You’ve done a perfect job explaining, sorry, rocksplaining the guitar parts. But I’d love to see a part 2 to this video breaking down the lyrics. The irony of the constancy of the chords through the verses and chorus, versus the lack of constancy in their relationships with each other and their other lovers can’t be a coincidence. I feel like it was Linseys urge to drop an anchor somewhere, anywhere. Meanwhile, she’s singing about him leaving again. 2 dueling artist painting on the same canvas with their respective brushes. She paints with words and vocals, he paints with note and effects.
There is this continual magnetic pull of that Am (which is the darker version of the happy Cmaj) and this musical outlining of Am in the melody that totally matches the lyrics in regards to never getting to or keeping what you really want or what is really important. It is so rare for a song to so subtly and so strongly make you feel musically what the lyrics and the melody are describing. The G gets you to feel like your getting closer or heading in the right direction only to drop back to that F. Intuitively brilliant!!!
Okay, I'm really late to catching this video, but your analysis of this song is still great content. Thanks for taking the time to create the video and sharing it with us. Much appreciated.
More, more, more ... please. If you ever do any other Fleetwood Mac songs, I'd be thrilled to have Hold Me discussed. That song is perfection. I look forward to anything that you choose to cover, however. You've just earned a new subscriber.
Great analysis...if memory serves...there wasn’t so much recording done for this album that the magnetic ness of the tapes wore out...and then the whole thing was stripped down. That stripped down sound in this song really gives it its direct personality. This could have a much fuller track but that low fi bare quality really makes it jump out--though it’s not really low fi. Buckingham is a genius
It's amazing. And if you really want to get freaked out, listen to the bass note she's playing on the electric piano! She fully ignores the G chord and stays on F all the time. It shouldn't work! AT ALL.
Check out the book "Making Rumours" by Ken Callait, the engineer and co-producer of the album. In addition to writing about the saucy drama surrounding the drug use and interpersonal relationships, he takes you under the hood regarding some of the album production and recalls the tapes wearing out. Fortunately, they had made duplicates of the basic tracking sessions in Sausalito and were able to restore the project combining those parts with the overdubs onto new tapes (without time code no less!). For "Dreams," the drums are actually from a tape loop, which only adds to the hypnotic flair... I love to nerd out on those details, so I highly recommend the book. I've read it a few times, and thanks to Doggface, I'm itching to read it again.
Can I just say that RockSplaining is the best name ever for this series? I thoroughly enjoyed this explanation of why one of my all-time favorite songs is so awesome, and why with only two chords, even I should be able to play it!
So happy you popped up in my recommendations. We are adding this song to our set list and was looking for some "rocksplaining" apparently, just didn't know it. Wonderful video. You made a subscriber out of me!
No need to apologize for not using a Rick Turner guitar on this song. Lindsey didn't get his until 1979; he used a Les Paul on Rumours, so your choice was perfect.
I can see looking at it like that, but I strongly disagree. Functionally a I II progression wouldn’t work the way this song does, with the melody hovering around the major VII. It works modally speaking, but the secret sauce here is that it feels unresolved the entire time. I’d love to see another example of a I Maj7-II Maj progression that feels the way this song does… I can’t think of a single one.
Bell smacked, keep it coming . I been trying this fade in motion with the volume all week with various filters and tape echos . Talk about providence this vid turning up.
What? How cool! I mean, you could also just use an auto swell, depending. But Lindsay is using the effect two ways here; as a fade-in AND as a slow Rhodes-y tremolo. So volume pedal it is. He’s such a badass.
Not a big fan of the commercial lineup of FWM. But the breakdown you worked out is super. My big turn off is the guitarist that does not use a plectrum. To me that is not optional.
@@JB_Eckl would you have ever played hard rock without a pick just fingering .I know it can work in soft rock or country but come on. I use the volume knob curling my little finger around it in the sweet spot and it makes for a great effect. Learned that from yngwie and with a slap back single echo you can perform things like echo etude. It only works on strats so another reason to play fenders.
All of that would make sense to me if we were talking about a metal context… but in Fleetwood Mac I never noticed anything weird about his tone. On the contrary it’s generally perfect for the band. I play with a pick most of the time, but I wouldn’t want, say, Mark Knopfler to use one.
@@JB_Eckl it would severely limit your repertoire of music styles. Even chet Atkins used a thumb pick. Mark knopler is a truistt like you said. More of deep dive explanations of well known classics.
Iam gonna jam the hell out of that riff and just destroy it and add 50 pounds to it or something only a hack like me can do thanks for the ammo on my journey of faking guitar . For now peace wizard
![Fleetwood Mac - Dreams [Cover ft. @timpierceguitar]](/img/1.gif)
The rhythm section groove is also killer. Simple, but completely locked in
Another two chord pop masterpiece is “Horse With No Name”
You’ve done a perfect job explaining, sorry, rocksplaining the guitar parts. But I’d love to see a part 2 to this video breaking down the lyrics. The irony of the constancy of the chords through the verses and chorus, versus the lack of constancy in their relationships with each other and their other lovers can’t be a coincidence. I feel like it was Linseys urge to drop an anchor somewhere, anywhere. Meanwhile, she’s singing about him leaving again. 2 dueling artist painting on the same canvas with their respective brushes. She paints with words and vocals, he paints with note and effects.
There is this continual magnetic pull of that Am (which is the darker version of the happy Cmaj) and this musical outlining of Am in the melody that totally matches the lyrics in regards to never getting to or keeping what you really want or what is really important. It is so rare for a song to so subtly and so strongly make you feel musically what the lyrics and the melody are describing. The G gets you to feel like your getting closer or heading in the right direction only to drop back to that F. Intuitively brilliant!!!
It really is incredible. I love the 'magnetic pull.'
This is the content I'm here for. More of your face on my screen Rock Splaining my favorite songs which include some of your originals too dude!
Wow, right on Yosi! Major words of encouragement! Whatever happens next will be partially your fault.
12:20 I always thought this was McVie's synth. I'm so glad I found this channel!
Really great analysis, and I made it here via the levee breaks. More, my friend, this is high quality analysis and music-nerding.
Glad you enjoyed it!
Okay, I'm really late to catching this video, but your analysis of this song is still great content. Thanks for taking the time to create the video and sharing it with us. Much appreciated.
Thanks!
The word driving comes to mind.... Three chords and the truth . Or in this case two. So glad I've discovered your channel.
This was great, but the heartbeat drives you mad, not down. :-)
Of course you are 100% right!! I hoped nobody would notice...
Lol take your thumb off the top of the neck...ugh
More, more, more ... please. If you ever do any other Fleetwood Mac songs, I'd be thrilled to have Hold Me discussed. That song is perfection. I look forward to anything that you choose to cover, however. You've just earned a new subscriber.
A+ content! Props all around. Love the set up.
Right on, thanks so much! Filmed in my Happy Place
Really great analysis this tune is mesmerizing and you did such a great job of explaining it without demystifying it.
Great analysis...if memory serves...there wasn’t so much recording done for this album that the magnetic ness of the tapes wore out...and then the whole thing was stripped down. That stripped down sound in this song really gives it its direct personality. This could have a much fuller track but that low fi bare quality really makes it jump out--though it’s not really low fi. Buckingham is a genius
It's amazing. And if you really want to get freaked out, listen to the bass note she's playing on the electric piano! She fully ignores the G chord and stays on F all the time. It shouldn't work! AT ALL.
Check out the book "Making Rumours" by Ken Callait, the engineer and co-producer of the album. In addition to writing about the saucy drama surrounding the drug use and interpersonal relationships, he takes you under the hood regarding some of the album production and recalls the tapes wearing out. Fortunately, they had made duplicates of the basic tracking sessions in Sausalito and were able to restore the project combining those parts with the overdubs onto new tapes (without time code no less!). For "Dreams," the drums are actually from a tape loop, which only adds to the hypnotic flair... I love to nerd out on those details, so I highly recommend the book. I've read it a few times, and thanks to Doggface, I'm itching to read it again.
This was great, thank you.
Loved EVERY part of this anecdote!!
So rad! Fantastic breakdown of this song, and kudos for discussing the theory behind the unresolved tension the chords. 🤓👍🏻👍🏻
Never mind the unresolved tension within the band.
Ya that was great bro !! The complexities within the simplicities …
It never ends
Buckingham's thumb has a brain of it's own. To make this tone easier to obtain the EHX Attack Decay it great.
Can I just say that RockSplaining is the best name ever for this series? I thoroughly enjoyed this explanation of why one of my all-time favorite songs is so awesome, and why with only two chords, even I should be able to play it!
P.S. I really enjoyed hearing you sing it over alternate, more traditional chords. That blew my mind. You should record that.
Awesome . Just watched this and When the Levee Breaks
Brilliant - I'll never listen to this song the same way again; thank you!
WOOOO!
Crazy insightful. This is natural and informative and even more helpful than Rick Beato right out of the gate!
Wow those are kind words! I don’t know about more helpful than Beato, but I’ll take it as encouragement for sure!
@@JB_Eckl For one thing, you can sing, so you can teach in a more complete, holistic way. Beautifully done.
Nice video, JB! As far as theory, bVI7 chord is a superset of the tonic ... nice chord substitute.
Dude! Loving your videos! Keep it up man! GREAT stuff!
Thanks so much!
Amazing idea JB!
Right on! I always wanted to get into this stuff
New subscriber from the UK.
Loving your Rocksplaining videos, keep up the great content.
So happy you popped up in my recommendations. We are adding this song to our set list and was looking for some "rocksplaining" apparently, just didn't know it. Wonderful video. You made a subscriber out of me!
So good to hear!
FASCINATING!!!! I LOVE IT!!!
Finally someone who nails it. Thank you!
At least we hope so, right??
Awesome!
You found me!!
Dude, suspension was the perfect word
Enjoyed this JB! I have to play this later tonight ... try my best to not blow it lol! But now I can say I'm well informed at least. Abrazos!
Hope you have a volume pedal! Haha.
No need to apologize for not using a Rick Turner guitar on this song. Lindsey didn't get his until 1979; he used a Les Paul on Rumours, so your choice was perfect.
The song is in F lydian. It's a major mode of the C major scale (the fourth one). The progression is I II in F lydian.
I can see looking at it like that, but I strongly disagree. Functionally a I II progression wouldn’t work the way this song does, with the melody hovering around the major VII. It works modally speaking, but the secret sauce here is that it feels unresolved the entire time. I’d love to see another example of a I Maj7-II Maj progression that feels the way this song does… I can’t think of a single one.
That JB, not just another pretty face! Gracias, danke, thank you.
I do try to make beard care a priority.
So dope...
Bell smacked, keep it coming . I been trying this fade in motion with the volume all week with various filters and tape echos . Talk about providence this vid turning up.
What? How cool! I mean, you could also just use an auto swell, depending. But Lindsay is using the effect two ways here; as a fade-in AND as a slow Rhodes-y tremolo. So volume pedal it is. He’s such a badass.
Love it!
Thanks man!
"A heartbeat drives you mad..." it's from Edgar Allen Poe's The Tell-Tale Heart
Yeah I should have looked at the lyrics first. Wasn’t planning on singing it!
Wow, yes haunting....and to me personally it was creating a soundscape for lack of a better term. Like pink Floyd or so much of that creative vibe
It's not tension, it's anticipation. Which is almost just as good. In fact, it may be better.
I can dig it
Can I dare to suggest that the acoustic guitar in the chorus is actually playing Fmaj7 to Fmaj7/G, and not a straight G chord???
...please...do...some...more...when it's time. Feeling reignited, there are new 'ventures out there. Right?
ALWAYS.
That guitar effect is manual? It's not a some kind of compression effect on the transient?
Pretty sure they’re straight up volume pedal moves. That was a huge thing in the mid 70s, like on Joni Mitchell’s ‘Court and Spark’ etc.
Please consider to film about the Chain
Foreboding/ Haunting
Not a big fan of the commercial lineup of FWM. But the breakdown you worked out is super. My big turn off is the guitarist that does not use a plectrum. To me that is not optional.
Interesting. I never heard of anyone being annoyed by Buckingham’s guitar sound, but it’s personal preference I guess! Thanks for watching the video.
@@JB_Eckl would you have ever played hard rock without a pick just fingering .I know it can work in soft rock or country but come on. I use the volume knob curling my little finger around it in the sweet spot and it makes for a great effect. Learned that from yngwie and with a slap back single echo you can perform things like echo etude. It only works on strats so another reason to play fenders.
All of that would make sense to me if we were talking about a metal context… but in Fleetwood Mac I never noticed anything weird about his tone. On the contrary it’s generally perfect for the band. I play with a pick most of the time, but I wouldn’t want, say, Mark Knopfler to use one.
@@JB_Eckl it would severely limit your repertoire of music styles. Even chet Atkins used a thumb pick. Mark knopler is a truistt like you said. More of deep dive explanations of well known classics.
Iam gonna jam the hell out of that riff and just destroy it and add 50 pounds to it or something only a hack like me can do thanks for the ammo on my journey of faking guitar . For now peace wizard