Fleetwood Mac, Ivins, Richard Dash discussed on WTF with Marc Maron Podcast


I didn't tour till two thousand six as solo on my own so you know it was just one of those things that it allowed and as fleetwood mac sort of went down that road and of course as i said i took leave of lead. Make nine hundred ninety seven. Because i didn't want to do that tour I made out of the cradle. Which is one of my better albums. And then eventually got pulled back into fleetwood mac and did make another solo album till two thousand six so there has been a problem in terms of ivins. Maybe not a problem but a challenge in terms of In those things together the time commitment. And we're all touring right. Yeah so you know. If you're gonna be in fleetwood mac. You've got to do everything that fleetwood mac needs to be done and operation. It is and if that means that you've got to sort of minimize the logistics of your solo work. Then that's okay because in a way it's going to be smaller scale anyway just because of what it is right and that's that's a good thing for me you know. Well maybe it did force you to at least you know. Be leaner and how your approach. Well i mean it kept me learning. I know that you know. And at some point people are up there doing their hits and And they forget how to even be creative. You know i definitely hear that. Yeah i did that luxury as sort of like Marginal comic you really gotta show up with the new our every year. That's the comedies. As they say it's hard. Yeah teas but i wanna make sure that you know we do you know. Pay some attention to all the soa records especially you know once you got through. I know that first one was back in the nineties but it seemed like the the shift from the first couple of soa records. Which were so i mean they were they were the production is very of its time and and there was a i. Think an attempt to make something danceable. Am i wrong. Well not that my first solo album was i think. I'm thinking to say nineteen eighty-one it was law and order that was not really so danceable but the reason that i even started making so albums because the band had gotten very drawn into the whole tusk idea. You're a little bit wary of of doing it in the beginning but they got completely drawn into it. Yeah by the time we got done bar or they loved it. They loved it but when it did not sell close to sixty million copies i think it probably sold for five emphasis double album. So still mic. Came to me one day and he said well. We're not going to do that again. Meaning you can't go to your house and work on tracks by yourself and bring them in. Have us play over them. Which is what. I did so he sort of blaming you. He's not blaming me. He's just saying you know back to that works. That was that was your art album. We wanna do something a little broader now. And i said okay but i realized at that point that i wasn't going to kick be able to continue to sort of aspire to be the artist right unless i started making solo albums so That first one wasn't really so dancy. The second one was called go insane which was a couple years later and that was a little bit more. The the linn drum machine had just come in and i had a synthesizer presence. Yeah there's i had this eight bit fairlight which was very new and also working with different people whereas on that i might work with richard dash it who is one of the co producers fleetwood maga- toe I put on this. I worked with a young guy named gordon ford isis. In engineer in roy. Thomas baker of all people one or two. He called himself executive producer on the newest one on ongoing signs. The second says in one thousand nine hundred eighty three and he he you know he that could mean anything. Executive producer could mean. You never see him but he was there every day. Yeah and i think. His sensibilities work their way into a that album and and gordon the engineer they were all. There are both english so they were drawing from the sensibilities of the stuff that was coming over from england. new wavy. Yeah get a kind of a more dancey kind of civility on that record right no doubt about it. So i'm trying to get the timeline. The last time we talked you're in you're just been cut loose fleetwood mac in a fairly dramatic way. What was that about. How does that happen. Well ironically. It sort of began with a. I mean the tone for it. Not the not anything. There was no real substantive reason for for it happening but the tone actually began with the solo album that is is about to be released brand new one which has been waiting to come out for three years now at least more more actually and when christine and i were done touring As a duet which we did you know after we'd made that album yup few years ago What i asked of the band because they were planning a fleetwood mac tour pretty much right after that after in two thousand seventeen. Yes yeah yeah yeah maybe eighteen. Yeah and i i said was can i want you know i've we did this. Great project with christine. I have this other album. That i'm really proud of. It's a pop album. And i would love to if you give me an extra three months to put it out and do some american dates before fleetwood back goes out and.

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