Michael Casswell Pro Concepts Part 2. Michael Casswell Pro Concepts Part 1. Contemporary Tapping Arpeggios. Danny Gill Signature Session. Stuart Bull Blues Licks Volume 2. Stuart Bull Blues Licks Volume 1. Tom Quayle Signature Session. Mastering The Blues - Part Two. Quick Licks Joe Satriani Vol 2. Mastering The Blues - Part One.
Chord Encyclopedia Vol 4 Altered Harmony. Chord Encyclopedia Vol 3 Extended Harmony. Absolute Beginners 12 Bar Blues. Levi Clay's Chop Shop Volume 2. Sam Bell's Pentatonic Workout Part 2. Quick Licks Mark Knopfler. Sam Bell's Pentatonic Workout. Rock Foundations Alternate Picking.
Contemporary Slide Guitar. Chord Encyclopedia Vol 2.
Levi Clays Chop Shop. Virtuoso Guitar Techniques - Caprice Making Music with Arpeggios. Chord Encyclopedia Vol. Legato Techniques for Absolute Beginners. Jam with George Marios. Licks, Licks, Licks by Danny Gill. Jam with Sam Bell.
RHYTHM MAGAZINE: 7 great drum tracks by Mick Fleetwood
Absolute Beginner — Jazz Rhythm Guitar. Absolute Beginner - Jazz Lead Guitar. Easy Funk Fusion Guitar. Metal Rhythm Guitar for Absolute Beginners. Absolute Beginner Acoustic Fingerstyle.
go your own way, Fleetwood Mac, #2798486
Jam with Jamie Humphries. The Art of Improvisation by Rick Graham. Rock Licks for Absolute Beginners. Jam With Stuart Bull. Rock Guitar for Absolute Beginners. Lead Guitar for Absolute Beginners. Rhythm Guitar for Absolute Beginners. The Modes: Lydian Steve Vai. The Modes: Dorian Santana. The Modes: Aeolian Michael Schenker.
Quick Licks: Albert King. Quick Licks: Jimmy Page Volume 2.
Effortless Guitar: Smooth Jazz Techniques. Stuart Bull's Rock Jam Volume 2.
Ultimate Guitar: Speed Soloing Techniques. Effortless Guitar: Fingerpicking Techniques. Effortless Guitar: Classical Guitar Techniques. Ultimate Guitar: Shredding Classical — Caprice 5. Ultimate Guitar: Shredding Classical - Caprice Metal Edge: Extreme Metal Licks.
Go Your Own Way by Fleetwood Mac - Guitar Chords/Lyrics - Guitar Instructor
Solo it up for me. We've already been high-fiving one another. It's great. I remember him walking into the control room as white as a ghost, and of course everyone rallied around him, but then there was John and Christine's break-up. She'd sneak her new boyfriend into the studio just as John was walking out through another door, and we were kinda ducking — 'When are the two chemicals going to mix? When are we going to have the explosion?
I remember them singing background vocals to 'You Make Loving Fun', sitting on two stools in front of a pair of microphones, directly facing me on the other side of the control room glass, and if we had to stop tape for whatever reason, during the few seconds that it was being rewound they'd be shouting and screaming at one another.
I'd be thinking, 'Go tape, go tape, hurry, hurry, let's hit play! In fact, it was pretty harmonious compared to other sessions I'd do later on.
This often revolved around recording new parts once the basic backing tracks had all been completed. It felt nice and fresh because we kept rotating everything. You see, I really think the whole topic of drugs on those sessions has been overplayed. Yeah, that stuff was around, but it wasn't like everybody was crawling all over one another, and I don't think it got in the way of the music-making. It was more a case of 'Hey, we're all getting kind of tired. Maybe we should get some coke. Fourteen to 15 hours didn't leave enough time, so every day we pushed back another two or three hours.
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You know, 'It's two in the morning, but let's try to start at noon tomorrow. We were always trying to push ourselves to get in at a decent time, but eventually we were starting at 10 o'clock at night and finally we said, 'OK, this is crazy. However, we felt like we weren't getting enough done and that we couldn't keep taking days off, so the coke seemed like a good solution. Today that wouldn't be the case; I would just say, 'We're taking Saturday and Sunday off, everybody have a good night's sleep, have a good time, and we'll see you bright and early Monday morning.
Although Ken Caillat generally didn't edit between takes, there were one or two exceptions, the most notable of which was a track titled 'Keep Me There', recorded during the first few weeks at the Sausalito Record Plant, and described by him as a 'weedy song' with a three-minute bass-and-guitar solo that evolved into 'The Chain'. He actually had me take some blank tape and cut it in exactly where the verses were. So we got rid of the verses, and then he had Mick play the kick-drum part — we didn't know what the hell Lindsey was doing.
He kept the drums and bass on the chorus, although he changed the key of the song and changed the chords, and he also came up with an all-new kick drum on the verse and new background parts. That's how he came up with 'The Chain'. We cut the hell out of that tape.