![]() ![]() At the Blockbuster Music Awards in 2001, Nicks said that when she writes songs, she tries to “make little worlds” for the listener. “Sara,” a song Nicks wrote to a daughter she never had, is so gently shaped that every instrumental and vocal materializes in the song like vapor in the atmosphere. He deliberately produced his songs so that they sounded trebly and makeshift-as if they were translated from brain to tape as quickly as possible-and produced Nicks’ and Christine McVie’s songs with a lush and carefully-sculpted dimensionality. On their next record, Tusk, Buckingham shifted the balance of Fleetwood Mac’s studio pop. They were professional and pristine, exhibiting an instrumental and emotional warmth that was, in terms of the actual recording technique and the cerebral atmosphere of the people making the records, a product of isolation. ![]() ![]() It started with “Sara.” The first two Fleetwood Mac albums to feature Lindsey Buckingham and Stevie Nicks-the self-titled album and Rumours-featured production typical of the pop-rock generated in Los Angeles in the ’70s.
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