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Fleetwood Mac - A Musical History [ENG][2018, Rock Documentary, Web-DLRip, 720p]

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Fleetwood Mac - A Musical History
Жанр: Rock Documentary
Продолжительность: 00:58:49
Год выпуска: 2018
Описание:
"в папке есть английский субтитр [srt] и здесь ниже, если кто-то хочет/может перевести его на русский язык" чтобы добавить здесь с признанием конечно
===
Fellow musicians, journalists and fans celebrate Fleetwood Mac with a selection of their best-loved songs. Fleetwood Mac are the great survivors of British and American rock music. For more than fifty years they’ve overcome break-ups and breakdowns to become one of the most successful bands of all time. They have sold over 100 million records worldwide, with their 1977 smash Rumours accounting for nearly half of those sales.
They have endured, like all great bands, because of the complimentary talents of its members. From Peter Green to Christine McVie, Stevie Nicks and Lindsay Buckingham, it has contained some extraordinary songwriters. With brilliant musicians on all instruments, the band has been able to turn the songs into commercial gold. Above all the tough determination of the two men who gave the band their name has seen Fleetwood Mac through thick and thin.
Fleetwood fan Edith Bowman provides a narrative overview alongside other celebrity fans, who all pay tribute to the band in this hit-filled hour. Contributors include KT Tunstall, Travis’s frontman Fran Healy, Toyah Willcox, Sian Pattenden and Emma Dabiri.
===
Russian {Google}
Музыканты, журналисты и фанаты празднуют Fleetwood Mac с подборкой своих самых любимых песен. Fleetwood Mac - великие выжившие британской и американской рок-музыки. На протяжении более пятидесяти лет они преодолевали распады и срывы, становясь одной из самых успешных групп за все время. Они продали более 100 миллионов пластинок по всему миру, а их слухи о разгроме 1977 года составили почти половину этих продаж.
Они пережили, как и все великие группы, из-за дополнительных талантов своих участников. От Питера Грина до Кристины МакВи, Стиви Никс и Линдсей Бакингем, в нем содержалось несколько выдающихся авторов песен. С блестящими музыкантами на всех инструментах, группа смогла превратить песни в коммерческое золото. Помимо всего прочего, жесткая решимость двух мужчин, давших группе свое имя, видела Флитвуда Мака в гуще и худости.
Флитвудский фанат Эдит Боумен дает обзор повествования вместе с другими фанатами знаменитостей, которые все отдают дань уважения группе в этот наполненный хитом час. Среди участников - KT Tunstall, фронтмен Трэвиса Фрэн Хили, Тойя Уиллкокс, Сиан Паттенден и Эмма Дабири.
===
Доп. информация:

1
00:00:45,560 --> 00:00:48,280
I listen to Fleetwood Mac every day
2
00:00:48,280 --> 00:00:51,960
because artists like that
unlock the doors of perception.
3
00:00:51,960 --> 00:00:55,640
They connect you to a creative soul.
4
00:00:55,640 --> 00:00:59,000
In terms of being able to do music
across a multiplicity of genres,
5
00:00:59,000 --> 00:01:01,800
they're kind of incomparable.
6
00:01:01,800 --> 00:01:04,800
For me, it's the marriage
of those tones,
7
00:01:04,800 --> 00:01:08,560
both of the voices
but of the instruments.
8
00:01:08,560 --> 00:01:11,680
And what I love about Fleetwood Mac
is that no song
9
00:01:11,680 --> 00:01:14,160
is really a show-off song
for anyone.
10
00:01:14,160 --> 00:01:16,480
Everyone kind of gets their moment.
11
00:01:16,480 --> 00:01:19,520
They're the perfect example of
letting go
12
00:01:19,520 --> 00:01:23,680
and just, just
letting your thing flow.
13
00:01:23,680 --> 00:01:25,800
Where it leads, if you let it flow,
14
00:01:25,800 --> 00:01:30,320
is these songs that came out of
these different marriages.
15
00:01:30,320 --> 00:01:32,720
Well, Fleetwood Mac were invented
by Peter Green,
16
00:01:32,720 --> 00:01:34,520
who was a blues guitarist
17
00:01:34,520 --> 00:01:38,760
and part of the British
blues guitar explosion of the time.
18
00:01:38,760 --> 00:01:42,800
A kind of Clapton-y, Yardbirds
thing was going on around there,
19
00:01:42,800 --> 00:01:47,360
and he started Fleetwood Mac
and it's very much his baby.
20
00:01:47,360 --> 00:01:50,640
Peter Green recruited Mick Fleetwood
on drums and John McVie on bass,
21
00:01:50,640 --> 00:01:53,360
and they were the name -
Fleetwood Mac.
22
00:01:53,360 --> 00:01:54,680
They were huge.
23
00:01:54,680 --> 00:01:57,080
At one point they were selling
more than the Beatles
24
00:01:57,080 --> 00:01:59,360
and the Rolling Stones combined,
25
00:01:59,360 --> 00:02:02,520
and had a really big
hard-core blues following.
26
00:02:02,520 --> 00:02:04,440
Albatross changed that slightly
27
00:02:04,440 --> 00:02:07,600
in that they became
slightly more mainstream.
28
00:02:07,600 --> 00:02:12,800
But in doing that, it lost them
a lot of those hard-core blues fans,
29
00:02:12,800 --> 00:02:15,320
but it gained them
a lot of new fans.
30
00:02:15,320 --> 00:02:17,760
INSTRUMENTAL MUSIC: Albatross
31
00:03:36,800 --> 00:03:40,320
It sounds incredible,
even all these years later.
32
00:03:40,320 --> 00:03:42,880
It's just got that
classic Americana...
33
00:03:43,880 --> 00:03:47,960
..kind of dream pop,
dream-like vibe.
34
00:03:47,960 --> 00:03:52,160
But it also wouldn't feel out
of place on kind of...
35
00:03:52,160 --> 00:03:56,400
almost like a '90s chill-out album
as well.
36
00:04:28,600 --> 00:04:31,480
To have established a blues fan base
37
00:04:31,480 --> 00:04:34,280
and to then present them with this,
38
00:04:34,280 --> 00:04:38,560
I can't imagine it was well-received
by all of their fans.
39
00:04:38,560 --> 00:04:41,080
It certainly would
confound expectations.
40
00:05:06,200 --> 00:05:08,680
Certainly, I think, a lot of people
would be surprised
41
00:05:08,680 --> 00:05:11,280
if they heard
the entire back catalogue.
42
00:05:11,280 --> 00:05:15,000
I used to listen to a lot of kind of
rock and roll and punk music,
43
00:05:15,000 --> 00:05:17,120
and there's a Fleetwood Mac song,
44
00:05:17,120 --> 00:05:20,840
I think it's called Somebody's Going
to Get Their Head Kicked in Tonight.
45
00:05:20,840 --> 00:05:24,040
That's certainly the kind of,
the chorus of the main line.
46
00:05:24,040 --> 00:05:27,120
# Somebody's going to
get their head kicked in tonight. #
47
00:05:27,120 --> 00:05:28,720
And I just...
48
00:05:28,720 --> 00:05:31,040
I don't think
when I first heard that song
49
00:05:31,040 --> 00:05:33,440
I realised it was Fleetwood Mac
that sang it.
50
00:05:33,440 --> 00:05:36,080
Then when I realised it was
and it was the same people
51
00:05:36,080 --> 00:05:38,320
that sing, like, Everywhere,
I was just like,
52
00:05:38,320 --> 00:05:40,240
"What? That doesn't make sense."
53
00:05:40,240 --> 00:05:42,920
So, yeah, there's
lots of surprising gems
54
00:05:42,920 --> 00:05:46,240
in the Fleetwood Mac back catalogue.
55
00:05:46,240 --> 00:05:51,320
We're now going to do our
latest single, called Oh Well.
56
00:06:36,640 --> 00:06:39,360
# I can't help
about the shape I'm in
57
00:06:39,360 --> 00:06:41,720
# I can't sing, I ain't pretty
and my legs are thin
58
00:06:41,720 --> 00:06:44,240
# But don't ask me
what I think of you
59
00:06:44,240 --> 00:06:46,880
# I might not give the answer
that you want me to... #
60
00:07:16,760 --> 00:07:20,400
Guitars are
the coolest...instrument.
61
00:07:20,400 --> 00:07:22,320
Look at those guys!
62
00:07:24,400 --> 00:07:26,560
Look at them, they're having fun.
63
00:07:26,560 --> 00:07:29,040
They don't care that you're there.
64
00:07:30,080 --> 00:07:33,600
The way he's playing, the way his
fingers are, and they look so cool.
65
00:07:33,600 --> 00:07:36,960
# Now, when I talked to God
I knew he'd understand
66
00:07:36,960 --> 00:07:39,760
# He said, stick by me
and I'll be your guiding hand
67
00:07:39,760 --> 00:07:41,920
# But don't ask me
what I think of you
68
00:07:41,920 --> 00:07:45,000
# I might not give the answer
that you want me to. #
69
00:07:45,000 --> 00:07:50,040
It was very, erm, intense kind of
12-bar, it has to be 12-bar.
70
00:07:50,040 --> 00:07:53,800
The anorak crowd, the sort of
hard-core blues guys were like,
71
00:07:53,800 --> 00:07:55,760
"Oh, you're a sell-out."
72
00:07:55,760 --> 00:08:01,720
And with "Oh Well" as well,
they're already losing fans,
73
00:08:01,720 --> 00:08:05,000
haemorrhaging hard-core blues fans.
74
00:08:20,160 --> 00:08:25,560
They lost almost all
of their fan base in the UK
75
00:08:25,560 --> 00:08:29,160
and then they lose
their main songwriter.
76
00:08:29,160 --> 00:08:33,640
So they don't just lose their crowd,
they lose their main guy.
77
00:08:33,640 --> 00:08:37,440
Apparently, two band members,
Peter Green being one of them,
78
00:08:37,440 --> 00:08:42,160
had a bad acid trip in Germany,
this is the folklore of it.
79
00:08:42,160 --> 00:08:44,920
And after that, Peter Green
did not feel right.
80
00:08:44,920 --> 00:08:47,880
So at this point, obviously, Peter
Green just needs a really good rest.
81
00:08:47,880 --> 00:08:52,000
So Peter leaves
and you still have Mick and John,
82
00:08:52,000 --> 00:08:54,120
Fleetwood and Mac,
83
00:08:54,120 --> 00:08:56,680
who obviously want to continue
as a band.
84
00:08:56,680 --> 00:09:00,000
And so you have this kind of
almost barren period
85
00:09:00,000 --> 00:09:04,040
where they're not making music,
they're constantly searching
86
00:09:04,040 --> 00:09:06,320
and trying out new members.
87
00:09:06,320 --> 00:09:10,040
Then in comes Christine,
John's wife,
88
00:09:10,040 --> 00:09:11,400
who comes in on merit
89
00:09:11,400 --> 00:09:15,800
because she's an incredibly
accomplished songwriter,
90
00:09:15,800 --> 00:09:17,720
great keyboard player.
91
00:09:17,720 --> 00:09:22,960
Which led to this craziest luck
ever with Mick Fleetwood going
92
00:09:22,960 --> 00:09:26,720
into a studio in Los Angeles
to check out the studio,
93
00:09:26,720 --> 00:09:30,560
and the producer, like, puts on
a reel to show him what he can do,
94
00:09:30,560 --> 00:09:33,400
"This is what I last...
This is my latest thing."
95
00:09:33,400 --> 00:09:37,520
Apparently, Mick Fleetwood
heard a record by a duo called
96
00:09:37,520 --> 00:09:40,720
Buckingham Nicks,
so he asked them out for dinner.
97
00:09:40,720 --> 00:09:44,280
He invited Lindsey Buckingham,
the guitarist,
98
00:09:44,280 --> 00:09:46,920
to join Fleetwood Mac
and Lindsey Buckingham said,
99
00:09:46,920 --> 00:09:49,600
"Well, actually, I'm going out with
Stevie Nicks,"
100
00:09:49,600 --> 00:09:52,880
who is the other partner in
the duo, "We come as a package.
101
00:09:52,880 --> 00:09:55,120
"We don't go anywhere
without each other."
102
00:09:55,120 --> 00:09:57,920
So, unbeknownst to Mick Fleetwood,
103
00:09:57,920 --> 00:10:00,760
suddenly he's got Stevie Nicks
in the band.
104
00:10:00,760 --> 00:10:02,320
And probably this was a sort of,
105
00:10:02,320 --> 00:10:05,640
"Is she going to work? Is this going
to work? What are we going to do?"
106
00:10:05,640 --> 00:10:08,480
But actually, suddenly,
the magic happens.
107
00:10:08,480 --> 00:10:12,160
# Have mercy, baby
on a poor girl like me
108
00:10:15,240 --> 00:10:20,560
# You know, I'm falling, falling
Falling at your feet
109
00:10:23,400 --> 00:10:27,400
# I'm tingling right through
my head to my toes
110
00:10:29,680 --> 00:10:33,560
# So help me, help me, help me
make the feeling go
111
00:10:36,360 --> 00:10:39,960
# Cos when the loving starts
and the lights go down
112
00:10:39,960 --> 00:10:43,680
# And there's not
another living soul around
113
00:10:43,680 --> 00:10:46,920
# You woo me until the sun comes up
114
00:10:46,920 --> 00:10:49,840
# And you say that you love me
115
00:10:53,280 --> 00:10:54,640
# Have pity, baby
116
00:10:54,640 --> 00:10:57,240
# Just when I thought it was over
117
00:10:59,520 --> 00:11:04,160
# You got me running, running,
running for cover
118
00:11:07,320 --> 00:11:11,600
# I'm begging you
for a little sympathy
119
00:11:13,840 --> 00:11:18,480
# And if you use me again
it'll be the end of me
120
00:11:21,080 --> 00:11:25,000
# Cos when the loving starts
and the lights go down
121
00:11:25,000 --> 00:11:28,320
# There's not another little... #
Oh, look at that!
122
00:11:28,320 --> 00:11:30,520
# You woo me
until the sun comes up... #
123
00:11:30,520 --> 00:11:32,840
And they're so different voices,
as well.
124
00:11:32,840 --> 00:11:36,760
You know, Christine and Stevie's
voices are worlds apart.
125
00:11:36,760 --> 00:11:38,120
But together...
126
00:11:39,280 --> 00:11:40,760
..it's so special.
127
00:11:42,600 --> 00:11:45,840
So much of the success of
the songwriting has come from
128
00:11:45,840 --> 00:11:51,520
Stevie and Christine. Their talent
as performers and musicians,
129
00:11:51,520 --> 00:11:54,680
you know, no arguments there.
130
00:11:54,680 --> 00:11:57,600
But in terms of what went on,
in terms of the songwriting,
131
00:11:57,600 --> 00:12:01,560
I don't think they get the credit
that they're due for how much
132
00:12:01,560 --> 00:12:04,480
of the success of Fleetwood Mac
is due to them.
133
00:12:04,480 --> 00:12:08,480
# Baby, baby, hope you're
gonna stay away
134
00:12:11,040 --> 00:12:15,920
# Cos I'm getting weaker, weaker,
weaker every day
135
00:12:19,520 --> 00:12:22,920
# I guess I'm not as strong
as I used to be
136
00:12:25,280 --> 00:12:29,600
# And if you use me again
it'll be the end of me
137
00:12:32,560 --> 00:12:35,920
# Cos when the loving starts
and the lights go down
138
00:12:35,920 --> 00:12:39,760
# And there's not another
living soul around
139
00:12:39,760 --> 00:12:42,880
# You woo me until the sun comes up
140
00:12:42,880 --> 00:12:46,440
# And you say that you love me
141
00:12:46,440 --> 00:12:50,160
# Yes, when the loving starts
and the lights go down
142
00:12:50,160 --> 00:12:53,840
# There's not another
living soul around
143
00:12:53,840 --> 00:12:56,640
# You woo me until the sun comes up
144
00:12:56,640 --> 00:12:59,840
# And you say that you love me
145
00:13:01,280 --> 00:13:03,840
# Say that you love me
146
00:13:05,080 --> 00:13:08,840
# Say that you love me. #
147
00:13:08,840 --> 00:13:11,720
Rhiannon is written by Stevie Nicks,
148
00:13:11,720 --> 00:13:14,520
and I really think
it's a phenomenal song.
149
00:13:14,520 --> 00:13:18,480
It only reached 46 in the UK charts,
I believe,
150
00:13:18,480 --> 00:13:21,400
which is a shockingly low
chart position.
151
00:13:21,400 --> 00:13:25,960
In the Rolling Stone magazine vote
of the 500 top songs,
152
00:13:25,960 --> 00:13:29,520
it comes in at 488, which I think
is a very respectful place
153
00:13:29,520 --> 00:13:32,880
when you think of how many songs
there are in the world.
154
00:13:32,880 --> 00:13:36,640
But what I like about this song,
Stevie Nicks always introduces it
155
00:13:36,640 --> 00:13:38,520
as being about a Welsh witch.
156
00:13:40,880 --> 00:13:42,600
This is a song about a Welsh witch.
157
00:13:45,280 --> 00:13:48,640
# Rhiannon rings like a bell
through the night
158
00:13:48,640 --> 00:13:52,640
# And wouldn't you love to love her?
159
00:13:52,640 --> 00:13:55,320
# She rules her life
like a bird in flight
160
00:13:55,320 --> 00:13:59,160
# And who will be her lover?
161
00:13:59,160 --> 00:14:03,080
# All your life
you've never seen a woman
162
00:14:03,080 --> 00:14:05,880
# Taken by the wind
163
00:14:05,880 --> 00:14:09,160
# Would you stay
if she promised you heaven?
164
00:14:09,160 --> 00:14:11,880
# Will you ever win?
165
00:14:12,880 --> 00:14:19,480
# She is like a cat in the dark
and then she is the darkness
166
00:14:19,480 --> 00:14:22,200
# She rules her life
like a fine skylark
167
00:14:22,200 --> 00:14:26,040
# And when the sky is starless
168
00:14:26,040 --> 00:14:33,080
# Once in a million years
a lady like her rises
169
00:14:33,080 --> 00:14:34,720
# Rhiannon... #
170
00:14:34,720 --> 00:14:37,600
At the time, she was very much into
Welsh mythology
171
00:14:37,600 --> 00:14:41,920
and was starting to learn about
the goddess of horses,
172
00:14:41,920 --> 00:14:46,880
which is very prominent
in Welsh folklore.
173
00:14:46,880 --> 00:14:48,800
But it's the way she's written it.
174
00:14:50,280 --> 00:14:52,440
She writes in
a stream of consciousness,
175
00:14:52,440 --> 00:14:54,600
which really only
Stevie Nicks could do.
176
00:14:54,600 --> 00:14:58,520
She doesn't finish her phrases,
so she writes words that fit
177
00:14:58,520 --> 00:15:03,480
the musical phrase
more than they fit the sense,
178
00:15:03,480 --> 00:15:06,080
but it works
because that's how she writes.
179
00:15:06,080 --> 00:15:08,520
It's ingrained,
it's part of her DNA,
180
00:15:08,520 --> 00:15:10,000
she's not faking it.
181
00:15:10,000 --> 00:15:13,920
She's discovered what works
for her voice.
182
00:15:13,920 --> 00:15:16,520
# She rings like a bell
through the night
183
00:15:16,520 --> 00:15:19,480
# And wouldn't you love to love her?
184
00:15:20,720 --> 00:15:23,120
# She rules her life
like a bird in flight
185
00:15:23,120 --> 00:15:25,960
# And who will be her lover?
186
00:15:27,320 --> 00:15:34,080
# Once in a million years
a lady like her rises
187
00:15:34,080 --> 00:15:40,320
# Rhiannon, you cry when she's gone
and your life knows no answer
188
00:15:40,320 --> 00:15:43,840
# And your life knows no answer. #
189
00:15:48,320 --> 00:15:50,200
Stevie Nicks was the only member
of the band
190
00:15:50,200 --> 00:15:52,480
who didn't play an instrument,
191
00:15:52,480 --> 00:15:54,880
so she wrote in a different way
to everybody else.
192
00:15:54,880 --> 00:15:56,880
But she has this stage presence.
193
00:15:56,880 --> 00:16:01,640
She's 5'1" and she has that thing
of suddenly she's the focal point.
194
00:16:01,640 --> 00:16:04,320
I don't think they predicted
the success she would have,
195
00:16:04,320 --> 00:16:06,440
just as being an icon,
just as being herself.
196
00:16:06,440 --> 00:16:09,160
Yes, you can't mistake her
for anybody else.
197
00:16:11,240 --> 00:16:15,360
# Taken by, taken by the sky
198
00:16:18,120 --> 00:16:22,200
# Taken by, taken by the sky
199
00:16:24,680 --> 00:16:29,920
# Taken by, taken by the sky
200
00:16:31,040 --> 00:16:34,320
# No, ohh. #
201
00:16:49,480 --> 00:16:53,160
Lindsey Buckingham's guitar-playing
is so extraordinary,
202
00:16:53,160 --> 00:16:55,120
so ahead of its time.
203
00:16:55,120 --> 00:17:00,640
Creating those sounds without
a pick - he was a finger player -
204
00:17:00,640 --> 00:17:02,640
but also strums.
205
00:17:02,640 --> 00:17:04,440
It's just mind-blowing.
206
00:17:19,280 --> 00:17:22,280
John's like, you know, he just
stands in the background there
207
00:17:22,280 --> 00:17:26,240
and does his thing brilliantly
and is so intrinsically important
208
00:17:26,240 --> 00:17:28,560
to the sound of that band.
209
00:17:28,560 --> 00:17:32,640
John and Mick, you know, those
two are the... They're the roots
210
00:17:32,640 --> 00:17:35,720
of Fleetwood Mac,
they're the foundations, really,
211
00:17:35,720 --> 00:17:37,480
and the quiet foundations.
212
00:17:37,480 --> 00:17:39,600
Just get on with
what they're doing.
213
00:17:50,600 --> 00:17:52,480
The notion of something beautiful
214
00:17:52,480 --> 00:17:56,720
coming out of something
so horrendous is Rumours.
215
00:17:56,720 --> 00:18:01,160
This was a band who,
the success of the Mac was growing,
216
00:18:01,160 --> 00:18:03,080
they were a hugely popular band.
217
00:18:03,080 --> 00:18:06,280
But as they were becoming
more and more successful,
218
00:18:06,280 --> 00:18:08,520
the band were imploding, really.
219
00:18:08,520 --> 00:18:10,920
You know, relationships
were breaking down.
220
00:18:10,920 --> 00:18:16,200
Rumours is really a break-up album
between Buckingham and Nicks
221
00:18:16,200 --> 00:18:19,400
and also John and Christine,
222
00:18:19,400 --> 00:18:23,880
and Mick Fleetwood was breaking up
with his wife in England.
223
00:18:23,880 --> 00:18:29,240
Almost every song
is about someone in the band.
224
00:18:29,240 --> 00:18:33,120
And they are playing on, and
singing on, songs about each other,
225
00:18:33,120 --> 00:18:35,800
bringing lyrics in at the
last minute because they know
226
00:18:35,800 --> 00:18:37,840
the person in the room
will know it's about them,
227
00:18:37,840 --> 00:18:39,680
and obviously it's complete chaos
228
00:18:39,680 --> 00:18:42,640
and yet those tensions
are the things that make it.
229
00:18:42,640 --> 00:18:44,520
And some of those songs
are quite mellifluous
230
00:18:44,520 --> 00:18:47,400
and they're quite soothing and then
you realise what they're about -
231
00:18:47,400 --> 00:18:49,160
they're about a band
hating each other.
232
00:18:49,160 --> 00:18:52,360
And then to just air that
about each other, it's...
233
00:18:52,360 --> 00:18:56,600
It's a lot of tolerance on each side
to allow it, you know,
234
00:18:56,600 --> 00:18:59,000
and not throw around tools
and just walk out.
235
00:19:02,080 --> 00:19:06,920
# Loving you isn't
the right thing to do
236
00:19:08,840 --> 00:19:13,680
# How can I ever change things
that I feel?
237
00:19:15,640 --> 00:19:20,680
# If I could, baby
I'd give you my world
238
00:19:22,400 --> 00:19:27,160
# How can I
when you won't take it from me?
239
00:19:29,840 --> 00:19:33,800
# You can go your own way
240
00:19:33,800 --> 00:19:36,520
# Go your own way
241
00:19:36,520 --> 00:19:40,400
# You can call it
another lonely day. #
242
00:19:40,400 --> 00:19:44,640
Stevie Nicks is looking daggers
at Lindsey Buckingham because
243
00:19:44,640 --> 00:19:48,800
she wanted a line removed -
"packing up, shacking up" -
244
00:19:48,800 --> 00:19:53,480
which is Lindsey Buckingham
responding to the shock
245
00:19:53,480 --> 00:19:55,280
of Stevie Nicks leaving him.
246
00:19:57,280 --> 00:20:02,160
# Packing up, shacking up
is all you wanna do
247
00:20:04,040 --> 00:20:09,440
# If I could, baby
I'd give you my world
248
00:20:11,040 --> 00:20:16,240
# Open up
Everything's waiting for you
249
00:20:18,440 --> 00:20:22,640
# You can go your own way
250
00:20:22,640 --> 00:20:25,520
# Go your own way
251
00:20:25,520 --> 00:20:30,920
# You can call it another lonely day
252
00:20:32,600 --> 00:20:36,440
# You can go your own way
253
00:20:36,440 --> 00:20:38,480
# Go your own way
254
00:21:07,200 --> 00:21:11,320
# You can go your own way
255
00:21:11,320 --> 00:21:14,160
# Go your own way
256
00:21:14,160 --> 00:21:18,560
# You can call it another lonely day
257
00:21:18,560 --> 00:21:21,080
# Another lonely day
258
00:21:21,080 --> 00:21:24,960
# You can go your own way
259
00:21:24,960 --> 00:21:28,240
# Go your own way
260
00:21:28,240 --> 00:21:30,400
# You can call it another... #
261
00:21:30,400 --> 00:21:33,320
It's a really brilliantly
arranged song.
262
00:21:33,320 --> 00:21:36,280
Backing vocals, for me,
are one of the most magical parts
263
00:21:36,280 --> 00:21:40,680
of making a record and Fleetwood Mac
are an absolute flag in the sand
264
00:21:40,680 --> 00:21:45,160
for how to do backing vocals and
how to sing together as a group.
265
00:21:45,160 --> 00:21:47,840
And the song's got such
a beautiful example of those.
266
00:21:48,920 --> 00:21:53,840
# You can call it another lonely day
267
00:21:53,840 --> 00:21:55,880
# Oh, yeah, oh, yeah
268
00:21:55,880 --> 00:22:00,280
# You can call it
another lonely day. #
269
00:22:25,560 --> 00:22:30,320
Fleetwood Mac have found their way
into my songs.
270
00:22:30,320 --> 00:22:35,360
There's one particular song, Dreams,
which was...
271
00:22:35,360 --> 00:22:39,480
A friend of mine had put on
a mix tape and the tape got stuck
272
00:22:39,480 --> 00:22:41,840
in the tape player in my first car.
273
00:22:41,840 --> 00:22:44,720
It was the first song
on the first side,
274
00:22:44,720 --> 00:22:47,920
so when it went round,
when it clicked both sides,
275
00:22:47,920 --> 00:22:49,640
it came back to that again.
276
00:22:49,640 --> 00:22:54,440
And I must have heard that song
hundreds and hundreds of times.
277
00:22:54,440 --> 00:23:00,480
I went from loving this song
to absolutely hating it,
278
00:23:00,480 --> 00:23:05,000
like really getting on my nerves,
to loving it again.
279
00:23:05,000 --> 00:23:06,400
That's never happened before.
280
00:23:06,400 --> 00:23:09,320
It's always - you love it,
then you hate it,
281
00:23:09,320 --> 00:23:12,440
then it's, "I'm never going to
hear that again."
282
00:23:12,440 --> 00:23:14,440
"Thunder only happens
when it's raining,
283
00:23:14,440 --> 00:23:18,200
"raining, raining, raining," and
it's probably somehow eked out
284
00:23:18,200 --> 00:23:20,120
Why Does It Always Rain On Me?
285
00:23:20,120 --> 00:23:22,560
Maybe. Who knows?!
286
00:23:26,040 --> 00:23:30,240
# Now there you go again, you say
287
00:23:30,240 --> 00:23:34,000
# You want your freedom
288
00:23:34,000 --> 00:23:38,000
# Well, who am I to keep you down?
289
00:23:41,840 --> 00:23:48,680
# It's only right that you should
play the way you feel it
290
00:23:48,680 --> 00:23:53,960
# But listen carefully to the sound
291
00:23:53,960 --> 00:23:56,040
# Of your loneliness
292
00:23:56,040 --> 00:23:59,920
# Like a heartbeat drives you mad
293
00:23:59,920 --> 00:24:05,240
# In the stillness of remembering
what you had
294
00:24:06,800 --> 00:24:10,640
# And what you lost
295
00:24:10,640 --> 00:24:14,360
# And what you had
296
00:24:14,360 --> 00:24:16,920
# Ooh, what you lost
297
00:24:19,480 --> 00:24:25,360
# Thunder only happens
when it's raining
298
00:24:27,200 --> 00:24:32,800
# Players only love you
when they're playing
299
00:24:34,440 --> 00:24:39,920
# Say women they will come
and they go
300
00:24:42,800 --> 00:24:48,440
# When the rain washes you clean
you'll know. #
301
00:24:51,040 --> 00:24:53,800
Dreams is a really fascinating song
to me because I don't
302
00:24:53,800 --> 00:24:57,600
really understand why
I love it so much.
303
00:24:57,600 --> 00:24:59,840
Because it's a groove.
304
00:24:59,840 --> 00:25:03,680
It really comes down to the
testament of Stevie Nicks' voice.
305
00:25:03,680 --> 00:25:06,680
And someone else doing it,
it could've been really dull.
306
00:25:06,680 --> 00:25:09,160
# Well, here I go again
307
00:25:09,160 --> 00:25:13,240
# I see crystal visions
308
00:25:14,520 --> 00:25:18,600
# I keep my visions to myself
309
00:25:21,960 --> 00:25:29,240
# It's only me who wants to wrap
around your dreams and
310
00:25:29,240 --> 00:25:33,400
# Have you any dreams
you'd like to sell? #
311
00:25:33,400 --> 00:25:37,200
Great songs come from below
the neck, they come from your gut,
312
00:25:37,200 --> 00:25:39,800
where all these memories and
emotional memories are trapped,
313
00:25:39,800 --> 00:25:42,400
and this is where
your emotional life is.
314
00:25:42,400 --> 00:25:44,880
It's not up here, it's down here.
315
00:25:44,880 --> 00:25:49,880
And if you're going through
really harsh emotional stuff,
316
00:25:49,880 --> 00:25:51,680
it's very easy to go down.
317
00:25:53,040 --> 00:25:56,240
Them going through
these crazy relationships
318
00:25:56,240 --> 00:25:59,720
in the making of that record
is exactly what makes that record.
319
00:26:00,720 --> 00:26:06,040
# Thunder only happens
when it's raining
320
00:26:08,480 --> 00:26:14,040
# Players only love you
when they're playing
321
00:26:15,600 --> 00:26:21,920
# Say women they will come
and they will go, oh, oh
322
00:26:23,960 --> 00:26:30,320
# When the rain washes you clean
you'll know
323
00:26:30,320 --> 00:26:32,000
# Ohh
324
00:26:32,000 --> 00:26:37,320
# Thunder only happens
when it's raining
325
00:26:39,280 --> 00:26:44,960
# Players only love you
when they're playing
326
00:26:45,960 --> 00:26:47,320
# Well
327
00:26:47,320 --> 00:26:52,320
# Women they will come
and they will go
328
00:26:55,000 --> 00:27:01,480
# When the rain washes you clean
you'll know. #
329
00:27:01,480 --> 00:27:04,360
So you've got these kind of
call and response songs going on
330
00:27:04,360 --> 00:27:08,080
between Stevie and Lindsey,
and then on the other side
331
00:27:08,080 --> 00:27:12,120
with John and Christine, Christine's
off doing her, you know,
332
00:27:12,120 --> 00:27:15,720
I guess therapy
of getting it all out through song.
333
00:27:15,720 --> 00:27:18,760
And she comes back with
this brilliantly, kind of bouncy,
334
00:27:18,760 --> 00:27:22,480
breezy song about, you know,
tomorrow's just another day.
335
00:27:22,480 --> 00:27:25,760
It's amazing to think that
these songs came out of that.
336
00:27:25,760 --> 00:27:28,080
The thing for me is like,
is she saying it to herself
337
00:27:28,080 --> 00:27:30,520
or is she saying it to John?
338
00:27:30,520 --> 00:27:32,560
You know, "Don't stop thinking
about tomorrow,"
339
00:27:32,560 --> 00:27:34,720
to herself or to John?
340
00:27:34,720 --> 00:27:37,040
Or to the entire band?
Let's be fair!
341
00:27:46,400 --> 00:27:49,880
# If you wake up
and don't want to smile
342
00:27:49,880 --> 00:27:52,480
# If it takes just a little while
343
00:27:53,960 --> 00:27:57,160
# Open your eyes and look at the day
344
00:27:57,160 --> 00:28:01,120
# You'll see things
in a different way
345
00:28:01,120 --> 00:28:05,240
# Don't stop thinking
about tomorrow
346
00:28:05,240 --> 00:28:09,000
# Don't stop, it'll soon be here
347
00:28:09,000 --> 00:28:12,480
# It'll be better than before
348
00:28:12,480 --> 00:28:16,360
# Yesterday's gone, yesterday's gone
349
00:28:24,520 --> 00:28:27,880
# Why not think about the times
to come?
350
00:28:27,880 --> 00:28:31,680
# And not about the things
that you've done
351
00:28:31,680 --> 00:28:35,600
# If your life was bad to you
352
00:28:35,600 --> 00:28:39,320
# Just think what tomorrow will do
353
00:28:39,320 --> 00:28:42,840
# Don't stop thinking about tomorrow
354
00:28:42,840 --> 00:28:47,200
# Don't stop, it'll soon be here
355
00:28:47,200 --> 00:28:50,400
# It'll be better than before
356
00:28:50,400 --> 00:28:54,040
# Yesterday's gone,
yesterday's gone. #
357
00:28:56,200 --> 00:29:00,320
Lyrically, it's just a masterclass
in really saying
358
00:29:00,320 --> 00:29:05,720
exactly what you're talking about,
you're not being that veiled.
359
00:29:05,720 --> 00:29:08,840
But you're saying sometimes
quite cliched things
360
00:29:08,840 --> 00:29:12,960
in a way that speaks of
something new, that speaks of
361
00:29:12,960 --> 00:29:16,040
something rawer than just
a regular cliche.
362
00:29:17,040 --> 00:29:21,080
# All I want is to see you smile
363
00:29:21,080 --> 00:29:24,400
# If it takes just a little while
364
00:29:24,400 --> 00:29:28,360
# I know you don't believe
that it's true
365
00:29:28,360 --> 00:29:31,800
# I never meant any harm to you
366
00:29:31,800 --> 00:29:35,480
# Don't stop thinking about tomorrow
367
00:29:35,480 --> 00:29:37,160
# Don't stop
368
00:29:37,160 --> 00:29:39,360
# It'll soon be here
369
00:29:39,360 --> 00:29:43,040
# It'll be better than before
370
00:29:43,040 --> 00:29:46,800
# Yesterday's gone, yesterday's gone
371
00:29:46,800 --> 00:29:50,520
# Don't stop thinking about tomorrow
372
00:29:50,520 --> 00:29:54,480
# Don't stop, it'll soon be here
373
00:29:54,480 --> 00:29:57,960
# It'll be better than before
374
00:29:57,960 --> 00:30:01,960
# Yesterday's gone, yesterday's gone
375
00:30:01,960 --> 00:30:04,520
# Ooh
376
00:30:04,520 --> 00:30:08,240
# Don't you look back. #
377
00:30:10,160 --> 00:30:14,960
Before I knew what The Chain was
as a song, that bass riff I knew
378
00:30:14,960 --> 00:30:18,880
from watching Formula 1,
or my dad watching Formula 1.
379
00:30:18,880 --> 00:30:23,160
And then it was only years later
discovering that it was part of
380
00:30:23,160 --> 00:30:26,640
this epic kind of almost opera,
from Rumours, The Chain.
381
00:30:26,640 --> 00:30:30,400
It's my favourite Fleetwood Mac song
because it's so...
382
00:30:30,400 --> 00:30:32,000
When you hear it for the first time,
383
00:30:32,000 --> 00:30:34,400
it takes you here, there
and everywhere,
384
00:30:34,400 --> 00:30:36,720
it's so unexpected
as to where it goes.
385
00:30:36,720 --> 00:30:40,960
For me, I think it's one of
the best songs ever made.
386
00:30:46,200 --> 00:30:48,960
# Listen to the wind blow
387
00:30:48,960 --> 00:30:53,360
# Watch the sun rise
388
00:30:58,240 --> 00:31:00,680
# Running in the shadows
389
00:31:00,680 --> 00:31:04,920
# Damn your love, damn your lies
390
00:31:07,920 --> 00:31:10,960
# And if you don't love me now
391
00:31:10,960 --> 00:31:13,960
# You will never love me again
392
00:31:13,960 --> 00:31:17,280
# I can still hear you saying
393
00:31:17,280 --> 00:31:19,680
# You would never break the chain
394
00:31:19,680 --> 00:31:21,160
# Never break the chain
395
00:31:21,160 --> 00:31:22,680
# And if you don't love me now
396
00:31:22,680 --> 00:31:24,120
# If you don't love me now
397
00:31:24,120 --> 00:31:26,480
# You will never love me again
398
00:31:26,480 --> 00:31:29,680
# I can still hear you saying
399
00:31:29,680 --> 00:31:32,200
# You would never break the chain
400
00:31:32,200 --> 00:31:34,280
# Never break the chain
401
00:31:47,960 --> 00:31:50,600
# Listen to the wind blow
402
00:31:50,600 --> 00:31:54,200
# Down comes the night
403
00:32:00,160 --> 00:32:02,880
# Running in the shadows
404
00:32:02,880 --> 00:32:07,720
# Damn your love, damn your lies
405
00:32:12,640 --> 00:32:15,080
# Break the silence
406
00:32:15,080 --> 00:32:18,040
# Damn the dark, damn the light
407
00:32:18,040 --> 00:32:19,840
# Light, the light
408
00:32:22,240 --> 00:32:24,760
# And if you don't love me now... #
409
00:32:24,760 --> 00:32:28,920
It's just the most haunting sound,
and the choice of the key
410
00:32:28,920 --> 00:32:32,880
and the choice of the words of being
"silent in the night
411
00:32:32,880 --> 00:32:37,520
"as the sun comes up" and saying,
"If you don't love me now,
412
00:32:37,520 --> 00:32:40,200
"you'll never love me again,"
it's...
413
00:32:40,200 --> 00:32:42,280
just utterly heartbreaking.
414
00:32:42,280 --> 00:32:45,240
Look at the way Stevie Nicks
is looking at him.
415
00:32:45,240 --> 00:32:46,800
# Never break the chain. #
416
00:32:46,800 --> 00:32:49,800
Oh, it's just so cruel
the way she's looking at him.
417
00:32:49,800 --> 00:32:52,880
I mean, one could say you could see
the pain in their eyes,
418
00:32:52,880 --> 00:32:55,040
even on this reunion.
419
00:32:55,040 --> 00:33:00,080
It's as if they're solving
their relationship problems
420
00:33:00,080 --> 00:33:01,640
in front of an audience.
421
00:33:05,040 --> 00:33:07,360
This is another thing
that I love about this band.
422
00:33:07,360 --> 00:33:13,200
This is about six different songs,
that didn't work as whole songs,
423
00:33:13,200 --> 00:33:16,360
that they just cut up
and spliced together.
424
00:33:47,120 --> 00:33:49,840
I always used to be going round,
kind of going...
425
00:33:49,840 --> 00:33:52,160
SHE IMITATES 'THE CHAIN' RIFF
426
00:33:52,160 --> 00:33:54,400
..when I was little
and I didn't know what the song was.
427
00:33:54,400 --> 00:33:57,120
And then when I came to get to know
the album when I was much older,
428
00:33:57,120 --> 00:33:59,800
I was like, "No way!"
429
00:33:59,800 --> 00:34:02,280
# Chain
430
00:34:02,280 --> 00:34:04,280
# Keep us together
431
00:34:06,040 --> 00:34:08,240
# Chain
432
00:34:08,240 --> 00:34:10,080
# Keep us together
433
00:34:10,080 --> 00:34:12,120
# Running in the shadow
434
00:34:12,120 --> 00:34:14,280
# Chain
435
00:34:14,280 --> 00:34:16,600
# Keep us together
436
00:34:18,320 --> 00:34:20,200
# Chain
437
00:34:20,200 --> 00:34:22,760
# Keep us together
438
00:34:24,760 --> 00:34:26,560
# Chain
439
00:34:26,560 --> 00:34:28,720
# Keep us together. #
440
00:34:28,720 --> 00:34:31,720
CHEERING AND APPLAUSE
441
00:34:31,720 --> 00:34:34,880
Rumours sold 45 million copies -
how do you follow that up?
442
00:34:34,880 --> 00:34:37,760
Especially how do you follow that up
when the band has just
443
00:34:37,760 --> 00:34:41,200
gone through what it's gone through
to make that record
444
00:34:41,200 --> 00:34:44,160
and then the success that it has?
445
00:34:44,160 --> 00:34:46,760
I mean, they could've quite easily
just walked away
446
00:34:46,760 --> 00:34:48,720
and broke up as a band,
but they didn't.
447
00:34:48,720 --> 00:34:53,320
For me, what happened after Rumours
is possibly more interesting,
448
00:34:53,320 --> 00:34:56,360
as a creative writer, because
they went against the grain
449
00:34:56,360 --> 00:35:01,560
and they did Tusk,
which is critically acclaimed
450
00:35:01,560 --> 00:35:04,040
but not a huge commercial success.
451
00:35:04,040 --> 00:35:06,760
So when Tusk came out,
I can remember the industry
452
00:35:06,760 --> 00:35:10,200
almost glorifying in pulling
them apart and saying,
453
00:35:10,200 --> 00:35:13,240
"Oh, doesn't work,
it's the end of them."
454
00:35:13,240 --> 00:35:16,240
But like all great legendary bands,
in retrospect,
455
00:35:16,240 --> 00:35:18,840
the audience catches up with
their work.
456
00:35:18,840 --> 00:35:21,600
Tusk is interesting because
they're really being pulled
457
00:35:21,600 --> 00:35:24,320
in different directions and some
of it does sound like punk rock.
458
00:35:24,320 --> 00:35:26,760
Again, it's a band literally
being pulled apart
459
00:35:26,760 --> 00:35:29,560
because they really can't stand
each other at that point.
460
00:35:29,560 --> 00:35:32,200
But also,
they don't know where...
461
00:35:32,200 --> 00:35:33,840
musically, where they're going.
462
00:35:33,840 --> 00:35:37,000
Mick Fleetwood, the drummer,
is managing them at this point.
463
00:35:37,000 --> 00:35:39,040
So they are allowed to do
what the hell they like
464
00:35:39,040 --> 00:35:41,920
and they're spending
extraordinary amounts of money,
465
00:35:41,920 --> 00:35:44,760
not just on studio time,
but on poodles and things.
466
00:35:44,760 --> 00:35:46,480
You hear stories of them painting...
467
00:35:46,480 --> 00:35:48,240
"Paint the whole place pink!"
468
00:35:48,240 --> 00:35:50,320
You know, "Let's bring in
a grand piano."
469
00:35:50,320 --> 00:35:53,840
It's just a ridiculous amount
of expense and excess.
470
00:35:53,840 --> 00:35:58,800
# Why don't you ask him
if he's going to stay?
471
00:35:58,800 --> 00:36:05,120
# Why don't you ask him
if he's going away?
472
00:36:15,040 --> 00:36:19,920
# Why don't you tell me
what's going on?
473
00:36:19,920 --> 00:36:26,880
# Why don't you tell me
who's on the phone? #
474
00:36:29,800 --> 00:36:32,800
I don't know where the idea
came from, for Mick.
475
00:36:32,800 --> 00:36:34,560
He just loves a lot of drums.
476
00:36:34,560 --> 00:36:39,160
So he had the University College
of California, I think it was,
477
00:36:39,160 --> 00:36:43,440
their marching band, not only play
on the end of the track,
478
00:36:43,440 --> 00:36:46,640
but for the video they were
in the LA Dodgers' stadium,
479
00:36:46,640 --> 00:36:48,800
Stevie was twirling her baton.
480
00:36:48,800 --> 00:36:51,320
You might notice a cardboard
cut-out of John,
481
00:36:51,320 --> 00:36:53,760
that's because Stevie and him
had a fall-out
482
00:36:53,760 --> 00:36:55,680
so he didn't want to come that day.
483
00:36:55,680 --> 00:36:57,480
I just love the bombasticness of it.
484
00:36:57,480 --> 00:37:00,280
Kind of, "I tell you what we're
going to do, we're going to fill
485
00:37:00,280 --> 00:37:03,800
"the LA Dodgers' stadium with
a marching band and shoot a video.
486
00:37:03,800 --> 00:37:05,400
"That's what we're going to do!"
487
00:37:05,400 --> 00:37:08,920
And they could, because they were
the biggest band in the world
488
00:37:08,920 --> 00:37:12,240
at that time, in terms of
how many records they were selling
489
00:37:12,240 --> 00:37:14,280
and how many hits they'd had
off that record.
490
00:37:14,280 --> 00:37:17,280
So I think they were almost
testing everyone as well
491
00:37:17,280 --> 00:37:20,480
and just seeing what
they could get away with.
492
00:37:20,480 --> 00:37:22,760
# Tusk!
493
00:37:22,760 --> 00:37:24,480
# Just say that you love me
494
00:37:24,480 --> 00:37:26,360
# Hiyee
495
00:37:33,640 --> 00:37:35,720
# Don't say that you...
496
00:37:46,440 --> 00:37:48,200
# Tusk. #
497
00:38:10,800 --> 00:38:14,520
I know that the album Tusk certainly
took some of the millions of fans
498
00:38:14,520 --> 00:38:17,640
that they had acquired
through the success of Rumours
499
00:38:17,640 --> 00:38:19,760
by surprise
because it's very different.
500
00:38:19,760 --> 00:38:22,960
To me, though,
this immediately sounds cooler
501
00:38:22,960 --> 00:38:24,520
than anything on Rumours.
502
00:38:24,520 --> 00:38:28,560
And while it might not have had
the same initial level of, like,
503
00:38:28,560 --> 00:38:33,040
just staggering success,
I think with the passage of time,
504
00:38:33,040 --> 00:38:36,400
it's kind of maybe borne out
as being cooler.
505
00:38:42,800 --> 00:38:45,160
# Wait a minute, baby
506
00:38:46,360 --> 00:38:49,920
# Stay with me awhile
507
00:38:49,920 --> 00:38:52,480
# Said you'd give me light
508
00:38:52,480 --> 00:38:56,760
# But you never told me
about the fire
509
00:39:18,920 --> 00:39:21,920
# Drowning
510
00:39:21,920 --> 00:39:24,120
# In the sea of love
511
00:39:25,440 --> 00:39:28,440
# Where everyone
512
00:39:28,440 --> 00:39:30,680
# Would love to drown
513
00:39:32,880 --> 00:39:35,920
# But now it's gone
514
00:39:35,920 --> 00:39:39,720
# It doesn't matter any more
515
00:39:39,720 --> 00:39:43,760
# When you build your house
516
00:39:43,760 --> 00:39:45,520
# Call me
517
00:40:00,720 --> 00:40:03,760
# And he was just like
518
00:40:03,760 --> 00:40:07,360
# A great dark wing
519
00:40:07,360 --> 00:40:11,360
# Within the wings of a storm
520
00:40:14,320 --> 00:40:18,680
# Well, I think I had met my match
521
00:40:22,040 --> 00:40:25,240
# He was singing
522
00:40:29,240 --> 00:40:33,320
# And undoing
523
00:40:33,320 --> 00:40:36,240
# Ooh
524
00:40:36,240 --> 00:40:39,320
# Undoing
525
00:40:40,520 --> 00:40:43,880
# Aa-aa-aa-ah
526
00:40:43,880 --> 00:40:49,640
# Laces
527
00:40:49,640 --> 00:40:54,680
# Undoing the laces
528
00:41:01,320 --> 00:41:04,880
# In the sea of love
529
00:41:04,880 --> 00:41:07,240
# Every one of us
530
00:41:07,240 --> 00:41:11,880
# Would just love to drown
531
00:41:11,880 --> 00:41:15,000
# But now it's gone
532
00:41:15,000 --> 00:41:18,520
# It doesn't matter what for
533
00:41:18,520 --> 00:41:22,160
# But if you build your house
534
00:41:22,160 --> 00:41:24,320
# Then call me. #
535
00:41:26,000 --> 00:41:31,880
It's another really good example
of Stevie's writing credentials.
536
00:41:31,880 --> 00:41:35,120
She's just a style, you know,
she's Stevie Nicks,
537
00:41:35,120 --> 00:41:38,000
she's this image icon, beautiful.
538
00:41:38,000 --> 00:41:40,600
But she evolved,
she took on different looks,
539
00:41:40,600 --> 00:41:44,320
she took on different personas.
540
00:41:44,320 --> 00:41:50,160
And I think, for me, you got a sense
of how she was feeling personally,
541
00:41:50,160 --> 00:41:53,280
through what she wore
and how she held herself on stage.
542
00:41:54,400 --> 00:41:58,080
# And it all comes down to you
543
00:41:58,080 --> 00:42:01,000
# Well, you know that it does, well
544
00:42:01,000 --> 00:42:03,120
# Lightning strikes
545
00:42:03,120 --> 00:42:08,000
# Maybe once, maybe twice
546
00:42:08,000 --> 00:42:13,480
# Oh, and it lights up the night
547
00:42:13,480 --> 00:42:17,120
# And you see your gypsy. #
548
00:42:17,120 --> 00:42:18,920
Oh, her voice, man.
549
00:42:18,920 --> 00:42:21,040
It's such an '80s video.
550
00:42:21,040 --> 00:42:24,480
# You see your gypsy. #
551
00:42:24,480 --> 00:42:26,720
Look how cool they look.
552
00:42:26,720 --> 00:42:31,680
It was in the era of
big music videos, MTV.
553
00:42:33,040 --> 00:42:36,160
# To the gypsy
554
00:42:36,160 --> 00:42:39,720
# That remains
555
00:42:39,720 --> 00:42:43,520
# Her face says freedom
556
00:42:43,520 --> 00:42:46,520
# With a little fear
557
00:42:46,520 --> 00:42:50,520
# I have no fear
558
00:42:50,520 --> 00:42:54,120
# I have only love
559
00:42:54,120 --> 00:42:57,920
# And if I was a child
560
00:42:57,920 --> 00:43:01,360
# And the child was enough
561
00:43:01,360 --> 00:43:05,000
# Enough for me to love
562
00:43:05,000 --> 00:43:09,760
# Enough to love. #
563
00:43:09,760 --> 00:43:12,240
This is the Fleetwood Mac
of my childhood.
564
00:43:13,640 --> 00:43:18,600
And one of the things that's
so phenomenal and so interesting
565
00:43:18,600 --> 00:43:24,040
about Fleetwood Mac is, if you look
at their kind of biggest hits,
566
00:43:24,040 --> 00:43:26,920
most of them have been written
by the two women in the band.
567
00:43:26,920 --> 00:43:30,080
So to have these two really strong
female songwriters
568
00:43:30,080 --> 00:43:33,400
is really unusual. We have so many
great female vocalists,
569
00:43:33,400 --> 00:43:37,720
but it's not so typical that
they're also writing the material.
570
00:43:37,720 --> 00:43:41,200
# You see your gypsy
571
00:43:42,920 --> 00:43:45,400
# Ooh
572
00:43:45,400 --> 00:43:49,120
# Ohhh
573
00:43:54,520 --> 00:43:56,360
# Lightning strikes
574
00:43:56,360 --> 00:43:59,560
# Maybe once, maybe twice
575
00:43:59,560 --> 00:44:01,840
# And all it comes down to you
576
00:44:01,840 --> 00:44:03,360
# Ooh
577
00:44:03,360 --> 00:44:06,160
# Ohhh
578
00:44:06,160 --> 00:44:08,760
# And it all comes down to you
579
00:44:08,760 --> 00:44:10,680
# Lightning strikes. #
580
00:44:10,680 --> 00:44:13,280
The thing I love about Landslide,
that I love about all of
581
00:44:13,280 --> 00:44:16,040
Stevie's songs,
is that they're so personal.
582
00:44:16,040 --> 00:44:19,400
She wrote this before
she'd signed to Fleetwood Mac.
583
00:44:19,400 --> 00:44:23,920
She was 27 years old, she'd spent
a lot of time working as
584
00:44:23,920 --> 00:44:26,760
a waitress and a cleaner,
desperate for the break,
585
00:44:26,760 --> 00:44:29,760
and it just wasn't coming. I
think her dad even said to her,
586
00:44:29,760 --> 00:44:33,960
"Give it another six months and
then, you know, get a proper job,"
587
00:44:33,960 --> 00:44:35,840
type thing, or we'll put you
through college.
588
00:44:35,840 --> 00:44:39,840
And three months into that
six months, Fleetwood Mac happens
589
00:44:39,840 --> 00:44:43,160
and this is one of the songs
that she then takes to them.
590
00:44:44,320 --> 00:44:47,040
# I took my love and I took it down
591
00:44:50,320 --> 00:44:53,760
# I climbed a mountain
and I turned around
592
00:44:55,240 --> 00:45:02,280
# And I saw my reflection
in the snow-covered hills
593
00:45:02,280 --> 00:45:06,840
# Till the landslide brought me down
594
00:45:08,040 --> 00:45:13,040
# Oh, mirror in the sky
What is love?
595
00:45:14,720 --> 00:45:21,480
# Can the child within my heart
rise above?
596
00:45:21,480 --> 00:45:27,800
# Can I sail through
the changing ocean tides?
597
00:45:27,800 --> 00:45:35,160
# Can I handle the seasons
of my life?
598
00:45:36,520 --> 00:45:38,080
# Mm-mm
599
00:45:38,080 --> 00:45:40,960
# I don't know
600
00:45:40,960 --> 00:45:42,960
# Mm-mm
601
00:45:42,960 --> 00:45:44,720
# Mm-mm
602
00:45:47,960 --> 00:45:53,240
# Well, I've been 'fraid of changing
603
00:45:53,240 --> 00:45:59,160
# Cos I built my life around you
604
00:46:00,960 --> 00:46:04,800
# But time makes you bolder
605
00:46:04,800 --> 00:46:07,960
# Children get older
606
00:46:07,960 --> 00:46:13,720
# And I'm getting older, too
607
00:46:13,720 --> 00:46:15,680
# So... #
608
00:46:16,840 --> 00:46:19,280
I've had the great pleasure
of meeting Stevie Nicks
609
00:46:19,280 --> 00:46:21,440
and she's an extraordinary person.
610
00:46:21,440 --> 00:46:24,360
Extremely down-to-earth.
611
00:46:24,360 --> 00:46:27,920
And I said to her, "How do you
manage being Stevie Nicks?"
612
00:46:27,920 --> 00:46:31,520
And she says... GRUFFLY: "Well,
I decide if I'm Stevie Nicks or not.
613
00:46:31,520 --> 00:46:33,480
"If I walk down a corridor,
614
00:46:33,480 --> 00:46:37,240
"I'm looking at the floor,
no-one even sees me.
615
00:46:37,240 --> 00:46:41,200
"If I walk down the corridor as
Stevie Nicks, everybody sees me!"
616
00:46:41,200 --> 00:46:45,640
# ..I've been afraid of changing
617
00:46:45,640 --> 00:46:47,960
# Cos I
618
00:46:47,960 --> 00:46:52,640
# I built my life around you
619
00:46:54,360 --> 00:46:57,640
# But time makes you bolder
620
00:46:57,640 --> 00:47:01,240
# Children get older
621
00:47:01,240 --> 00:47:06,040
# And I'm getting older too
622
00:47:07,920 --> 00:47:13,640
# I'm getting older too
623
00:47:13,640 --> 00:47:17,280
# So take this love
624
00:47:17,280 --> 00:47:19,600
# Take it down
625
00:47:20,840 --> 00:47:27,480
# Oh, if you climb a mountain
and you turn around
626
00:47:27,480 --> 00:47:34,600
# If you see my reflection
in the snow-covered hills
627
00:47:34,600 --> 00:47:40,520
# Well, the landslide
will bring it down, down
628
00:47:40,520 --> 00:47:44,640
# And if you see my reflection
629
00:47:44,640 --> 00:47:52,400
# In the snow-covered
630
00:47:54,080 --> 00:47:57,040
# Hills
631
00:47:59,280 --> 00:48:01,240
# Well, maybe
632
00:48:03,000 --> 00:48:07,560
# The landslide will bring it down
633
00:48:07,560 --> 00:48:15,560
# Well, well, the landslide
will bring it down. #
634
00:48:18,200 --> 00:48:20,240
CHEERING AND APPLAUSE
635
00:48:24,680 --> 00:48:26,920
Tango In The Night
is one of those ones
636
00:48:26,920 --> 00:48:29,520
where it's an extremely
commercial album.
637
00:48:29,520 --> 00:48:32,480
There's so many hits, hits, hits
on that record.
638
00:48:32,480 --> 00:48:35,680
Apparently it was Lindsey
Buckingham, it was his demos first
639
00:48:35,680 --> 00:48:39,240
and then he took it to the band and
the band kind of reconvened again.
640
00:48:39,240 --> 00:48:41,080
But they can pull it out the bag.
641
00:48:41,080 --> 00:48:43,600
They know what a good record
sounds like.
642
00:48:43,600 --> 00:48:46,120
They're very happy to spend
a long time in the studio,
643
00:48:46,120 --> 00:48:47,400
getting it to that point.
644
00:48:47,400 --> 00:48:49,320
It still doesn't sound like
they've made up.
645
00:48:49,320 --> 00:48:52,080
They're still slightly at war.
Tango In The Night kind of
646
00:48:52,080 --> 00:48:54,760
came out again through
a real dark period for the band.
647
00:48:54,760 --> 00:48:57,600
You know, there was a lot of
dependency on drugs and things
648
00:48:57,600 --> 00:49:00,080
within some of the band members,
649
00:49:00,080 --> 00:49:02,320
they were having a really
hard time with that.
650
00:49:02,320 --> 00:49:06,640
And there is a kind of darker feel
to this, I think.
651
00:49:06,640 --> 00:49:10,200
Even those kind of galloping drums
652
00:49:10,200 --> 00:49:12,440
that you get through
some of the songs.
653
00:49:12,440 --> 00:49:15,880
There's a real kind of urgency
to it, I think.
654
00:49:15,880 --> 00:49:18,600
# If I could turn the page
655
00:49:18,600 --> 00:49:21,680
# In time then I'd rearrange
656
00:49:21,680 --> 00:49:23,520
# Just a day or two
657
00:49:25,160 --> 00:49:30,360
# Close my, close my, close my eyes
658
00:49:30,360 --> 00:49:34,600
# But I couldn't find a way
659
00:49:34,600 --> 00:49:37,200
# So I'll settle for one day
660
00:49:37,200 --> 00:49:39,200
# To believe in you
661
00:49:40,200 --> 00:49:44,600
# Tell me, tell me, tell me lies
662
00:49:45,880 --> 00:49:49,520
# Tell me lies
Tell me sweet little lies
663
00:49:50,680 --> 00:49:53,680
# Tell me lies
Tell me, tell me lies
664
00:49:53,680 --> 00:49:56,680
# Oh, no, no, you can't disguise
665
00:49:58,160 --> 00:50:01,440
# You can't disguise
No, you can't disguise
666
00:50:01,440 --> 00:50:04,520
# Tell me lies
Tell me sweet little lies
667
00:50:09,040 --> 00:50:12,760
# Although I'm not making plans
668
00:50:12,760 --> 00:50:17,400
# I hope that you understand
There's a reason why
669
00:50:19,560 --> 00:50:23,360
# Close your, close your,
close your eyes
670
00:50:25,240 --> 00:50:28,200
# No more broken hearts
671
00:50:29,240 --> 00:50:33,120
# We're better off apart
Let's give it a try
672
00:50:34,560 --> 00:50:38,400
# Tell me, tell me, tell me lies
673
00:50:40,080 --> 00:50:43,040
# Tell me lies
Tell me sweet little lies
674
00:50:44,800 --> 00:50:47,400
# Tell me lies
Tell me, tell me lies
675
00:50:47,400 --> 00:50:50,560
# Oh, no, no, you can't disguise
676
00:50:52,360 --> 00:50:55,120
# You can't disguise
No, you can't disguise. #
677
00:50:55,120 --> 00:50:57,680
There's that big sound
and there's still the use of
678
00:50:57,680 --> 00:51:02,360
the West Coast-style harmonies,
you know, that musicality,
679
00:51:02,360 --> 00:51:05,360
and all sorts of elements
which make it more interesting
680
00:51:05,360 --> 00:51:08,960
than it first seems.
It's very well-crafted.
681
00:51:08,960 --> 00:51:10,400
That's the Christine McVie thing,
682
00:51:10,400 --> 00:51:12,080
she's really good at
writing pop songs,
683
00:51:12,080 --> 00:51:14,720
so the stuff she writes has
that real pop element to it,
684
00:51:14,720 --> 00:51:17,920
then you have Stevie Nicks
being a little gothy sort of
685
00:51:17,920 --> 00:51:20,640
Kate Bush-esque in the corner,
and you have Lindsey Buckingham
686
00:51:20,640 --> 00:51:23,040
doing his rock stuff,
and somehow it all works.
687
00:51:23,040 --> 00:51:25,640
So they can each take a credit
for a song and yet the songs can
688
00:51:25,640 --> 00:51:28,840
sit together on an album really well
and it doesn't seem, you know, like
689
00:51:28,840 --> 00:51:32,400
they're from completely different
places, and that's quite a talent.
690
00:51:34,160 --> 00:51:37,720
# But I couldn't find a way
691
00:51:37,720 --> 00:51:40,880
# So I'll settle for one day
692
00:51:40,880 --> 00:51:42,720
# To believe in you
693
00:51:44,080 --> 00:51:48,200
# Tell me, tell me, tell me lies
694
00:51:49,200 --> 00:51:51,760
# Tell me lies
Tell me sweet little lies
695
00:51:53,640 --> 00:51:56,880
# Tell me lies
Tell me, tell me lies
696
00:51:56,880 --> 00:51:58,480
# Oh, no, no, you can't disguise
697
00:52:01,320 --> 00:52:04,480
# You can't disguise
No, you can't disguise
698
00:52:04,480 --> 00:52:07,600
# Tell me lies
Tell me sweet little lies
699
00:52:08,640 --> 00:52:12,280
# Tell me lies
Tell me, tell me lies
700
00:52:12,280 --> 00:52:15,640
# Oh, no, no, you can't disguise
701
00:52:17,360 --> 00:52:19,760
# You can't disguise
No, you can't disguise... #
702
00:52:19,760 --> 00:52:22,840
The first time I remember hearing
Fleetwood Mac was Big Love.
703
00:52:22,840 --> 00:52:26,680
I think it could have been on...
704
00:52:26,680 --> 00:52:29,040
And it wasn't hearing it,
it was the video.
705
00:52:29,040 --> 00:52:33,800
I remember seeing the video
somewhere and the sound of it
706
00:52:33,800 --> 00:52:36,640
was very distinct.
707
00:52:36,640 --> 00:52:40,600
I had no idea who they were,
this was like a new band to me,
708
00:52:40,600 --> 00:52:44,360
but they looked older,
so that was interesting.
709
00:52:45,880 --> 00:52:49,320
# Looking out for love
710
00:52:49,320 --> 00:52:51,840
# In the night so still
711
00:52:53,480 --> 00:52:58,280
# Oh, I'll build you a kingdom
712
00:52:58,280 --> 00:53:01,320
# In that house on the hill
713
00:53:01,320 --> 00:53:04,760
# Lookin' out for love
714
00:53:08,840 --> 00:53:12,480
# Big, big love
715
00:53:12,480 --> 00:53:16,440
# Oh, oh, oh, oh
716
00:53:16,440 --> 00:53:19,880
# You said that you love me
717
00:53:19,880 --> 00:53:23,440
# And that you always will
718
00:53:24,720 --> 00:53:28,360
# Oh, you begged me to keep you
719
00:53:28,360 --> 00:53:31,640
# In that house on the hill
720
00:53:31,640 --> 00:53:35,640
# Lookin' out for love
721
00:53:39,920 --> 00:53:44,200
# Big, big love
722
00:53:44,200 --> 00:53:46,760
# Oh, oh, oh, oh... #
723
00:53:46,760 --> 00:53:50,440
The sonics. It was all about
the sonics of it, the sound of it,
724
00:53:50,440 --> 00:53:52,720
and the vocals were
really, really great.
725
00:53:52,720 --> 00:53:55,400
The voices. His voice especially.
726
00:53:55,400 --> 00:53:58,320
# I wake up
727
00:53:58,320 --> 00:54:01,760
# Alone with it all
728
00:54:03,080 --> 00:54:05,520
# I wake up
729
00:54:05,520 --> 00:54:09,400
# But only to fall... #
730
00:54:11,520 --> 00:54:15,240
The interesting thing about
Big Love is you can hear echoes of
731
00:54:15,240 --> 00:54:20,480
all the little bits of their past
in that one song.
732
00:54:20,480 --> 00:54:22,640
There's this little trail-off,
733
00:54:22,640 --> 00:54:27,880
this little bluesy trail-off
that echoes Oh Well.
734
00:54:28,920 --> 00:54:30,520
This bit.
735
00:54:30,520 --> 00:54:33,480
# Da-dah, da-dah
Biddle-diddle-diddle-diddle. #
736
00:54:33,480 --> 00:54:36,760
That biddle-diddle-diddle-durh
at the end is the echo,
737
00:54:36,760 --> 00:54:39,280
and it's like a book-end.
738
00:54:43,640 --> 00:54:46,320
# Oh, oh, oh
739
00:54:46,320 --> 00:54:50,080
# Oh, ah
Ah, ah... #
740
00:54:51,160 --> 00:54:56,920
I always assumed that the grunts
was Stevie or Christine,
741
00:54:56,920 --> 00:55:01,680
but it wasn't, it was Lindsey
pitching his voice up.
742
00:55:01,680 --> 00:55:05,760
# Huh, ah
Huh, ah... #
743
00:55:05,760 --> 00:55:09,720
Which is just slightly bonkers.
744
00:55:09,720 --> 00:55:13,360
# Uh, ah
Uh, ah
745
00:55:13,360 --> 00:55:16,400
# Uh, ah
Uh, ah. #
746
00:55:16,400 --> 00:55:19,360
They've left, they've broken up,
they've got back together.
747
00:55:19,360 --> 00:55:21,080
Whether it's for Bill Clinton
748
00:55:21,080 --> 00:55:23,760
or, you know, an anniversary tour
or whatever.
749
00:55:23,760 --> 00:55:27,320
# In my world, everybody stays
750
00:55:27,320 --> 00:55:31,440
# Nobody wishes for
words they couldn't say
751
00:55:31,440 --> 00:55:35,160
# Bless my soul
Let the night unfurl
752
00:55:35,160 --> 00:55:39,720
# Dancing, spinning, dreaming
Singing in my world... #
753
00:55:39,720 --> 00:55:41,960
And now Lindsey Buckingham's left,
754
00:55:41,960 --> 00:55:46,040
I'd really like to believe that
Mick Fleetwood is in LA just now
755
00:55:46,040 --> 00:55:48,760
just kind of like going to gigs
and checking to see
756
00:55:48,760 --> 00:55:51,200
if there's any new players
that he thinks,
757
00:55:51,200 --> 00:55:53,640
"Here's a good songwriter
I could use."
758
00:55:53,640 --> 00:55:55,560
The door's not closed,
I don't think.
759
00:55:55,560 --> 00:55:57,960
There's not really been much said
about it
760
00:55:57,960 --> 00:56:00,960
but, you know, they've got
some new members in, but...
761
00:56:00,960 --> 00:56:03,200
I don't really care.
I'm watching Stevie.
762
00:56:04,520 --> 00:56:07,760
# But you need some rest
My darling, it's best
763
00:56:07,760 --> 00:56:12,000
# But we've already passed it
I cried
764
00:56:13,320 --> 00:56:17,240
# Ooh-eeh
Listen to me
765
00:56:17,240 --> 00:56:20,760
# My secret love secretly
766
00:56:22,800 --> 00:56:25,160
# Died... #
767
00:56:25,160 --> 00:56:28,840
This band, Fleetwood Mac,
they've survived so much.
768
00:56:28,840 --> 00:56:31,880
50 years, that's unbelievable.
769
00:56:31,880 --> 00:56:35,560
And I think it's nearly over
100 million records they've sold.
770
00:56:35,560 --> 00:56:38,760
Half of that, nearly,
through one record.
771
00:56:38,760 --> 00:56:41,840
That's amazing.
That's a great achievement
772
00:56:41,840 --> 00:56:45,600
for a band who are still out there
touring, and their music,
773
00:56:45,600 --> 00:56:49,160
more importantly, over everything,
still resonates.
774
00:56:49,160 --> 00:56:54,480
They spawn a million bands,
trying to be as good as that.
775
00:56:54,480 --> 00:57:01,480
Trying to... Trying to achieve
that foothold that's their own,
776
00:57:01,480 --> 00:57:05,880
and that's an amazing gift
to give the human race.
777
00:57:05,880 --> 00:57:09,960
# Can you hear me calling
Out your name
778
00:57:09,960 --> 00:57:13,600
# You know that I'm falling
and I don't know what to say
779
00:57:13,600 --> 00:57:17,640
# I'll speak a little louder
I'll even shout
780
00:57:17,640 --> 00:57:21,360
# You know that I'm proud
and I can't get the words out
781
00:57:21,360 --> 00:57:26,080
# Oh, I
I-I
782
00:57:26,080 --> 00:57:30,240
# I want to be with you everywhere
783
00:57:30,240 --> 00:57:34,400
# Oh, I
I-I
784
00:57:34,400 --> 00:57:37,680
# I want to be with you everywhere
785
00:57:37,680 --> 00:57:41,000
# Be with you everywhere
786
00:57:46,600 --> 00:57:49,520
# Something's happening
Happening to me
787
00:57:49,520 --> 00:57:53,120
# My friends say
I'm acting peculiarly
788
00:57:54,480 --> 00:57:57,520
# Come along, baby
We better make a start
789
00:57:57,520 --> 00:58:02,040
# You better make it soon
before you break my heart
790
00:58:02,040 --> 00:58:06,840
# Oh, I
I-I
791
00:58:06,840 --> 00:58:09,880
# I want to be with you everywhere
792
00:58:09,880 --> 00:58:14,480
# Oh, I
I-I
793
00:58:14,480 --> 00:58:17,120
# I want to be with you everywhere
794
00:58:17,120 --> 00:58:21,000
# Be with you everywhere
795
00:58:21,000 --> 00:58:25,040
# Oh, oh, oh, ah
796
00:58:25,040 --> 00:58:28,040
# Oh, oh, oh, ah
797
00:58:28,040 --> 00:58:33,000
# Oh, oh, oh, ah
798
00:58:33,000 --> 00:58:36,040
# Oh, oh, ah... #

Качество: Web-DLRip
Разрешение видео/развертка: 720p
Контейнер: MP4
Видео кодек: H.264
Аудио кодек: AAC
Видео: V_MPEG4/ISO/AVC,1080x720,5008 Кbps,50,000 fps
Аудио: aac, 320kbps,48kHz, 2ch

Код:

mediainfo --Language="file:///home/shan/MediainfoLanguages/ru.csv" *.mp4
Общее
Уникальный идентификатор                 : 4256906376265699584468267210433922995 (0x333D9B0475C59C6F877E45FA5E087B3)
Полное имя                               : Fleetwood_Mac_A_Musical_History.mp4
Формат                                   : Matroska
Версия формата                           : Version 4 / Version 2
Размер файла                             : 2,19 Гбайт
Продолжительность                        : 58 м. 49 с.
Общий поток                              : 5329 Кбит/сек
Дата кодирования                         : UTC 2018-12-28 12:50:26
Программа кодирования                    : mkvmerge v19.0.0 ('Brave Captain') 64-bit
Библиотека кодирования                   : libebml v1.3.5 + libmatroska v1.4.8
FileExtension_Invalid                    : mkv mk3d mka mks
Видео
Идентификатор                            : 2
Формат                                   : AVC
Формат/Информация                        : Advanced Video Codec
Профиль формата                          : High@L3.2
Настройки формата                        : CABAC / 4 Ref Frames
Параметр CABAC формата                   : Да
Параметр RefFrames формата               : 4 кадра
Идентификатор кодека                     : V_MPEG4/ISO/AVC
Продолжительность                        : 58 м. 49 с.
Битрейт                                  : 5008 Кбит/сек
Ширина                                   : 1280 пикселей
Высота                                   : 720 пикселей
Соотношение сторон                       : 16:9
Режим частоты кадров                     : Постоянный
Частота кадров                           : 50,000 кадров/сек
Цветовое пространство                    : YUV
Субдискретизация насыщенности            : 4:2:0
Битовая глубина                          : 8 бит
Тип развёртки                            : Прогрессивная
Бит/(Пиксели*Кадры)                      : 0.109
Размер потока                            : 2,06 Гбайт (94%)
Default                                  : Да
Forced                                   : Нет
Цветовой диапазон                        : Limited
Основные цвета                           : BT.709
Характеристики трансфера                 : BT.709
Коэффициенты матрицы                     : BT.709
Аудио
Идентификатор                            : 3
Формат                                   : AAC
Формат/Информация                        : Advanced Audio Codec
Профиль формата                          : LC
Идентификатор кодека                     : A_AAC-2
Продолжительность                        : 58 м. 49 с.
Битрейт                                  : 317 Кбит/сек
Каналы                                   : 2 канала
Расположение каналов                     : Front: L R
Частота                                  : 48,0 КГц
Частота кадров                           : 46,875 кадров/сек (1024 SPF)
Метод сжатия                             : С потерями
Задержка видео                           : -20 мс.
Размер потока                            : 134 Мбайт (6%)
Язык                                     : English
Default                                  : Да
Forced                                   : Нет
Текст
Идентификатор                            : 1
Формат                                   : UTF-8
Идентификатор кодека                     : S_TEXT/UTF8
Идентификатор кодека/Информация          : UTF-8 Plain Text
Продолжительность                        : 57 м. 50 с.
Битрейт                                  : 155 бит/сек
ElementCount                             : 798
Размер потока                            : 66,0 Кбайт (0%)
Язык                                     : English
Default                                  : Да
Forced                                   : Нет

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