[This transcript has been automatically generated.]
00:00:47:16 - 00:01:14:07
Bryce
Already. Welcome back. Everybody. Hi, Jeff. Hello. Bryce here again. And, we're diving back into side B. Tusk.

00:01:14:07 - 00:01:27:03
Bryce
We got five more tracks for you from. What makes you think you're the one all the way to sisters of the moon? And, the stickers to the halfway point on Tusk. How are you feeling? Just in general, Jeff?

00:01:27:05 - 00:01:48:04
Bryce
This is you're, like, second coming to to the studio, like, having heard the tracks and, I when I think I was messaging you earlier this week and I, I have had it in my head that this side is easier to go down than the last side. But I also have listen to this album, about a thousand times.

00:01:48:04 - 00:01:52:12
Bryce
So to me, it's all, it's all gravy, baby.

00:01:52:14 - 00:02:01:07
Jeff
It's so this has been a really interesting project so far because I'm, I don't I knew nothing about Fleetwood Mac coming in and I found out a bunch on side one.

00:02:01:07 - 00:02:08:08
Jeff
I think I'm bringing some of that information here, but I'm not entirely sure whether I'm just making stuff up or whether there's something actually going on.

00:02:08:13 - 00:02:27:05
Jeff
It's also really interesting to listen to an album as these like groups of five as these little vignettes. Because I felt like the first side had a kind of a specific vibe. And I think I like this side more, but I have a I don't know, there's some there's some strange stories happening on the side.

00:02:27:05 - 00:02:45:10
Bryce
But I do like that idea just to hop back just a bit like I, I kind of came into this episode thinking like, oh, we kind of need to take these sides as their own separate, pieces. I think it wasn't until I was editing that last one that I realized, like, oh, like, you know, we talked about Sarah being like this kind of,

00:02:45:10 - 00:02:46:18
Bryce
kind of longer song.

00:02:46:21 - 00:03:04:16
Bryce
If you saw it in concert, you would be, you would be fucking stoked because it's a fucking ten minute Stevie Nicks song, right? And I think that it's place as the end of side A is maybe a little more impactful, because it's the end of that side, right? You would need to stop playing and flip the disc, right?

00:03:04:16 - 00:03:15:08
Jeff
Yeah. That that does bring into the question of like how intentional each side is. Because we no longer do that. We no longer have to stop and go, you know, pick up the right and flip it over.

00:03:15:09 - 00:03:22:23
Bryce
So and I think, you know, a little bit that I got out of the get tasked book by Ken Calais and Aaron Rojas was

00:03:22:23 - 00:03:41:10
Bryce
putting the album track, putting the track list together in this very kind of hot and cold way was intentional, was an intentional way of creating contrast. You know, I mean, if you go from what makes you think you're the one into storms and then even storms back into that's all for like it's it's so.

00:03:41:12 - 00:03:45:12
Jeff
This is a real roller coaster. Yeah. You get your whipping around the corners and you kind of go going up to the top.

00:03:45:12 - 00:03:54:01
Bryce
But we love roller coaster. We love roller coasters. Okay. So, let's jump into the first one there. What makes you think you're the one you want to do a little preview of it? Sure.

00:04:37:03 - 00:05:00:10
Bryce
All righty. So that's what makes you think you're the one another? I mean, to me, this is in a very similar place of. Of the ledge where, it's very simple songwriting, but I think it it doesn't waste any time cutting to the quick. That's pretty I mean, I think it's pretty apparent. It's pretty angry song.

00:05:00:12 - 00:05:02:01
Jeff
Well, it's interesting to me.

00:05:02:01 - 00:05:03:11
Bryce
Because then the resentful.

00:05:03:11 - 00:05:27:13
Jeff
I, I listen to these songs and I, I've always been not great at picking up on all the lyrics, especially when they're not emphasized. And so I think that I listen my first listen through these were all focused on the music. First. And honestly, like, this was my I have a lot of conflicting feelings about this song because it was probably my favorite song musically on this side.

00:05:27:15 - 00:05:54:05
Jeff
And then last night I read the lyrics. I was like, oh my, somebody is not having a good time. I will say that I am very happy that Fleetwood and Mac finally get to stretch a little bit, because the bass and drums in here are so forward and they're, they're just having it seems like a great time, you know, kind of behind this, the anger at the lyrics.

00:05:54:05 - 00:05:55:06
Bryce
Yeah.

00:05:55:06 - 00:06:11:01
Bryce
I yeah, I, I agree, I think one of the really interesting lines or through lines in what makes you the one that I feel like you see in a lot of other, Lindsey songs on this album is, you know, that, that guitar that comes in that when, when.

00:06:11:01 - 00:06:11:23
Jeff
When, you know.

00:06:12:03 - 00:06:26:16
Bryce
You know that I don't know what that melody is, but I know I've heard that in, like, a fuckin Coldplay song. I don't know what the song it is. It's like in a fuckin, like, Private Practice soundtrack song, but that melody

00:06:26:16 - 00:06:29:07
Bryce
is so timeless. I mean, I, I,

00:06:29:18 - 00:06:35:00
Jeff
I'm not, I'm not versed enough in the chords to, to know the chords.

00:06:35:00 - 00:06:41:09
Bryce
But when, when, when wah wah wah wah.

00:06:41:10 - 00:07:09:03
Jeff
Well, what I found really interesting was it felt like, you know, because it feels like such a bass and drums, forward track is that when the guitar comes in, what it sounded like to me, and I don't know if this is the case, but what it sounded like was that, there was a guitar part that was played forward and then, like in a few beats that it was like reversed, like it sounded like that part that you're describing sounded to me like a reverse instrument.

00:07:09:08 - 00:07:21:00
Bryce
And it definitely does become so I don't think it's reversed, but I think it is just played on a volume pedal. And starts at zero and then comes up after it strums. Right. So you do kind of get.

00:07:21:01 - 00:07:26:12
Jeff
Like the, the opposite of what you would normally expect. Exactly. Instead of building. It's kind of yeah, yeah I gotcha.

00:07:26:14 - 00:07:32:12
Bryce
And and so yeah I, I especially love what you talk about with the rhythm section because

00:07:32:12 - 00:07:45:19
Bryce
You, you could get away. I think you could get away with saying like a lot of Fleetwood Mac songs are just kind of like for are just kind of common time for, for beat like just for quarter notes.

00:07:45:20 - 00:07:52:11
Bryce
You listen to a lot of their live tracks and a lot of their live tracks start off that way, a time, you know, builds a little enthusiasm. But,

00:07:52:11 - 00:08:05:06
Bryce
I, I almost kind of feel like an intentional pushing away from that in some of Lindsey's tracks. Where with with how the drums and the, specifically the kick in the snare.

00:08:05:08 - 00:08:20:04
Bryce
You know this is another track where there's like not a lot of hi hats, there's a little bit of crash and cymbals in there. But it's pretty pared back and still it's still lands.

00:08:20:04 - 00:08:31:19
Jeff
It's, but it's complex. Like you can do, you can do a lot with a track kit, right? If you're a good drummer. And I think that what's the can be some sometimes frustrating in this project is that I keep.

00:08:31:19 - 00:08:33:02
Bryce
Seeing.

00:08:33:04 - 00:08:38:15
Jeff
Mick Fleetwood's like is a good drummer, and then when you get a decent guy.

00:08:38:15 - 00:08:39:04
Bryce
To play this.

00:08:39:04 - 00:08:56:22
Jeff
Where he where especially and it's not necessarily the fault of anybody because sometimes the focus of the song is the lyrics, right, or the guitar part or whatever, and you just need to keep time in the background. But I think that the this guy has the chops to be able to do some really interesting stuff. It just doesn't come out in every song.

00:08:56:22 - 00:08:58:08
Jeff
Yeah.

00:08:58:10 - 00:09:17:17
Bryce
The other thing I want to say, you know, we, I talked a lot and I'm going to continue to keep referring back to get tusked. But I think, one of the, weaknesses of that book is that it is from the perspective of, of these co engineers and co-producers. Okay. So it really mostly focuses on what happens in the studio.

00:09:17:19 - 00:09:38:14
Bryce
And so some of the stories of this album aren't really particularly covered. I think the next song we'll talk about is a little bit like the, but a lot of Lindsay's songs, he would go and work at them at his home. And it was kind of this like, trying to pull it out of him to actually record it in the nice studio in studio D.

00:09:38:14 - 00:09:55:19
Bryce
And, and so I, I almost wonder a little bit because what we're going to listen to next is, from the alternate Tusk, and I believe that this is going to be, a different take. That is more in the studio.

00:09:56:01 - 00:10:20:10
Jeff
Okay, before we get to that, though, I did want to ask you a question. Because I think there was some there was some reference to the personal relationships going on in the band. And I think that I internalized a little bit of that. But there's a I swear to you, this side B has a story. It is telling like a story in five songs.

00:10:20:12 - 00:10:31:04
Jeff
You kind of it four songs in a way. And so I guess what I'm what I wanted to do was like, what is the status of the relationships inside of the band at this point?

00:10:31:06 - 00:10:56:13
Bryce
So, at this point, the, the breakup between Lindsey and Stevie is about two years past. We are 2 or 2 years away from that. Stevie has had a short fling with Mick. And that is ended. Stevie's had, starting other relationships. I believe it's done. He'd lead that she's with at the time. Okay. A.

00:10:56:15 - 00:10:59:13
Jeff
Guy is that knows that, that's a.

00:10:59:15 - 00:11:30:02
Bryce
Different person. Check out Wikipedia. I recommend Wikipedia.org for the information on that. And then Lindsey has been dating, Carol Ann Harris, who I think worked for the band in, like, an administrative role. Briefly. Okay. But now she is kind of like his arm candy, and that that is a relationship that is strained. She, is also into the drugs and she also doesn't have a band or an outlet, and, like, okay, like Lindsey does.

00:11:30:02 - 00:11:58:14
Bryce
So, that kind of is a troubled relationship. And I think a lot of this song does speak to speak directly to Stevie. I think the it's kind of mentioned the, the vibrato, the very tight vibrato in the song. Is is kind of a dig at Stevie because she, her live vocals, she'd have a really tight vibrato, a real, yeah.

00:11:58:14 - 00:11:59:13
Jeff
You know.

00:11:59:15 - 00:12:20:09
Bryce
And so you have some of that at the end that it's almost like he's imitating her or making fun of her. I think the piano part on this, which is very simple. Bump, bump bump bump. I think that's also meant to be a dig at her because her keyboard writing skills were rudimentary. Like, I mean, we just heard Sarah, which is very keyboard based.

00:12:20:09 - 00:12:26:20
Bryce
I mean, the demo for that had the keys baked in because it was so instrumental to the song. Right.

00:12:26:22 - 00:12:42:18
Jeff
But that was the one that also where, Christine, they had a the second part that was played to kind of smooth out how rough they were in the original. So, yeah, because this is a, this is not a nice this is not a very nice song.

00:12:42:18 - 00:12:46:20
Jeff
I don't know, I wonder a lot about this particular side.

00:12:46:22 - 00:13:05:10
Jeff
About what the order about if there were fights over how the order goes. Because this one and storms I think, are really speak to each other. And I think that which one comes first can in your mind either undercut or reinforce. Yeah. A narrative. But yeah.

00:13:05:11 - 00:13:23:15
Bryce
I mean, this is this side doesn't have any Christine McVie songs on it. Yeah. And so you really have a very stark contrast between Lindsey songs, which are pretty angry, or in the case of like, that's all for everyone, kind of resolute, right, in this being a new chapter. And then you have Stevie songs that are a little,

00:13:23:15 - 00:13:38:08
Bryce
She's kind of ruminating in kind of the aftermath of of this. Yeah. She's just been through this big album. They just became the biggest band in the world on the back of all of them breaking up with people, so. Or what the fuck do you do that?

00:13:38:08 - 00:13:39:11
Jeff
Yeah.

00:13:39:13 - 00:13:42:03
Bryce
All right. Well, do you want to listen to the alternate? What makes you think you're the one?

00:13:42:03 - 00:13:42:19
Jeff
Absolutely.

00:13:42:19 - 00:13:55:20
Bryce
Okay, a couple things. A listen for this on this one. I believe this is a different take. And I believe this was recorded in studio D. Okay. So I think, the audio mixing is like, it's going to be very vocal forward.

00:13:55:21 - 00:13:56:04
Jeff
Okay.

00:13:56:04 - 00:13:59:04
Bryce
That's my first fucking thing. But also,

00:13:59:04 - 00:14:19:04
Bryce
for being a different take, it sounds pretty close to the original. Okay. Like, the only like it was only in the past couple of days where I was actually firmly solid, like, no, this has to be a different take. You know, some of where the guitar comes in, especially in the first verse, you know, in the first line, what the first what makes you think go the one.

00:14:19:06 - 00:14:32:04
Bryce
And in the studio version, the guitar doesn't play the response the first time. Right. What you're going to hear is the guitar will play the response to that first line even. Okay. So like little things like that. Anyway here it is, the alternate.

00:14:32:05 - 00:14:33:04
Jeff
Let's take a listen.

00:17:59:03 - 00:18:00:09
Jeff
So interesting.

00:18:00:09 - 00:18:03:17
Bryce
A slightly different version of that. And it's,

00:18:03:17 - 00:18:18:14
Bryce
I think this is maybe the one that there's the least amount of meat on the bones as far as the alternate goes for the side. But I think it's really interesting hearing, hearing this slightly different. Take a little more roomier, sound a little more live sounding.

00:18:18:16 - 00:18:26:09
Jeff
I think that was, maybe I've just been like, listening to the song too much, but that was, like, wildly different to me. Yeah. Like, I think that.

00:18:26:09 - 00:18:27:05
Bryce
The mix is very.

00:18:27:05 - 00:18:49:16
Jeff
Different. Yeah. Well, I think that, I think that what overall, what struck me is that all of the edges have been sanded off in this one. Like by taking those drums back, there was a difference in just the, the, the overall. There were some places where chord like, like melody progression stayed a little higher to dip down lower.

00:18:49:16 - 00:19:15:17
Jeff
The bass didn't have as much of an emphasis. And there was this one bass part. Even the way that he says, every little thing I noticed was like different. Like this song, the original cut is catchy and bitter and sharp and kind of ugly in an interesting way. And I think that this alternate take like sweeter. It takes a lot of that out.

00:19:15:17 - 00:19:21:16
Jeff
It's like looking at a corporate version of something, I don't know.

00:19:21:18 - 00:19:35:18
Bryce
I can hear that. Yeah. This is, one of the at least two times today where you're going to hear, I think, a significant difference in sound quality. We'll talk about it more later, but,

00:19:35:18 - 00:19:39:05
Bryce
I think this is a strong one to start the out to start the side with,

00:19:39:05 - 00:19:55:06
Bryce
Did you did you ever get the sense that you were listening to a version of the studio recording, or did it did actually does it actually play the idea of like, this is them doing it a different time? This is another performance of the song.

00:19:55:07 - 00:19:56:04
Jeff
For the alternate take.

00:19:56:04 - 00:19:58:03
Bryce
Yeah.

00:19:58:05 - 00:19:58:21
Jeff
I don't know.

00:19:58:23 - 00:20:02:12
Bryce
Probably not as much again, as you'll see on some of these other I also I got.

00:20:02:12 - 00:20:09:15
Jeff
Some I got some really heavy like Beatles vibes in this song in the beginning. And I think that,

00:20:09:15 - 00:20:23:14
Jeff
It's always I was curious about the way that artists put together their music, and in this case, it's like, you know, the difference in how loud the drums are mixed in this, like, can change the emotion of the song entirely at this.

00:20:23:14 - 00:20:32:03
Jeff
Just like, yeah, hitting you in the head with these snare hits as opposed to just having them kind of, you know, just in the background, keeping time, that kind of thing.

00:20:32:05 - 00:20:53:03
Bryce
Even the bass, the bass part is different, but it's it's way more subdued. Yeah. And I think it the, the he might be doing a little bit more fancy playing of the bass on this version compared to a more simple version on the studio. Yeah. Side. But yeah, that's I don't know. I think that's all I got for.

00:20:53:03 - 00:21:09:08
Bryce
What makes you think you're the one, you know, jump into storms? Yeah. Let's go for it. Okay. Let's let's do a little bit of storms. This is, the first Stevie song.

00:22:37:08 - 00:22:38:07
Bryce
Storms.

00:22:38:07 - 00:22:39:11
Jeff
Storms.

00:22:39:13 - 00:22:52:22
Bryce
Oh, this is such a pretty song. And a sad song. And it's great to sing to God I love, I love singing to. The song is an amazing song. The storms.

00:22:53:00 - 00:22:55:03
Jeff
It's my least favorite song on the side.

00:22:55:05 - 00:23:01:16
Bryce
Okay. That. Wow. I'm I'm I'm still actually, I'm pretty surprised about that.

00:23:01:17 - 00:23:02:17
Jeff
Yeah.

00:23:02:19 - 00:23:06:15
Bryce
But it is a slower. Is it because it's slower? Well, it's a.

00:23:06:15 - 00:23:27:23
Jeff
Lot of things. It's slower. It's not musically very interesting in my opinion. It's very just kind of it's I like a lot of Stevie Nicks songs. There's, it's more of a showcase of her kind of poetry and vocal stuff, in my opinion. But then I don't find the actual I think the content is a little bit straightforward.

00:23:28:01 - 00:23:38:07
Jeff
And kind of vanilla, like, not to skip ahead, but between the two Stevie Nicks songs on the side, I love sisters of the Moon Tour, because it's a it's.

00:23:38:11 - 00:23:39:23
Bryce
There's no that's apples and oranges.

00:23:39:23 - 00:23:51:23
Jeff
But. Yeah, but yeah, but I think that as, and and I asked myself though a lot though, whether my opinion of storm was colored by.

00:23:52:01 - 00:23:53:03
Bryce
What makes you think you're the one because.

00:23:53:03 - 00:24:02:15
Jeff
You think you're the one? Because what makes you think you're the one is a very. It's this very like what makes you think you're so special? And then you've got this, in my opinion.

00:24:02:16 - 00:24:06:14
Bryce
Hand over to the beaten dog in the corner outside the storm.

00:24:06:15 - 00:24:26:15
Jeff
Well, somewhat standard, I, I don't know a lot of the lyrics in this, in this song to me are just very kind of simple. Like they, they, they don't have, they aren't sung in a very complicated way. They aren't very complicated lyrics. It's just a very kind of sad song at a medium RPM. And that could very well be why, why it didn't land as much with me.

00:24:26:15 - 00:24:39:06
Bryce
But I also think that this song has some things working against it. Yeah. A big thing which I feel like we see a lot all around. This album is the start of the song.

00:24:39:06 - 00:24:40:21
Jeff
This one takes a while to get started.

00:24:40:21 - 00:25:01:23
Bryce
It does take a minute. It does take us out. Not as much. Not as long as sisters of the moon. Yes, but, it's it almost gets the sense of, like, someone's in the series as, hey, we're recording, go start. And the guitar starts, play it. And then eventually the the shaker comes in and, and I and I, I we man, that is all over this album.

00:25:02:05 - 00:25:16:21
Bryce
And I maybe this is me being a little maybe I'm wish casting with this, but, I feel like the other thing about Fleetwood Mac songs you could say is that a lot of them end in a fade out instead of just ending like a regular song. Yeah.

00:25:16:23 - 00:25:30:22
Jeff
And, that to go back not to just. Yeah, but back up, you know, that that little the little flourishes at the end of I think you're the one stop the song as opposed to just kind of wandering out into the street where you can't see it anymore.

00:25:31:04 - 00:25:51:11
Bryce
And it is it. And it's funny because I've done live versions of these of, of a lot of their songs. So it's not like you can't imagine what the end of that song might sound. Sure. But, I don't know if that's intentional. The kind of inversion of making it seem like everyone's fading in having having some, some sort of analog to fading in,

00:25:51:11 - 00:26:00:03
Jeff
tell me more. Because I have less to say about storms. What? Tell me what you like about it, or not. Like. Yeah. Justify your.

00:26:00:05 - 00:26:01:20
Bryce
Tell me what you like about this stuff.

00:26:01:21 - 00:26:03:08
Jeff
Well, change my mind.

00:26:03:08 - 00:26:20:18
Bryce
Well, here's one thing. I'm going to play a little bit. Audio. Listen to the kick drum on the second.

00:26:20:20 - 00:26:23:11
Bryce
Does anything about that kick drum strike you as odd?

00:26:23:13 - 00:26:25:07
Jeff
It's very faint.

00:26:25:09 - 00:26:25:22
Bryce
Pretty faint.

00:26:26:03 - 00:26:29:05
Jeff
Is this another found, found.

00:26:29:05 - 00:26:48:04
Bryce
Sound? Oh, you're about halfway right there. Yeah. So I the story on this is that that is the metronome. That's the digital metronome that they executed and did all the stuff so that it sounds just like a very faint little kick. Okay. But when you listen to it.

00:26:48:04 - 00:27:01:23
Bryce
if you go back and listen to it again, I think what is interesting about that fact is to me now when I hear that song, I am very aware that that kick drum is perfect.

00:27:02:01 - 00:27:21:22
Bryce
There's no they talk about, the pulse of the song in the Get Tusk book. They in some of the tracks that they're working on, what they do is they just solo the kick, the kick or the kick in the snare just to hear how it how it actually fluctuates from the perfect, metronome because they play on the click track.

00:27:22:00 - 00:27:47:19
Bryce
And then in this song, it's perfect. Yeah. It's always perfectly on beat. And that almost kind of plays off of Stevie's singing, which is a little looser, like the, the A Deadly Call inside line is it always works really well for me because she, she sings that, she sings inside like a half beat early. It's just a little early.

00:27:47:19 - 00:27:55:20
Bryce
Yeah, but it makes it almost like a phasing sort of effect with the, with the background vocals after it. And

00:27:55:20 - 00:27:58:03
Bryce
I mean, yes, the songwriting is pretty simple, but the.

00:27:58:03 - 00:28:14:04
Jeff
Contrast between the kind of emotionless, robotic, like Super in Time and then somebody, you know, that is, is kind of pouring their heart out on top of this in a structured but not slavish to this exact beat kind of.

00:28:14:04 - 00:28:14:12
Bryce
Way.

00:28:14:12 - 00:28:16:00
Jeff
Yeah, something like that.

00:28:16:02 - 00:28:21:06
Bryce
And when we listen to the alternate, I would say see if you can hear that metronome.

00:28:21:08 - 00:28:21:15
Jeff
Okay.

00:28:21:16 - 00:28:41:05
Bryce
Now when we, when we listen to the alternate, speaking of the alternate here, a, a few factoids, possibly, I, I believe that this is a demo. I think this is a demo that we're getting. We're kind of getting into, grain of salt territory on this story. So just just bear with me a little bit.

00:28:41:07 - 00:28:49:16
Bryce
I believe the story was that this was recorded at Lindsay's house, with Lindsay and Stevie doing this version.

00:28:49:18 - 00:28:51:16
Jeff
This version. But this album, we.

00:28:51:16 - 00:28:54:19
Bryce
Will list the alternate, the alternate, the alternate version that we're going to listen to.

00:28:54:19 - 00:29:11:11
Bryce
so there's a lot of things not in it. Like, obviously there's no backup vocals. The end kind of the, the, her, her last little bits, pretty much everything from I loved you from the start. That whole thing is not in what we're going to listen to.

00:29:11:11 - 00:29:24:10
Bryce
there are like some actual recording errors in it, very, very small things. But like, when we listen to it in, it's in the first minute or so, you'll hear it in the left ear.

00:29:24:10 - 00:29:31:12
Bryce
it sounds like a, like a hi hat, like someone accidentally stepped on a hi hat.

00:29:31:14 - 00:29:57:19
Bryce
And then near the end where she's she does a line. I've always been a storm. Listen in on the on the low end. Because to me, it sounds like someone grabbing the microphone. You we've we've we've both worked with, like, microphones. You know, where someone grabs the microphone by the pole or something, and you just get, like a little bit of a a a a little bit of a rumble sound.

00:29:57:19 - 00:30:21:07
Bryce
Right? There's a little bit of that right there. Interesting. But it happens at this moment where, you know, when she says, I have always the first time, she says, I've always been a storm. It almost like falls out. I have always and I don't know, maybe again, wish casting in my head. She like is grabbing the mic. It it's that I have always.

00:30:21:09 - 00:30:30:15
Jeff
It's interesting to think of the idea of of of introducing recording errors as a way of emphasizing specific emotions, but like only for people would.

00:30:30:17 - 00:30:38:09
Bryce
We'll come back to that one too. But yeah, this is a, this is a really good, a really pretty song.

00:30:38:09 - 00:30:43:02
Bryce
coming out of what makes you think you're the one? This one doesn't have as much of a rhythm section in it.

00:30:43:02 - 00:31:08:04
Jeff
Which which which is strange to me because I feel like. That's fine. Again, to go back to Sarah, if the the vocal side is really I, I feel like this one is very workmanlike. When I've heard Stevie Nicks sing in a more impassioned way, I've I've heard what I consider to be slightly better lyrical content. So the I mean, this is music is so far back.

00:31:08:06 - 00:31:13:23
Jeff
Yeah. Kind of to what purpose is, is by my question. But then again, I don't know. I don't.

00:31:13:23 - 00:31:31:05
Bryce
Know. Yeah. Because this is only, I want to say four years or so, after landslide, you know, which was its own return thing at the time. Well, let's jump into the alternate version of storms, and then maybe we'll talk a little.

00:31:31:05 - 00:31:33:14
Unknown
Bit more about it.

00:37:03:18 - 00:37:22:23
Bryce
There we go. Interesting. The alternate version. A acoustic version of, storms. When, when they put out this alternate version of Tusk. I want to say that some of these cuts had been made previous made available previously, and I think storms was one of that on the internet.

00:37:23:01 - 00:37:24:08
Jeff
1980,

00:37:24:10 - 00:37:30:13
Bryce
Or when whenever they rereleased Tusk for like, you know, the 20 year or deluxe version or whatever.

00:37:30:13 - 00:37:32:20
Jeff
Oh, sure.

00:37:32:22 - 00:37:53:01
Bryce
It's it's it's a very I hear that and it and it makes me think that this was kind of supposed to be the landslide of that album, you know, a very similar treatment with a very guitar forward, pairing. Does that version does the alternate storms do anything for you?

00:37:53:02 - 00:38:20:05
Jeff
Absolutely. Yeah. I thought it was way better. Everything felt, closer. Like, the studio version felt like I was watching an entire band play a song, and this felt like I was sitting in the same room as two people, kind of looking at each other. It made the song sadder because of the guitar, right? Being so forward that it felt like it was the guitar and the vocals, like having a conversation with each other.

00:38:20:05 - 00:38:43:17
Jeff
Yeah. I probably would have tried to record it. There were some like I heard the, the symbol that I heard the, the mic thing, but yeah, there was a few times where Mr. Buckingham was not keeping up his side of that rhythm section, where he kind of stumbled a few times and, I wouldn't mind like once or twice, but it became a little bit,

00:38:43:19 - 00:38:44:09
Bryce
A little sloppy.

00:38:44:14 - 00:38:57:21
Jeff
Well, it just became a little distracting, right? Like it was very pretty. It had a a real sad beauty to it. Then, you know, you hear somebody that just can't keep the the finger, the, you know, the the chords going correctly again.

00:38:57:22 - 00:38:58:02
Bryce
Yeah.

00:38:58:02 - 00:39:07:18
Jeff
I, I may be out of it a lot, but also I would probably have shaved about 30% off of that ending part because it just kind of felt like.

00:39:07:18 - 00:39:19:19
Bryce
Without those ending versus that ending, those ending lines there. Yeah. With or without her doing those vamps or whatever those lines ended up being, it does feel a little, contemplative.

00:39:19:21 - 00:39:36:03
Jeff
Like, I don't know, maybe I'll maybe I go home and make a version of this where after she sings her last line, you just put in a sound effect of somebody, you know, somebody standing up and like, walking out, closing the door, that it's just like, okay, I said my piece and now you just. You just play it here as long as you want.

00:39:36:03 - 00:39:36:11
Jeff
We're going to.

00:39:36:11 - 00:39:55:01
Bryce
McDonnell. Side story, side story. There is a J-pop singer in the 90s who had a song like that where it just kind of kept going back into this loop of this, like chorus in this line, and then at some point you just hit it, like in the middle of a line. It's just like a door slam and you hear the engineer goes, okay, that's it.

00:39:55:03 - 00:39:56:12
Bryce
It's like,

00:39:56:14 - 00:40:13:23
Jeff
But no, I like that version way more. I mean, I think that that song, hearing that version makes me realize that the album version is overproduced, in a way where with a lot of the Stevie Nicks stuff, it's like you want it to be as close up and personal as possible.

00:40:14:01 - 00:40:30:13
Bryce
And I can totally see where you're in the weeds, and you completely missed that, that sign, like, because I agree. Like, I think doing an acoustic version of storm like this would have been, probably would have been a little better than the studio version.

00:40:30:13 - 00:40:32:17
Jeff
I think it's, the unplugged version. Yeah.

00:40:32:20 - 00:41:08:07
Bryce
Of storms also, was not I think this was not performed when they started touring Tusk and, storms and, beautiful child from side D. I don't think they ever got played by Fleetwood Mac until the 20 tens. Okay. Until the last decade or so. So, some kind of interesting, interesting, stuff there because, like, I, I think there's a world where, like, storms would be a great concert track to kind of slow things down.

00:41:08:07 - 00:41:09:01
Bryce
But.

00:41:09:03 - 00:41:30:18
Jeff
You know, the other thing is, I think I've heard some songs before that have like storm imagery in them where with something as stripped down as that, you could even have experimented with putting like fucking rain or some rain stuff or just, you know, not like not super or, but like some using that sparse soundtrack as to, to throw a little bit more experimental stuff in the background than a metronome.

00:41:30:20 - 00:41:42:17
Bryce
And but you could hear it, right, you could hear it a little of it. It it bled in her headphones. You could hear the click. Yeah. And I wonder if it was too early for that. Maybe, you know,

00:41:42:18 - 00:41:50:06
Jeff
But then I wonder that it's such this. You told me they had this. This is such the state of the art. Like, everything was kind of brand new. And.

00:41:50:08 - 00:41:54:09
Bryce
You know, it doesn't rain in California. They could they couldn't bring the rain to the studio.

00:41:54:10 - 00:42:08:23
Jeff
I mean, it's 79. Like, when was like, Sergeant Pepper's or her or Satanic Majesties royal request, like there. I feel like there were kind of big, like, super produced pop albums with a lot of, like, crazy stuff going on.

00:42:08:23 - 00:42:13:07
Bryce
But, yeah, I mean, I've got 67 here as Sergeant Pepper.

00:42:13:10 - 00:42:20:15
Jeff
I think there's probably some over track. I mean, I mean, it also just kind of depends on whether the band wants to go that produced like that production.

00:42:20:19 - 00:42:39:05
Bryce
Because I also think that there's a world where the rain would be cheesy. Lindsey Buckingham has an, I think it's out of the cradle. And he's got kind of a sad song. And it does end with the rain has it kind of swells up at the end.

00:42:39:05 - 00:42:40:06
Bryce
It's good.

00:42:40:06 - 00:42:45:21
Bryce
It's I mean, I will begrudgingly accept it, but I do think there's a world like that.

00:42:45:21 - 00:42:52:02
Bryce
Maybe that's too on the nose. Yeah, but, I don't know. At the same time, I could see you do some.

00:42:52:04 - 00:43:01:06
Jeff
Maybe just cross fades into the sound of a storm at the end, instead of just noodling on the guitar for 45 seconds. Yeah, like, you know, maybe the guitar fades out and you fade into the,

00:43:01:07 - 00:43:21:20
Bryce
I wonder why. I wonder why his outro is so long. Either because he knew that there would be vamps at the end. Yeah. Which sometimes, you know, would happen or maybe he was just playing for like, posterity's sake, like, because he does kind of change it up a few times, a little bit. So maybe it's like, okay, I also want to get this on tape or something.

00:43:21:20 - 00:43:22:01
Bryce
I don't know.

00:43:22:01 - 00:43:35:23
Jeff
If this is a I don't know if this is a place to go into this, but I also I keep I keep waiting and it might be my, thoughts on this may be tinged by the story that you told me at the beginning about how Lindsey Buckingham came in and, you know, slapped his junk on the table.

00:43:35:23 - 00:43:55:15
Jeff
It was like, this is, you know, we're doing it my way or the highway, but I keep waiting to see, like, true guitar brilliance coming from Buckingham. And while he seems good, yeah, he definitely does not measure up to what I think are what I think of when I think of all time, like, you know, standout guitar players.

00:43:55:15 - 00:44:16:09
Bryce
Yeah, especially for someone who like a big part of his character and his personality is that he's a fucking amazing guitar player. Right. And I think a lot of this album, I feel like they intentionally pull back on the guitar so much, either to avoid leaning on it as a crutch, or maybe to try to do it something different.

00:44:16:09 - 00:44:36:20
Bryce
Because, you know, sisters of the moon does have a pretty fucking killing guitar solo. Like there. There is a lot of good guitar on here. When when we talk about Brown Eyes later. Brown Eyes is a song that is fucking stripped of its electric guitar. Great. We're going to talk about how they fucking did that twice over on Brown Eyes, okay?

00:44:36:21 - 00:44:50:16
Bryce
They rip out so much guitar on it. And I definitely can see that here too. That, that even does play a little bit into the next track. That's all for everyone. You want to hear a little preview of, that song.

00:44:50:16 - 00:44:51:20
Jeff
But go for it.

00:45:43:14 - 00:46:02:02
Bryce
That's all for everyone. Almost a bummer of a song of like. It's like if. Last call. If, like, the The Last Call song was angry at you. Like, that's all for everyone.

00:46:02:04 - 00:46:26:13
Jeff
Yeah. We've we've reached the point on this side that I, I like to think of as, the Lord of the rings part, because any of the next three songs could have been the end of this side, and they all feel like they have a finality to them. That where this could have, you know, you could have swept this into the end and it would have been, in fact, it would have been the end of an album song.

00:46:26:13 - 00:46:57:04
Jeff
Like it. Yeah. It sounds like again, I like a lot of my comparisons at this time are like Beatles songs, right? Of, of of a kind of, you know, this kind of droning, easy going kind of ending song. I don't know, I have a lot of thoughts about this, because the other thought was that when I first listened to it, I thought that this was definitely going to be one of those things where you get four bars of this, and then it just turns into another song, like it's kind of warm up and then it just launches into something else, but it doesn't.

00:46:57:04 - 00:46:59:14
Bryce
That's interesting. I.

00:46:59:16 - 00:47:05:12
Jeff
I also expected a more major key change at some point of.

00:47:05:14 - 00:47:09:15
Bryce
It, going from just stay in stand by a little bit. Yeah.

00:47:09:15 - 00:47:16:15
Jeff
And it kind of just repeats. I kept I kept expecting it to do something that it kind of just.

00:47:16:17 - 00:47:32:00
Bryce
Even like the kind of round that it tries to mimic a little bit with the backup vocals must be just exactly what I need that Sol need someone to know that, like, it's it is a really interesting vocal interplay.

00:47:32:00 - 00:47:40:11
Bryce
and I think with the, the there's something about the, the actual arrangement of, of it, it sounds like, a music box

00:47:40:11 - 00:48:21:15
Bryce
We talked about found sound and found instruments. Right. One of the ones, that gets talked about a lot, in Get tossed on this song is a I believe it's a Tarana, a Tharanga. Okay. It is an Andean, guitar. It's about the size of a ukulele, but it's got ten strings. Wow. And so, Aaron, from the book gave Lindsay that the that instrument to play on this track because they apparently had tried a lot of his tricks of what do we try a toy piano or if we tried, you know, doing the thing where we speed up a guitar and then slow it down or slow it down and speed it up

00:48:21:15 - 00:48:31:02
Bryce
or something. Yeah. And so apparently that is kind of the, the, the, the linchpin, the thing that holds it all together.

00:48:31:04 - 00:48:50:09
Jeff
Interesting. I have to go back real quick. Just the, again, I have trouble picking out specific lyrics, and this was something that I, I had a problem with on Think About Me, where they kind of ran too many words together, and I couldn't. I had to kind of, like, look at it. I didn't hear it.

00:48:50:10 - 00:48:57:03
Jeff
Yeah. The word exactly in this, I swear I was hearing the word sexy, like the first.

00:48:57:03 - 00:48:59:06
Bryce
Just as sexy as I need.

00:48:59:06 - 00:49:10:09
Jeff
Yeah. Like, the way it was all kind of blurred together. And it wasn't until I was reading the lyrics last night that I was like, oh, there's nothing sexy in this song.

00:49:10:11 - 00:49:35:15
Bryce
Yeah. It's, it's another kind of cry for help song from Lindsay. Oh, well, I guess we haven't even gotten to. That's enough for me. But, you know, we, I don't know. I think you can kind of joke about how flat his lyrics are. They're pretty. I don't think there's a lot of, Subtext in, in, in some of his songwriting.

00:49:35:16 - 00:49:58:18
Jeff
Was funny because I was curious if this was somebody else besides our major players, because when you look at the side, you've got the like, you're not as special as you think you are. And then I'm like, oh, I'm very sad right now. And then, okay, everybody shut up. We're all going home. Kind of like, that's it. I've had enough.

00:49:58:20 - 00:50:15:12
Jeff
You know, so when I say that side B has this like this little narrative in my head, the this is the kind of like, I don't know, it wouldn't have surprised me if this had come from somebody else in the band of just being like, would you to fuckin stop? This is all. I'm done listening to.

00:50:15:12 - 00:50:39:04
Bryce
This, can I tell you? So there's, a story in the Get Tusked book that kind of gets dropped near the end. But at some point while they're tracking the album, the recording, it, they have this idea because they know, like, okay, we're open to this being a double album. What if we. So the idea is, what if we split it up into two albums?

00:50:39:06 - 00:51:01:04
Bryce
And so it would be one disc that has Stevie and Christine songs, and then later we can put out the second album and it's Lindsey's music, but when we sell the first album, we sell it in a two disc sleeve so that when you buy the second album, just put it in there. Okay, then that's kind of a neat idea.

00:51:01:05 - 00:51:19:18
Bryce
Yeah, there's a million reasons you wouldn't fucking do it, right. You can't. You couldn't sell fuckin a vinyl sleeve without a second sleeve, or then you just have a second sleeve and that's a waste. Or, like, why would anyone buy a second disc of songs that sound fucking nothing like the first death. Sure. Any number of reasons why you wouldn't do that.

00:51:19:18 - 00:51:36:21
Bryce
But yeah, I think that they spent a good amount of time. Maybe Lindsey did, thinking, okay, my stuff is going to be cordoned off a little bit, I don't know. Have you ever had I've definitely had creative projects like that where I thought, okay, I'm banking on this thing that we said we're going to do. We said, we're going to do this at the end of the thing.

00:51:36:23 - 00:51:51:04
Bryce
So I'm not going to I'm not going to do the thing. We're going to do it at the end. And then you get to the end and they're like, we're not even going to do that thing. Like, I. I feel that very personally, very, very deeply in my soul. Do I feel that?

00:51:51:05 - 00:52:12:21
Jeff
Yeah. I don't know. This this one was this one was probably this one kind of goes had, shares a lot of the similar stuff that I had problems with on the first side of just being a very droning, you know, as a, as a backdrop for something else. It would have been good. But like, as it was, it just it didn't go anywhere.

00:52:12:21 - 00:52:25:13
Jeff
It was, it reminded me of a really, a really interesting looking wallpaper. But then you see it like, like being replicated over and over again and it becomes kind of. And then you see the ceiling.

00:52:25:15 - 00:52:26:01
Bryce
Yeah.

00:52:26:02 - 00:52:26:20
Jeff
Yeah. Exactly.

00:52:26:20 - 00:52:40:09
Bryce
Yeah, exactly. I, you know, with that in mind, let's jump into the alternate version of that song for everyone with with you having said that. Okay, let's let's keep that in mind.

00:56:08:12 - 00:56:09:13
Bryce
So.

00:56:09:15 - 00:56:14:09
Jeff
So this one was. They recorded this on a yacht. Is that what happened to River Island?

00:56:14:09 - 00:56:21:15
Bryce
Drinks this deck? Yeah. Yeah, yeah. Lyrically, a completely different song.

00:56:21:15 - 00:56:23:07
Jeff
Absolutely.

00:56:23:09 - 00:56:58:09
Bryce
We talked a little bit about this in inside A, but, part of Lindsay songwriting process was kind of music and melody first and then lyrics kind of later. They describe the process a little bit and get tasked as the idea of like him figuring out what he did and didn't want to stay. So, you know, presumably he was coming up with all sorts of different, different lines and different verses to, to potentially use to full effect a completely different song here.

00:56:58:11 - 00:57:04:00
Jeff
Now, was that was that Stevie or Christine? I'm not. I'm not.

00:57:04:02 - 00:57:04:10
Bryce
That.

00:57:04:15 - 00:57:05:20
Jeff
Singing.

00:57:05:22 - 00:57:07:13
Bryce
This is Lindsey.

00:57:07:15 - 00:57:08:09
Jeff
Wait, that was Lindsey.

00:57:08:09 - 00:57:09:13
Bryce
Lindsey Buckingham singing this.

00:57:09:13 - 00:57:12:19
Jeff
Oh, the voice sounded so much higher to me.

00:57:12:21 - 00:57:15:12
Bryce
He does it. He gets a falsetto. Okay, you get that falsetto.

00:57:15:12 - 00:57:47:02
Jeff
Oh, okay. Well, so when I was listening to it about halfway through, it occurred to me that what I really want is to take those two and put them together. I want that's all for everyone to be the chorus between some of these verses, because these verses don't have like, an anchor, and I could even hear it in my head about the way that the beginning of that's all like it steps down and this is very high, and it would have made a great way when you finish one of the verses to then step down to that's all for everyone.

00:57:47:02 - 00:57:50:22
Jeff
Yeah. And then kind of pop back up into this.

00:57:51:00 - 00:57:52:13
Bryce
Oh that's interesting I like that.

00:57:52:13 - 00:58:03:01
Jeff
Yeah. And then I really like, is it a steel drum or is it a piano or is it I don't, I don't in whatever's going on back there. Yeah. That sounds like a steel drum. I like that a lot.

00:58:03:02 - 00:58:11:04
Bryce
Yeah. I don't know if that's a steel drum or I want to see it. There's like a, a type of bell instrument, but you play with your thumbs, but you, you pluck it.

00:58:11:06 - 00:58:11:22
Jeff
Okay?

00:58:12:00 - 00:58:14:12
Bryce
And I think there might be something similar to that.

00:58:14:14 - 00:58:16:06
Jeff
Okay.

00:58:16:08 - 00:58:37:07
Bryce
And then you kind of get that droning sound in the background. I think if I remember right, that that is a, you know, we've got you can get a keyboard that has samples of different sounds. Yeah. The a very early, I think used reels on some, on some level. They had a similar instrument set to like a cello setting.

00:58:37:12 - 00:59:00:21
Bryce
So I think that some of like the droning sound in the background. Okay. And then, yeah, you know, we hear there's a little bit of a longer lead in to the first beat, and you hear what sounds like, like a music box winding up. Yeah. I kind of don't know why they have the, the longer intro on this.

00:59:00:21 - 00:59:13:07
Bryce
Unless, unless maybe this is a case of this was an earlier take. And. The content is just so.

00:59:13:07 - 00:59:18:08
Jeff
Different that the lyrical content is just so different. Yeah. They're one I mean it's.

00:59:18:10 - 00:59:39:12
Bryce
It's, it's I'm like having this weird dysmorphia about it because like when you hear them back to back you think, okay, one day they go in and they do one version than the next. Than an hour later they come in and do this next version, right? It's like, no, there's probably weeks or months between the two takes, or at least the two vocal takes.

00:59:39:14 - 01:00:05:05
Bryce
I mean, there is just something about the, the arrangement. All the all of all of the orchestra of different instruments coming together is a very singular sound on this album. Like, it's kind of poppy, it's kind of percussive, but it's not a pop rock song, and it doesn't really have like a driving beat. It's very, you know, melodic.

01:00:05:05 - 01:00:30:10
Bryce
And it has all of these part, these different parts and rounds and voices. I mean, I think it's probably, it's probably Lindsay's prettiest song on this album. If I had to think, if I had to look at the rest of this, like so, I mean, Save Me a Place is also very sweet. Where that's all for everyone.

01:00:30:10 - 01:00:54:10
Bryce
It's kind of, sad as this is a sadder song. Yeah. But there's something very like, pleasant about it. I don't know, I, I don't know what it is. Something about, especially on the studio version, just where everything hits on that first beat, the the mix of the kick and the guitar and the singing. For some reason, it just it's it makes you think of like a theme song to a show.

01:00:54:12 - 01:00:54:23
Bryce
You know.

01:00:54:23 - 01:00:55:15
Jeff
Like, I can see that.

01:00:55:16 - 01:00:59:20
Bryce
That's all. And then that's all. Yeah.

01:00:59:20 - 01:01:10:08
Jeff
I mean, the only the biggest issue that I had with the, with the main studio track is once again the standard Jeff of just, it just goes on like it doesn't, you know, I, I would have loved to have here.

01:01:10:08 - 01:01:11:08
Bryce
It does no change.

01:01:11:08 - 01:01:31:07
Jeff
Any change like a, a big Phil from some instruments bring in a different singer, you know, just hand the baton off to to Christina. Stevie, change the key, change the tempo. It's such a simple song that I feel like you could have gone in a million different directions. And it's like, no, straight forward.

01:01:31:07 - 01:01:54:03
Bryce
And I really wonder why. Why not? In kind of an a pretty experimental session. Yeah. And maybe it's because, Okay, now I'm not. I'm just like, if I can wish casting again, but, like, I could see a world where, like, all right, everyone's gone into work. On Lindsay's song that day, and. And someone has a wild hair, like, what if you did have a change?

01:01:54:03 - 01:02:18:20
Bryce
Or what if you did have X, Y, or Z? But that. But but maybe it is, you know, and maybe everybody's so a little touchy about like, whose album it is, who's doing what. And so we'll go along with that. And, and because I do get that sense of like, nobody really told, Lindsay. No on any of his songs.

01:02:18:20 - 01:02:49:12
Bryce
Yeah. And from this time period, Lindsay doesn't really have any unused songs. Christina has maybe 1 or 2, and Stevie has a couple of songs that don't come that go up into her solo career because she couldn't advocate or push them forward enough. So, I think it's interesting because, I would also say, like, if you had to cut Lindsay songs, maybe this is one that you cut, because I've been thinking about that.

01:02:49:12 - 01:02:57:13
Bryce
Like, I know she's got a lot of songs on this album and a lot of a lot, but a lot of them are shorter. Yeah, but if you had to cuts on it or something of his will.

01:02:57:13 - 01:03:14:12
Jeff
Either that or I, I might have again, I as I said, when we first started with this, I think this would be the perfect end of the album, sort of kind of just, you know, we're cooling down from all the feelings that we've had in this just kind of warm vanilla bean bags or like.

01:03:14:14 - 01:03:41:09
Bryce
In, in if in a, in a storytelling sense maybe. Okay, I'm, I'm filling in a lot of blanks here. But, you know, maybe that's not the end of the story, right? I mean, if you talk about rumors, that's them all, you know, having relationship troubles and breaking up, maybe that's maybe that's what this song is meant to be.

01:03:41:09 - 01:03:52:01
Bryce
Is, I don't I don't know, I don't entirely know. I mean, I think maybe it's not any more complicated than. I think we're all done here, you know?

01:03:52:03 - 01:03:56:08
Jeff
Yeah, yeah. Very much. Could be that could be that. Yeah. But then it just keeps going, and.

01:03:56:08 - 01:03:57:06
Bryce
Then I can. I can go on.

01:03:57:12 - 01:04:01:20
Jeff
For two more songs on this side and then a whole other record to put on later.

01:04:01:22 - 01:04:02:11
Bryce
Yeah.

01:04:02:12 - 01:04:06:03

01:04:06:03 - 01:04:58:23

01:04:58:23 - 01:05:06:12

01:05:06:14 - 01:05:19:17
Bryce
All right. Track four. Not that funny. Another Lindsay song. Another upbeat sort of song. There's more than this. There's a lot to talk about on this one.

01:05:19:18 - 01:05:20:01
Jeff
Yeah.

01:05:20:01 - 01:05:22:20
Bryce
So, let's just listen to a preview on it, Absolutely.

01:06:14:05 - 01:06:15:09
Bryce
It's not that funny.

01:06:15:09 - 01:06:18:14
Jeff
It's not that funny, is it? But it's a little funny.

01:06:18:14 - 01:06:20:19
Bryce
It's a little funny. Little funny.

01:06:20:21 - 01:06:22:01
Jeff
Funny.

01:06:22:03 - 01:06:36:20
Bryce
This is a this is. Oh. Strange one. Yeah. This one's got the the plinking guitars where they, you know, recorded it long and they stretch. They squeeze it. So it'd be at a higher pitch.

01:06:36:21 - 01:06:40:05
Jeff
Okay. But let's look at that fuzz guitar in there as well.

01:06:40:05 - 01:07:13:15
Bryce
Let's have some fuzz. I think, the, the vocals. So, this is another classic story from this album, that Lindsey so loved the sound of the reverb in his bathroom at home, that they installed a full bathroom in studio D that they lovingly called studio B, for him to record this album, the song, and then, he also supposedly recorded the vocals for this in a push up position.

01:07:13:15 - 01:07:37:08
Bryce
They put the mic on the ground, push up position. Okay. And and honestly, I think it fucking works. Yep. Because he sounds strained. He sounds angry. And it's kind of hard to to imitate that, to to imitate that. And it's it's hard to sing angry. You can't sing angry like like what do you do with that? You want to yell.

01:07:37:11 - 01:07:38:20
Jeff
Yeah.

01:07:38:22 - 01:08:05:13
Bryce
And so I think that leads into, the level of distortion, like, I will spoil you for this. The alternate version of not That funny. It's it's going to be like, you drink a clear glass of water, you're going to you're going to wake up in your pores will be open. It sounds so clear. Okay. What do you what do you how do you feel about not that funny?

01:08:05:15 - 01:08:32:01
Jeff
This was my, I don't know why I always feel the need to rank up, but this is my. This is my third favorite. On this side. I liked it quite a bit. I thought it was a, This is, like, more of a what I want out of this. Yeah. It's experimental. It's strange. It's got a, a kind of playful but dark, bouncy vibe to it.

01:08:32:01 - 01:08:54:21
Jeff
Yeah. The lyrical content is also very interesting, where it's kind of, again, it's kind of bitter. But, again, and to my, my little vignette story about like, well, that's all for everyone is kind of like a fidelity. And this is almost like somebody reconsidering.

01:08:54:23 - 01:08:55:05
Bryce
Yeah.

01:08:55:07 - 01:09:04:02
Jeff
Like that's all for everyone being the kind of like, oh, I'm done with you. That's it. We're we're done. And then kind of later this to me was like, it's.

01:09:04:02 - 01:09:04:19
Bryce
Not that funny.

01:09:04:20 - 01:09:09:23
Jeff
Regrets, you know, kind of thinking about how, you know, maybe I shouldn't have done that.

01:09:10:01 - 01:09:10:08
Bryce
Yeah.

01:09:10:14 - 01:09:18:06
Jeff
But yeah, I like it. I again, not to keep harping on drums, but I like the fact that you can hear the drums and the drums are doing something and they're. Yeah, you know, they're very much they're there's a.

01:09:18:06 - 01:09:24:15
Bryce
Lot of kind of fills and a lot it's a lot of room to for the drums to play around, especially at the end.

01:09:24:18 - 01:09:25:18
Jeff
Yeah.

01:09:25:20 - 01:09:35:07
Bryce
Where, you know, the symbols kind of come in and it's a bit of a cacophony almost. But it all is in time and it all works. Yeah, it all sort of works.

01:09:35:07 - 01:09:46:19
Jeff
Yeah. It's a very noisy song. Yeah, but but it works in that kind of chaotic way. And the, the beat kind of keeps the whole thing together in a way that I feel like at any moment it could fly apart.

01:09:46:21 - 01:10:09:15
Bryce
Yeah. And like the song, it does kind of fade out. Yeah. But it, I don't know, it feels almost more explosion, more of an explosion than an implosion of an ending of a song. Did you, catch the the the weird symbol at the end of the song?

01:10:09:17 - 01:10:11:20
Jeff
I did, yeah.

01:10:11:22 - 01:10:14:12
Bryce
What is your thoughts on the weird symbol?

01:10:14:14 - 01:10:19:11
Jeff
It sounded like a, like, a very small symbol or. I don't know, maybe I'm not thinking of the right thing.

01:10:19:11 - 01:10:21:16
Bryce
Maybe not.

01:10:21:18 - 01:10:22:09
Jeff
Maybe I'm not thinking.

01:10:22:09 - 01:10:26:23
Bryce
Of the right. Maybe not. Okay, I think, the right. Let's get to the, to just a the very end of the song here.

01:10:27:00 - 01:10:35:11
Jeff
Okay.

01:10:35:12 - 01:10:41:16
Jeff
Oh, okay. Okay. It's just a, it's just muted. It grabbed and then they hit it. They second symbol.

01:10:41:16 - 01:11:06:00
Bryce
And they made it. And I don't know if I, I think that was they kind of they kind of imply about this in the book. Maybe not even imply. But I think that that was a mistake that had happened at one point. And then they just kept doing it. Yeah. Because we're going to hear on the next one, they it it happens again.

01:11:06:04 - 01:11:37:17
Bryce
But yeah, the end of it. But it's the timing is slightly different. So it can't be the same. I don't think it could be the same. Two two kind of I got some, some meaty stuff on this one. This was another, song that kind of had started at Lindsay's house, and he brought it into the studio and played it on some little, some little speaker.

01:11:37:18 - 01:11:58:00
Bryce
I don't know how he did it with some tiny little, the, like, a boombox or something, like a little home recording recorder. And, he brings it in and they're like, okay. I mean, this is like, you know, it's fucking nuts. Another noisy cacophony. Lindsay will try to do it. And so they're asking like, okay, what do you think you want to do?

01:11:58:00 - 01:12:23:04
Bryce
And he says, like, oh no, I want to record it on this boombox. I want to record it on this shitty boombox. It sounds great on my shitty boombox. Okay. And so, I think the short version is they acquiesce to it somewhat. But they also put real microphones in there, and they do try to record it nicely.

01:12:23:06 - 01:12:50:16
Bryce
But it's like you get on the studio album, especially at the end here. But his vocals are often, clipping. I mean, he's distorting his vocals in a lot of this, and again, I'm gonna, I'm going to simplify this a lot, but with analog recording, it was really fucking difficult to do that other today. I mean, granted, he probably was like lips on the microphone close if he was in this push up position.

01:12:50:17 - 01:13:11:20
Bryce
Right. But, you you could really hear it as the song is fading out on the studio track because, you know, if you've ever recorded something where you've, like, distorted the, the volume of like someone speaking you, if you make it quieter, you still have that distortion, right? There's still like a, like a hard edge there. Yeah. Because of just the recording.

01:13:12:01 - 01:13:21:02
Bryce
And so there's some of that in here, which speaks to the level of animosity and the level of aggression. Behind it.

01:13:21:04 - 01:13:29:17
Jeff
It is I mean, it is a it is an angry song, but a lot of the Lindsay songs are very, very angry. Yeah, I feel like. So.

01:13:29:19 - 01:13:56:23
Bryce
Can you indulge me for one moment or talk about comedy and music? Sure. Okay. Lindsey Buckingham was a big fan of the Beach Boys. Okay. Fan of Brian Wilson and what he did with that Brian Wilson after they did Pet Sounds, which was, a kind of monumental record in pop music. It was like at that time people didn't like albums because they just wanted the singles.

01:13:56:23 - 01:14:16:19
Bryce
They didn't want all these extra fucking songs that you threw on shore. And so Pet Sounds is kind of a thing. So, one of the things after Pet Sounds, the Beach Boys start working on this new album called smile. They eventually put out a version of smile. Multiple people put out multiple versions of smile, but ultimately what was going to be smile never came out okay.

01:14:16:23 - 01:14:45:07
Bryce
And so Warner Brothers wanted to release it, but, the band was pretty strange. Like, no, we're not going to give you enough to release that. We just couldn't figure it out. And the idea behind it was bizarre. Brian Wilson was like kind of really into the idea of, how could I write music, with the same tools as you would make, like a TV or a movie?

01:14:46:03 - 01:14:50:21
Jeff
Like a camera or, like, what does that mean? Which tools?

01:14:50:21 - 01:15:13:18
Bryce
That. Well, one of the things was jump cuts. Okay. The idea of like, can you jump cut? Can you put jump cuts and music if you could, if you think about Good Vibrations. Yeah, which was a song that they had made at the very start of all of this, that song is very similar to that, where it kind of has different sections that are pretty discrete and different sounding.

01:15:13:20 - 01:15:40:01
Bryce
But that was a big thing of what he wanted to do with this, the smile album. It was supposed to be, a commentary on adolescence and adulthood and American culture and all of these different things. And it was this very experimental way of writing and recording an album. They recorded lots of chunks. If you if you think about loops today, the idea of like a musical loop, this was a very, very proto version of that.

01:15:40:01 - 01:15:46:20
Bryce
They would record one little segment they had that they drew and record another little segment, and they, they would try to put them on top of each other.

01:15:46:20 - 01:15:49:19
Jeff
Move them around. Yeah, yeah.

01:15:49:21 - 01:16:23:19
Bryce
And it is, I don't even know where this fact comes from, but, while they're recording Tusk, Lindsey because Fleetwood Mac is also on Warner Brothers somehow gets a chance to go listen to whatever was archived of smile at the time and uses a lot of that to influence some amount of his work on this album. And, and I, I guess my, my tie and all of this is like.

01:16:23:21 - 01:16:44:21
Bryce
That that album never came out. It like, famously never came out for decades. It was almost like this interactive project of people trying to piece it together. And what would it look like? What would it sound like? Why would it do this? And, and I and I almost wonder if the idea of, of comedy is, is somewhere here in this song.

01:16:44:23 - 01:17:11:13
Bryce
It's not that funny. And granted, this is not the song that has, a jump cut. There is a jump cut on this album and it's not in the song. Okay. But things like that, since that's that crash at the end where like, it mutes. Hey. Fucked up. Yeah. Then it kind of comes back, but you're hearing the tail end of it, right?

01:17:11:14 - 01:17:32:12
Bryce
And you can kind of know it's not the full tail of it. It's it. You know, it wasn't like they took a sample and they chopped it and they moved it over like it. Actually, you're missing something, right? It's not that funny at that. I think that's funny. So I, I this is not to say that there's a punchline here.

01:17:32:12 - 01:17:50:07
Bryce
This is just opening up the world. If you've got a conspiratorial mind of May. You know, maybe it wasn't funny when they broke up. Maybe it wasn't funny when you tried to fuck up the music. Maybe you thought your funny music would be funny and no one's laughing.

01:17:50:09 - 01:18:04:03
Jeff
Because, I mean, you can actually see the musical backing for this track being for it could be like a goofier song, like a couple of springs and a little more of the Monkey Grinder's stuff. And yeah.

01:18:04:05 - 01:18:05:03
Bryce
It's just crashing.

01:18:05:03 - 01:18:11:00
Jeff
Right. And this could be a comedy song or like a novelty song, like the stuff they had back in the 60s.

01:18:11:02 - 01:18:14:18
Bryce
Not that funny. Ha ha. Like, it's like, kind of lean into it even.

01:18:14:18 - 01:18:19:11
Jeff
Yeah, yeah. But then it but then it's not that funny.

01:18:19:12 - 01:18:21:07
Bryce
So. Oh, I don't.

01:18:21:07 - 01:18:56:19
Jeff
Know. Yeah. Maybe this song has, more layers. The biggest question that I have, and, you know, I've kind of sequestered myself as far as I haven't listened to any other real Fleetwood Mac albums. I haven't looked up anything on the internet about this tour, kind of at your behest. So it's I really don't know whether, I wonder, as we go into these in such great detail and we listen to some of these alternate things, whether is Lindsey Buckingham, a genius or does Lindsey Buckingham think he's a genius?

01:18:56:21 - 01:19:29:06
Jeff
And that when you listen to other what would be more considered quote unquote genius artists of the time or influential artists of the time that you're seeing, artists that push the envelope more, that do more with this, the same sorts of things where all of the trappings in this album of, you know, a bohemian custom studio with a bathrobe, because I like the way it sounds in my bathroom are all of the the trappings of a, a genius musical mind that wants to experiment.

01:19:29:10 - 01:19:32:05
Jeff
But then what? You get is like.

01:19:32:05 - 01:19:33:15
Bryce
It's like, not the sum of its parts.

01:19:33:16 - 01:19:38:17
Jeff
Is not that is not that brilliant? It's not that brilliant. Is it?

01:19:38:19 - 01:19:40:10
Bryce
Like.

01:19:40:12 - 01:19:55:22
Jeff
You know, you're not getting exceptional guitar parts or, you know, right. The world's greatest even. I mean, I talk a lot about the percussion and the bass and sometimes those shine, but you're not getting whiplash, jazz drubbing, you're not getting.

01:19:55:23 - 01:19:59:05
Bryce
It's a lot of like Phil's. Yeah, for the drumming that.

01:19:59:07 - 01:20:21:09
Jeff
It's all very good and competent, but it's more Ringo Starr and less Mitch Mitchell in my opinion. But but that I constantly wonder about that. Like. And then it's very interesting to go to the Stevie Nicks part because Stevie Nicks, his strengths are vocal writing and writing, and the writing in those songs is of a completely different caliber.

01:20:21:10 - 01:20:40:07
Jeff
Yeah. And then these other songs that a lot of times end up being very repetitive. And you say, you know, the music was written first, but then a lot of times the music isn't that it's it's like they had one idea and then they needed to like, okay, well, we've done two bars of that. We need to like, change something, move something, go somewhere else.

01:20:40:12 - 01:20:44:02
Jeff
And then it ends up kind of stuck in this morass a lot of times.

01:20:44:04 - 01:21:05:15
Bryce
And that might have been a silver lining of rumors. Yeah. Being, you know, one disc of, like, we have to edit these songs down. Let's, you know, when you get to that point, when you're cutting really good stuff, you're only left with a really great stuff, right? Versus here where, like, I believe it was not that funny.

01:21:05:19 - 01:21:06:19
Bryce
And,

01:21:06:19 - 01:21:18:08
Bryce
not that funny. Was, from us from a demo called Pins and Needles and that actually became two songs. It was not that funny. And this other song,

01:21:18:08 - 01:21:31:02
Bryce
that means that there is some, very literal shared DNA in these songs. The, the the line, don't blame me. Pops up in both of these songs. Okay. As well as,

01:21:31:02 - 01:21:42:09
Bryce
somebody outside the door. Okay. I think what happened is that, Lindsay, had, like, a home invasion or something.

01:21:42:09 - 01:22:03:21
Bryce
Oh, my goodness. And it's very, you know, very scarring. And I think that that is what that line is. Somebody outside the door. Okay. Even though you would think it's like it is. Is it someone? I guess it is someone waiting for you, but not in, you know, a romantic or, like, a regretful way, but more of, like a violent criminal.

01:22:03:21 - 01:22:12:02
Jeff
Way, right. The sentence after they're somewhat waiting does, does a lot of.

01:22:12:04 - 01:22:26:17
Bryce
Okay. Well, let's, dive into, the alternate. Not that funny. Okay. Things I would say to keep an eye out for. I mean, the sound quality is going to be the the big the big one.

01:22:26:18 - 01:22:28:19
Jeff
This is the boombox version.

01:22:28:21 - 01:22:34:00
Bryce
Well, here we go. This is the alternate. Not that funny.

01:25:55:12 - 01:26:05:05
Bryce
There's, like, a weird little sample at the end there. And I have no idea what it is, but it's not in the other version of it, so I wanted to make sure we heard it. Not that funny.

01:26:05:07 - 01:26:09:16
Jeff
Wow. That's, That's really interesting. That's very, very interesting.

01:26:09:17 - 01:26:17:16
Bryce
Doesn't it feel like someone tried to save the song and this is the saved version of it?

01:26:17:18 - 01:26:46:14
Jeff
What was the first thing that I got out of this is because the vocals are so much more smoothed out. Like, I just kept thinking, oh, it's so much smoother. Like, it's not as staccato as the album version. But what I thought was interesting is that, I think this works better because with these very smooth, not doing a push up in a bathroom vocals, it contrasts the smoothness of the song with these dark lyrics.

01:26:46:14 - 01:26:54:13
Bryce
Yeah, in a very fuzzy, I feel like pretty fuzzy on on the guitars and the background track.

01:26:54:14 - 01:27:13:16
Jeff
But it all kind of like smears together in a good way. Like it kind of oozes together in, like the other one has this kind of discordant feeling where everything feels a little bit separated. And I think that a lot of the guitar work on this track ties a lot of it together. Especially with the vocals.

01:27:13:16 - 01:27:21:06
Jeff
I really appreciated that. There was some really interesting guitar stuff going on in here that was like, you know, rocking to listen to.

01:27:21:06 - 01:27:50:04
Bryce
Yeah, yeah. And you've got some of, one of the, the one of the ways Lindsey would do a treatment for his guitar on a lot of these songs was he would plug it directly into the console. So instead of putting it in, plugging into an amp and miking the amp to get the fuzz, he would just get this really clean guitar sound that, feels feels like it shouldn't be right.

01:27:50:04 - 01:28:05:08
Bryce
Like a, I don't know, like a guitar should be a little noisy and fuzzy and gross. Yeah. But when it's so I mean, it's it's almost like a, like a bee sting of of that's how I think of it, how sharp it is.

01:28:05:10 - 01:28:18:16
Jeff
I also it was, it it was funny. I got the impression about a third of the way that I was like, oh, this very much sounds like a car song. Like it sounds like, smoke from the band. The,

01:28:18:18 - 01:28:50:17
Bryce
I really like how much Lindsey leans into his vocal cracking, as he switches goes between this high and low octave all the time. I do like it's, to me, it feels like the like nowadays is, like, really? I feel like people who are into making videos, it's very easy to get obsessed with, like, VHS effects and like old video.

01:28:51:19 - 01:28:53:00
Jeff
You just buy the red giant plug.

01:28:53:00 - 01:28:53:15
Bryce
In and.

01:28:53:17 - 01:28:54:21
Jeff
Drag it on and then.

01:28:55:01 - 01:29:28:08
Bryce
Like, technical artifacts, like imitations of the media. Yeah. And I think, like the singing, the we talked about like the, the really distorted voice, in, in the album track, but then also just like the decision to do to keep, to not just keep but to like write in that it would you have this vocal crack that you have to you have to have this like dull, like you have to like it's almost like emasculating a little bit of, like going up into that really high, high octave.

01:29:28:10 - 01:29:37:11
Jeff
But no, it's it's emasculating. It's when I thought that, that's off for everyone. Was Stevie or Chris to him?

01:29:37:13 - 01:29:53:05
Bryce
I was I wasn't going to bring that out. The other thing is, I want to talk about one of the lines of this and both of the versions. It's, You're here because I say so. The the. Are you aware of the the lore Bible of of that?

01:29:53:07 - 01:29:53:22
Jeff
Absolutely not.

01:29:54:00 - 01:30:15:07
Bryce
So when, when Fleetwood Mac, the three piece Fleetwood Mac was looking for a new guitarist and they found Lindsey Buckingham, despite the fact that Lindsey was in a strained relationship with, his girlfriend at the time, he said, hey, we are a package deal. If you bring me in the band, we have to have Stevie in the band.

01:30:15:07 - 01:30:15:19
Bryce
Tim.

01:30:15:22 - 01:30:16:08
Jeff
Okay.

01:30:16:11 - 01:30:20:02
Bryce
And, I mean, they were looking for a guitarist. They weren't looking for Stevie.

01:30:20:03 - 01:30:20:20
Jeff
Short, but.

01:30:20:20 - 01:30:25:04
Bryce
They got Stevie. Yeah. So it's funny.

01:30:25:06 - 01:30:26:06
Jeff
It's sting.

01:30:26:06 - 01:30:38:13
Bryce
But you're here. You're here because I say so. So I mean, I think that's that. That's the other part that makes it like, nope, this is kind of we're we're banging. We're not banging on, but we're, we're attacking Stevie a little bit. Right. Attacking.

01:30:38:16 - 01:30:43:03
Jeff
I mean, this whole side is just very antagonistic in a lot of different ways.

01:30:43:05 - 01:31:02:02
Bryce
That's true. I mean, even, we'll talk about the moon in a minute, but like, even sisters of the moon is kind of self depreciating, with the lyrics a little bit. Any other thoughts here on on? Not that funny. I think this was a single I think this was one of the few songs that they put out as a.

01:31:02:04 - 01:31:09:23
Jeff
I think it would totally work as a radio. Yeah, as a radio song. I think it would also probably be a, a banger of a live track.

01:31:10:01 - 01:31:11:02
Bryce
It is a banger of a live.

01:31:11:05 - 01:31:16:22
Jeff
I could, I could, you could clap along or stomp along to this like it's got a big beat to work with.

01:31:17:00 - 01:31:42:11
Bryce
The, I, I would recommend you check out some of the live versions of of not that funny. There's the, the one that's great, I love it. It's like ten minutes or something. It's one where the middle is really long because I think they bring it, they bring it down, they bring it down to like just the bass and like, maybe a, a stick on the drums and just a little bit of guitar.

01:31:42:13 - 01:32:09:07
Bryce
And, you know, this is after, like, Lindsay's, like, shouting into the microphone. Oh, no, no, I don't. And, and so it just goes down to this kick drum and the camera cuts over to Mick, and he he fucking chugs a whole bottle of beer. And then Lindsay comes back around the stage and he's, he's smoking a joint and he's walking over to to to John.

01:32:09:07 - 01:32:12:01
Bryce
And they're kind of, you know, they're both playing their.

01:32:12:03 - 01:32:12:18
Jeff
Yeah.

01:32:12:20 - 01:32:31:08
Bryce
They're playing this real soft thing. And but it was he was trying to like I don't know try like give this guy a second, a second day of something. But yeah, this is one that that goes great live. Yeah. Especially good with the piano, I think when they, when they do it live, they have a little bit more piano from Christine.

01:32:31:10 - 01:32:32:09
Bryce
And I think it helps a lot.

01:32:32:09 - 01:32:35:17
Jeff
It seems like that would that would definitely work into that song.

01:32:35:19 - 01:32:56:09
Bryce
Yeah. Very well. It doesn't make I think, you could be worried that it might make it a little ragtime. Me, a little old Joe. Yeah. Hooting on a jug. Sure. But no, I think a little piano helps make it kind of a rollicking rocker. All right, all right, it's time for another final song. Sisters of the moon.

01:32:57:01 - 01:33:06:22
Jeff
Yeah. Just very briefly, I feel like, any of the last two songs could have been the last song on the album or on this side, and. Yeah.

01:33:07:00 - 01:33:16:07
Bryce
And and it and it gets. They get it gets blown out of the fucking water. Sure. Absolutely. All right, let's listen to a preview here of sisters of the moon.

01:35:22:16 - 01:35:37:07
Bryce
So good. I was listening to this. I was setting up the room here before we got, before you got over here. I was listening to the song on my iPod. That. Yes, I'm thrashing around. It's a fucking thrasher of a song.

01:35:37:08 - 01:35:38:13
Jeff
Air guitar. I, I.

01:35:38:13 - 01:35:39:18
Bryce
Don't.

01:35:39:19 - 01:35:44:04
Jeff
I don't know. I agree, it's a great song. Okay. I don't know if it's exactly.

01:35:44:04 - 01:35:45:17
Bryce
I'm going to. I will convince you this.

01:35:45:17 - 01:36:11:22
Jeff
Okay? Okay. Okay. Yeah. I really like this song. I think that in a lot of ways, this song was why I was so ambivalent about storms. Because I think that this is, like, actually, you know what? I'm moving this one up to number one. Over. Over. What makes you think you're the one? Which was more traditional thing, but, like, this seems like Fleetwood Mac, Fleetwood Mac in it.

01:36:11:22 - 01:36:26:04
Jeff
Like this seems like what I would expect if I put in a tape that had Fleetwood Mac on the front and hit the play button. You know, Stevie Nicks is talking about spiders and you got the whole band behind its kind of back and backing her up.

01:36:26:06 - 01:36:52:01
Bryce
And like, you know, we've talked about the rhythm section a lot. This is a rhythm. This is a rhythmic song. Yeah. Like there's, you know, poetry into the lyrics and all, but every part of it, especially the chorus is so rhythmic, like it's, just just that, I don't want to keep saying rhythm, but just that dance start.

01:36:52:23 - 01:37:12:05
Jeff
Well, that was another thing that I noticed on this one. After listening to it for a while, it was almost like the vocals are all verse and the chorus is like the rest of the band, kind of jumping in. Yeah, to to have this moment between the individual kind of parts of the stories.

01:37:12:07 - 01:37:42:08
Bryce
It's very similar to the modern structure of like, an EDM song or an electro song where it's a bit of a buildup and then the actual chorus like, or like a fucking Chainsmokers song, or the actual chorus is just a melody line or a rhythmic line, and everything else is kind of just a buildup, right? Yeah, I, I certainly wouldn't call it dubstep for 1979, but I don't think I would be alone in thinking that.

01:37:42:08 - 01:38:04:00
Bryce
Yeah. This is this is a great song. It's been on the setlist a lot for the live the the live for it. Granted, I've seen a lot of the live versions of this, and so I think I conflate the studio version with the live versions a lot. Because they're great. It is a it is a track that really fits the full band.

01:38:04:02 - 01:38:08:15
Bryce
A couple of stories behind sisters of the moon. It's an older song of Stevie's.

01:38:08:16 - 01:38:10:09
Jeff
Okay.

01:38:10:11 - 01:38:32:02
Bryce
I don't know the exact history of it, but it had she had almost recorded it at one point for. I don't even remember why she had it. She had almost recorded at one point, or for somebody else, maybe they almost gave it to somebody else. And, they ended up, I think, like Lindsey ended up somehow blocking it or making it not happen.

01:38:32:04 - 01:38:54:01
Bryce
But also this was one of the songs Stevie had ready near the start of recording the album. So much so that and they kind of knew like, oh, this is a fucking, this is a fucking song. Right. That they went on tour a few months into recording the album. A short, a short tour, and they included this on the setlist there to try it out, rehearse it.

01:38:54:03 - 01:39:13:10
Bryce
And so, there so that it was under there. It, it was under their belts by the time they ended up recording it. The other part of recording it is, I want to say that they took 30 some takes or something to find this, this final master take that they use on.

01:39:13:11 - 01:39:14:12
Jeff
Okay.

01:39:14:14 - 01:39:17:17
Bryce
On, on the album and, one.

01:39:17:17 - 01:39:19:08
Jeff
Of they really wanted to get. Right.

01:39:19:11 - 01:39:54:17
Bryce
Yeah. Okay. Yeah, exactly. Even to the point where, like, like I mentioned earlier, where they silence and they just listen to the kick in the snare to hear the, the pulse of the song. Yeah. And they, they make the adroit decision to make it two BPMs faster because they just think that little bit. And, I mean, my, my only like, kind of criticism of the studio version is that it can't have just, it just can't have the live sound like it's not the live version.

01:39:54:17 - 01:40:06:15
Bryce
The live versions are great because you have the full band very traditionally set up with, with the instruments, but then also the song they're doing the longer version of the song. Stevie's got extra verses in it.

01:40:06:17 - 01:40:18:04
Jeff
Okay. Because I was going to ask about that, because my only criticism with this was especially when I got into the lyrics of it was when I got to the end of the song and I was like, you wait, we just got started. What happens next?

01:40:18:06 - 01:40:19:17
Bryce
Mistakes. Please keep telling.

01:40:19:17 - 01:40:20:09
Jeff
Me the story.

01:40:20:13 - 01:40:42:04
Bryce
And so, so the live versions are a little bit, like that. Will listen at the end, to to a little bit of a live version. Okay. So, so that's like my gripe about it is it's not perfect enough. It is. It is merely a 9.9 out of ten. But yeah, I this does kind of feel very climactic.

01:40:42:09 - 01:40:54:00
Bryce
This whole side, I feel like has been building in that sense that you were talking about a feeling like this. This song could be the end of this song. Could be the end. Right? This song could be the end.

01:40:54:02 - 01:41:21:05
Jeff
But it's a little I, I did find it a little strange because I don't see this. It the, the content of this song is definitely personal, but everything else on this side seems like it's specifically related to relationship frustration. Whereas this like when you said that this was written earlier to me, that made sense because this song kind of feels of a separate piece.

01:41:21:06 - 01:41:33:02
Jeff
The rest of this, like, you know, all of the rest of these are very kind of personal feelings songs. And this is, you know, the metaphor. And she came in like a black widow and. Yeah, wrapped in velvet and all, you know.

01:41:33:02 - 01:42:00:22
Bryce
Though the the background behind sisters of the moon is that, you know, it is kind of autobiographical. Stevie wrote it while on tour. I don't know if I assume it would be for the rumors tour, but it could have also been for the white Fleetwood Mac album tour. And so much of that song is singing about her looking in a mirror one day and really like, oh, I'm like super gaunt and I'm you know, the heavy persuasion.

01:42:01:01 - 01:42:23:02
Bryce
It was hard to breathe. Right? And, so I think between that and it being a, it's always been held up as like this song of sorority for Stevie Nicks and all of her sisters of the moon, all of her, her girl, her gal pals at the time. And they even had these, like, crescent moon necklaces that they got for being around.

01:42:23:05 - 01:42:46:09
Bryce
Okay, another interesting thing about sisters of the moon is, no Lindsey of backing, backup, backing vocals. Right. It's only Christine and Stevie, which was an intentional thing of, like, I only want women to be sure, which, like, hey, Lindsey's got plenty of songs that your ass is not on. So I.

01:42:46:11 - 01:42:53:11
Jeff
What about the brothers of the moon? All right. Why can't they be in their tune?

01:42:53:13 - 01:43:22:09
Bryce
So, when we talk about the alternate take of sisters of the moon, I believe what we're going to listen to is an is is another take from that night where they did the 30 some takes. Okay. My and I and I say that for a few reasons. One, there's no guitar solo. The backing vocals you'll hear are pretty different.

01:43:22:11 - 01:43:28:04
Bryce
They're not they they're they're just not finished. Like, the ones here are finished. The ones that we're going to hear are kind of scratch.

01:43:28:07 - 01:43:29:19
Jeff
Okay.

01:43:29:20 - 01:43:51:03
Bryce
And then I want to say it's just a little bit longer because we get one of the verses that shows up in pretty much all the live versions. Okay. But it's not in the studio version. Before we do. Oh, the other thing does the Fade In on sisters is another song that has a very deliberate intro.

01:43:51:03 - 01:44:14:11
Bryce
Yeah, almost. It reminds me a little bit of, you know, Black Dog from LED Zeppelin. Hey. Hey, mom. I stay the way. Yes. What do we do? You ever listen to that? Very. You do. You know, have you ever heard the very beginning of that song? There's, like, a very small, like, a like you.

01:44:14:13 - 01:44:31:17
Bryce
It's like a it's not a recording mistake. But they did some, they have some little bit of a tape thing on there that kind of sounds a little weird and atmospheric and strange. Okay. And I feel a lot of that with the decision for the intro for sisters of the moon.

01:44:31:19 - 01:44:52:03
Jeff
I think goes on a little long for my my taste just because, I think that, like, I could see myself, with this record of just being like, this is the this is the track I want to listen to. Like, I appreciate the little, little kind of drum tricks that are done at the beginning, but I think it maybe goes on one measure too long, like you could see have some of that.

01:44:52:03 - 01:45:08:18
Bryce
But even Unicef at the very beginning, where, you know, you hear, you hear the beat and then then then like it sounds like you're like, okay, it sounds like he was playing by mistake, but it is kind of syncopated in the right way. You hear a little bit of of a voice and you're like, why is that there?

01:45:08:20 - 01:45:29:13
Bryce
Like it does kind of create a little bit of a mysterious vibe. And for a long time I thought, like, okay, maybe they pieced that together or maybe it was a bad take and they just use the start of that take. And what we're going to hear in the next in the alternate version is now that kind of a compose, that's kind of the way they were supposed to do it.

01:45:29:18 - 01:45:51:11
Bryce
We're going to hear like a slightly different take on the bass. The other thing is John's bass is going to come in early in this intro. And I think that helps really help you figure out which is the one beat and the two beat. Because when it's just the kick and the the hi hat in the studio version, I know sometimes I get lost of like, okay, it's the hi hat on two or is the hi hat on one.

01:45:51:13 - 01:46:01:15
Bryce
Where when you have John playing it you can keep track of the four beat. The four count a little better. Okay. Any other thoughts on sisters in the moon before we hear the alternate.

01:46:01:18 - 01:46:03:07
Jeff
Now let's, let's take a listen.

01:46:03:07 - 01:46:14:23
Bryce
All right. Here we go.

01:51:11:00 - 01:51:43:15
Bryce
Sisters of the moon. The alternate take. I think this is one that is meant to be maybe more illuminating than convincing. Because I think it doesn't help that there's no guitar solo. I think it doesn't help that the background vocals are unfinished. Yeah, but I think especially Stevie's vocal take, it's really interesting in that it sounds like it sounds like she has sung this song a lot.

01:51:43:16 - 01:52:05:15
Bryce
It kind of sounds like she's doing a live version where you would change the melody and make it seem a little bit different, so that you know when your live is different and you get to be a little off beat, you can change things up a little, you can slow it up a little bit. And I think that's, what you get in her voice, her vocal delivery here.

01:52:05:15 - 01:52:23:12
Bryce
And maybe that's why they didn't do it, because it sounded nuns. It didn't sound like the standard sound, like, oh, you're you're doing your vamping on your on the studio cut. You're like, save it. Save it for the stage.

01:52:23:14 - 01:52:51:18
Jeff
Yeah. I didn't, it was strange. I don't know if. I don't know if this is just, But I don't know what happened here, but I didn't hear that much of a difference. Like, it might have just been that I wasn't as familiar. I didn't listen to the studio cut enough times to listen to the nuance, because I think whenever I listen to this song, I get so caught up in just listening to Stevie Nicks that, yeah, the background stuff is good, especially in the kind of the but instrument chorus that I was talking about.

01:52:51:20 - 01:53:04:10
Bryce
But yeah, it is very I mean, I don't think it's, it's very it's as noticeably different. Yeah. But I think there's enough here that at least tells me this is a completely different take.

01:53:04:12 - 01:53:36:21
Jeff
The one thing that I did think was that I would be interested in hearing what this sounded like with a piano instead of a keyboard with a full on, analog piano, because it's, it's such a, I don't know, maybe it's just reminding me. Maybe I'm just flashing back to my Tori Amos days, but, like, it does seem like the sort of song that might benefit from having that that more naturalist piano sound, as opposed to the kind of clipped keyboard that I think is in there.

01:53:36:22 - 01:54:08:00
Bryce
Yeah. Yeah, I can see that. It's it's it, I, I, I really like this song a lot. I think it's, it's some hard hitting analysis here. Yeah. But, I think it's great. And I think it speaks to, Stevie Nicks, his songwriting sensibilities to put together a song like this, right? Where there isn't necessarily a chorus.

01:54:08:00 - 01:54:24:07
Bryce
It's a rollicking roar into an instrumental charge like that kind of doesn't. I kind of. I don't know if that would play on, like, pop radio. Like, I don't know where this would fit on pop radio versus like rock radio for.

01:54:24:07 - 01:54:31:13
Jeff
Maybe 90s pop radio and things are a little bit there's some experimental stuff. Yeah. Get, you know, eight minute songs on the radio.

01:54:31:15 - 01:54:34:06
Bryce
But but yeah, but not on not in 1979.

01:54:34:06 - 01:54:34:15
Jeff
Short.

01:54:34:15 - 01:55:09:07
Bryce
Yeah. This now, some other background on this. Everyone loved the song when they were putting it together. So they, they had asked Stevie like, hey, we kind of want to make this a single. Will you let us cut it down? And so, I don't I don't know if it ever was a single or maybe it was a B-side, but, I think they had at least given themselves the option to, like, hey, if we want to do something with this, let's, like, give us a chance to even cut it down even more, despite the fact that what makes it work is that it just kind of keeps going back and

01:55:09:07 - 01:55:17:01
Bryce
forth from A to B, and every time you do it, it works. Yeah, that math always checks out sharp.

01:55:17:03 - 01:55:36:00
Jeff
You get this, you get this really heavy kind of poetic verse, and then you get to take a break and kind of soak in the it and then the music for a little while, and then you get to go back and find out what happens next, like, it's not a traditional song structure, but it's more I don't know, it's more of like a poem than anything else.

01:55:36:01 - 01:55:38:02
Jeff
Yeah, absolutely.

01:55:38:04 - 01:56:04:04
Bryce
It even it even harkens back to like, pre rumors, Fleetwood Mac. They had a hit song called oh, well, which, which was, an inspiration for that led the for the US for which was the inspiration for Black Dog actually. But it had a very similar thing of, of singing and then music, singing and then music.

01:56:04:06 - 01:56:04:16
Bryce
Oh yeah.

01:56:04:16 - 01:56:06:19
Jeff
That song has had a pretty much the same way isn't it.

01:56:06:23 - 01:56:32:10
Bryce
Yeah. And, and isn't that interesting. What does that mean. Okay. Well we're going to close it out here with a little bit of a live version of sisters of the moon. Okay. I mean, over the years, sisters of the moon was on the set list a lot. It was long. It tended to add, 1 or 2 verses.

01:56:32:12 - 01:56:55:06
Bryce
We heard we heard some of it, and we heard one of those verses in that alternate take and the, the line is, so we make our choices. But there never was any choice. We listened to their voices while ignoring our own voice. Yeah. And so, yeah, here's a little bit of, sisters of the moon from Fleetwood Mac live.

01:56:55:06 - 01:56:58:18
Jeff
Okay. I'm excited.

01:56:58:20 - 01:57:05:19
Bryce
It's. It's so good. Just I can't it's not the whole thing. You don't get the whole build up, but.

01:57:05:21 - 01:57:10:09
Jeff
So. So I have an answer to my question. Yeah.

01:57:10:11 - 01:57:14:02
Bryce
Where is this Lindsey Buckingham on this album? That was some.

01:57:14:02 - 01:57:27:05
Jeff
Straight up fire there at the end with the guitar licks. Where is this guy? Like, where why is it so restrained on this album? Why are you playing the bathroom? Get out of the bathroom. But just go crazy for once.

01:57:27:07 - 01:57:34:16
Bryce
This this, this recording would be from 1980, and so it's not long after. Yeah. After Tusk comes out.

01:57:34:17 - 01:57:42:17
Jeff
Also, I noticed that, we had an we switched over to organ. Organ? Yeah. And I it makes it the whole different dimension of sound.

01:57:42:17 - 01:57:43:08
Bryce
Absolutely.

01:57:44:07 - 01:58:03:04
Bryce
And like, man, the use of organ is so great. It is. It reminds me a lot of I'm So Afraid, which is another of their live hits which is just sad and scared. And do you read the organ? And it's, it's it's everything is big and the organ is so, so really great are on this version.

01:58:03:08 - 01:58:30:03
Jeff
Is there a full version of Tusk? It's just a live recording of just all the songs from that album in that order. No, it's put together because I would be interested in hearing every single one of these as a live song, because it's possible that with practice and the limitation of being on stage and the energy of a live audience, that a lot of the problems that I've had could go away, because you've got the energy and absolutely the raw versions of a live version.

01:58:30:03 - 01:58:30:09
Jeff
Yeah.

01:58:30:10 - 01:58:47:01
Bryce
I mean, the only bummer about that idea is that some of these songs, I don't think they did live. Yeah, I don't think, I don't think, honey. Hi. They did live beautiful child. They did not do live Contemporanea. It's like that. That was in the 20 tens. So I don't know if they did a version of Never Forget.

01:58:47:06 - 01:59:07:16
Bryce
Like, some of these are like weird ones that never made it. Some of them have a couple, and I think all of the live versions generally are probably better in most cases. But I'm a sucker for the live their live stuff. All right. Well, we're going to send you out here on, this, special version of sisters of the moon from Fleetwood Mac Live.

01:59:07:16 - 01:59:09:01
Bryce
Thank you. Jeff. Oh, thank.

01:59:09:01 - 01:59:09:16
Jeff
You.