No copyright infringement is intended. He plays it and says, "Well, that was the new Fleetwood Mac single. But it's humorous, too. Rock Lives by Timothy White, 1989. Murrow allegedly gave a great speech when he left CBS, saying "If we don't do the right thing with television as a tool, then it's going to do us in." The signature singer/guitarist for Fleetwood Mac had found his own straightforward rock/proto-punk songwriting and arranging style (exemplified on the bestselling Rumours [1977] and its sprawling, underrated follow-up Tusk [1979]) sidelined by the high-charting, Stevie Nicks-anchored soft-rock of 1982’s Mirage. She never wants to go too far with it, though. The message is, "Well, let's pause for a moment, but then life must go on." (laughs). And uh, This Nearly Was Mine which is from South Pacific by Rodgers and Hammerstien was one of his, like, two or three top favorite songs. In other words, the chorus, "bleed to love her," was written at the top of a new relationship and the verses, "pretending that she's not there," you know, the elusiveness of all of that, was written near the end. But we don't need to go into that. Guitar World, September 1997, It does have the element of having to sacrifice your blood in order to get back what is sometimes worthwhile...and the elusiveness of it. And when that song came on, he said, “Oh, a real song!” [Laughs] It’s also the song my mom likes the most. And Richard Dashut who was helping me through the second phase of the album, said, "Why don't you go out and sing it sort of 50s style a little bit." I have absolutely no idea, to be real honest. Finally about four months later he called me up on the phone and he says, “Hey I finally listened to that and I really...I got it!” But this song, in a sense, has taken on a second meaning because when I wrote it, I felt that way, and I’m feeling that way again, so it’s nice to know that things come around more than once. I had met a young lady - it didn’t turn into being anything heavy. And the masculinity and aggressiveness that was the end of Go Your Own Way transformed into that intimate female, introspective side of Songbird which followed. After I finally left the band, I was able to look back at all of it in a very tender way and say, "Hey, look, this is what it is. . I didn't have a problem with that. All rights reserved to the original copyright owners. I guess it just follows the same thread as everything that was brought to the public in "Rumours" - you know, the musical soap opera. Because it sounded weird. Even fans don’t have much to say about it, outside of a, topped the American box office charts for three weeks straight in the summer of 1983, The Highly Subjective Guide To The 2018 Oscars, Week ending August 27th, 2017 - Diva Dirt, International Object 122 – Ashly Nagrant – International Object. I did that song at my house. I'm also quite pleased with the Spanish guitar solo. The "third time" added to live performances during the Tusk tour in 1979 - 1980, This is a very good, positive time that I’m coming into now and things go in cycles. Guitar Player, April 2003, Murrow gave that famous parting speech when he left CBS, warning what would happen if we didn’t take responsibility for TV and “ use it in the right way. That tells you something about someone who has been a rock icon but in some ways is still quite a conservative person. If any images, information or other content on this site belongs to you and you wish for it to be removed, please. Let's go with it, okay!" So Murrow is just a song about how the media gets abused and how it is used for propaganda. !” What could I say? The enigmatic appeal of “Holiday Road” is further compounded by Buckingham’s deafening silence surrounding the track. Especially if it's part of your background. And I went out that started singing a different way and really in a short period of time, a whole new melody evolved. WOW! Bwana is quite a melodic song, but it also conjures up images of a sort of jungle cartoonland. I just heard you say you didn't like Go Your Own Way." The titanic hold of “Holiday Road”—a song forever associated with the National Lampoon’s Vacation franchise, appearing in four of the five films in the series—is considerably striking considering its relative failure to take hold of the Billboard Hot 100, that classic metric for pop song success. There was a DJ down here named B. Mitchell Reid who was very established. Of course, Brian Wilson had always been such a big influence on me that when Dennis died, it got me thinking about the Beach Boys and the rough time that they've had all around, really, and the fact that Brian went from a very commercial format into a far more experimental vein and how he suffered for it. It was done with a Tin-Pan Alley sensibility in mind.... Actually, Lee Hirschberg, who used to work with Sinatra a lot downstairs here at Warners, he was making some copies for us. Lindsey Buckingham, Words and Music, 1992, This is the first single from the album, and the only song on which I didn't play bass and drums. But he was a good guy. All rights reserved to the original copyright owners. [laughs]....I like it a lot. Petula talks about her hits "Downtown" and "Don't Sleep In The Subway," and explains her Michael Jackson connection. BAM Magazine, November 1981, There's something about the taste and attitude of '40s music that's very romantic. Each part of each vocal line was sung separately and recorded on a separate track. That traditional non-American folk music element appealed to me as did the idea of a song as a serial with three separate movements - the wish, the prayer, the reflection - as if you were watching something on television, and you changed the channel.The first part is like a "wish" to get away, or to go insane. as an adult, and leaving even more of him on the drive here today. [T]he acoustic guitar part. That song came off , and then Songbird came on. It was written about a girl that I had met in New England and spent a very short amount of time with. Songwriters On Songwriting by Paul Zollo, 1997, ["Bleed" to love her?] Song introduction in concert, Philadelphia May 2003, [The single Peacekeeper,which bristles with alluring harmonies and a chugging beat, easily could be about Iraq.] I found out long ago It's a long way down the Holiday Road It's a long way down the holiday road Holiday road Holiday road Jack be nimble, Jack be quick Take a ride on the West Coast kick Holiday road Holiday road Holiday road Holiday road I found out long ago It's a long way down the holiday road Holiday road Holiday road Holiday road Holiday road At that point, the lyrics just sort of went with the new melody...don't ask me how [laughs]. It was totally autobiographical. The lyric as I recall was very much a miniature perception of things.... You think about how naive that was and very much in the context of not particularly being about something that was even more important. Innerview with Jim Ladd, 1984, The way in which "I want you" is meant, really, it isn’t in the sense that I want you physically or sexually. And maybe that's why it's sweet - it was just a frivolous little thing. Actually that song was written...about Stevie, and for Stevie, quite a while ago. He wanted me to try the Ghostbusters thing. I think he was having a bad night, actually. Points Make a Difference. I mean, you’re into the point where the sound is almost...bordering on being substandard on that, you know, as if it were recorded in a garage. Off the Record, 1992, There are certain songs, such as Soul Drifter, that was kind of blocked out and completed, wordswise, before ever committing it to tape. DenverPost.com, October 2003, At the time [that I wrote it (circa 2000)] -- or now -- it was a peace song, quite ironically stated. Powered by Squarespace. This song has elements of something quite traditional and recognizable in an almost generic sort of way, yet it departs from that at the chorus when you're suddenly into this weird Brian Wilson/Yardbirds acid thing. Rolling Stone, February 1980, [Is there a reference in Bwana to Mick Fleetwood and his trip to Africa to record his The Visitor album?] The acoustic brings in the right brain, the feminine aspect, to complete the emotional landscape of the song. live in concert, Marysville, CA, June 26 2004. I emerged a week later with the D.W. Suite. Also, there's a lot of humor in that song. The first #1 hit with a rap was "Rapture" by Blondie in 1980. Because it’s so microscopic what you can get away with live and getting a real tight drum track in the studio. Innerview with Jim Ladd, 1984, The concept for breaking up the vocals...was to depersonalize the performance - not the message, or the emotion that is created, or the energy that is created - but to try to orchestrate the vocals and sort of have them become a part of the track a little more. Song dedication in concert, Columbus, OH, May 7, 2003, That song is about taking off and leaving it up to fate as to what will happen. And then when I started to play it, I realized it was something that just worked in terms of the style, and it also worked in terms of setting almost a showtune atmosphere for that and the last song, which is also something like that. And of course, “been down one time, been down two times, never going back again” is really a sweet sentiment. I did it just because I liked it. I remember very clearly that when Stevie first heard the lyric she objected quite vehemently to the brutal honesty of it, or what she thought was exaggeration, but to my mind, it wasn't. me and it will be done immediately. As soon as I came up with the acoustic part, the whole song came to life for me because it acted as a foil for the vocals and a rhythmic counterpoint. It's funny: Stevie once said something like, "Well, Lindsey's songs were always kind of negative and my songs had a note of hope in them." Performing Songwriter, May 2003, This next song, uh, it was the last single that I had with the band before I took off in '87, and uh, at that time it was about a lonely guy living up on a hill. He’s been one of our biggest fans - one of my biggest fans and one of Stevie’s for a long time - and he came up to me and he said, “What is that song? With these releases, four separate versions of “Holiday Road” were simultaneously made available in the legal marketplace. There's nothing really negative about Mick in there, it was just that it was on my mind at the time [laughs]...Mick and I are close enough to make reference to one another in songs without really having to worry about it. It's more - “I want you..the way you were..when I met you.” That happens to me a lot. Basically. I see all of the Wilsons as having gone insane together. Not just the propaganda that passes for news, but the trivialization of so many things, and the intent to distract and delude that he was talking about. [Laughs]....That's nice with all the rain. And uh, I'm still living on the hill, but life is a whole lot better with a beautiful wife and two beautiful children. You get five, six, or seven different tones together that are out of tune with each other, and it just becomes this arrgh kind of sound. Lindsey Buckingham Holiday Road ℗ 1983 Warner Bros. Records … 10, Fall 1984, It starts out almost with a death wish, which is D.W., and says "If we go insane, we can all go together." But it’s really poppy. It’s actually one of my favorites on the album because it goes by so quickly that it almost sounds rushed, but if you try to get inside it, there’s a lot there. It’s a song about jumping over into some new territory - “out of this town, ain’t no use hangin’ round.” And there’s something very symbolic about that.
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