WEBVTT [this transcript auto-generated] 00:01:06.562 --> 00:01:12.502 And we're back hello everybody welcome back to side c of two tusks yeah i'm bryce hi jeff oh. 00:01:12.502 --> 00:01:13.262 Do we have a name now. 00:01:13.262 --> 00:01:16.362 Oh yes we have a name legitimate name oh yes i'm calling 00:01:16.362 --> 00:01:21.882 it two tusks two tusks welcome back we're here for side c we are halfway through 00:01:21.882 --> 00:01:27.362 fleetwood max 1979 album tusk and today we're gonna be talking about uh the 00:01:27.362 --> 00:01:32.342 third uh disc the third side everything from angel all the way down to i know 00:01:32.342 --> 00:01:36.122 i'm not wrong um welcome back jeff oh. 00:01:36.122 --> 00:01:37.042 Thank you thanks for having me. 00:01:37.042 --> 00:01:42.022 I i am excited to talk about this because there's a lot of really good stories 00:01:42.022 --> 00:01:48.002 in these five songs um and also i think there's a a nice little diversity of 00:01:48.002 --> 00:01:53.222 sounds i think this is a really nice side just to kind of get general impressions and it's. 00:01:53.222 --> 00:01:57.442 Really interesting i feel like it um i feel like it changed dramatically. 00:01:57.442 --> 00:01:58.822 I feel like the. 00:01:58.822 --> 00:02:03.902 Songs we have here are very different than the stuff from the first uh disc entirely. 00:02:03.902 --> 00:02:09.162 Yeah and all of them feel different and different to each other yeah you want 00:02:09.162 --> 00:02:11.422 to jump into uh track one yeah. 00:02:11.422 --> 00:02:12.422 Absolutely let's go. 00:02:12.422 --> 00:02:19.662 Okay this is the stevie nicks uh single angel this is a uh kind of kind of country 00:02:19.662 --> 00:02:22.922 dance hall sort of song you want to do a preview of it absolutely here we go. 00:03:32.721 --> 00:03:36.241 So that's Angel. Very poppy. 00:03:36.601 --> 00:03:38.661 For all of the Stevie Nicks songs, 00:03:39.021 --> 00:03:42.201 certainly all the ones that we've gone through, it's the most upbeat. 00:03:42.541 --> 00:03:46.321 I guess maybe Sisters of the Moon. Man, that's right. We're just coming off 00:03:46.321 --> 00:03:48.481 of Sisters of the Moon. Oh my gosh. 00:03:48.841 --> 00:03:52.961 Yeah. What a swerve. What a swerve. When you put on that second disc, 00:03:53.081 --> 00:03:56.121 you're like, oh, I was in a whole different mood just a minute ago. 00:03:56.961 --> 00:03:58.521 How do you feel about Angel? 00:03:59.341 --> 00:04:02.441 Um angel frustrates me uh because i really 00:04:02.441 --> 00:04:05.481 like 75 to 80 00:04:05.481 --> 00:04:08.881 percent of it uh and i have some some issues 00:04:08.881 --> 00:04:14.301 with it's so pedantic i don't know i what is what i don't know when you listen 00:04:14.301 --> 00:04:17.221 to one song over and over again and you get really into it you're just like 00:04:17.221 --> 00:04:22.061 oh i wish this one thing was like a little different yeah and for me it's the 00:04:22.061 --> 00:04:25.721 uh what it would it be like the bridge um or the, 00:04:27.621 --> 00:04:31.661 chorus the like the rhyme between good 00:04:31.661 --> 00:04:34.621 and understood and good and very good 00:04:34.621 --> 00:04:38.041 it's it's just it's very very good 00:04:38.041 --> 00:04:41.021 well and the thing is that when i was listening to it last night i pulled up 00:04:41.021 --> 00:04:44.421 the lyrics the rest of the lyrics are incredible yeah like this the ghosts and 00:04:44.421 --> 00:04:47.861 the fog and there's all this stuff in it it unlike a lot of the previous db 00:04:47.861 --> 00:04:52.301 nicks songs we've listened to it's got a good tempo uh a lot of the other musicians 00:04:52.301 --> 00:04:57.761 are getting to put in these little flourishes especially at the end um and john's bass. 00:04:57.761 --> 00:04:59.021 Is all over this. 00:04:59.021 --> 00:04:59.961 Yeah mix. 00:04:59.961 --> 00:05:04.721 Drumming is there's there's a there's like a little technique that he does. 00:05:04.721 --> 00:05:05.461 Kind of in. 00:05:05.461 --> 00:05:08.061 Between each phrase with the high hat where it's like. 00:05:08.061 --> 00:05:13.281 A little fill like a little flourish yeah and. 00:05:13.281 --> 00:05:16.741 And i love it because i feel like yeah, 00:05:17.435 --> 00:05:21.935 I feel like this band likes to have fun. I think they like, I think they do songs that are fun to do. 00:05:22.415 --> 00:05:25.555 I think there's a fun element to like, this is a fun song to sing. 00:05:25.735 --> 00:05:25.835 Yeah. 00:05:25.915 --> 00:05:31.595 You know, like I, I agree that especially those courts, the course lyrics are really simplistic. 00:05:31.955 --> 00:05:36.175 Right. Especially for a song called angel. The fact that it's like two thirds 00:05:36.175 --> 00:05:39.775 of the way through the song before we start talking about the angels, 00:05:40.075 --> 00:05:42.415 you know, that kind of comes in. 00:05:42.755 --> 00:05:46.935 Like I, at first I was like, shouldn't this be called good? like it shouldn't 00:05:46.935 --> 00:05:48.895 have called very very good or something. 00:05:48.895 --> 00:05:50.215 Like um. 00:05:50.215 --> 00:05:55.495 And then of course i don't know this is a standard jeff complaint it's also like six minutes long i. 00:05:55.495 --> 00:05:59.035 Think that it is a little bit of a longer one it could. 00:05:59.035 --> 00:06:01.835 Have it could have probably been trimmed down a little bit and one of the things 00:06:01.835 --> 00:06:07.055 that i noticed because it doesn't none of these songs have any or a lot of them 00:06:07.055 --> 00:06:11.175 don't have any really significant musical changes in them like a lot of songs when you. 00:06:11.175 --> 00:06:11.695 Listen to it. 00:06:11.695 --> 00:06:15.455 The chorus is like you know a whole other thing it's like you. 00:06:15.455 --> 00:06:18.435 Kind of have a this one a lot of cv songs 00:06:18.435 --> 00:06:22.315 are like this yeah right i mean sisters of the moon maybe it's 00:06:22.315 --> 00:06:25.515 kind of the opposite only because it's so like vocals then music 00:06:25.515 --> 00:06:28.315 it's very back and forth where you know we talked about 00:06:28.315 --> 00:06:31.255 with sarah has this progressive style where it just keeps layering 00:06:31.255 --> 00:06:34.195 and layering and laying on and building up yeah but not 00:06:34.195 --> 00:06:37.195 necessarily changing like an act 00:06:37.195 --> 00:06:40.435 you know um i definitely feel that um 00:06:40.435 --> 00:06:43.775 this is one of the songs that they recorded while um the 00:06:43.775 --> 00:06:48.595 film crew was in the studio okay so there was like a tusk making of this little 00:06:48.595 --> 00:06:53.015 mini film and so angel was one of the the songs that they're tracking during 00:06:53.015 --> 00:06:57.375 that and i believe it's this vocal tick that we're hearing that you they that 00:06:57.375 --> 00:07:02.615 they capture some of stevie performing along with like there's this very kind of, 00:07:03.375 --> 00:07:08.255 there's this interesting moment where she and lindsey are at a piano together 00:07:08.255 --> 00:07:16.035 and they're trying to work out the harmonies um and it's this very like hmm. 00:07:17.905 --> 00:07:21.225 Kind of contrived setup like like 00:07:21.225 --> 00:07:25.245 i would have thought that this was a skit almost because 00:07:25.245 --> 00:07:28.585 it's her and him and they're playing together and he's trying 00:07:28.585 --> 00:07:31.945 to play out the harmonies right so what you can do on a keyboard on 00:07:31.945 --> 00:07:36.585 a piano is say okay this this is the note and then play like okay this is the 00:07:36.585 --> 00:07:39.945 next note up we need this to be here right so when you play them together that 00:07:39.945 --> 00:07:43.325 they're just the right notes for the harmony you don't because sometimes people 00:07:43.325 --> 00:07:47.665 can do it in their by ear or in their head um but so anyway so they're doing 00:07:47.665 --> 00:07:49.225 this together just them at the piano, 00:07:50.025 --> 00:07:53.665 and they're just kind of having this back and forth of like well i need to know 00:07:53.665 --> 00:07:57.705 what you're gonna sing so if you're gonna give me a part and she's like well 00:07:57.705 --> 00:08:03.865 i just changed it it's this very like kind of upfront like oh how do you do well. 00:08:03.865 --> 00:08:06.285 It's funny because i didn't know if this was a good place to bring it up but 00:08:06.285 --> 00:08:10.525 that actually works well it's again i mentioned this last time where It's very 00:08:10.525 --> 00:08:15.045 strange to listen to this album where I'm only listening to like five songs at a time. 00:08:15.285 --> 00:08:18.165 And I feel like that blocks those songs together. 00:08:18.205 --> 00:08:22.425 And with this side, I felt like the last side, everybody was, 00:08:22.445 --> 00:08:28.305 you know, putting their laundry out on the table and really being up front with how they felt. 00:08:28.485 --> 00:08:28.705 Yeah. 00:08:28.845 --> 00:08:33.745 This side to me feels an awful lot like kind of the period of a relationship 00:08:33.745 --> 00:08:38.645 where you're starting to really actually get over the strong feelings and things are settling into. 00:08:38.885 --> 00:08:39.665 Past the honeymoon phase. 00:08:39.805 --> 00:08:44.665 Yeah. Well, well, more past the breakup phase where you're a little less hurt 00:08:44.665 --> 00:08:46.645 and a little bit more kind of coming back. 00:08:46.845 --> 00:08:51.285 I see. There's a funny story with Angel in the Get Tusked book. 00:08:51.445 --> 00:08:56.485 This was the memoir by Ken Calais and Hernan Rojas about Angel. 00:08:57.493 --> 00:09:02.193 And so they were tracking Angel in early April. April Fool's Day comes around. 00:09:02.393 --> 00:09:05.253 And they talk about the band playing little tricks on each other. 00:09:05.613 --> 00:09:12.473 And Hernan, the co-author of the book, he, the band, I guess, 00:09:12.613 --> 00:09:15.653 gets him to join in on the fun and play a prank on his girlfriend. 00:09:15.893 --> 00:09:20.893 And so his girlfriend, I want to say her name was, I don't remember it, sorry. 00:09:20.893 --> 00:09:24.013 Okay but she's gonna come into the studio and the 00:09:24.013 --> 00:09:27.493 idea was she would walk into the room and see oh 00:09:27.493 --> 00:09:30.533 ernan is like working with stevie on 00:09:30.533 --> 00:09:34.233 angel and uh so 00:09:34.233 --> 00:09:37.613 she walks in and uh and what stevie 00:09:37.613 --> 00:09:40.613 does is this kind of like oh ernan i'm i'm 00:09:40.613 --> 00:09:43.933 writing this song about you don't you get it you know like it's you 00:09:43.933 --> 00:09:46.853 and there's it's a 00:09:46.853 --> 00:09:50.193 big laugh and you know all of the band and even the girlfriend and get like 00:09:50.193 --> 00:09:57.813 oh ha ha that is how the brief relationship with ernan and stevie nix began 00:09:57.813 --> 00:10:04.493 oh yes okay it went from oh i'm joking about having a relationship with you i'm joking. 00:10:04.493 --> 00:10:05.753 Unless you unless you're. 00:10:05.753 --> 00:10:06.993 Unless you're into it i don't know that. 00:10:06.993 --> 00:10:08.153 I'm not joking but i'm totally. 00:10:08.153 --> 00:10:12.813 Okay for srs and um 00:10:12.813 --> 00:10:15.633 to kind of cut to the end of that by the time when 00:10:15.633 --> 00:10:18.593 tusk is done and the band is getting ready to perform stevie and 00:10:18.593 --> 00:10:21.913 ernan kind of go their own ways okay but um it's 00:10:21.913 --> 00:10:24.833 just a very funny a funny 00:10:24.833 --> 00:10:30.413 piece of the story that this song which is like stevie's kind of up song she 00:10:30.413 --> 00:10:34.033 even talks she talks about it in in that documentary like i wanted to have an 00:10:34.033 --> 00:10:37.873 up song i wanted to have something a little positive even though the lyrics 00:10:37.873 --> 00:10:42.633 are still pretty not necessarily positive they're kind of, 00:10:44.070 --> 00:10:47.430 witchy you know yeah like it goes 00:10:47.430 --> 00:10:54.790 through a fog right yeah like a haunted hour um so angel you know i think um 00:10:54.790 --> 00:11:00.790 kind of feels a little we we when we talked about uh think about me you know 00:11:00.790 --> 00:11:04.930 it's like it's like it's a rocking fleetwood back you kind of don't need to 00:11:04.930 --> 00:11:06.230 do too much with that this. 00:11:06.230 --> 00:11:09.650 Is what this is what i would have imagined a fleetwood max song would sound 00:11:09.650 --> 00:11:14.450 like before we started this this kind of uh strange experimental album. 00:11:14.450 --> 00:11:20.310 And also another we haven't talked about this too much but a very big brushstroke 00:11:20.310 --> 00:11:24.830 on this album of the country influence like this is definitely a western country 00:11:24.830 --> 00:11:26.550 dance hall style song yeah. 00:11:26.550 --> 00:11:33.530 What was the was it in the first side where there was a kind of the jug band ish. 00:11:33.530 --> 00:11:37.770 Kind of song was that uh the ledge was that the ledge The ledge is kind of like that. 00:11:39.350 --> 00:11:42.450 Oh, and, oh, no, never mind. Okay, I almost spoiled something. 00:11:43.510 --> 00:11:46.450 We'll just cut that. I almost spoiled something, and I'm glad I caught myself. 00:11:46.510 --> 00:11:47.150 Excellent, excellent. 00:11:48.770 --> 00:11:51.230 Yeah, the ledge kind of had some of that jug sound, 00:11:53.270 --> 00:11:57.410 and even like Save Me a Place, which is kind of that guitar ballad, 00:11:58.550 --> 00:12:01.210 has kind of that country twang to it. 00:12:01.290 --> 00:12:01.410 Yep. 00:12:02.110 --> 00:12:04.970 And so I think that's a really strong influence here in Angel, 00:12:04.970 --> 00:12:11.730 that after Tusk kind of goes away, there's not as much country in the rock and roll. 00:12:11.830 --> 00:12:17.450 Is it a thing where all musicians have one country phase in them and they just 00:12:17.450 --> 00:12:19.410 have to get it? Some of them stay there. 00:12:19.710 --> 00:12:24.870 I mean, this is an album from 1979. So their previous albums definitely have 00:12:24.870 --> 00:12:25.750 some country influence. 00:12:26.970 --> 00:12:29.770 But this one probably is stronger here, even. 00:12:29.890 --> 00:12:35.010 Is that kind of what the balance of folk rock is sitting in the middle of country 00:12:35.010 --> 00:12:38.730 and rock, and sometimes it swings one way and sometimes it swings the other kind of thing. 00:12:38.810 --> 00:12:43.970 Yeah, I think that's a good nail on it. You want to listen to the alternate version of Angel? 00:12:44.190 --> 00:12:44.570 Absolutely. 00:12:44.730 --> 00:12:45.630 From the alternate Tusk? 00:12:45.690 --> 00:12:45.950 Yes. 00:12:46.130 --> 00:12:47.610 All right, here we go. 00:17:40.474 --> 00:17:43.794 Well, there we go. The alternate angel. 00:17:45.854 --> 00:17:48.714 Most notably, a new vocal take from Stevie. 00:17:48.854 --> 00:17:49.014 Yeah. 00:17:49.214 --> 00:17:54.894 That is, I would say, in a lower register, it's definitely breathier. 00:17:55.154 --> 00:18:00.434 In a lot of cases, it sounds more sensual. 00:18:01.314 --> 00:18:05.374 Sometimes it's sensual. Sometimes it's very sentimental or sweet. 00:18:05.614 --> 00:18:05.794 Okay. 00:18:05.974 --> 00:18:10.414 Kind of, I don't know. the the thing i felt the other day listening to this 00:18:10.414 --> 00:18:13.934 take is that if this wasn't on. 00:18:14.654 --> 00:18:17.974 A release called the alternate tusk i think 00:18:17.974 --> 00:18:22.754 that this take would be completely inappropriate to release i i 00:18:22.754 --> 00:18:26.534 feel like it's there are 00:18:26.534 --> 00:18:29.654 parts of it that are really good of the vocal take and some 00:18:29.654 --> 00:18:32.794 of it that make me feel like this is embarrassed and this 00:18:32.794 --> 00:18:35.834 this is embarrassing to put out in this state like 00:18:35.834 --> 00:18:38.814 you there you probably could have done some dubs done some of 00:18:38.814 --> 00:18:41.894 these a little better and so with 00:18:41.894 --> 00:18:44.694 these we don't always know exactly the story it could be that this 00:18:44.694 --> 00:18:48.194 was one specific take um for 00:18:48.194 --> 00:18:51.594 some reason that wasn't spliced together with other takes or or what have you 00:18:51.594 --> 00:18:56.334 um and then there are some other little things that we've seen kind of across 00:18:56.334 --> 00:19:00.774 the board already the backup vocals are not finalized in a lot of cases they're 00:19:00.774 --> 00:19:06.394 wrong or out of time um the guitar on this is... 00:19:07.023 --> 00:19:09.963 Almost a little more like default there just is guitar on this 00:19:09.963 --> 00:19:13.183 song yeah where in the original it's again 00:19:13.183 --> 00:19:16.503 kind of addition by subtraction with the guitar like 00:19:16.503 --> 00:19:19.943 in the uh this kind of comes up in that tusk documentary 00:19:19.943 --> 00:19:22.963 as uh on the line uh i still 00:19:22.963 --> 00:19:26.723 look up when you come into the room you have the same white eyes the guitar 00:19:26.723 --> 00:19:30.863 is completely stopped at the start of that phrase and at the end in the studio 00:19:30.863 --> 00:19:35.323 version it just starts it comes in a little bit and they even saying like that's 00:19:35.323 --> 00:19:40.283 me seeing your eyes that's me online that's a scene um you. 00:19:40.283 --> 00:19:43.023 Always have to ask yourself like how much of this stuff is intentional and how 00:19:43.023 --> 00:19:45.283 much am i just ascribing uh. 00:19:45.283 --> 00:19:46.303 A great deal of. 00:19:46.303 --> 00:19:49.683 Intention to something that may have just been how it went. 00:19:49.683 --> 00:19:54.083 I posit that there's a good amount of intentionality okay on this level i mean 00:19:54.083 --> 00:20:00.023 i'm not here to say that like the guitar strings are her dad but but they did 00:20:00.023 --> 00:20:05.323 say that that that was something right um what else about angel i. 00:20:05.323 --> 00:20:10.483 Uh i think it would have been incredibly striking for this project if i had 00:20:10.483 --> 00:20:11.663 listened to that version. 00:20:11.663 --> 00:20:14.523 And then listen to the album version as the other one. 00:20:14.523 --> 00:20:19.483 Because i'm like oh my god what a revelation it feels like there's just you 00:20:19.483 --> 00:20:23.283 know the stevie knob was turned down to like. 00:20:23.283 --> 00:20:24.383 Five here. 00:20:24.383 --> 00:20:28.923 Where on the A lot of times it didn't... I think it's just because I've heard the other version. 00:20:29.023 --> 00:20:32.443 It didn't sound like she was singing as much. 00:20:32.643 --> 00:20:35.663 Like, it just sounded like, let's sing. Yeah. 00:20:36.443 --> 00:20:38.483 The angel. Yeah. 00:20:38.843 --> 00:20:44.263 And then on the musical side, when I was listening to it, it sounded very... 00:20:45.211 --> 00:20:48.031 It sounded very separated like everything kind 00:20:48.031 --> 00:20:50.871 of felt the image that came to my mind 00:20:50.871 --> 00:20:54.711 is it's like you know you get a burrito bowl and everything has been just put 00:20:54.711 --> 00:20:58.351 one off to the other you know it's like very discrete layers you need to mix 00:20:58.351 --> 00:21:01.731 it up and then like on the other one it was all mixed up it kind of had a a 00:21:01.731 --> 00:21:05.431 noisy chaos where it all kind of in the studio or the in the studio version 00:21:05.431 --> 00:21:10.731 where it uh it all comes together and blends together like it kind of overlaps a little 00:21:10.831 --> 00:21:13.631 bit more and especially where you've got you know 00:21:13.631 --> 00:21:16.371 the little guitar stuff the little drum stuff happening over 00:21:16.371 --> 00:21:21.451 here and the bass stuff and things changing i think that that kind of that kind 00:21:21.451 --> 00:21:25.991 of mix really keeps everything moving forward whereas here it just felt like 00:21:25.991 --> 00:21:30.051 everybody had to be on their best behavior because you could hear every single 00:21:30.051 --> 00:21:33.971 track like individually yeah um it. 00:21:33.971 --> 00:21:38.631 Definitely does feel the mix feels a little less unpolished feels more. 00:21:38.631 --> 00:21:39.831 Unpolished yeah in. 00:21:39.831 --> 00:21:41.271 In this alternate version for sure. 00:21:41.271 --> 00:21:45.091 Even though i did think that there were a few more guitar flourishes that 00:21:45.091 --> 00:21:47.931 i like in the alternate alternate version um i heard the 00:21:47.931 --> 00:21:52.951 guitar more yeah for sure i do i do kind of wish even going back to the studio 00:21:52.951 --> 00:21:59.031 version towards the end they really everybody really like kind of goes off the 00:21:59.031 --> 00:22:03.291 hook and just kind of really is going for it and i kind of wish that more of 00:22:03.291 --> 00:22:07.191 that energy had been present earlier earlier oh yeah. 00:22:07.191 --> 00:22:12.571 There is a lot of these songs on this album follow that same trajectory where 00:22:12.571 --> 00:22:16.911 it almost starts with a song we mentioned this a little bit where it almost 00:22:16.911 --> 00:22:19.491 seems like the band did realize they were starting to play. 00:22:19.491 --> 00:22:19.911 And they all. 00:22:19.911 --> 00:22:25.891 Kind of start at a different at different times um i and i definitely see that in. 00:22:25.891 --> 00:22:29.051 Like they all start cold and then as they play the song they kind of warm up 00:22:29.051 --> 00:22:31.191 and by the end sometimes you're getting some of the best parts, 00:22:31.491 --> 00:22:34.451 but it's like, why is this at the end? Put this in the middle. 00:22:34.691 --> 00:22:38.851 Because I feel like the studio version of Angel, for some reason, 00:22:38.951 --> 00:22:43.371 and maybe it's because of the age that I came up in, but, 00:22:44.720 --> 00:22:50.120 But Stevie's vocals, maybe, I think it's just the, I think it's that very first note. 00:22:50.380 --> 00:22:57.620 It's just that, is something about that done sound right. And it makes it feel jokey. 00:22:57.940 --> 00:23:00.800 It makes it feel like, oh, I'm doing country as a joke. 00:23:01.120 --> 00:23:05.620 But I was born in 1990 and that was when you were doing country as a joke and 00:23:05.620 --> 00:23:07.500 not just like as the thing you were doing. 00:23:07.500 --> 00:23:11.300 You could probably, I mean, for this entire album, as I think back to the songs 00:23:11.300 --> 00:23:14.660 that we've talked about, you could probably make a case with this album that 00:23:14.660 --> 00:23:19.420 Fleetwood Mac knows neither how to start or end a song very well. 00:23:19.780 --> 00:23:23.440 A lot of them kind of just drifted and a lot of them kind of just fade out at 00:23:23.440 --> 00:23:28.220 the end. And, you know, you think about stuff that has, I don't know, 00:23:28.280 --> 00:23:30.320 the first example that came to me was like Bohemian Rhapsody. 00:23:30.480 --> 00:23:36.020 It's just like, the song is starting, like, you know, where a lot of these are 00:23:36.020 --> 00:23:40.440 just this very kind of traditional, I'm going to start playing a guitar with little drums behind it. 00:23:40.540 --> 00:23:44.160 And then a few, everybody kind of joins in at their, at their leisure. 00:23:44.420 --> 00:23:44.620 Yeah. 00:23:44.900 --> 00:23:45.160 But. 00:23:45.600 --> 00:23:49.080 I, if I can have just a little bit of a side, Jack, here briefly. 00:23:49.380 --> 00:23:50.020 It's your podcast. 00:23:51.780 --> 00:23:55.060 Um in in like the art world 00:23:55.060 --> 00:23:58.340 um if you look at things 00:23:58.340 --> 00:24:01.360 like the dadaist movement or the fluxist movement 00:24:01.360 --> 00:24:05.200 you don't need to know what they are specifically but basically 00:24:05.200 --> 00:24:09.300 they were kind of counterculture movements against 00:24:09.300 --> 00:24:13.280 the way art was being platformed right 00:24:13.280 --> 00:24:16.160 it was why i did go to art college 00:24:16.160 --> 00:24:19.380 for like five years may not have a bfa okay 00:24:19.380 --> 00:24:22.600 we might not have a bfa and uh 00:24:22.600 --> 00:24:25.760 the idea of like okay well screw 00:24:25.760 --> 00:24:28.660 you art does not just have to be the things in a museum it's not 00:24:28.660 --> 00:24:31.600 just the things in a gallery it can be a pisser that 00:24:31.600 --> 00:24:34.380 i take off the wall it can be the painting that 00:24:34.380 --> 00:24:39.960 we made at a party and we all splash stuff on it um and that is a lot of what 00:24:39.960 --> 00:24:49.940 i feel in tusk the idea of we're going to upend capital N norms to push this 00:24:49.940 --> 00:24:52.460 music into another dimension. 00:24:53.100 --> 00:24:57.080 We're going to make this so weird because if we do it right, 00:24:57.100 --> 00:25:01.400 we'll find something a thousand times better than anything we could have planned. 00:25:01.680 --> 00:25:01.940 Interesting. 00:25:02.480 --> 00:25:05.460 Now I'm reading Tealy. Now I'm really reading into the guitar link. 00:25:05.540 --> 00:25:07.040 No, it's funny because... 00:25:08.931 --> 00:25:14.491 OK, this is going to sound just a little bit mean. OK, so I just want to preface this. 00:25:15.291 --> 00:25:18.971 I think that that very well could be the case. But I think if that is the case, 00:25:19.331 --> 00:25:24.191 that Fleetwood Mac is not talented enough because most of these songs, 00:25:24.851 --> 00:25:28.231 you know, we're not looking at a tonal chord progressions. 00:25:28.411 --> 00:25:32.711 We're not looking at like, you know, rhythm changes from four, 00:25:32.831 --> 00:25:35.991 four to three, five or like even three, three and kind of jazz. 00:25:35.991 --> 00:25:38.931 You kind of just get the sense of like a pop band gone mediocre. 00:25:39.251 --> 00:25:42.511 Right. Or it's like what it feels like to me. 00:25:42.671 --> 00:25:46.811 And I feel like I can say this because I personally have done this when I went 00:25:46.811 --> 00:25:51.491 to art school is sometimes you push yourself to be a creative genius and you 00:25:51.491 --> 00:25:54.311 learn that you're a journeyman workman. 00:25:54.551 --> 00:25:58.691 Like that you can do the thing very well, but that you're never going to be. 00:25:58.711 --> 00:26:00.411 You're not going to come up with E equals MC squared. 00:26:00.411 --> 00:26:04.491 Putting a dot on a white canvas and then having talking about the, 00:26:04.551 --> 00:26:07.551 you know, the importance of it in the universe. 00:26:07.811 --> 00:26:12.051 I mean, for what was technically the biggest pop band in the world. 00:26:12.271 --> 00:26:12.411 Yeah. 00:26:12.551 --> 00:26:15.191 Like, yeah, of course, you're not going to be able to do that. 00:26:15.351 --> 00:26:18.191 You motherfuckers did dreams. Like, what do you think is going to happen? 00:26:18.271 --> 00:26:20.711 Right. Again, I think I mentioned this in the first episode, 00:26:20.831 --> 00:26:25.431 but like when I think of that sort of thing, I think of a band like Captain Beefheart. 00:26:25.671 --> 00:26:31.431 Right. where it's just like going crazy and doing very, very strange things. 00:26:31.531 --> 00:26:36.111 And even some of the times that we've talked about like found sounds and instruments and stuff, 00:26:36.591 --> 00:26:40.751 you can kind of hear that, but it's never so much different than a traditional 00:26:40.751 --> 00:26:45.731 pop instrument or it's used in such a way that it, you know that something is 00:26:45.731 --> 00:26:49.831 different, but it's still just the backing of a track. 00:26:50.091 --> 00:26:55.531 Like last time we were talking about Not That Funny And you were telling me 00:26:55.531 --> 00:26:59.551 about how it was recorded in a prone position in this very, you know, 00:26:59.691 --> 00:27:03.271 and you can kind of hear that, but it's not so much different. 00:27:03.831 --> 00:27:06.671 Like, I don't think that when you first hear that song that you go, 00:27:06.891 --> 00:27:09.051 what is wrong with this man? 00:27:09.211 --> 00:27:13.271 Like you can imagine him standing at a microphone, singing that song in that. 00:27:13.878 --> 00:27:16.838 Tone so okay so my response to that is because 00:27:16.838 --> 00:27:21.678 i agree yeah absolutely it doesn't really sound like you don't listen to it 00:27:21.678 --> 00:27:24.578 completely unprompted and go why is he singing it like this he just sounds like 00:27:24.578 --> 00:27:29.938 he's singing it angry but i am and maybe this is my own vocal limitation but 00:27:29.938 --> 00:27:32.958 i feel like it's actually kind of tough to sing that song the way he sung it 00:27:32.958 --> 00:27:34.978 to sing it in that kind of angry, 00:27:36.618 --> 00:27:39.478 tone where you're not just shouting like i 00:27:39.478 --> 00:27:45.178 i i i'm i'm on i'm on board i'm just on the ship saying like there was land 00:27:45.178 --> 00:27:48.218 on the other side though sure there there might have been something over there 00:27:48.218 --> 00:27:53.938 sure um any other thoughts here as we round out angel just because i know like 00:27:53.938 --> 00:27:57.478 a lot i have a lot to talk about this week yeah. 00:27:57.478 --> 00:28:01.438 Absolutely let's move on i i like this song quite a bit it's just It's that 00:28:01.438 --> 00:28:06.138 one little chorus thing that keeps it from being like my favorite thing on the album or on this side. 00:28:06.298 --> 00:28:11.258 So, all right, well, let's move on to track number two. This is That's Enough for Me from Tusk. 00:29:00.329 --> 00:29:01.289 How about that for an ending? 00:29:01.689 --> 00:29:02.249 Yeah, there you go. 00:29:02.329 --> 00:29:02.909 Dun, dun, dun, dun. 00:29:03.769 --> 00:29:06.429 Even though as we started it, I was like, oh, here we go again. 00:29:08.449 --> 00:29:09.029 Wandered in. 00:29:09.909 --> 00:29:15.149 Very fuzzy. Very fuzzy guitar back. Also, it's a pretty full track, 00:29:15.329 --> 00:29:17.589 but arrangement-wise, it's pretty simple. 00:29:17.829 --> 00:29:20.729 It seems to be just guitar and bass and drum. 00:29:20.969 --> 00:29:25.309 Is there a banjo? Is that a banjo or is that a guitar in there? Sounds like a banjo. 00:29:25.489 --> 00:29:28.749 That's a great question. I want to say with the techniques that they were using 00:29:28.749 --> 00:29:36.169 then, it would have been a guitar played and then sped up to get that higher sound. 00:29:36.409 --> 00:29:37.789 It could have been a banjo. 00:29:38.109 --> 00:29:42.649 I know that Lindsey did have skills playing a banjo. He plays banjo in the 90s. 00:29:43.969 --> 00:29:47.969 But I think at the time it was kind of more just recorded and then shrink it 00:29:47.969 --> 00:29:49.869 up because it's a really nice sound. 00:29:49.869 --> 00:29:53.389 It does sound like a banjo but it almost sounds like a 00:29:53.389 --> 00:29:56.409 like a lute or something like a yeah like almost 00:29:56.409 --> 00:29:59.829 like an orchestral signed a sort of like high stringed guitar 00:29:59.829 --> 00:30:02.769 um and i love i i 00:30:02.769 --> 00:30:05.649 really love that that high guitar 00:30:05.649 --> 00:30:08.529 on it like it because there's 00:30:08.529 --> 00:30:11.769 no hi-hat there's no ride or cymbal really to 00:30:11.769 --> 00:30:14.529 keep you going that's like to me 00:30:14.529 --> 00:30:19.249 that's a little like eighth beat you know um 00:30:19.249 --> 00:30:25.369 kind of yeah i don't know and even the chorus of this where it's like just shout 00:30:25.369 --> 00:30:32.469 yeah yeah yeah like you know it's not easy to shout like that but to do it you 00:30:32.469 --> 00:30:36.509 have to put your whole fucking ass into it yep and they. 00:30:36.509 --> 00:30:37.529 Had to hang upside down. 00:30:37.529 --> 00:30:38.909 Uh on. 00:30:38.909 --> 00:30:40.629 A trapeze in order to do it. 00:30:40.629 --> 00:30:41.369 I am the buck, 00:30:42.759 --> 00:30:45.899 Um, how do you feel about that? That's enough for me. 00:30:46.119 --> 00:30:49.699 Um, now, traditionally, I'm not the biggest fan of when the, 00:30:49.699 --> 00:30:52.679 the folk needle swings too far towards country. 00:30:52.899 --> 00:30:53.019 Yeah. 00:30:53.299 --> 00:30:55.959 And the first few times I listened to the song, I was like, oh, 00:30:56.179 --> 00:31:01.499 this is another one of those kind of jug band, hoot nanny, uh, songs. 00:31:01.859 --> 00:31:05.919 But what's strange about this song is that, and it's, it's probably the length 00:31:05.919 --> 00:31:08.179 and it probably has something to do with the way that that guitar is. 00:31:08.179 --> 00:31:13.919 This song refused to to be disliked by me the more i listened to it the more 00:31:13.919 --> 00:31:20.959 it was like it's short it's snappy i like the kind of the the lyrical content is very kind of like, 00:31:22.619 --> 00:31:28.339 dark uh you know uh but in a way that i i can kind of identify with it's something 00:31:28.339 --> 00:31:32.959 i wish i saw more of on this album of these kind of like um like a vignette 00:31:32.959 --> 00:31:37.579 lyrics that are more abstract about feelings where maybe these two sentences 00:31:37.579 --> 00:31:40.779 don't actually make sense if you were to read them out loud in a TED talk. 00:31:41.099 --> 00:31:45.919 But as a like a signal of how you're like, oh, no, I know. I know that feeling. 00:31:46.139 --> 00:31:47.139 I've had that feeling before. 00:31:47.599 --> 00:31:50.879 So I ended up really liking it, even though I think the first few times I was 00:31:50.879 --> 00:31:52.499 like, oh, another one of these. 00:31:54.299 --> 00:31:58.859 And part of that too is probably the length because it's very snappy. 00:31:58.959 --> 00:32:02.099 It is. It's I mean, it's under two minutes. We just listen to the whole thing again. 00:32:02.099 --> 00:32:09.739 I think there's something in my head where I really want to connect this for 00:32:09.739 --> 00:32:13.359 some reason to a song that they did on Rumors, 00:32:13.999 --> 00:32:18.779 Never Going Back Again, which is just Lindsay singing and playing a guitar. 00:32:18.999 --> 00:32:23.039 And he does the finger picking, so it sounds like there are fucking three guitars 00:32:23.039 --> 00:32:23.879 playing at the same time. 00:32:23.959 --> 00:32:24.119 Sure. 00:32:24.559 --> 00:32:28.999 And for some reason, I feel that this song is like an inverse... 00:32:30.075 --> 00:32:36.575 Kin to to to that's enough for me like never going back again lyrically is like. 00:32:37.795 --> 00:32:40.535 I mean it's kind of what's said what's said on the tin 00:32:40.535 --> 00:32:43.295 like i had a bad time i'm not going to go do that again 00:32:43.295 --> 00:32:46.075 and this one is either from the other 00:32:46.075 --> 00:32:49.615 side of like yep you're coming back or this 00:32:49.615 --> 00:32:52.475 is what it feels like to give into the pressure 00:32:52.475 --> 00:32:55.235 of going back to the thing that hurt you 00:32:55.235 --> 00:32:58.115 yeah and yeah and i i 00:32:58.115 --> 00:33:01.135 you know it's not a lot of lyrics it's pretty it's 00:33:01.135 --> 00:33:03.955 pretty sparse but i think this is one of the times where 00:33:03.955 --> 00:33:08.015 lindsey's writing can shine on 00:33:08.015 --> 00:33:11.795 that on that critical level you know i think 00:33:11.795 --> 00:33:15.175 they say and get tusked that 00:33:15.175 --> 00:33:18.735 lindsey's like the weakest songwriter of the band and 00:33:18.735 --> 00:33:22.555 i wouldn't disagree if you 00:33:22.555 --> 00:33:25.295 they they couch it in certainly in terms of 00:33:25.295 --> 00:33:28.115 lyrics in terms of how his lyrics are 00:33:28.115 --> 00:33:31.015 put together i think they definitely can be 00:33:31.015 --> 00:33:34.255 kind of one note um he's a 00:33:34.255 --> 00:33:37.015 he's great at production i i love his 00:33:37.015 --> 00:33:41.235 his second uh solo album go insane but 00:33:41.235 --> 00:33:44.415 guess what go insane is about a lonely man who's really 00:33:44.415 --> 00:33:48.715 lonely and have you heard that he's lonely he's lonely 00:33:48.715 --> 00:33:54.175 oh oh and so that's that's we're like okay just play the guitar give me some 00:33:54.175 --> 00:34:00.635 fuzz yeah um and let us think about it you know um do you want to hear the alternate. 00:34:00.635 --> 00:34:05.675 For that's enough for me sure it is about as short as this one okay um here we go, 00:35:56.691 --> 00:36:00.151 That's enough for me with more jug band. 00:36:03.551 --> 00:36:08.131 An interesting one on the alternate tusk where the vocal track seems to pretty 00:36:08.131 --> 00:36:09.791 much be identical to the studio track. 00:36:09.911 --> 00:36:10.011 Yeah. 00:36:10.431 --> 00:36:13.751 There are not a lot of those or the times that there have been. 00:36:13.871 --> 00:36:18.591 It's not been particularly noticeable, but this one, it kind of sticks out given 00:36:18.591 --> 00:36:20.391 how different the backing arrangement becomes. 00:36:20.671 --> 00:36:26.471 You have gotten rid of all of the fuzz on the on the guitar. The bass. Yeah. 00:36:27.991 --> 00:36:33.371 Either it's like the unprocessed bass or it's like, but it sounds almost like a standup bass. 00:36:33.571 --> 00:36:33.711 Okay. 00:36:34.371 --> 00:36:36.351 We definitely hear the keyboards. 00:36:38.351 --> 00:36:43.211 You can hear kind of that, that kind of high guitar sounds like it's in there, 00:36:43.271 --> 00:36:45.971 but now it's not so high. Now it's just kind of like at normal speed. 00:36:46.111 --> 00:36:46.271 Yeah. 00:36:46.911 --> 00:36:54.971 And we even have the, a little extra little flavor in it, the intro of Christine going, 00:36:56.571 --> 00:37:01.671 i thought it for a long time i thought it was stevie saying shoot that's fast 00:37:01.671 --> 00:37:06.411 and in get tusked they say it's christine saying shit that's fast yeah but i 00:37:06.411 --> 00:37:10.791 hear shoot that's fast and i definitely hear it in stevie's voice okay so i heard shit. 00:37:10.791 --> 00:37:11.571 That's fast when. 00:37:11.571 --> 00:37:13.851 We're listening to it okay it may just. 00:37:13.851 --> 00:37:15.191 Be that my mind uh. 00:37:15.191 --> 00:37:18.251 They put it they put it hear profanity they put it in the lyrics and maybe that's 00:37:18.251 --> 00:37:21.571 what i was maybe that's why i'm thinking it's shoot but how do you feel about 00:37:21.571 --> 00:37:24.071 the defuzzed, that's enough for me. 00:37:25.311 --> 00:37:30.611 I think it loses something. It sounds... It's interesting out of all the songs 00:37:30.611 --> 00:37:32.051 that we've listened to alternate versions for. 00:37:32.191 --> 00:37:36.751 This one to me probably sounds the most like what I would consider a demo. 00:37:37.151 --> 00:37:41.691 Like when you hear unreleased... You used to get albums of unreleased stuff 00:37:41.691 --> 00:37:44.471 and you would hear like, oh, here's the demo version of this popular song. 00:37:44.851 --> 00:37:48.111 And what always strikes me is it feels like... 00:37:48.111 --> 00:37:51.631 I don't know how to say this because I don't do as much audio production but 00:37:51.631 --> 00:37:55.011 um uh maybe this 00:37:55.011 --> 00:37:57.731 works when it sounds like 00:37:57.731 --> 00:38:00.851 there's more like room tone in there like you 00:38:00.851 --> 00:38:06.651 would maybe compress the the waveform so that you didn't have anything but the 00:38:06.651 --> 00:38:10.851 music so there was you were just focusing on the music so what fills your ears 00:38:10.851 --> 00:38:16.631 is just music and lyrics yeah whereas in here it sounded like emptier it sounded 00:38:16.631 --> 00:38:20.611 like it was in a big room um and it was distracting i. 00:38:20.611 --> 00:38:26.031 Think that's pretty likely i mean the studio version is so is so compressed. 00:38:26.031 --> 00:38:26.791 Yeah and. 00:38:26.791 --> 00:38:30.971 Is so you know all of the dynamic ranges so squeezed out um, 00:38:32.380 --> 00:38:35.180 but i think across the board i mean i've tried not 00:38:35.180 --> 00:38:38.340 to look at like the waveforms or match things up 00:38:38.340 --> 00:38:41.380 you know or anything but the one thing i have noticed in editing 00:38:41.380 --> 00:38:46.160 this podcast is that the alternate tracks are definitely they're 00:38:46.160 --> 00:38:49.840 definitely less compressed there's way more dynamic range you could just fucking 00:38:49.840 --> 00:38:55.520 see it right you know and so i think that's part of it and some of it just has 00:38:55.520 --> 00:39:01.840 to come from the the changed arrangements with with the instruments on that Well. 00:39:01.980 --> 00:39:04.120 And for the song like this, I don't think it does it any favors. 00:39:04.300 --> 00:39:11.560 I think that having everything compressed into this like ultra flavorful, like form, 00:39:11.940 --> 00:39:17.220 like it's enough to just, I feel like this particular song, you just get swept away by it. 00:39:17.300 --> 00:39:20.360 Like you don't have any, you don't have any choice in it. You're going along 00:39:20.360 --> 00:39:21.820 for the ride for two minutes. 00:39:22.040 --> 00:39:25.720 And with the other one, it's like, it just felt sort of watered down and, 00:39:25.740 --> 00:39:29.680 you know, it was kind of hard to, to, I don't think I would have liked it nearly 00:39:29.680 --> 00:39:32.500 as much. like the when talking about how i didn't want to like it then i ended 00:39:32.500 --> 00:39:33.760 up like i don't think i would have liked. 00:39:33.760 --> 00:39:34.580 That alternate. 00:39:34.580 --> 00:39:35.340 Take as much. 00:39:35.340 --> 00:39:38.560 Yeah um also i think um the drums 00:39:38.560 --> 00:39:41.340 on this are pretty different i knew 00:39:41.340 --> 00:39:44.220 that elsewhere on this album they've done things where 00:39:44.220 --> 00:39:47.200 they've taken drums and processed them a lot to make 00:39:47.200 --> 00:39:50.700 them sound different or fuller or bigger and this 00:39:50.700 --> 00:39:53.440 is one where i i have to 00:39:53.440 --> 00:39:59.300 assume that this it's so weird because the voice track is the same and you they 00:39:59.300 --> 00:40:04.480 don't always do that if they have a new voice track to use but this one does 00:40:04.480 --> 00:40:09.460 have like harmonies and has double vocals so then maybe it's good enough to 00:40:09.460 --> 00:40:11.280 solve it i'm just trying to figure out, 00:40:12.200 --> 00:40:17.440 where it sits with the drums because that alternate version the drums are super 00:40:17.440 --> 00:40:22.100 light it sounds like it's on a little kit with brushes or something and then 00:40:22.100 --> 00:40:24.740 the studio version is bam 00:40:24.920 --> 00:40:30.080 bam bam bam bam bam a hundred percent and i think that's just a little bit of 00:40:30.080 --> 00:40:32.380 a question mark i guess i've got on that because, 00:40:34.274 --> 00:40:37.374 it's it's really it is so different but i 00:40:37.374 --> 00:40:40.534 can see a world where where they could say yeah like 00:40:40.534 --> 00:40:44.554 this alternate version is just the clean version of the studio or there's just 00:40:44.554 --> 00:40:48.754 less process we turn the processing on we threw the keyboards back in yeah maybe 00:40:48.754 --> 00:40:52.494 this was an early you know some of these it's like uh maybe this is what it 00:40:52.494 --> 00:40:57.594 looked the song looked like an early phase of an early an earlier stage but 00:40:57.594 --> 00:40:59.414 maybe not a different demo or. 00:40:59.414 --> 00:41:03.234 It's just an alternate take that didn't have any of the work that went into 00:41:03.234 --> 00:41:06.174 making the the final version sound like it actually did. 00:41:06.174 --> 00:41:06.794 Like maybe this. 00:41:06.794 --> 00:41:10.494 Is what that version sounded like when it first was recorded and then you go 00:41:10.494 --> 00:41:14.014 in and you work with it you work with it you work with it what you get out is that kind of processed. 00:41:14.014 --> 00:41:17.374 Yeah version so that's certainly um the 00:41:17.374 --> 00:41:19.934 story of a lot of the other songs here including some of the 00:41:19.934 --> 00:41:22.934 other songs on this album yep including uh 00:41:22.934 --> 00:41:26.034 number three you want to move on to broad eyes let's do it all right 00:41:26.034 --> 00:41:29.694 this is another christine mcvee joint and 00:41:29.694 --> 00:41:33.974 um right before we get in i we're going to listen to the preview here um my 00:41:33.974 --> 00:41:37.474 recommendation for listening is listen for the guitar listen for the electric 00:41:37.474 --> 00:41:43.134 guitar and where it is exactly where along the arrangement of the song is it 00:41:43.134 --> 00:41:46.474 in the intro or is it there in the bridge is it in the verse chorus etc okay. 00:41:46.474 --> 00:41:49.074 All right brown eyes from fleetwood mac, 00:43:41.054 --> 00:43:46.814 Alright, that's Brown Eyes. I like that song a lot. How do you feel about Brown Eyes? 00:43:48.574 --> 00:43:49.814 This song frustrates me to do that. 00:43:49.854 --> 00:43:50.414 Oh, really? 00:43:53.234 --> 00:43:56.934 This is going to be one of those ones I think we're doing our opposite of the spectrum. 00:43:57.074 --> 00:44:00.294 No, it's funny. I listen to this song a number of times, and every time I listen 00:44:00.294 --> 00:44:01.354 to it, I think the same thing. 00:44:02.214 --> 00:44:05.314 This feels like the 90 second 00:44:05.314 --> 00:44:09.594 intro before the song before the 00:44:09.594 --> 00:44:14.454 drums and in the air tonight come in and it turns into a different song like 00:44:14.454 --> 00:44:20.814 it feels like uh it feels like it's building to something and then it and then 00:44:20.814 --> 00:44:26.074 it's sha la la la and then it ends i'm not a big fan of the sha la la's um as 00:44:26.074 --> 00:44:29.094 a as a lyric i think that um that's. 00:44:29.094 --> 00:44:33.534 Two songs in a row where the chorus is just shalala shalala yeah. 00:44:33.534 --> 00:44:36.354 Yeah i mean at least that like in 00:44:36.354 --> 00:44:39.234 this that's enough for me it's like that's a 00:44:39.234 --> 00:44:42.014 very spartan song right so yeah it's 00:44:42.014 --> 00:44:47.514 shorter it's two minutes or is this one just kind of meanders along and then 00:44:47.514 --> 00:44:53.254 we've got a lot of shalala's uh to meander through and it's one of the reasons 00:44:53.254 --> 00:44:57.914 that that's frustrating to me is because i have seen evidence that this band 00:44:57.914 --> 00:45:01.014 could turn out great lyrical content. 00:45:01.314 --> 00:45:05.634 I have seen that Christine McVie can turn out great lyrical content. 00:45:05.974 --> 00:45:07.494 I was just talking to her up a minute ago. 00:45:07.634 --> 00:45:09.074 Put some lyrics, Christine. 00:45:09.894 --> 00:45:10.274 Yeah. Yeah. 00:45:10.474 --> 00:45:15.894 And it's not like the background music. It's a very, I don't know, 00:45:16.014 --> 00:45:18.194 it's a very soothing song if that's what you're into. 00:45:19.154 --> 00:45:22.614 I'm usually looking for a little bit more. I kind of want the songs to punch me in the face. 00:45:22.754 --> 00:45:25.954 Sure. This is definitely not a driving rock song. 00:45:26.074 --> 00:45:28.854 Yeah. It's kind of a warm bath song. 00:45:29.614 --> 00:45:33.594 Oh, yeah. It is kind of a seductive song with the lyrics. You know, 00:45:33.954 --> 00:45:35.574 with those brown eyes. What are you doing? 00:45:35.894 --> 00:45:36.014 Yeah. 00:45:36.974 --> 00:45:39.874 The guitar, we talked about the guitar just before we listened to it. 00:45:40.134 --> 00:45:43.574 It is pretty much not there until the chorus. 00:45:43.814 --> 00:45:43.954 Yep. 00:45:44.294 --> 00:45:47.234 And even when it's in the chorus, if you go back and listen, 00:45:47.354 --> 00:45:51.654 it's got a very heavy, like a wah-wah filter type of filter. 00:45:51.794 --> 00:45:52.854 It would have been a wah-wah back then. 00:45:53.054 --> 00:45:55.514 Now it's like an auto, we'd call it like an auto filter. 00:45:55.934 --> 00:45:56.134 Okay. 00:45:56.274 --> 00:46:03.494 But the, and the speeds are like very high. You can, you can kind of hear not 00:46:03.494 --> 00:46:06.934 like a guitar solo, but some sort of melody during that bridge. 00:46:07.034 --> 00:46:10.534 But the wah-wahs are also kind of happening in time. 00:46:10.714 --> 00:46:16.594 Okay. So you get this very like, I'm moving my hand because I don't have like, 00:46:16.794 --> 00:46:21.554 there's just a, it's, I don't know how to describe this. 00:46:21.694 --> 00:46:21.814 Yeah. 00:46:21.914 --> 00:46:22.374 It's, it's. 00:46:24.092 --> 00:46:26.992 So like with a wah-wah okay what a wah very quickly 00:46:26.992 --> 00:46:30.132 what a wah-wah is it's like a low-pass filter it's 00:46:30.132 --> 00:46:33.692 a filter basically yeah and it uh moves how 00:46:33.692 --> 00:46:36.692 much of the eq is filtered from very little 00:46:36.692 --> 00:46:39.792 to where you hear the whole thing all the way down to very uh almost 00:46:39.792 --> 00:46:42.652 all of it where you hear warm you're just 00:46:42.652 --> 00:46:45.752 just the lowest frequency you don't hear anything and 00:46:45.752 --> 00:46:48.672 if you go back and forth like that you do that in time 00:46:48.672 --> 00:46:52.012 then you get a very interesting like it's 00:46:52.012 --> 00:46:54.752 similar to like a it's similar to a 00:46:54.752 --> 00:46:58.352 tremolo it's similar to a vibrato but where 00:46:58.352 --> 00:47:01.612 those are pitch and volume this 00:47:01.612 --> 00:47:04.272 is the eq anyway that's your 00:47:04.272 --> 00:47:11.332 music lesson for the song um but another song where uh the guitars are addition 00:47:11.332 --> 00:47:17.452 by subtraction this is not really a tar song it's another funky bass song And 00:47:17.452 --> 00:47:23.132 it gives plenty of space for John to hit every single note. 00:47:23.312 --> 00:47:29.012 I mean, he doesn't really like get crazy with the bass, but that's not what he's doing in the song. 00:47:29.152 --> 00:47:35.572 He is here to be as much as like the metronome of the drums are to be on time. 00:47:35.932 --> 00:47:43.872 And because it's it's so big how how the bass guitar and the keys play off of each other. 00:47:45.492 --> 00:47:49.012 Um yeah i mean i guess that with with with so 00:47:49.012 --> 00:47:51.892 much with so few lyrics to get 00:47:51.892 --> 00:47:55.532 in the way i wish that there was a little bit more a 00:47:55.532 --> 00:48:00.092 little bit more complexity a little bit more letting people off the hook a little 00:48:00.092 --> 00:48:04.192 bit to do a little bit more fun stuff oh i see that yeah um like if the sha 00:48:04.192 --> 00:48:08.092 la la laws were like a on every other line and then you had a kind of a conversation 00:48:08.092 --> 00:48:12.972 between a guitar solo that goes back to sha la la or whatever like you can i 00:48:12.972 --> 00:48:14.692 can think of a few ways that you could maybe, 00:48:15.308 --> 00:48:18.588 jazz it up a little bit um. 00:48:18.588 --> 00:48:23.448 Some other things uh about brown eyes before we go to the alternate and they 00:48:23.448 --> 00:48:27.388 double tracked the rim click so that you the click that you hear through the 00:48:27.388 --> 00:48:31.128 whole track basically um so they double tracked it basically they recorded a 00:48:31.128 --> 00:48:37.368 take and then they had mick go and do just another take of just the click just that rim click oh. 00:48:37.368 --> 00:48:39.708 The uh where you're hitting the stick on the side. 00:48:39.708 --> 00:48:44.848 Yes yeah yeah okay and um mick didn't love doing that he was pretty much just 00:48:44.848 --> 00:48:50.988 click click click click for an hour yeah and uh that was really not a fun part of the recording it's. 00:48:50.988 --> 00:48:54.948 Not very fun unless you get to go back to you get to do some a few rim rim shots 00:48:54.948 --> 00:48:57.288 and then you get to go back to doing the actual drums. 00:48:57.288 --> 00:49:01.888 Yeah um another thing this is from get tusked but uh we talked previously christine 00:49:01.888 --> 00:49:07.988 was uh seeing dennis wilson at the time uh of the of the beach boys and um an 00:49:07.988 --> 00:49:12.748 interesting thing that they don't go into more detail in the book is that Dennis 00:49:12.748 --> 00:49:15.988 Wilson has green eyes, not brown eyes. 00:49:16.188 --> 00:49:18.308 Oh. Well, who are you talking about. 00:49:18.388 --> 00:49:19.128 Christine? Who are we talking about? 00:49:20.308 --> 00:49:23.048 Maybe she's just trying to throw everybody off the set. It's like, 00:49:23.188 --> 00:49:25.288 oh, I'd love those men with those brown eyes. 00:49:25.568 --> 00:49:29.168 Yeah. Well, I mean, the album is called Tusk. 00:49:29.448 --> 00:49:33.788 We can also take brown eyes to mean other things as well. 00:49:33.928 --> 00:49:37.588 Sure. I can actually see, I mean, now that you mention it, I forgot about the 00:49:37.588 --> 00:49:40.968 Beach Boys connection, but the Sha La La's do have a lot of Beach Boys. 00:49:40.968 --> 00:49:42.148 Kind of DNA. 00:49:42.848 --> 00:49:44.848 But it usually works better when you have like a five-part harmony. 00:49:46.708 --> 00:49:49.628 We're going to listen to, at the closing of this, we're going to listen to the 00:49:49.628 --> 00:49:51.228 live, a live version of Brown Eyes. 00:49:53.088 --> 00:49:57.028 And when you hear the shalalas, guess what? They're shalalas. 00:49:58.348 --> 00:50:01.488 It's Christine and Stevie and Lindsay. 00:50:01.748 --> 00:50:02.248 Oh, okay. 00:50:02.568 --> 00:50:07.288 And it sounds different. It's different, but it works really, really well on stage. 00:50:07.508 --> 00:50:12.688 There is something appealing to hearing multiple people singing together. 00:50:13.088 --> 00:50:16.348 Like, I don't know what it is, but it just, it makes it, I don't think I've 00:50:16.348 --> 00:50:20.208 ever heard a chorus where I've been like, ooh, no, get rid of the other two 00:50:20.208 --> 00:50:21.268 and let's just have the one. 00:50:21.428 --> 00:50:26.128 Yeah. It definitely makes the song feel a little different as well. 00:50:26.268 --> 00:50:29.508 It's maybe not as seductive, but still kind of cool. 00:50:29.728 --> 00:50:32.308 I think it's a cool song. It's a cool song. Maybe not seductive. 00:50:32.308 --> 00:50:33.068 Popping its collar. 00:50:33.248 --> 00:50:37.288 On the live one. Before we listen to the alternate version of Brown Eyes, 00:50:37.388 --> 00:50:41.328 I do want to play just a little bit. I want to play the end of the regular Brown Eyes for you. 00:50:41.428 --> 00:50:41.528 Okay. 00:50:41.828 --> 00:50:44.768 Because like other Fleetwood Mac songs, this one has a fade out. 00:50:45.008 --> 00:50:48.188 And like other Fleetwood Mac songs, there's stuff in the fade out. 00:50:48.448 --> 00:50:51.648 There's stuff in the fade out. All right. Here's that fade out. 00:50:51.728 --> 00:50:52.768 Like a ghost in fog. 00:51:36.281 --> 00:51:37.701 You want a little bit of guitar? 00:51:37.901 --> 00:51:40.841 I'm sorry. I'm sorry. That's so funny because when you said that, 00:51:40.981 --> 00:51:44.761 it just made me think that all of these songs, a lot of these songs have been 00:51:44.761 --> 00:51:49.981 very just like, okay, just play the drums. You just play the beat. 00:51:50.321 --> 00:51:52.501 And then it's like, okay, we're getting ready to fade out. It's like, 00:51:52.601 --> 00:51:55.701 all right, I can just do whatever I want to. I can have a little solo right here. 00:51:55.841 --> 00:51:58.801 I can finally get out some of the creativity that I wanted to do. 00:51:59.541 --> 00:52:00.201 Put it in that. 00:52:00.401 --> 00:52:00.621 Okay. 00:52:00.801 --> 00:52:01.161 All right. 00:52:01.301 --> 00:52:01.521 All right. 00:52:02.341 --> 00:52:04.101 Now, it's time for the alternate, Brown Eyes. 00:52:04.241 --> 00:52:04.361 Okay. 00:57:10.001 --> 00:57:11.761 That's the alternate brown eyes. 00:57:12.661 --> 00:57:15.561 Well, where was this energy the whole time? That was amazing. 00:57:16.241 --> 00:57:17.201 Okay, let's play a quick game. 00:57:17.381 --> 00:57:17.541 Okay. 00:57:18.041 --> 00:57:25.201 There are three broad, general differences that I found that I think you could 00:57:25.201 --> 00:57:28.121 spot between that and the studio brown eyes. 00:57:28.201 --> 00:57:28.341 Okay. 00:57:28.961 --> 00:57:33.001 Could you, can you take a crack at what those three things probably are? 00:57:33.241 --> 00:57:34.581 They will be pretty obvious. 00:57:34.581 --> 00:57:41.201 Okay well obviously there's like four times as many lyrics as there are in the 00:57:41.201 --> 00:57:45.021 the the studio version brand new lyrics yeah a. 00:57:45.021 --> 00:57:48.701 Couple of lines in the chorus now yep some vamps at the end. 00:57:48.701 --> 00:57:52.061 Okay yes feels a lot fuller absolutely um 00:57:52.061 --> 00:57:55.161 uh i would definitely say that 00:57:55.161 --> 00:57:58.441 i mean because you pointed it out the guitar is much more 00:57:58.441 --> 00:58:01.181 present here uh a lot of guitar in it 00:58:01.181 --> 00:58:04.121 with a lot more kind of like improvisation and stuff 00:58:04.121 --> 00:58:07.441 that feels like it's it's really kind of filling in some of 00:58:07.441 --> 00:58:10.681 the gaps or some of the i don't 00:58:10.681 --> 00:58:14.121 want to say monotony but some of the more simplistic parts of 00:58:14.121 --> 00:58:17.221 the original yeah where there's like a lot more kind of guitar brought 00:58:17.221 --> 00:58:20.341 up to the front it's kind of what i've been wanting james lindsey 00:58:20.341 --> 00:58:23.921 to do this entire time is like come up in here with some of them high notes 00:58:23.921 --> 00:58:29.341 give me some little solos and stuff like show me your chops um also i noticed 00:58:29.341 --> 00:58:33.821 a lot more i don't know just had a lot more everything i don't remember because 00:58:33.821 --> 00:58:36.841 i'll be honest with you this was the song that i listened to least to on the 00:58:36.841 --> 00:58:39.161 album sure i'm not as familiar with it but, 00:58:40.501 --> 00:58:45.521 um there was a lot more drums and i don't know in the original version i think 00:58:45.521 --> 00:58:50.661 that there were parts where we went from the the kind of the rim hits to full-on 00:58:50.661 --> 00:58:56.541 snare drums but yeah i don't know just everything in here was just a lot there's 00:58:56.541 --> 00:58:59.221 a lot more there's a lot more of it yeah yeah um Yeah. 00:58:59.361 --> 00:59:03.241 I mean, you basically got it. In fact, the only thing, the only kind of difference 00:59:03.241 --> 00:59:07.361 would be that for some reason, Brown Eyes, the studio version of Brown Eyes, 00:59:08.221 --> 00:59:12.761 ends, I think it ends the same way as this alternate version does in that it 00:59:12.761 --> 00:59:19.641 has some shalala's and then there's a small phrase of just clicks to kind of wrap things up. 00:59:19.721 --> 00:59:24.121 But I think the fade out is so heavy on Brown Eyes, the studio version, you don't hear it. 00:59:24.121 --> 00:59:29.661 Whereas here you basically don't have that fade and i think you hear it all the way to the end so, 00:59:30.141 --> 00:59:34.161 good good catch on on all of those things um i've 00:59:34.161 --> 00:59:37.641 got a lot of story behind brown eyes that you would never have known okay so 00:59:37.641 --> 00:59:42.781 i'm not going to hang that over your head so back when fleetwood mac was first 00:59:42.781 --> 00:59:48.741 formed uh the original members uh included mick fleetwood and john mcphee But 00:59:48.741 --> 00:59:51.041 the guitarist at the time was Peter Green. 00:59:51.441 --> 00:59:59.361 He leaves the band in the early 70s. He has a bad LSD trip. 00:59:59.581 --> 01:00:03.641 This is during the jazz, the kind of the jazzy, funky times. 01:00:03.861 --> 01:00:04.901 Yeah. Yeah. 01:00:05.652 --> 01:00:09.972 And he has a bad LSD trip in somewhere in like Munich or Germany. 01:00:10.952 --> 01:00:15.012 And he's kind of overboard at that point. And so that leads to Fleetwood Mac 01:00:15.012 --> 01:00:19.612 looking for new guitarists, ultimately getting us to Lindsay and Stevie, joining the band. 01:00:20.212 --> 01:00:22.972 At some point when they're recording to us, they're recording it in L.A. 01:00:23.052 --> 01:00:24.832 At the Village Recorder, Studio D. 01:00:25.912 --> 01:00:29.832 And I guess word has kind of got out that Fleetwood Mac is in town and is recording. 01:00:29.912 --> 01:00:34.432 And hey, they're a bunch of hooligans. And so at one point, one Peter Green 01:00:34.432 --> 01:00:37.992 shows up and says, like, hey, what are you guys working on? 01:00:39.072 --> 01:00:44.492 And on the alternate tusk, most of the tracks are, they don't say, 01:00:44.552 --> 01:00:46.572 like, alternate version. They have a date on them. 01:00:47.652 --> 01:00:51.812 Brown Eyes doesn't have a date. Instead, it says, with Lindsay and Peter Green. 01:00:52.212 --> 01:00:52.692 Oh. 01:00:53.132 --> 01:00:56.192 This take is Lindsay and Peter Green playing together. 01:00:56.552 --> 01:00:56.832 Oh. 01:00:57.332 --> 01:00:59.392 So there is more guitar. 01:00:59.592 --> 01:00:59.732 Okay. 01:00:59.732 --> 01:01:00.652 There's fucking twice in it. 01:01:02.732 --> 01:01:07.872 And that would explain why it feels so different it feels so fucking different 01:01:07.872 --> 01:01:11.112 it's more like a blues song, more like a jazz song. 01:01:11.112 --> 01:01:16.412 There's a little technique that I presume Peter Green does a lot in this version 01:01:16.412 --> 01:01:20.112 where it's like going back and forth between two notes, 01:01:21.692 --> 01:01:25.772 and it's all over this alternate version and 01:01:25.772 --> 01:01:28.632 it's only in the fade out 01:01:28.632 --> 01:01:32.412 of the studio version oh see peter 01:01:32.412 --> 01:01:37.552 green came in and they recorded stuff with peter green yeah oh my god the original 01:01:37.552 --> 01:01:44.192 fleetwood mac guitarist but addition by subtraction and what the band has said 01:01:44.192 --> 01:01:48.452 is the only part that peter green is playing in the studio album is that lick 01:01:48.452 --> 01:01:52.372 in the fade out wow everything else oh yes what. 01:01:52.372 --> 01:01:56.672 A what a nice what a nice little homage a little easter egg for people Oh. 01:01:58.392 --> 01:02:03.732 I don't think I, I, I genuinely, I don't listen to, I mean, this, 01:02:03.852 --> 01:02:08.652 there's cool stuff in this alternate version, but I think it makes me like the 01:02:08.652 --> 01:02:11.452 studio version better. I like it. 01:02:12.245 --> 01:02:19.385 Than the negative space in the track i like kind of how cleared it is of guitars 01:02:19.385 --> 01:02:25.525 i mean don't get me wrong it's great and i think um what the guitar does in this alternate version, 01:02:26.225 --> 01:02:33.865 throw it in the live version do it in something else but i i don't know i i 01:02:33.865 --> 01:02:39.105 really sold more on the studio version with less guitar interesting you know 01:02:39.105 --> 01:02:42.085 but i i i'm gonna guess you disagree Well. 01:02:42.485 --> 01:02:46.345 Oh, yeah, yeah. I like the alternate version better, but I'm a more. 01:02:46.625 --> 01:02:50.885 Give me more. I'm a maximalist. I'm a hedonist. I'm a maximalist. Just give it to me. 01:02:52.385 --> 01:02:55.285 But, you know, it's funny when you tell that story, because, 01:02:55.785 --> 01:02:59.885 again, with all this stuff, you can never be sure whether you're a scribe meeting 01:02:59.885 --> 01:03:00.845 where there is none, right? 01:03:01.085 --> 01:03:08.525 But it feels like that alternate version, knowing that is like these three people 01:03:08.525 --> 01:03:12.545 that know each other slipping back into their old ways of just like, 01:03:12.685 --> 01:03:16.345 you know, we're noodling around and we're having fun and we know how to play 01:03:16.345 --> 01:03:17.805 with each other, especially. 01:03:17.805 --> 01:03:23.245 And again, you've read the book and I haven't, but like, there's a lot of Lindsay 01:03:23.245 --> 01:03:25.225 control stories that we've heard before. 01:03:25.425 --> 01:03:29.745 So the idea of just having the guitarist that, you know, come in and especially 01:03:29.745 --> 01:03:34.445 with a song like this, where, you know, the structure of the song is mostly bass and drums. 01:03:34.585 --> 01:03:40.425 I mean, like the, the lyrics can, can come in, but there's not so many of them. 01:03:40.585 --> 01:03:44.645 It's not like a Stevie Nicks song where you, you're really booing up the lyrics, right? 01:03:44.645 --> 01:03:44.825 Right. 01:03:44.985 --> 01:03:46.505 You just need to leave space for that. 01:03:46.725 --> 01:03:49.085 Even this alternate version where the lyrics are totally different. 01:03:49.225 --> 01:03:49.345 Right. 01:03:49.525 --> 01:03:51.565 There's still only so many lines. 01:03:51.705 --> 01:03:56.125 Right. There's a lot of shalala's. You can get away with doing stuff with the, 01:03:56.285 --> 01:03:57.785 you know, with and around the shalala's. 01:03:57.905 --> 01:04:01.125 So, I mean, again, I may be just putting my own thing out there, 01:04:01.245 --> 01:04:05.245 but it does sound that version sounded like everybody was having a little bit 01:04:05.245 --> 01:04:09.605 better time, which I maybe, maybe. 01:04:09.605 --> 01:04:10.405 Which. 01:04:10.405 --> 01:04:14.665 Again you know if you if you like the the more subdued version right that's 01:04:14.665 --> 01:04:19.845 a more kind of controlled edit of like we're being very intentional with what's 01:04:19.845 --> 01:04:24.565 going on whereas that one did give off more like jam vibes to. 01:04:24.565 --> 01:04:27.405 Me um and the studio version 01:04:27.405 --> 01:04:31.245 kind of reminds me a little bit of um from 01:04:31.245 --> 01:04:34.885 the rumors album uh gold dust 01:04:34.885 --> 01:04:38.345 woman a little bit the one where it's uh 01:04:38.345 --> 01:04:41.205 uh the the cowbell and instead 01:04:41.205 --> 01:04:44.345 of the snare and it's a it's a stevie nicks song just because 01:04:44.345 --> 01:04:48.185 it's another kind of darker kind of undersold song 01:04:48.185 --> 01:04:52.485 it's just being cool it's just doing its thing it's just being a mood yeah just 01:04:52.485 --> 01:04:57.845 the mood of a song sure um i think what happens is they record this version 01:04:57.845 --> 01:05:04.445 of brown eyes with some early version of lyrics and as it gets pared down and down, 01:05:06.166 --> 01:05:10.746 I presume there's a change, you know, rewrite the lyrics, rewrite them a different, 01:05:10.886 --> 01:05:14.786 because also the vocal treatment for Christine on this alternate version is completely different. 01:05:14.966 --> 01:05:15.046 Yeah. 01:05:15.266 --> 01:05:19.146 In the studio version, it's like doubled. So it almost sounds like a chorus. 01:05:19.326 --> 01:05:21.966 Like it doesn't sound like there's a distinct first person voice. 01:05:22.126 --> 01:05:22.286 Sure. 01:05:22.366 --> 01:05:26.306 It sounds like two or three voices where here it's definitely Christine singing 01:05:26.306 --> 01:05:27.506 without really any doubling. 01:05:27.806 --> 01:05:27.886 Yeah. 01:05:27.886 --> 01:05:32.146 Like backups. Hey everyone, just a quick intermission and we'll get back to 01:05:32.146 --> 01:05:36.786 the music. If you're enjoying Side C, Side D will be released in two weeks, but why wait? 01:05:37.026 --> 01:05:39.766 Listen to all four sides right now by subscribing on Patreon, 01:05:39.966 --> 01:05:42.806 patreon.com slash lfgx. 01:05:43.066 --> 01:05:46.686 Get the podcast feed for full-length previews and enhanced audio quality for 01:05:46.686 --> 01:05:48.806 the biggest, best Two Tusks experience. 01:05:49.386 --> 01:05:52.306 My name is Bryce Castillo. Check out the Marbles racing streams I do at the 01:05:52.306 --> 01:05:57.506 website marbles.win or follow me on Twitch at Brycas, B-R-Y-C-A-S to join in 01:05:57.506 --> 01:05:59.066 on the fun every Thursday night. 01:05:59.226 --> 01:06:01.966 My co-host is Jeff S. Thank you to him for joining me and please show him some 01:06:01.966 --> 01:06:05.906 love over on Rage Select, where he's been covering new video game releases for over a decade. 01:06:06.366 --> 01:06:10.246 That's Rage Select on YouTube or RageSelect.com. You're listening to Two Tusks, 01:06:10.446 --> 01:06:13.066 hosted by Bryce C. and Jeff S., produced by Bryce Castillo. 01:06:13.466 --> 01:06:16.806 Fleetwood Mac's music, including Tusk Deluxe and Live Deluxe, 01:06:16.926 --> 01:06:20.706 are available everywhere from Warner Records. Now, back to the Tusks. 01:06:21.446 --> 01:06:24.326 Got our own baby, won't you check it and see? 01:06:25.066 --> 01:06:27.566 You got a favor, it's 103. 01:06:32.386 --> 01:06:36.266 All right, three down, two more to go. Why don't we jump into Never Make Me 01:06:36.266 --> 01:06:39.986 Cry? This is another Christine song. 01:07:24.326 --> 01:07:31.126 Oh, a beautiful Christine McVie ballad. How do you feel about Never Make Me Cry? 01:07:35.166 --> 01:07:40.106 It's not my favorite, but it's a good song. It's just it's not necessarily my speed. 01:07:40.426 --> 01:07:43.606 While I was listening to it, I thought, I think Christine McVie might have written 01:07:43.606 --> 01:07:49.846 the world's greatest eighth grade dance, slow dance, let's slow it down song. 01:07:50.126 --> 01:07:50.986 Because it's not too long. 01:07:51.106 --> 01:07:51.626 It's not too long. 01:07:51.706 --> 01:07:58.046 I don't want people slow dancing for too long. It doesn't have any really objectionable lyrical content. 01:07:58.306 --> 01:08:02.866 She's even kind of crooning. Another sort of example of like kind of country, 01:08:02.886 --> 01:08:06.506 almost a little with her, just a little bit of her vocal lilt. 01:08:08.326 --> 01:08:12.526 This was, it's another short track. It's only like two verses. 01:08:12.526 --> 01:08:14.046 The ending is pretty quick. 01:08:14.706 --> 01:08:20.586 It does have like a interlude in the middle of it. Not exactly like a bridge or solo. 01:08:20.906 --> 01:08:24.086 No. um uh from 01:08:24.086 --> 01:08:30.826 get tusked the backing of this is about is like nine different guitars and each 01:08:30.826 --> 01:08:35.406 of them have been processed and handled in different ways okay um to give them 01:08:35.406 --> 01:08:38.006 a lot of character um this was 01:08:38.006 --> 01:08:43.366 a song that was written by christine apparently she wrote it on a yacht, 01:08:44.026 --> 01:08:46.066 for Dennis with Dennis, 01:08:46.806 --> 01:08:49.006 and this is like her love song to Dennis. 01:08:49.226 --> 01:08:49.286 Okay. 01:08:49.566 --> 01:08:54.866 Dennis is a bit of a party boy. He passed away a few years after Tusk came out, 01:08:56.166 --> 01:08:58.606 doing a lot of drinking and drugging. 01:08:58.746 --> 01:09:02.806 Yeah. And that makes a lot of sense because there is a I mean this is kind of 01:09:02.806 --> 01:09:08.166 a melancholy song as well with this this kind of strange like I'm going to love 01:09:08.166 --> 01:09:11.026 you no matter what do what you want. 01:09:11.186 --> 01:09:11.286 Yeah. 01:09:11.386 --> 01:09:11.766 You know. 01:09:11.986 --> 01:09:18.746 We talked about Was it Think About Me? You mentioned kind of the passivity of love in there. 01:09:19.666 --> 01:09:23.826 And I think that's very similar here. I think in the book, they describe it 01:09:23.826 --> 01:09:28.366 as it's her saying she's not going to clip his wings, basically. 01:09:30.626 --> 01:09:34.886 And another thing of them described, they described like the soundscape of this 01:09:34.886 --> 01:09:37.746 as Christine singing this from the bottom of the ocean. 01:09:38.226 --> 01:09:39.626 Okay, I can kind of see that. 01:09:39.806 --> 01:09:39.926 Right? 01:09:40.166 --> 01:09:44.006 It's kind of got some, you can kind of see the light coming through from way up above. 01:09:44.426 --> 01:09:48.126 Buoys and the seagulls. Yeah, absolutely. And... 01:09:50.064 --> 01:09:55.644 I think that just, I don't want to say that that makes this song better, 01:09:55.644 --> 01:10:03.824 but I really like that image that doesn't necessarily come across just in the music. 01:10:03.984 --> 01:10:07.504 But I think if you give someone enough to be like, oh, the bottom of the sea, 01:10:07.624 --> 01:10:10.864 and you're like, oh, you can kind of imagine the water ripples, 01:10:11.164 --> 01:10:12.524 and you can imagine, oh, okay. 01:10:13.024 --> 01:10:16.124 They did a 90s music video with some cheap CGI. 01:10:16.124 --> 01:10:19.524 Yeah the strong spotlight yeah 01:10:19.524 --> 01:10:22.244 just on christine yeah it also kind of reminds me just a 01:10:22.244 --> 01:10:25.304 little bit of um the emotional content 01:10:25.304 --> 01:10:28.544 of that's enough for me of this kind of there's like 01:10:28.544 --> 01:10:32.484 a pain but the pain is okay kind of 01:10:32.484 --> 01:10:37.644 vibe yeah i don't know i felt some kinship kind of between those was what contributed 01:10:37.644 --> 01:10:43.484 to me to this side being this kind of like post the bombastic breakup the more 01:10:43.484 --> 01:10:49.084 kind of just kind of sucks but you're getting better a little bit at a time type of thing. 01:10:49.264 --> 01:10:55.244 The perspective of this the lyrics on this song are I mean it starts with go and do what you want. 01:10:55.444 --> 01:10:55.564 Right. 01:10:55.684 --> 01:11:04.084 Which is is very passive it's very it's a little subservient like go ahead fuck 01:11:04.084 --> 01:11:06.364 around drink and drug whatever, 01:11:08.064 --> 01:11:11.684 but that is its own form of love I guess. 01:11:11.984 --> 01:11:18.104 I mean it's the it's experience experience of of of having accepted that you 01:11:18.104 --> 01:11:22.384 are emotionally connected to a mess right yeah is that like i i'm not going 01:11:22.384 --> 01:11:25.904 to be able to fix them i don't know how long this is going to last but i'm just 01:11:25.904 --> 01:11:27.444 going to never make me cry yeah yeah. 01:11:27.444 --> 01:11:33.244 It's almost a little easy come easy go with that like thinking about like the 01:11:33.244 --> 01:11:34.924 statement like you'll never make me cry. 01:11:34.924 --> 01:11:35.644 Someone. 01:11:35.644 --> 01:11:37.984 Who's cried before i, 01:11:40.364 --> 01:11:43.244 i i wouldn't throw that around willing willy nilly. 01:11:43.244 --> 01:11:44.344 Sure you. 01:11:44.344 --> 01:11:46.044 Could make people could make me fucking cry. 01:11:46.044 --> 01:11:51.904 Um well we have an internet now bryce it's easier it's happening way faster 01:11:51.904 --> 01:11:56.304 than ever before no i mean but i guess you know that does bring up that it is 01:11:56.304 --> 01:12:02.164 a sweet song but there is a sense of separation there right it's it's it's less 01:12:02.164 --> 01:12:04.464 i can't give you everything intimate And then, 01:12:04.804 --> 01:12:09.484 you know, when people are really into each other, that's when you get the throwing 01:12:09.484 --> 01:12:12.244 things and singing from the prone position in the bathroom. 01:12:13.484 --> 01:12:19.084 Yeah. You know, that kind of intense emotion, whereas this is it's kind of a 01:12:19.084 --> 01:12:21.384 reminds me a little bit of the band Morphine. 01:12:22.464 --> 01:12:24.644 I don't know. Just the overall sentiment. 01:12:25.184 --> 01:12:28.624 All right. Let's jump into the I'm excited to play the alternate for you. 01:12:28.784 --> 01:12:28.924 OK. 01:12:29.664 --> 01:12:33.244 So here we go. This is from the alternate task. Never make me cry. 01:14:41.775 --> 01:14:44.375 The alternate never make me cry. 01:14:44.755 --> 01:14:46.355 Interesting. That's really interesting. 01:14:47.235 --> 01:14:47.675 Yes! 01:14:48.255 --> 01:14:48.415 Yes! 01:14:48.415 --> 01:14:51.015 I think that's... That's the reaction. 01:14:51.155 --> 01:14:55.455 I've got a lot of thoughts about that. In the beginning... 01:14:56.175 --> 01:14:59.455 Okay, so I'm not entirely sure, because I listened to it this first time. 01:15:00.115 --> 01:15:03.935 At the end, it felt like, what, about halfway through, we started getting what 01:15:03.935 --> 01:15:07.155 sounded like a cello or something. 01:15:07.455 --> 01:15:10.995 That was kind of... In the beginning, it just seemed like it was vocals and piano. 01:15:11.235 --> 01:15:11.335 Yeah. 01:15:11.335 --> 01:15:14.395 And then we got that. And at the very end, there was like kind of a little bit of string. 01:15:14.655 --> 01:15:15.415 A little bit of string at the end. 01:15:17.335 --> 01:15:24.795 Before any of that came in, my first thought was like, this is what was written 01:15:24.795 --> 01:15:27.955 on the yacht in front of the piano, right? 01:15:28.095 --> 01:15:31.035 It didn't have all this other stuff. It was just this person singing. 01:15:33.535 --> 01:15:39.275 I think that I appreciate the piano here more than I've appreciated anything 01:15:39.275 --> 01:15:40.815 that Christine has done on the piano. 01:15:41.335 --> 01:15:47.595 And I think it's because this is so much less of a sedate version of this song. 01:15:48.015 --> 01:15:53.235 This song, this version has a lot more feeling in it and it's subtle, 01:15:53.435 --> 01:15:54.555 but it's definitely there. 01:15:54.715 --> 01:16:01.635 It feels like the other one was kind of, again, compressed into a smooth song, 01:16:01.815 --> 01:16:03.395 whereas this feels a little bit more raw. 01:16:03.395 --> 01:16:10.075 And I think that part of that is because you can really feel the a lot of the 01:16:10.075 --> 01:16:15.275 emotion comes through in the piano, not in a keyboard, but an actual like where the when. 01:16:15.275 --> 01:16:16.635 That low note starts. 01:16:16.635 --> 01:16:17.415 To come in. 01:16:17.595 --> 01:16:21.035 Like it's sweeping. Yes, it's very sweeping. 01:16:21.895 --> 01:16:25.615 The story is pretty similar to how you called it. 01:16:25.735 --> 01:16:31.395 Like she had written that and had gotten the piano part down pretty, pretty well. 01:16:31.395 --> 01:16:36.515 I mean, it sounds so, that was maybe a strange thing I had with it, too, 01:16:36.595 --> 01:16:45.875 is that the piano part is so fleshed out and so done that I'm surprised we still 01:16:45.875 --> 01:16:48.395 went to the studio album level. 01:16:48.395 --> 01:16:51.535 Like because there's a world in rumors 01:16:51.535 --> 01:16:57.175 there's a piano ballad that christine does it's songbird and i could totally 01:16:57.175 --> 01:17:03.275 see someone saying like songbird 2 this is your big ballad for the album yeah 01:17:03.275 --> 01:17:09.095 it's your big christine ballad but i i really do appreciate and, 01:17:10.596 --> 01:17:14.656 taking the vocals out of that piano accompaniment and 01:17:14.656 --> 01:17:18.616 just highlighting them because now now when i go back and listen to the original 01:17:18.616 --> 01:17:23.276 sorry when i go back and look at the original i start to hear the piano kind 01:17:23.276 --> 01:17:31.576 of call and response sometimes i'll be like i i kind of hear it and i don't know, 01:17:32.496 --> 01:17:37.556 i don't know that you would have gotten to that point if you wrote just a vocal 01:17:37.556 --> 01:17:41.376 line for a guitar-y soundscape song. 01:17:41.556 --> 01:17:41.696 Yeah. 01:17:42.316 --> 01:17:43.156 What were you going to say? 01:17:43.276 --> 01:17:48.076 What I was going to say is, I don't know, again, this was really striking because 01:17:48.076 --> 01:17:51.016 I don't know that I've had such a reaction to one of, 01:17:51.696 --> 01:17:57.396 Christian McVie's songs just kind of whole cloth, is that there was like a kind 01:17:57.396 --> 01:18:01.276 of aggression in the piano in some of the ways that some of the hits were a 01:18:01.276 --> 01:18:02.696 little bit harder and you could hear them. 01:18:04.016 --> 01:18:11.136 That to me, in some ways, recontextualized the song of like as the impression 01:18:11.136 --> 01:18:14.736 that i got was that this is a lie like. 01:18:14.736 --> 01:18:15.816 That i. 01:18:15.816 --> 01:18:21.676 Do care but i know what i have to say to keep this going and you hear the feelings 01:18:21.676 --> 01:18:27.736 in the piano even if the words are everything's going to be all right that there's 01:18:27.736 --> 01:18:32.896 a kind of a there's more roiling in the musical background of the piano. 01:18:32.896 --> 01:18:38.296 But you know what's so funny is you say that but i agree in the opposite direction 01:18:38.296 --> 01:18:42.136 okay i think highlighting just a single vocal take, 01:18:42.936 --> 01:18:46.316 like really shows well granted 01:18:46.316 --> 01:18:53.496 you hear more of these like not vocal errors but just vocal strains where whatever 01:18:53.496 --> 01:18:58.196 for this scratch track that they recorded of her singing was not it correctly 01:18:58.196 --> 01:19:03.596 in time this bit was not correctly on pitch x y or z and, 01:19:05.429 --> 01:19:08.969 Even though the studio version's vocals are probably a little more perfect, 01:19:09.389 --> 01:19:15.389 all of just the very tiny ways it's imperfect are, like, magnified. 01:19:16.489 --> 01:19:18.989 I don't know that I have as much of a sense for that as you do. 01:19:19.089 --> 01:19:22.669 So, it's very possible that I'm just not hearing it, you know? 01:19:22.789 --> 01:19:29.269 Yeah. Like, hearing this alternate version made me completely come around to 01:19:29.269 --> 01:19:31.229 liking the studio version. 01:19:31.369 --> 01:19:31.549 Okay. 01:19:31.549 --> 01:19:35.129 Only because i think i was initially turned off 01:19:35.129 --> 01:19:38.569 a little by how slow and how 01:19:38.569 --> 01:19:45.209 kind of droning it is i mean i i want to know what it would have been like to 01:19:45.209 --> 01:19:53.809 hear this at the time because hearing the studio version now feels the aesthetic 01:19:53.809 --> 01:19:57.109 of the studio version today i would, 01:19:57.969 --> 01:20:00.689 i would my first impression would 01:20:00.689 --> 01:20:04.789 be oh okay this is kind of an easier production to do kind of just easier to 01:20:04.789 --> 01:20:09.009 drone some guitars and layer them and make them seem like a soundscape right 01:20:09.009 --> 01:20:15.109 but i wonder what it would have felt like back in in 79 only because that idea 01:20:15.109 --> 01:20:18.409 would not have been as prevalent mm-hmm. 01:20:19.515 --> 01:20:23.555 Interesting. I think it'd be really interesting to take this version because it is so sparse. 01:20:23.955 --> 01:20:29.835 And then if you could get like a karaoke track of the original version to put 01:20:29.835 --> 01:20:35.015 this with just the, you know, the vocals and the piano over the actual musical 01:20:35.015 --> 01:20:37.515 backing and see what you ended up with. 01:20:37.515 --> 01:20:41.495 If like the droning that you talked about got a little bit more broken up with 01:20:41.495 --> 01:20:47.295 the more imperfect emotional piano parts to give it a little bit more, 01:20:47.295 --> 01:20:50.115 a little bit oomphier of a hit. 01:20:50.115 --> 01:20:53.015 Yeah so i i really well i 01:20:53.015 --> 01:20:55.955 don't have an answer for this this isn't really talked 01:20:55.955 --> 01:21:01.215 about much in the get tusked book but i i would love to have been a fly on the 01:21:01.215 --> 01:21:05.835 wall for the conversation of going from the alternate version to the studio 01:21:05.835 --> 01:21:13.395 version yeah of hey let me i know we've been working on this song and you have 01:21:13.395 --> 01:21:15.795 a piano accompaniment and we were doing strings, 01:21:16.595 --> 01:21:19.695 um at one point they were recording timpanis with 01:21:19.695 --> 01:21:22.815 mick fleetwood that's not in that alternate track sure 01:21:22.815 --> 01:21:26.735 um and then to say 01:21:26.735 --> 01:21:34.715 hey let's try it a different way and and they make it sound like you know it 01:21:34.715 --> 01:21:37.755 it's not like lindsey shows up one day with this backing track like they do 01:21:37.755 --> 01:21:45.155 work on it for a good bit so i i i want to know how you get there yeah um i. 01:21:45.155 --> 01:21:48.375 Mean the other thing that's striking about it is i don't know maybe maybe you 01:21:48.375 --> 01:21:52.075 put this on the album and you've got this alternate track where you're like 01:21:52.075 --> 01:21:55.575 when we play this live this that's when you can do. 01:21:55.575 --> 01:21:57.515 That you do this one where. 01:21:57.515 --> 01:22:00.535 You know everybody gets to take a break and the spotlight is on christine and. 01:22:00.535 --> 01:22:01.215 Yeah the. 01:22:01.215 --> 01:22:03.615 Piano and just like kind of rocks it out. 01:22:03.615 --> 01:22:08.515 Uh for three minutes i believe this is one that did not get played live. 01:22:08.755 --> 01:22:08.955 Oh, okay. 01:22:09.135 --> 01:22:10.995 So it's... And I... 01:22:12.275 --> 01:22:15.035 Um i talked about go go insane 01:22:15.035 --> 01:22:18.315 a little bit earlier from lindsey buckingham but um 01:22:18.315 --> 01:22:21.655 i feel like a very similar thing happened with this and with that album which 01:22:21.655 --> 01:22:26.735 is he never he didn't really tour that album live much of it um partly because 01:22:26.735 --> 01:22:30.435 like the synths and the production stuff he was doing you couldn't you couldn't 01:22:30.435 --> 01:22:36.315 do live without a bunch of extra people right manning a bunch of big synths and shit three. 01:22:36.315 --> 01:22:37.635 Drum kits and. 01:22:37.635 --> 01:22:38.795 Yeah four. 01:22:38.795 --> 01:22:39.835 Four keyboard players. 01:22:39.835 --> 01:22:45.035 And so i could see that happening here where they're like well you know we could 01:22:45.035 --> 01:22:48.835 do a piano version but when people come to see fleetwood mac they want to they 01:22:48.835 --> 01:22:56.315 want to see songbird anyway they don't want never make me cry on the piano so maybe maybe i don't. 01:22:56.315 --> 01:22:59.615 Know the thing is i think that it sometimes when 01:22:59.615 --> 01:23:05.915 we talk about these it's like i do feel that you could maybe get more about 01:23:05.915 --> 01:23:09.795 you could you could dig into the song more if there were live versions because 01:23:09.795 --> 01:23:13.315 you could kind of see when you're not in this controlled studio environment 01:23:13.315 --> 01:23:17.395 like what does it look like what's your finished product kind of look like and 01:23:17.395 --> 01:23:19.035 i would i would love to hear this live. 01:23:19.035 --> 01:23:19.695 Yeah it's. 01:23:19.695 --> 01:23:22.455 The sort of thing that would be great because it's just you know she's got a 01:23:22.455 --> 01:23:24.275 great voice she's got a great piano. 01:23:24.275 --> 01:23:25.535 You can take. 01:23:25.535 --> 01:23:30.795 Out the the cello stuff or leave it in but um yeah kind of a shame. 01:23:30.795 --> 01:23:31.355 Yeah it's. 01:23:31.355 --> 01:23:31.915 Not a live version. 01:23:31.915 --> 01:23:36.355 All right it's in for track number five our final one here from sightsee i know 01:23:36.355 --> 01:23:39.515 i'm not wrong uh you ready to dive in let's go, 01:24:41.708 --> 01:24:44.788 There we go. The last song on the side. I'm not wrong. 01:24:45.048 --> 01:24:45.228 Yeah. 01:24:45.648 --> 01:24:49.568 Pop a poppy song from Lindsay kind of, uh, is that full length? 01:24:49.668 --> 01:24:50.408 It's about three minutes. 01:24:50.528 --> 01:24:50.668 Yep. 01:24:51.108 --> 01:24:53.788 Um, how do you feel about? I know I'm not wrong. 01:24:54.188 --> 01:24:58.548 Finally, my favorite thing on this entire album. So far, really so far. 01:24:58.668 --> 01:24:59.128 Wow. Yeah. 01:24:59.768 --> 01:25:02.948 And it, it took me a little while to figure out why, like I was listening to 01:25:02.948 --> 01:25:05.668 it and I was like, I really like this. And I was like, is the lyrics. 01:25:05.808 --> 01:25:11.168 And I was like, the lyrics are, are okay. I mean, you know, he's having himself a time again. 01:25:11.168 --> 01:25:12.328 Yeah. Hey, guess what? He's lonely. 01:25:13.008 --> 01:25:16.548 That's right. Well, I guess he's not wrong. At first when I listened to this, 01:25:16.628 --> 01:25:19.128 I was like, oh, it's not funny too. 01:25:19.368 --> 01:25:21.728 That's interesting. We've got a second it's not funny song. 01:25:22.188 --> 01:25:25.768 Yeah. But the thing is that when I went and listened to it over and over again, 01:25:25.968 --> 01:25:30.468 and I started listening to the way that the whole musical kind of soundscape 01:25:30.468 --> 01:25:35.168 was set up and the structure of the song, this is like a 90s college rock song. 01:25:35.328 --> 01:25:38.848 It reminds me of The music that I love from my teenage years, 01:25:39.528 --> 01:25:43.308 sometimes I was thinking this could be a They Might Be Giants song. 01:25:43.448 --> 01:25:49.428 Sometimes I was thinking this could be an alt-rock college 120 minutes on MTV song. 01:25:51.368 --> 01:25:55.848 This could have been from a lot of different bands. And it's so different because 01:25:55.848 --> 01:26:01.228 it's got like all the problems that I have with a lot of the other songs aren't here. 01:26:01.448 --> 01:26:04.888 Where musically it's really interesting. You've got that, it sounds like almost 01:26:04.888 --> 01:26:07.348 like a harmonica, that keyboard part that comes in. 01:26:09.188 --> 01:26:14.028 The drums are like dynamic, but they're not jazz drums where they're doing like 01:26:14.028 --> 01:26:16.168 fills or anything. They're just solid. 01:26:16.528 --> 01:26:19.408 The lyrical content is kind of abstract, but catchy. 01:26:19.408 --> 01:26:20.608 You have a lot of guitar on this? 01:26:20.608 --> 01:26:22.028 A lot of guitar, yeah. 01:26:22.188 --> 01:26:22.388 Yeah. 01:26:23.488 --> 01:26:26.068 I really like it. I really, really, really dig it. 01:26:26.068 --> 01:26:32.168 So, so I know I'm not wrong was one of the earliest songs written for Tusk and 01:26:32.168 --> 01:26:35.528 it was one of the last songs finished and finalized. 01:26:35.648 --> 01:26:35.788 Okay. 01:26:36.248 --> 01:26:41.908 Um, I guess it was kind of a frustrating process for Lindsay to figure out what 01:26:41.908 --> 01:26:42.928 the song would sound like. 01:26:43.108 --> 01:26:49.168 Um, when they re-released Tusk with a demos disc, that demo disc has, 01:26:49.648 --> 01:26:52.488 you know, it's got, you know, different versions of a lot of the songs. 01:26:52.568 --> 01:26:52.728 Sure. 01:26:52.868 --> 01:26:57.988 And then about six different versions of, I know I'm not wrong. but 01:26:57.988 --> 01:27:00.828 it if you have 30 minutes it's a fun little 01:27:00.828 --> 01:27:03.528 it's a fun little journey because it starts you from the 01:27:03.528 --> 01:27:08.828 demo which is all instrumental yeah and it's got um you know kind of a little 01:27:08.828 --> 01:27:13.388 like a almost like a chintzy little guitar and that harmonica bit is played 01:27:13.388 --> 01:27:18.148 on like a toy piano okay um and you you go through a few different versions 01:27:18.148 --> 01:27:22.628 you hear some pretty different takes some of the lyrics change a bit, 01:27:23.608 --> 01:27:28.048 but it's a really fascinating process and, 01:27:29.800 --> 01:27:33.600 I think it's it's really interesting that you have that reaction to the song, 01:27:33.700 --> 01:27:35.600 not because you've done anything wrong. 01:27:36.900 --> 01:27:38.040 Well, I know I'm not wrong. 01:27:38.300 --> 01:27:39.220 And it's not that funny. 01:27:39.380 --> 01:27:40.380 It's not that funny. 01:27:42.120 --> 01:27:50.880 But I got the sense that, like, this was kind of sent over the finish line, like just wrap it. 01:27:51.000 --> 01:27:54.100 I don't know. I've spent a year and a half on this one. It's not fart, 01:27:54.280 --> 01:27:57.220 not say farted out, but let's please wrap this up. 01:27:57.300 --> 01:28:02.540 Yeah. And if that's the case, then I think that you'd stumble into something 01:28:02.540 --> 01:28:06.060 good because I mean, I would think I'm interested to know what you think. 01:28:06.260 --> 01:28:10.620 I think this sounds radically different than even the more pop centric stuff 01:28:10.620 --> 01:28:17.340 on this album. Yeah, that strange keyboard and just like the way that the whole band is mixed. 01:28:17.500 --> 01:28:22.500 It feels to me a lot more modern than some of the other stuff that's on here. 01:28:22.860 --> 01:28:28.520 Like more experimental, more of something that you got from a later era of music 01:28:28.520 --> 01:28:29.920 than some of the other stuff. 01:28:30.080 --> 01:28:33.800 We talked about that harmonica a little bit, and it is a harmonica. 01:28:33.860 --> 01:28:34.420 It is a harmonica, okay. 01:28:34.580 --> 01:28:37.400 But it sounds fucking weird, right? 01:28:37.480 --> 01:28:38.760 Like a distorted harmonica. 01:28:38.760 --> 01:28:42.180 So in Get Tusk, they talk a little bit about it is a harmonica. 01:28:42.200 --> 01:28:48.860 It was recorded right onto a ribbon microphone. It's a style of microphone. 01:28:49.120 --> 01:28:57.200 And then they played that out through headphones and an amp. They like recorded it. 01:28:57.380 --> 01:29:01.820 They wanted it to sound bad. they had a musical like kind of flag that like 01:29:01.820 --> 01:29:07.660 no make it kind of sound bad but it sounds kind of great like if you maybe you 01:29:07.660 --> 01:29:11.780 can get a sense that it's a harmonica from a vet in a vacuum, 01:29:12.600 --> 01:29:17.760 um but i think it sounds for a long time i wasn't sure if it was a harmonica 01:29:17.760 --> 01:29:22.260 i thought like is it a synth is it a guitar that they're playing somehow weird i. 01:29:22.260 --> 01:29:25.460 Thought it was at the beginning but then i thought well surely not it's got 01:29:25.460 --> 01:29:28.620 to just be like a synthesizer or a keyboard of some sort. 01:29:28.620 --> 01:29:33.180 Yeah, but it's not. The other interesting thing about, I know I'm not wrong, 01:29:33.340 --> 01:29:36.420 so that melody that the harmonica plays in the studio version, 01:29:36.460 --> 01:29:40.880 in all of those versions on the demo disc side, they have that melody. 01:29:41.060 --> 01:29:42.280 It's somewhere in there. 01:29:42.540 --> 01:29:46.540 It's usually an instrument, but some of them it's like Lindsay's singing. 01:29:49.740 --> 01:29:52.040 It's in all of them. 01:29:53.147 --> 01:29:55.807 Except for The Alternate Tusk. 01:29:56.087 --> 01:29:57.207 Oh, interesting. 01:29:58.607 --> 01:30:03.207 It's fascinating. But I don't, I'm saying that now because I don't think, 01:30:03.367 --> 01:30:04.847 I don't think that's planned. 01:30:05.007 --> 01:30:09.647 I don't think that's a dig to like, ah, we're going to get rid of this thing that was in your song. 01:30:10.067 --> 01:30:17.687 Because to hear it described in Get Tusked, they speculate that it was probably 01:30:17.687 --> 01:30:20.627 Lindsay's favorite song for having worked on it for so long. 01:30:20.627 --> 01:30:25.927 But at the same time it was rehearsed even for the tusk live tour but was not 01:30:25.927 --> 01:30:31.087 played live interesting um and i don't think they played it live until the aughts was. 01:30:31.087 --> 01:30:34.127 That i mean lindsey was playing that harmonica i assume. 01:30:34.127 --> 01:30:36.747 I don't know i i would have to go back and 01:30:36.747 --> 01:30:40.367 check that rehearse footage i think in the when he 01:30:40.367 --> 01:30:43.347 doesn't play the harmonica in the more recent concert footage 01:30:43.347 --> 01:30:46.767 of it so either i think 01:30:46.767 --> 01:30:49.567 it was a he was saying it i think it 01:30:49.567 --> 01:30:52.607 was that maybe at the time there would have been a 01:30:52.607 --> 01:30:57.507 a piano thing um and then i know at one point sorry that this is like not as 01:30:57.507 --> 01:31:00.607 much detailed but i know that didn't get test they talk about one song where 01:31:00.607 --> 01:31:05.287 they were actually going to have one of their uh road crew play a synth so that 01:31:05.287 --> 01:31:08.947 there was like just an extra accompaniment interesting but they couldn't make 01:31:08.947 --> 01:31:11.207 it work because he had other things he had to do during the show. 01:31:15.707 --> 01:31:18.947 When is, when can Gary get here? We've been waiting for three hours. 01:31:20.187 --> 01:31:25.267 Okay, so it's time for, I know I'm not wrong, the alternate version. 01:31:25.467 --> 01:31:25.607 Okay. 01:31:25.867 --> 01:31:26.967 Let's just enjoy this one. 01:31:27.107 --> 01:31:27.387 All right. 01:31:27.607 --> 01:31:28.347 Here we go. 01:34:29.954 --> 01:34:35.614 The alternate i know i'm not wrong very interesting right yeah and part so, 01:34:36.854 --> 01:34:40.134 so when talking about the no harm harmonica in 01:34:40.134 --> 01:34:43.134 this i think it's because they weren't 01:34:43.134 --> 01:34:45.834 know they weren't sure what to do with the song and they 01:34:45.834 --> 01:34:49.954 talked briefly and get tusk that there was a take where they tried having stevie 01:34:49.954 --> 01:34:54.034 on it to see if she could if she is she is she the missing ingredient right 01:34:54.034 --> 01:35:04.374 um it seems like maybe not but i do like her her vocals on this her little vamps yeah it does make me. 01:35:04.374 --> 01:35:09.054 Curious because the big thing that stood out to me was that i think that the 01:35:09.054 --> 01:35:12.514 lyrical content changes a little bit without the don't blame me. 01:35:12.514 --> 01:35:14.694 Before i know i'm not wrong yeah and. 01:35:14.694 --> 01:35:19.674 I wonder what it would sound like if you had stevie singing the don't blame me. 01:35:19.674 --> 01:35:21.394 Parts um. 01:35:22.594 --> 01:35:26.314 I don't know. Generally speaking, I think that this is a little bit looser. 01:35:26.834 --> 01:35:33.374 This tends a little bit more towards some of the production stuff that where I just I want more. 01:35:33.674 --> 01:35:37.374 Yeah. And and I chalk that up to being not finished. 01:35:37.554 --> 01:35:37.674 Yeah. 01:35:37.794 --> 01:35:42.094 Right. Like even the don't blame me part, like maybe they just knew that that 01:35:42.094 --> 01:35:43.274 would be something they dubbed in. 01:35:43.434 --> 01:35:43.594 Right. 01:35:43.714 --> 01:35:50.854 Right. Because there is that other there is an extra lot or the different line of I could be strong. 01:35:51.394 --> 01:35:52.854 You know and like, 01:35:54.280 --> 01:35:54.780 Cut that. 01:35:55.060 --> 01:35:55.220 Mm-hmm. 01:35:55.300 --> 01:35:56.060 Get it out of here. 01:35:57.460 --> 01:36:01.520 Yeah, if I've got a... For this song, I'll trade Stevie for that harmonica. 01:36:01.780 --> 01:36:06.940 I love the harmonica. It's such a specific sound that you don't hear in any 01:36:06.940 --> 01:36:11.520 of the other songs that really just kind of pegs this one as different, so. 01:36:11.880 --> 01:36:18.340 I Know I'm Not Wrong is also a bit of a fraternal twin song. 01:36:18.720 --> 01:36:18.880 Mm-hmm. 01:36:18.940 --> 01:36:24.180 Fraternal? Fraternal? The not identical ones with Not That Funny. 01:36:24.280 --> 01:36:27.380 From side b uh both of them originally started 01:36:27.380 --> 01:36:30.340 as a demo called pins and needles and then 01:36:30.340 --> 01:36:33.620 they sort of split into their own songs but they both 01:36:33.620 --> 01:36:41.800 have a uh a here comes the night time sort of line um as well as somebody at 01:36:41.800 --> 01:36:46.120 the oh no don't blame me the don't blame me part is also not that funny um the 01:36:46.120 --> 01:36:47.340 somebody outside the door have we 01:36:47.340 --> 01:36:52.000 talked about this the the line somebody outside the door I think we did. 01:36:52.160 --> 01:36:53.080 I think we did last time. 01:36:53.320 --> 01:37:01.180 Yeah. Lindsay and Carol, his girlfriend at the time, their home got invaded. 01:37:01.380 --> 01:37:01.540 Right. 01:37:01.800 --> 01:37:05.200 And he had some agoraphobia about that. 01:37:05.360 --> 01:37:10.240 So that's interesting that that bled into both of these two very different songs. 01:37:11.120 --> 01:37:16.200 Um i don't know that i i have a lot of um i may not want to but i have a lot of, 01:37:16.660 --> 01:37:19.780 uh i sympathize a lot with lindsey about getting focused 01:37:19.780 --> 01:37:25.280 on specific concepts or specific ideas and then just kind of running them running 01:37:25.280 --> 01:37:29.920 around them just constantly you know in different iterations um for better or 01:37:29.920 --> 01:37:33.120 worse sometimes you get a hold of something and it's a it's a great topic that 01:37:33.120 --> 01:37:34.860 fulfills you and sometimes you 01:37:34.860 --> 01:37:39.120 kind of get manically attached to something and you can't let it go, so. 01:37:39.220 --> 01:37:41.880 Yeah. And I almost wonder if, like, that, 01:37:43.332 --> 01:37:48.732 uh is directly on top of the theme of this of the song right like, 01:37:50.632 --> 01:37:53.572 the the one thing i i will say about lindsey's writing 01:37:53.572 --> 01:37:57.092 despite being pretty simple is it's really 01:37:57.092 --> 01:37:59.972 straightforward and it will cut to the meaning 01:37:59.972 --> 01:38:03.912 even if cutting to the meaning is i 01:38:03.912 --> 01:38:08.212 think embarrassing or maybe a little bit of conflict right to say i know i'm 01:38:08.212 --> 01:38:14.152 not wrong is again kind of a bold statement like hear me out trust me i'm doing 01:38:14.152 --> 01:38:19.992 this we're we're flying let's go louise yep and um especially. 01:38:19.992 --> 01:38:24.772 When it comes right after don't blame me i know i'm not wrong this is a it's 01:38:24.772 --> 01:38:26.032 a strong statement right there. 01:38:26.032 --> 01:38:31.952 And then it it begs a further question of well what is it that you're not wrong 01:38:31.952 --> 01:38:35.532 about right because is it the album because the album is obviously temperamental 01:38:35.532 --> 01:38:40.792 it's obviously a wild card at best is. 01:38:40.792 --> 01:38:46.132 This is i know i'm not wrong the song a defense of tusk as an album of lindsey 01:38:46.132 --> 01:38:50.752 being like i did all this and it was my vision and i am not wrong you're wrong shut up. 01:38:50.752 --> 01:38:56.792 Or or potentially it could be i know i'm not wrong with the decisions that i 01:38:56.792 --> 01:39:02.832 made i know i'm not wrong to break up with stevie or to You work through XYZ issue with Carol. 01:39:05.132 --> 01:39:09.232 And then in that case, like, okay, actually, maybe there's it's a little more abstract. 01:39:10.452 --> 01:39:15.832 I'm emotionally not wrong. You know, I, you know, hey, we're not together anymore, 01:39:15.872 --> 01:39:17.652 but that's the right call. 01:39:17.832 --> 01:39:17.972 Right. 01:39:18.132 --> 01:39:23.172 That I'm not wrong. I know I'm not wrong. I'm not right, but I know I'm not wrong. 01:39:23.312 --> 01:39:23.432 Yeah. 01:39:23.772 --> 01:39:24.112 You know. 01:39:26.792 --> 01:39:30.192 Any other thoughts here on I know I'm not wrong? I think, uh, 01:39:30.212 --> 01:39:33.772 and another end of the, another disc side end. 01:39:33.992 --> 01:39:39.492 Yeah. Um, it's, it's, I think this is the first time that my favorite song from 01:39:39.492 --> 01:39:42.252 one of these sides has been the last one. So I think it's fun. 01:39:42.392 --> 01:39:46.892 I was just waiting, chomping at the bit to, to talk about this one. Cause I really like it. 01:39:47.012 --> 01:39:49.452 Like I, I, I'm interested once 01:39:49.452 --> 01:39:54.972 we get done to make a six, a six song EP of like my favorites from Tusk. 01:39:55.032 --> 01:39:55.272 Yeah. 01:39:55.272 --> 01:40:02.912 See how I feel about that as opposed to just the whole odyssey hour and 30 minutes of all four sides. 01:40:03.072 --> 01:40:06.612 Yeah. All right. Well, we're going to close out with a special cut. 01:40:06.752 --> 01:40:09.992 We're going to go with a live version of Brown Eyes. 01:40:10.212 --> 01:40:16.772 This was on Fleetwood Mac Live Deluxe. And then it was also included in their 01:40:16.772 --> 01:40:21.072 most recent Mirage Tour 82 live album. 01:40:21.272 --> 01:40:26.192 So it's on both of those. Here is brown eyes from live. 01:40:27.079 --> 01:40:30.239 A live fade out difficult to 01:40:30.239 --> 01:40:33.299 pull off but this is one where it kind of works yeah 01:40:33.299 --> 01:40:36.159 um kind of fun little flavor on the live version there 01:40:36.159 --> 01:40:39.199 absolutely um the shalala's feel 01:40:39.199 --> 01:40:43.879 different i think you can granted this is from uh when would this been 82 so 01:40:43.879 --> 01:40:47.939 it's a few years later lindsey's voice is a little more mature uh stevie's voice 01:40:47.939 --> 01:40:53.959 is settled in a little bit more but it's great i think if it's it's it's interesting 01:40:53.959 --> 01:40:58.619 as a live song it's not it's not a live classic or a staple of theirs, 01:41:00.139 --> 01:41:04.719 but it's just moody this is good mood i. 01:41:04.719 --> 01:41:09.079 Think a lot of the songs that i i've been less than enthusiastic about i would 01:41:09.079 --> 01:41:11.219 always be really interested in listening to them live because i. 01:41:11.219 --> 01:41:11.659 Think that. 01:41:11.659 --> 01:41:16.939 Sometimes too much production can get in the way of feeling it and when you're 01:41:16.939 --> 01:41:19.599 live that's kind of the ultimate you're feeling it like. 01:41:19.599 --> 01:41:22.719 They're standing there they're doing it and it really wasn't until it probably 01:41:22.719 --> 01:41:28.479 wasn't until the nineties or I guess the late later eighties when Lindsay left 01:41:28.479 --> 01:41:33.419 that up until that point, it was a pretty much a five piece band on stage. 01:41:33.819 --> 01:41:38.519 And so I think like, that's why a lot of Lindsay's songs from Tusk play really 01:41:38.519 --> 01:41:41.839 well on stage because they get equalized a bit. 01:41:42.299 --> 01:41:45.719 And yeah, I don't know. Some people don't like live versions of stuff, 01:41:45.939 --> 01:41:46.839 but maybe it's just Fleetwood Mac. 01:41:46.959 --> 01:41:50.639 Maybe just Fleetwood Mac is a great live band. We'll do a live band podcast next. 01:41:51.019 --> 01:41:51.259 Possibly. 01:41:52.579 --> 01:41:55.459 All right. We're going to take you out here with a live version of Brown Eyes. 01:41:55.559 --> 01:41:56.379 Thank you for listening. Thank you, Jeff. 01:41:56.579 --> 01:41:56.939 Thank you.