Fleetwood mac go your way live

We only tried out this guy Caillat on one mix. He certainly can't engineer. We even taped two kick drums together out of frustration, trying to get some size and some beat out of them, but nothing would work, and finally I got pissed off. I said, 'Goddamn it, what the hell's going on here,' and I literally just started turning knobs, and within about five minutes of doing this on a track we were trying to cut, it was sounding great. Once I did that, I started twisting knobs, and boom-boom-boom, it worked.

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The band walked in after we'd recorded this one song and they were like, 'Wow, so what was the last eight days all about? It just took you guys 10 minutes to get a killer sound. Looking through the control-room window at the rectangular-shaped live area that ran lengthwise from left to right, Ken Caillat could see a drum area at the right side, with wood on the floor as well as on the wall that was to the rear of the kit. Baffles were placed around Mick Fleetwood, and also around John McVie, who stood facing his own amp as well as the drummer, while Lindsey Buckingham was positioned behind the bass player — or to the left of him from Caillat's viewpoint — and Christine McVie's keyboards were close to the window, somewhat isolated from the drums.

And because we wanted to have enough flexibility for songs having different effects, I always had two or three mics on a guitar amp — I could put one out of phase, slide the others back and forth to change the sound, and I'd do the same with the bass. With a Leslie on a send, if I needed to send an electric guitar through the Leslie, I'd just bring that fader up. While the songwriting and performances were obviously central to the album's success, the production and engineering cannot be discounted.

And this is particularly true with regard to how the instruments not only blend together but also retain their own space, courtesy of Dashut and Caillat ensuring that each was allotted its own place within the frequency spectrum. When we were recording Rumours , Christine would ask, 'How does everything sound, Ken? Did you like this take better than that take?

Yeah, you're right, Ken. We're playing in the same register. Why don't I invert the keyboard down a third and get out of Lindsey's way? After that I'd go, 'Hey, you know, you two guys are playing in the same spot. One of you should go up or down, so let's figure out who's going to take which frequency. The prime example of Rumours ' excellence in terms of composition, arrangement, performance and sonic clarity was 'Go Your Own Way', whose complex drums originated in a discussion between Richard Dashut and Lindsey Buckingham that Ken Caillat overheard while driving them to the Sausalito studio one morning.

In short, the two men agreed that they loved Charlie Watts' drum pattern on The Rolling Stones' 'Street Fighting Man', and Buckingham asserted that he'd love to hear Mick Fleetwood play something similar. John played along on bass, and after that we built the song with Lindsey's guitar and Christine's organ. In fact, before we left Sausalito I did rough mixes of every song, and that tape was very similar to the final version of Rumours , just without all the little frosting and bells and whistles, including the solos.

He had to be able to hear the part to play the part, and he was a really heavy hitter of everything except the kick drum. We used to call him 'Feather Foot', because there'd be these tremendous snare and tom hits while the kick was going 'pfff-pfff, pfff-pfff. It was loud enough to come through the kick drum, and you couldn't hear anything else with the gates on the snare and so on.

The bass, meanwhile, went through a Fat Box DI. The amp got in the way most of the time, but still, we'd record the bass on two tracks — direct and amp, probably mic'd with something like a — and many times we then erased the amp when we needed another track. I found that those two mics complemented each other, and if I put the 57 about an inch from the cloth and the about two inches from the speaker, a little off to the side, and then moved the two faders up and down both together and independently, I could change the sound radically.

And you'd get a really interesting sound if you also put phase on one of them. Added to that there was always a direct, although I didn't use that so much with Lindsey unless we were feeding a Leslie with it. We had everything mic'd up for whatever effects we wanted. Pretty much all of the electronic stuff was recorded direct, but again we'd have an amp in another room in case we wanted that sound on a keyboard. It all depended. We had plenty of time, so when they started playing we'd dial up everything.

You know, 'Let's put a little amp on that. It'll fill out the sound better. In the meantime, guide vocals were tracked with whatever mics were least susceptible to leakage — SM57s, SM58s, s. Everything got bounced down, because we were filling up tracks. We'd have the equivalent of 50 or 60 tracks on the track, combining and combining, going down a generation, and it's amazing because when I did a 5. To retain as much transients as possible without saturating the tape, I'd recorded it at 15ips, Dolby, zero level. It was a different time. With everything in good shape, about four months were spent at Wally Heider Recording, adding most of Buckingham's guitar colours and harmonics, with Fleetwood and John McVie in attendance, while the women took a break, before returning toward the end for some vocal work.

Here's how they sound on the piano Still, it was also at Heider's that we almost lost the album, due to the tape wearing out. We listened to everything loud, and I started saying, 'Are my ears going or does this sound duller than usual?

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It seems like I'm adding more top end all the time. Every pass we had to stop and clean the heads, but still we pushed on, trying to get the work done, until finally I said, 'Maybe there's a bigger problem here. Maybe we're doing damage. So much character was gone from the kick and the snare that they just sounded like 'pah, pah'. That's when the fog cleared from our brains and we knew we had a problem. The fact was, the tapes were just worn out. They had been played so much, and that Ampex tape also had a problem that we wouldn't find out about until later, but coincidentally we had a backup.

Well, I didn't care, so I said, 'Sure'. I've never done that at any other time, but in this case we ran two track recorders for all the basic tracks, so when we now couldn't tell the difference between the kick drum and the snare I remembered that we had these simultaneous first-generation masters.

I said, 'There is a solution, guys. We could possibly transfer all of the overdubs back to the other tape and use the new drums. We went there and put the tapes up, and we manually transferred them side by side. Fleetwood Mac Fleetwood Mac. The Chain.

Fleetwood Mac 'Go Your Own Way'

Landslide Live Album Version. Go Your Own Way. Little Lies. Don't Stop. Rhiannon Live. Never Going Back Again. Seven Wonders.

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Fleetwood Mac's Lindsey Buckingham dissects "You Can Go Your Own Way" / Boing Boing

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