with one of Mike's greatest solos at the end. The album isn't meant to be happy. Are you gonna go back and try to make Blood on the Tracks upbeat? The title song is also a nice song as is and so is "Lonesome Sundown". I get that this is a what if thought experiment, but some things just need not to be explored. As MJLD said, "Even the uptempo songs are dower". So leave well enough alone lol. Now I get that the album is a tad bloated but that just means trim the filler like "No More" and "Accused of Love" and slap "Sweet William" in.
  21. 1 point
    I was saying that while The Beatles were pioneering those types of music at that time (unlike TPATH, which were not style pioneers), in comparing their resultant overall styles, TPATH was about as varied as The Beatles. I used The Beatles as the example because they are essentially the gold standard for eclectic output, and I also assumed that most TPATH fans were quite familiar with their catalog. I did note that the output of The Beatles was compressed into about 1/4 the time of TPATH, and that The Beatles did more with psychedelic music, which itself was the most experimental music of its day. And yes, the Abbey Road album has that long stitched-together track near the end, which is experimental in format and it works really well, but in terms of musical style it wasn't new ground for them. Again, in no way am I suggesting that TPATH were the pioneers that The Beatles were, or even remotely as influential, or as prolific in such a short period of time. But I am pushing back on the idea that TP/TPATH should be singled out vs. others for an untypically limited number of musical styles (if that was the case being made). Because when I compare his/their song catalog to the widely-regarded-as-eclectic Beatles catalog, I feel that both catalogs cover numerous styles, nearly equal in terms of style variety, and far more varied than most popular artists/bands. But if people want to disagree with me and say TP hewed to a narrow number of styles, well - it ain't nothin to me!
  22. 1 point
    Glad to see this going back on course. I really wish that ATR would come out in November for the 25th but that remains my wish... I feel the estate (read that as Adria) really blew the opportunity by doing AAT and the other greatest hits package in such short order then publicly squabbling with Dana and the band. For gods sake, Tom was busy mixing and editing ATR before the 40th Anniversary tour, had released 'under heaven' and more than teased that it was imminently being released but typically Tom was a perfectionist and didnt get it done. I'm feeling like they are dishonoring his legacy and passion project by doing these compilations and not getting out the revised Wildflowers album. Don't get me wrong I love the American Treasure set and the tracks they released then but feel the other greatest hits even though it crossed into Mudcrutch and other projects was really about milking the cash cow while the milking was good. At this point to my mind they really need to do a major box for All the Rest with a small book curated by Warren Zanes outlining the origin and history of the original album and covering Tom's desire to see the package mastered and tracked perfectly according to his original vision for the album then a full on apology to the fans and Tom for not getting this done sooner. And yes I'm somewhat serious. I would love to see ATR turn into a tribute tour of sorts with the band and singers that Tom tapped coming out and doing a song or two and finally offering his fans some closure and the tribute Tom deserves and I'm only half serious about the tour.
  23. 1 point
    I just liked the idea of a different version of the cover of "Best of Everything" with the other band members... so I put something together. Thought I would share...
  24. 1 point
    Big Blue Sky

    F Mac in Austealia & NZ 2019

    Mike, Neil Finn, JohnMcVie played Man Of The World from Peter Green era of Fleetwood Mac. You can hear a man in the audience near the person who's recording this say "1966". Only added it to setlist since they came to Australia. This is from another night. But it was equally marvellous when they played it for us.
  25. 1 point
    Has this been posted here before? Seems like it must've been. Here it is anyway!
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