![]() It was recorded over eighteen months between 19, mostly at Buckingham’s home studio in L.A. The resulting album, “Tango in the Night”, is exactly that: a monolithic, lucrative idea of a Fleetwood Mac record. In 1985, Buckingham had begun work on an additional solo album, when Mick Fleetwood suggested Buckingham fold his new songs into the more monolithic, more lucrative idea of a Fleetwood Mac record. Nicks released two successful solo albums McVie and Buckingham put out one each. It didn’t take.Īfter a brief tour, the band went on hiatus. and Buckingham wanted to regenerate the success and the coherent atmosphere of “Rumours”. The follow-up to “Tusk”, 1982’s “Mirage”, was a kind reflexive scaling back both Warner Bros. Whether intentional or not, this sensibility invaded Buckingham’s production of the song “Sara,” as it appears on “Tusk”, is its own world. Nicks said that when she writes songs, she tries to “make little worlds” for the listener. “Sara,” a song Nicks wrote to a daughter she never had, is so gently shaped that every instrumental and vocal materializes in the song like vapor in the atmosphere. He deliberately produced his songs so that they sounded trebly and makeshift as if they were translated from brain to tape as quickly as possible-and produced Nicks’ and Christine McVie’s songs with a lush and carefully-sculpted dimensionality. On their next record, “ Tusk”, Buckingham shifted the balance of Fleetwood Mac’s studio pop. They were professional and pristine, exhibiting an instrumental and emotional warmth that was, in terms of the actual recording technique and the cerebral atmosphere of the people making the records, a product of isolation. ![]() ![]() ![]() It started with “Sara.” The first two Fleetwood Mac albums to feature Lindsey Buckingham and Stevie Nicks-the self-titled album and then “Rumours” featured production typical of the pop-rock generated in Los Angeles in the ’70s. ![]()
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