Ellen DeGeneres Fleetwood Mac

Fleetwood Mac debuts new lineup on Ellen

Fleetwood Mac debuted its latest lineup on The Ellen DeGeneres Show, performing “The Chain” with new members Neil Finn and Michael Campbell.

Article Lindsey Buckingham

Lindsey Buckingham announces tour dates, solo anthology

Lindsey Buckingham announces solo tour, which begins four days after Fleetwood Mac’s tour; first-ever solo anthology due in November.

The 40-plus-year saga of the Lindsey BuckinghamStevie Nicks incarnation of Fleetwood Mac took another turn today, when Buckingham — who recently parted ways with the band — announced not just a three-disc compilation of his solo material but a tour to support it… which will begin four days after the Fleetwood Mac tour that he didn’t want to be on.

To be fair, according to Nicks, Buckingham said he didn’t want to be on the road for a year, and his tour lasts just two months (and in a deft bit of routing, does not visit any city at the same time as the Mac tour). Buckingham’s tour launches in Portland, OR on Oct. 7 and wraps in Pennsylvania on Dec. 9 (see the full dates below). Fleetwood Mac’s tour begins Oct. 3 in Oklahoma and is scheduled through April.

“This team wanted to get out on the road, and one of the members didn’t want to go out on the road for a year and we just couldn’t agree,” Nicks said in April. “And when you’re in a band it’s a team, I have a solo career and I love my solo career and I’m the boss. But I’m not the boss in this band.”

“It became just a huge impasse,” drummer and cofounder Mick Fleetwood said. “We hit a brick wall where we decided we had to part company.”

Lindsey Buckingham solo anthology, The Best of Lindsey Buckingham Buckingham’s Solo Anthology: The Best of Lindsey Buckingham will be released as a 3-disc set on CD and digital, along with a 6-LP vinyl release in November. Studio recordings, live cuts, and alternate versions of songs from solo albums and collaborative works will be featured, including soundtrack cuts from “National Lampoon’s Vacation” and “Time Bomb Town” from Back to the Future,” along with live versions of Mac’s “Tusk” and “Go Your Own Way,” as well as two brand new songs: “Hunger” and “Ride This Road” will debut.

Last summer he released a duet album and toured with Fleetwood Mac singer-keyboardist Christine McVie; the two also played a pair of festival dates with the band.

Tickets for the North American tour go on sale Saturday, Aug. 18. Every ticket purchased online includes a CD or digital copy of the single-disc version of the new Anthology.

Oct 07 – Revolution Hall – Portland, OR
Oct 09 – Palace of Fine Arts – San Francisco, CA
Oct 12 – Orpheum Theatre – Los Angeles, CA
Oct 13 – Spreckels Theatre – San Diego, CA
Oct 15 – Boulder Theater – Boulder, CO
Oct 17 – Athenaeum Theater – Chicago, IL
Oct 18 – Carnegie Music Hall of Homestead – Munhall, PA
Oct 19 – Warner Theater – Washington DC
Oct 21 – Knight Theater – Charlotte, NC
Oct 22 – The Wilson Center at Cape Fear Community College – Wilmington, NC*
Oct 24 – Frederick Brown Jr. Amphitheater – Peachtree City, GA
Oct 26 – Capitol Theater – Clearwater, FL
Oct 27 – Knight Concert Hall – Miami, FL
Oct 28 – King Center for the Performing Arts – Melbourne, FL
Nov 05 – Paramount Theater – Austin, TX
Nov 06 – Majestic Theater – Dallas, TX
Nov 08 – Brady Theater – Tulsa, OK
Nov 09 – Riverwind Casino – Norman, OK
Nov 10 – Stiefel Theatre for the Performing Arts – Salina, KS
Nov 12 – Lyric Fine Arts Theatre – Birmingham, AL
Nov 13 – Walker Theatre – Chattanooga, TN
Nov 14 – Bijou Theatre – Knoxville, TN
Nov 16 – Centre in the Square – Kitchener, ON
Nov 17 – Michigan Theater – Ann Arbor, MI
Nov 26 – Palace Theatre – North Canton, OH
Nov 27 – Riviera Theatre – New Tonowanda, NY
Nov 29 – Garde Arts Center – New London, CT*
Nov 30 – Appell Center for the Performing Arts – York, PA
Dec 01 – Scottish Rite Auditorium – Collingswood, NJ
Dec 04 – Town Hall – New York City, NY
Dec 05 – The Wilbur Theatre – Boston, MA
Dec 06 – Paramount Hudson Valley Theater – Peekskill, NY
Dec 08 – Capitol Center – Concord, NH
Dec 09 – Sands Event Center – Bethlehem, PA

*These markets are not included in the Anthology ticket bundle promotion

Lindsey Buckingham 2018 tour

Jem Aswad / Variety / August 14, 2018

Article Fleetwood Mac Mick Fleetwood Morrison Hotel Gallery

Mick Fleetwood chats with Billboard

Mick Fleetwood opens up about his rock photography, Fleetwood Mac’s tour without Lindsey Buckingham, and a new 50-year retrospective.

The 71-year-old rock drummer, who has been taking his own cameras out on the road with him since the early days of Fleetwood Mac, has always had an affinity for a great rock and roll shot. In order to share that with the public, he teamed up with the Morrison Hotel Gallery in 2016 to open a gallery space inside his Maui-based restaurant, Fleetwood’s General Store, which features a rotating array of fine art music photography.

On Saturday night (Aug. 4) in Los Angeles, Fleetwood — who is in town rehearsing for the upcoming Fleetwood Mac tour — popped by the Sunset Marquis Hotel in conjunction with the Morrison Hotel Gallery to showcase a selection of his favorite music shots, which included candid photos of the likes of Keith Richards, John Lee Hooker and bandmate Stevie Nicks.

Billboard caught up with Fleetwood on site to discuss his love of rock photography, his secret mission to infiltrate the stash of early Fleetwood Mac shots that McVie has been holding hostage and what he’s most looking forward to about his band’s upcoming tour.

We’re celebrating our sixth year with my Fleetwood’s, and in a restaurant that’s a lot. That’s another way to lose your hair but we’re part of the fabric there now, which is great. We opened up with the Morrison Hotel Gallery about two years ago and it’s been a huge success. Pattie Boyd, who was married to George Harrison and Eric [Clapton], did a little tour with Peter Blachley, one of the owners of the gallery. I met them in Australia years ago when Pattie was doing a show and I went to support. We were on the road and Christine, myself and John went to a gallery opening to support Stevie who was showing a Polaroid shot. She doesn’t really do that but Peter approached her and she said, “Okay. I’ll do it.” I met Peter again. We talked about one day doing something and then he came on holiday to our gallery. We had a regular gallery with open art at Fleetwood’s and I decided to go into partnership with Morrison Hotel Gallery. I said, “This is it.” For me, it’s a perfect fit. It makes a lot of sense because this is my world. We have a lot of fun. Whenever I’m at the restaurant, I pop down into the gallery and talk about some of the pieces that I know and introduce some of the people in the photographs that I was inspired by.

What is it about rock photography that speaks to you?

Photography-wise, I do bits and pieces on landscapes and stuff, which is what we used to have in the gallery. Am I a serious dude? No. I just have fun doing it. And then a guy who owned a gallery in Maui was like, “You should put some of these up. People would love to see them.” So that’s how it started, showing photos, and I have fun doing that. I have a reverence for great photography. But I don’t consider myself in that league.

John McVie, who is the bass player in Fleetwood Mac, is a really good photographer and he never did anything with it. It’s just like, “John, why don’t you show somewhere?” I don’t think he can be bartered. But I actually referenced him in terms of buying good cameras back in the day and learning a little bit about stuff. I was the annoying guy with the camera way back in the day when I first started touring with John. Everyone used to go “Ah! Here is the busy body with the camera. This joker. Get out of here.” But now they appreciate them. It’s like being in a family where you’re like, “Thank God dad forced us to take all those pictures.”

I have a lot of respect for these rock photographers. You realize that some of them were really led into the inner circles of some of these artists and bands. And you see how those photographs really capture the artist, the moment. You really have to give these people kudos. There is something about them as people that allowed this type of thing to happen and that doesn’t seemingly ever really get referenced.

Are the walls in your home covered with rock photography?

I have a very sweet and lovely home but my place hasn’t got much wall space — but I keep buying art. I go to my own gallery and I say, “Oh I want one of those.” I’ve got this whole load of photographs in storage. During this tour, I’m building a barn that is going to be a drum room and I have great aspirations for my overload of rock photography to be up on the wall there. And I will probably insist that John McVie gives me some of the shit he’s got on Fleetwood Mac.

What are you most looking forward to about the upcoming Fleetwood Mac tour?

We’re very excited. Obviously this is a huge change with the advent of Lindsey Buckingham not being a part of Fleetwood Mac. We all wish him well and all the rest of it. In truthful language, we just weren’t happy. And I’ll leave it at that in terms of the dynamic. And he’s going out on the road more or less the same time I think — not in the same places, I hope (laughs). So we’re with Mike Campbell from Tom Petty and Neil Finn from Crowded House — both really credible gentleman and really talented. We are a week into rehearsals and it’s going really well and we’re looking forward, in true Fleetwood Mac style. If you know anything about the history of this band, it’s sort of peppered with this type of dramatic stuff. It’s a strange band really. It’s ironic that we have a 50-year package coming out with all the old blues stuff with Peter Green, all the incarnations of Fleetwood Mac, which was not of course planned. But that’s what we’re feeling, especially myself and John, having been in Fleetwood Mac for 55 years. So it’s exciting, totally challenging in the whole creative part of it, and we’re really loving it. We’re just looking at a whole 18 months on-and-off of trekking around the world like we normally do and having it be fun.

Nicole Pajer / Billboard / Sunday, August 5, 2018

2018-2019 Tour Article Fleetwood Mac

Mick Fleetwood: ‘It’s important to remain creative, not tread water’

While the news last month of Lindsey Buckingham’s departure from Fleetwood Mac (with Tom Petty & The Heartbreakers’ veteran Mike Campbell and Split Enz/Crowded House’s Neil Finn taking Buckingham’s place) came as a shock to many Mac fans, this is hardly the group’s first major lineup switchup over the past half-century. Buckingham actually didn’t join Mac until 1974 (following the departure of co-founder Peter Green) and left the group once before, in the late ‘80s (he was replaced by Billy Burnette and Rick Vito at that time).

As drummer Mick Fleetwood the lineup’s one consistent member since the beginning, says, “If anyone out there has a sort of a track record of the history of this crazy band known as Fleetwood Mac, it is certainly peppered with changes through the years. … We’ve had probably four, five, six, seven major changes!”

Fleetwood is reluctant to go “into all of ups and downs and the details of where we ended up” with Buckingham this time around, but he gives “huge kudos and respect, forever and before and now and into the future, of what Lindsey Buckingham has always been within the ranks.” He also reveals that he and longtime bandmates Stevie Nicks, Christine McVie (who took a hiatus from the group from 1998-2013), and John McVie “thought very, very hard and long about going forward.”

In fact, they even considered not going forward at one point, but it didn’t take long before they realized they wanted to stick together.

“Well, it was a huddle, really. It was a team huddle of the existing band members to really not panic into anything, other than really following our hearts as to what this meant — which was huge, any which way you look at it,” Fleetwood muses. “And once we had galvanized that approach amongst the four remaining folks, the ladies and the guys in the band, we took the bull by the horns. It was really as simple as that. But it certainly took a real, meaningful breath. All of us, probably in our various ways, came to that decision that we want to, we need to, we feel good about it.

“And once we all felt that we really wanted to do that, it got hot and heavy as to how this is going to be really musically uplifting for the existing band — the band that we have now — and have it be believable for everyone out there that has been loyal and taken that journey with the crazy band Fleetwood Mac.”

The answer was to recruit Campbell — not a major surprise, considering his long history playing with Nicks — and, as more of a curveball, New Zealand singer-songwriter Finn. Fleetwood seems thrilled to be working with both “lovely gentlemen,” describing the new lineup’s dynamic as being “like a bunch of teenagers doing their thing, coming out of the garage.” He hints that Campbell and Finn’s respective catalogs will factor into the forthcoming Fleetwood Mac tour’s “huge” setlist (“their heritage and their background is going to be appropriately part of the show”), and he even says it’s likely that the Campbell/Finn collection will record new tunes together.

“I don’t think you can keep the horse in the trap, so to speak, when it comes to Christine and Stevie,” Fleetwood says of the possibility of new Mac music. “They’re still connected to everything about writing and having a whole new approach to it. Mike is hugely conversant with production and has written way more than I ever, ever knew. And he’s worked with Stevie, writing and producing and a lot of stuff that Stevie did through the years with Tom and of course the Heartbreakers. And Neil is a given; he’s just a hugely connected songwriter that really covers a huge gamut. … I truly believe that [new music] will happen. I’m hoping that we can throw out a couple of calling cards before we go out on the road. I’m not quite sure that we can apply ourselves to do that, but all of that is to look forward to. It’s hugely important, whichever way you look at it, for a band to remain being creative, not treading water.”

While Fleetwood is enthusiastic about his band’s future, he reveals that Mac’s tour, which officially kicks off Oct. 3 in Tulsa, Okla. (after the new lineup makes its live debut at Las Vegas’s iHeartRadio Festival in September) and will continue into 2019, will delve deep in the band’s archives — dating back to before the famous Buckingham/Nicks era. “We’re really looking forward to doing some spotted revisiting of some of the old blues-based, rock ‘n’ roll stuff we did back in the day,” he says, “like ‘Black Magic Woman’ and ‘Oh Well.’ And I think Stevie’s even threatening to sing ‘Black Magic Woman,’ which sounds more than exciting! … I think everything is just open, looking at what we’ve done since the beginning and no doubt touching on some of the blues stuff that Campbell, very specifically, is insisting that we do. And happily so.”

Fleetwood and his new and old bandmates are still hashing out the setlist (“We’re all exchanging lists, emailing madly backwards and forwards”), but regardless of which songs make the cut, the upcoming tour is bound to be a fascinating look at Fleetwood Mac’s complex and ever-evolving history. And it’s going to be a marathon event. “I was around Stevie’s house the other night with Campbell, and we quietly realized that we were heading towards a three-hour show! It was a sort of comedic moment,” Fleetwood chuckles, adding more seriously: “We’re looking forward to putting on an incredibly vibrant show that is truly groundbreaking, for us, and that’s about as good as it can get for a musician to be in that sort of noncomplacent place.”

Lyndsey Parker / Yahoo Music  / June 15, 2018

Archives Article Fleetwood Mac

Danny Kirwan obituary

Singer, songwriter and guitarist with Fleetwood Mac in the late 1960s and early 70s who brought great creativity to the band

Although he was only 18 when he joined Fleetwood Mac in 1968, Danny Kirwan, who has died aged 68, rapidly became a significant creative force within the group in their early years. It was the guitarist Peter Green who achieved enduring “guitar hero” status with the band, but Kirwan was also a fluent and accomplished player with a delicate touch, his playing particularly recognisable for its use of vibrato.

He was also a prolific songwriter whose compositions would help to move Fleetwood Mac away from their strictly blues roots towards the more melodic soft-rock that turned them into one of the world’s most successful acts.

Kirwan had been in the group for two months when he made his first recording with them, playing on their Green-composed single “Albatross,” a lilting instrumental assembled from contrasting guitar parts. It was an auspicious beginning, since this would be the band’s only UK No 1 hit. His first album with them, Then Play On (1969), contained seven of his songs, including the string-accompanied ballad “When You Say” among more conventionally bluesy material.

He had more writing credits on Kiln House (1970) – the group’s first album after the departure of Green – including the bouncy rocker “Tell Me All the Things You Do,” and he wrote the single “Dragonfly” (1970), with lyrics from a poem by WH Davies. Green considered “Dragonfly” to be the best song Kirwan ever wrote.

Future Games (1971) included the Kirwan-penned opening track “Woman of 1000 Years,” a piece of dreamy California-style psychedelia, and his proto-country rock effort Sometimes. Bare Trees (1972), the last Mac album Kirwan appeared on, featured five more of his songs, including the almost Eagles-like “Child of Mine” and the poignant soft-rock of “Dust” (the latter taking its lyrics from Rupert Brooke’s poem of the same name).

Kirwan can thus be seen as the missing link between the original Fleetwood Mac, planted squarely in the British blues boom, and the band’s megastar LA-based incarnation featuring Stevie Nicks and Lindsey Buckingham , when it would sell 40m copies of its 1977 album Rumours.

But Kirwan was unable to cash in on the band’s subsequent commercial bonanza. He had always been emotionally fragile, and Green recounted that Kirwan would often be in tears while he was playing. The strain of touring and performing drove him to drink and drugs, and he often neglected food altogether. He finally quit during a US tour in 1972, when he flew into a rage in the dressing room before one of the shows, smashed his Les Paul guitar and refused to take the stage with the rest of the band. Afterwards Mick Fleetwood told Kirwan he was out of the band.

Kirwan was born in Brixton, south London, though obscurity surrounds his upbringing. At 17 he was playing in a three-piece band called Boilerhouse, and after he persuaded Fleetwood Mac’s producer Mike Vernon to come and see them, Vernon recommended them to Green, who invited Boilerhouse to be the support band at Fleetwood Mac shows. Green had not been happy with his co-guitarist Jeremy Spencer and was looking for another guitar player, so Kirwan was invited aboard, joining the lineup in August 1968.

“I was lucky to have played for the band at all,” Kirwan told the Independent in a rare interview in 1993, after he had stepped out of the limelight. “I did it for about four years, to about 1972, but I couldn’t handle the lifestyle and the women and the travelling.” At this time he had been living in a St Mungo’s homeless hostel in central London, but had been tracked down by Fleetwood, who had last seen him in 1980.

After leaving Fleetwood Mac, Kirwan had put in a blink-and-you-missed-it stint with a band called Hungry Fighter, who played one solitary gig and made no recordings. He made three solo albums on the DJM label in the 1970s, Second Chapter (1975), Midnight in San Juan (1976) and Hello There Big Boy! (1979), but though the music was often melodic and attractive, Kirwan’s absence from live performance and lack of public visibility meant that the discs sold miserably and failed to chart.

He subsequently drifted away from music altogether, spending 10 years living rough and in a basement flat in Brixton, surviving on social security and royalty payments from his Fleetwood Mac work. In 1998, he was inducted into the Rock and Roll Hall of Fame with Fleetwood Mac, but did not attend the ceremony.

He is survived by a son, Dominic, from his marriage to Clare Morris, which ended in divorce.

Daniel David Kirwan, guitarist, singer and songwriter, born 13 May 1950; died 8 June 2018

Adam Sweeting / The Guardian (UK) / June 14, 2018

Fleetwood Mac

New Fleetwood Mac kicks off tour at iHeartRadio Music Festival

iHeartMedia announced today that Fleetwood Mac has been added to the iconic lineup for the 2018 iHeartRadio Music Festival, the legendary concert event which creates radio history year after year through powerful and unforgettable performances. The event will take place on September 21 and 22 at Las Vegas’ hottest entertainment venue, T-Mobile Arena.

This year, the epic two-day event will be hosted by Ryan Seacrest and will feature performances by Justin Timberlake, Fleetwood Mac, Carrie Underwood, Mariah Carey, Imagine Dragons, Jason Aldean, Sam Smith, Luke Bryan, Lynyrd Skynyrd, Panic! At The Disco, Kelly Clarkson, Shawn Mendes, Kygo, Rae Sremmurd, Logic and more. The iHeartRadio Music Festival will also include a performance from this year’s Macy’s iHeartRadio Rising Star winner, to be announced on July 6.

“It is an honor to be performing at the iHeartRadio Music Festival for our very first time,” said Stevie Nicks. “The beauty of an event like this is that it is a true representation of the power of radio. It’s an opportunity for artists across all genres to share one stage and what we all love most – music!”

Each night, the iHeartRadio Music Festival will broadcast live for fans via iHeartMedia radio stations throughout the country across more than 150 markets. The CW Network will also exclusively livestream both nights of the festival via and The CW App, and broadcast a two-night television special on October 7 and October 8 from 8 p.m. – 10 p.m. EST/PST.

Beginning today, June 12 at 1 p.m. EST/10 a.m. PST, Capital One cardholders will have access to a limited number of tickets through a special pre-sale for the iHeartRadio Music Festival. Tickets will be available only at Additionally, there will be a Capital One Premier Access Package available during the cardholder pre-sale which includes access to a front row fan pit at the main stage on September 22, a backstage tour, a Daytime Stage ticket and an exclusive artist experience. Tickets go on sale to the general public on June 15 at 1 p.m. EST/10 a.m. PST via

In addition, throughout a summer-long on-air and online promotion, iHeartMedia station listeners across the country will have the chance to win a one-of-a-kind dream trip to Las Vegas where they will join thousands of other dedicated music fans to experience the 2018 iHeartRadio Music Festival at T-Mobile Arena. One Grand Prize Winner will be chosen to receive a fantasy all-access experience.

Proud partners of this year’s event include: 1800® Tequila, Bai Beverages, Bioré® Skincare, Capital One®, The CW Network, Macy’s, T-Mobile and Taco Bell® with more to be announced.

The 2018 iHeartRadio Music Festival is co-produced by John Sykes, and Tom Poleman. For more details about the iHeartRadio Music Festival visit

2018 iHeartRadio Music Festival

When: Friday, September 21 and Saturday, September 22, 2018
Where: T-Mobile Arena
Performing: Justin TimberlakeFleetwood MacJack WhiteCarrie UnderwoodMariah CareyImagine DragonsJason AldeanShawn MendesLuke BryanLynyrd SkynyrdPanic! At The DiscoKelly ClarksonSam SmithKygoRae SremmurdLogic and more to be announced!
Capital One Cardholder Pre-Sale
For your first chance to buy tickets, exclusive Capital One Cardholder Pre-Sale tickets & Capital One Premier Access Packages will be available at from today, Tuesday, June 12 at 10am PT / 1pm ET until Thursday, June 14 at 10pm PT / 1am ET or until pre-sale tickets and packages are gone. Visit for details.
General On-Sale
Tickets go on-sale to the public starting Friday, June 15 at 10am PT / 1pm ET at
VIP Tickets
A limited number of VIP Ticket Packages will be available on Friday, June 15 at 10am PT / 1pm ET. Visit for details.
Danny Kirwan

Danny Kirwan passes away

Former Fleetwood Mac guitarist Danny Kirwan has passed away at the age of 68. Mick Fleetwood issued the following statement:

MAY 13, 1950 ~ JUNE 8, 2018

Today was greeted by the sad news of the passing of Danny Kirwan in London, England. Danny was a huge force in our early years. His love for the Blues led him to being asked to join Fleetwood Mac in 1968, where he made his musical home for many years.

Danny’s true legacy, in my mind, will forever live on in the music he wrote and played so beautifully as a part of the foundation of Fleetwood Mac, that has now endured for over fifty years.
Thank you, Danny Kirwan. You will forever be missed!
~Mick Fleetwood and Fleetwood Mac

Then Play On ​1969
Blues Jam at Chess ​1969
Kiln House ​1970
Future Games ​1971
Bare Trees ​1972


Article Fleetwood Mac Michael Campbell Neil Finn

Fleetwood Mac’s messy divorce

The band has parted ways with Lindsey Buckingham, but that isn’t stopping it from launching a huge tour this fall.

EARLY THIS SPRING, most of Fleetwood Mac – Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood – gathered at a theater on the Hawaiian island of Maui with their future in doubt. The band had secretly parted ways with Lindsey Buckingham, the voice and guitar behind many of its most enduring songs. According to the group, the split came down to a scheduling conflict surrounding an upcoming tour. “We were supposed to go into rehearsal in June, and he wanted to put it off until next November,” says Nicks. “That’s a long time. I just did 70 shows [on a solo tour]. As soon as I finish one thing, I dive back into another. Why would we stop? This is what we do.”

So the bandmates invited Mike Campbell, former guitarist of Tom Petty and the Heartbreakers, and Neil Finn, best known as the frontman of Eighties hitmakers Crowded House, to spend a few days workshopping songs and see if they could press forward without Buckingham. “I immediately felt like I’d known them for years,” says Christine McVie, “though we’d only just met.” The lineup will embark on a 52date tour beginning October 3rd in Tulsa, Oklahoma, that will run until mid-2019.

Buckingham’s ousting marks the latest messy chapter in the ongoing 50-year Fleetwood Mac drama – or, as drummer Fleetwood tells it, business as usual. When key early members like Peter Green and Jeremy Spencer left in the early 1970s, Fleetwood got on the phone and recruited new members. The group never stopped working, even when Nicks left in the early 1990s and a new lineup found itself opening for the likes of REO Speedwagon on the amphitheater circuit. “My instincts have always been to gravitate toward going forward,” Fleetwood says. “But I’d be lying if I didn’t literally say to myself, ‘This one needs a lot of thought.’ ” (Buckingham has not responded to interview requests.)

On February 1st, Fleetwood called Campbell, who was in Hawaii. It was the guitarist’s 68th birthday. “I was sitting by my pool contemplating my future without my partner [Petty], which was going to be a dark place,” he says. “I said, ‘Give me a day to think it over.’ The more I thought, the more I thought it could be great. Stevie and I have always been very creative together.” After getting Campbell’s commitment, Fleetwood called Finn, whom he played with at a 2016 fundraiser in New Zealand. “I was stunned,” Finn says. “I’m relishing this beautiful gift given to me.”

The new version of Fleetwood Mac soon starts two months of rehearsals. They’ve decided to draw from their entire catalog, not just the Buckingham-Nicks run from 1975 to 1987 that gave them nearly all of their hits. “We were never able to do that because certain people in the band weren’t interested,” says Nicks. “Now we can open the set.”

For Nicks, carrying on without Buckingham is bittersweet: “Our relationship has always been volatile. We were never married, but we might as well have been. Some couples get divorced after 40 years. They break their kids’ hearts. This is sad for me, but I want the next 10 years of my life to be really fun and happy. I want to get up every day and dance around my apartment and say, ‘Thank God for this amazing life.’ ”

PHOTO (COLOR): GO YOUR OWN WAY McVie, Finn, Fleetwood, Nicks, Campbell, McVie (Randee St. Nicholas)

Andy Greene / Rolling Stone / Thursday, May 17, 2018

Copyright of Rolling Stone is the property of Rolling Stone LLC

Fleetwood Mac

Refreshed Fleetwood Mac announces fall tour

New Fleetwood Mac 2018
Fleetwood Mac hits the road in October with new members Neil Finn and Michael Campbell. (Randee St. Nicholas)

Fleetwood Mac hits the road in October with new members Neil Finn and Michael Campbell. Tickets go on sale to the general public starting Friday, May 4.

Fleetwood Mac 2018
The refreshed Fleetwood Mac with new members Neil Finn and Michael Campbell. (Randee St. Nicholas)

LOS ANGELES, CA (April 25, 2018) – Legendary, GRAMMY-award winning band Fleetwood Mac announced today a North American tour, set to kick off in October and travel through 50+ cities ending in Spring of 2019. Produced by Live Nation, the tour will feature the newly announced line-up of Mick Fleetwood, John McVie, Stevie Nicks, and Christine McVie along with newcomers Mike Campbell and Neil Finn.

Tickets for the tour will go on-sale to the general public starting on Friday, May 4 at 10am local time. A complete Fleetwood Mac itinerary listing all tour dates follows this release.

American Express® Card Members can purchase tickets in select markets before the general public beginning Monday, April 30 at 10am through Thursday, May 3 at 10pm. A limited number of LaneOne VIP Packages will also be available, including amazing seats with premium benefits such as transportation, preferred entrance and more.

SiriusXM’s The Fleetwood Mac Channel begins on Tuesday, May 1st at 5:00 pm ET and runs through May, via satellite on channel 30, and through the SiriusXM app on smartphones and other connected devices, as well as online at and will feature music, interviews and hosted shows from current and former band members.

“Fleetwood Mac has always been about an amazing collection of songs that are performed with a unique blend of talents. We jammed with Mike and Neil and the chemistry really worked and let the band realize that this is the right combination to go forward with in Fleetwood Mac style. We know we have something new, yet it’s got the unmistakable Mac sound,” said Mick Fleetwood.

“We are thrilled to welcome the musical talents of the caliber of Mike Campbell and Neil Finn into the Mac family. With Mike and Neil, we’ll be performing all the hits that the fans love, plus we’ll be surprising our audiences with some tracks from our historic catalogue of songs,” said the group collectively. “Fleetwood Mac has always been a creative evolution. We look forward to honoring that spirit on this upcoming tour.”

Fleetwood Mac was founded by Peter Green in 1967 and was named after Mick Fleetwood and John McVie. After Peter Green left in 1969, Fleetwood and McVie remained as original members, and the band has since featured a cast of brilliant talents. Most notably, Christine McVie joined the band in 1970, with Stevie Nicks and Lindsey Buckingham joining in 1974. The enduring spirit of Fleetwood Mac stands for an incredible body of great music that has connected with generations of people all over the world for more than 50 years. Fleetwood Mac has sold more than 100 million records worldwide and the GRAMMY-award winning band was inducted into the Rock and Roll Hall of Fame in 1998.


*All dates, venues and cities below subject to change.


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CBS This Morning Fleetwood Mac

Fleetwood Mac tour dates expected Wednesday

Fleetwood Mac is expected to release tour dates on Wednesday. The newest incarnation of the immortal band — which drops guitarist Lindsey Buckingham and adds singer-songwriter Neil Finn and guitarist Michael Campbell (from Tom Petty & The Heartbreakers) — will hit the stage this fall with a full-fledged world tour.

Fleetwood Mac will appear on the Wednesday morning edition of CBS This Morning to make the announcement of the upcoming tour with its new band members.

CBS This Morning interviewer Anthony Mason posted the following picture of the band on his Twitter page.

Vanessa Carlton

Vanessa Carlton covers ‘Dreams,’ out 4/20

Vanessa Carlton has covered Fleetwood Mac’s Number One single “Dreams,” the second of six brand new covers, available on digital streaming services April 20.

Vanessa has shared a teaser video of her rendition on YouTube.

2018-2019 Tour Fleetwood Mac Neil Finn

Neil Finn has joined Fleetwood Mac

Yep. Seriously.

 Neil Finn is always looking for new projects. Today he’s announced one of his most surprising yet. 

In 2018, Neil Finn will join soft rock legends Fleetwood Mac for a series of dates to be confirmed soon.

This bizarre turn of events comes after Lindsey Buckingham was reportedly fired from the group earlier this year, though the band are yet to make any comment about what transpired to result in his termination.

Both Finn, a former Double J Artist in Residence, and Fleetwood Mac members Mick Fleetwood, John McVie, Christine McVie and Stevie Nicks have made statements this morning about the new arrangement.

“We are thrilled to welcome the musical talents of the calibre of Mike Campbell and Neil Finn into the Mac family,” the band said in a group statement, according to Variety.

“With Mike and Neil, we’ll be performing all the hits that the fans love, plus we’ll be surprising our audiences with some tracks from our historic catalogue of songs.

“Fleetwood Mac has always been a creative evolution. We look forward to honouring that spirit on this upcoming tour.”

Finn’s statement suggests that this has opportunity not been in the offing for long.

“Two weeks ago I received a wonderful invitation to be a part of a truly great band. A few days later I was standing in a room playing music with Fleetwood Mac.

“It felt fresh and exciting, so many great songs, a spectacular rhythm section and two of the greatest voices ever. Best of all, we sounded good together. It was a natural fit. I can’t wait to play.”

There is no further information as to when and where this new-look Fleetwood Mac will perform, but dates should be announced shortly.

Neil Finn has recently played a string of shows with his son Liam, pre-empting the release of a collaborative album that fans know has been in the works for some time.

He’s also been playing orchestra-backed performances of his latest album Out Of Silence, which Australian audiences can see as a part of Vivid LIVE this May. 

Fleetwood Mac Lindsey Buckingham

Fleetwood Mac fires Lindsey Buckingham

The rumours are true. Variety has confirmed that Fleetwood Mac has fired guitarist Lindsey Buckingham, publishing the shocking news 15 minutes ahead of celebrity news giant TMZ. The band reportedly fired Buckingham over a dispute about its upcoming world tour.

Unsettling stories of the band’s ongoing personal turmoil first surfaced months ago after the MusiCares event in January, where the band was honored as Person of the Year. In March, the band had planned to rehearse for their upcoming world tour, but the rehearsals never took place. Then on April 4, former Fleetwood Mac guitarist Billy Burnette broke the news on his social media sites, declaring “Lindsey Buckingham is out,” leading to further speculation of turbulence in the Fleetwood Mac camp.

Fleetwood Mac plans to move forward with two replacement members: The Heartbreaker’s Michael Campbell and Crowded House’s Neil Finn on its world tour, which is scheduled to begin this fall. Tour dates are expected to be announced soon.


Related Stories

Fleetwood Mac Rumours (1977)

Viral meme sends ‘Dreams,’ ‘Rumours’ up the charts

“Dreams,” the Number One single from Fleetwood Mac’s iconic 1977 album Rumours, returns to the charts this week, according to Billboard Magazine — thanks to a meme showing The Golden Girls color guard dancing to the song. The tweet posted by i m m i g r ❀ n t @bottledfleet has received thousands of likes and retweets since March 22. In the original video, which was taken last year, The Golden Girls are dancing to the beat of the Alcorn State University Marching Band.

“Dreams” re-emerges at Number 14 on the Hot Rock Songs chart for the weekending April 7, 2018. The reaction to the Twitter post also bumps up Rumours on the Top Rock Albums chart, from 21-13 with 7,000 equivalent album units, up 12 percent, according to Billboard.

Billboard Hot Rock Songs chart

Fleetwood Mac Song of the Week Tusk (1979)

SONG OF THE WEEK: Brown Eyes (Alternate Version)

Tusk is often lauded for being Fleetwood Mac’s most experimental album, but it certainly could have gone deeper into the sonic jungle if you listen to the alternate versions found on the deluxe version of Tusk. Take “Brown Eyes,” the Christine-McVie-penned song that takes listeners on a sensuous, slow-burn ride. In the alternate version, Christine sings the original lyrics, which describe something more of a platonic nature than the romantic innuendos shared on the final release. Tusk scholars would argue both sets of lyrics reflect different stages of the relationship Christine is depicting, with the final version actually being the edgier take.

Fleetwood Mac’s elusive founder Peter Green performs on “Brown Eyes,” but on the first-released version, his part is reduced to just a few seconds at the end of the song. His full solo can now be heard on The Alternate Tusk, and in the below YouTube clip.

In the deluxe version of Tusk, liner notes, Lindsey Buckingham and Mick Fleetwood share their recollections of the track:

Lindsey: I don’t remember Peter Green coming in, so I don’t think I made any judgement on whether to use it or not. Mick would ultimately have had the decision to use his playing or not. And it was Christine’s song to do with as she wished.

Mick: Peter was living in L.A. then and hanging out at my house a lot. He was still as he is now, changed, but he used to pop into the studio occasionally. I don’t know if he was that interested or not, but he did play on this song, which I love. Classic, slinky, killer stuff from Chris. The band’s playing really shines. I can’t recall why we only used Peter at the very end, but it’s great that he’s on here, because it’s Peter and it’s his band.

Brown Eyes (Original Lyrics)


If you’re ever feeling lonely
Don’t forget to call on me
Through all the years I’ve known you
You’ve always been good to me

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Yesterday’s tears

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
You’re over the sad years

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)

Don’t worry ’cause there’s always someone
To take your troubles away
It’s easier to share than worry
It’s always better that way

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Yesterday’s tears

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
You’re over the sad years

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)

I want you to know
I want you to know
I want you to know I’ll always be there

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Yesterday’s tears

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
You’re over the sad years

Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)
Sha-la-la, sha-la-la, sha-la-la-la, la, la, la… (ooh-ooh…)

I want you to know
I want you to know
I want you to know I’ll always be there


Album Reviews Article Fleetwood Mac Fleetwood Mac (1975)

REVIEW: Fleetwood Mac (1975) Deluxe Edition

Fleetwood Mac 1975, Deluxe EditionFLEETWOOD MAC

Rhino (4-CD, 1-LP Box Set)

**** (four stars out of five)

The latest, and possibly the last, in Rhino’s series of deluxe boxed Fleetwood Mac albums (they’re not really going to tackle Behind the Mask and Time, are they?) sits in a most peculiar position.

On the one hand, 1975’s eponymous LP features some of the band’s most beloved songs — “Rhiannon,” “Landslide,” “Crystal,” “World Turning”; three more sizeable radio hits — “Say You Love Me,” “Over My Head” and “Monday Morning”; and, of course, the most seismic new additions the group’s ever-changing lineup had seen, Lindsey Buckingham and Stevie Nicks.

On the other hand, however, Fleetwood Mac is so dwarfed by what came next, the mega-platinum double punch of Rumours and Tusk, that it is often… not overlooked, but certainly underrated. A fate which this box loudly declares to be utterly without merit.

The original album is problematic, it is true. The lineup was still finding its feet in the studio, still figuring out its capabilities. The songs which would probably have made it onto the record regardless of who the new kids might have been — McVie’s “Sugar Daddy,” “Over My Head” and “Warm Ways,” and Michael and Richard Curtis’s “Blue Letter” — could have been recorded just as successfully by at least the last couple of incarnations, while “Say You Love Me” escapes that definition only by virtue of a distinctly Buckingham-esque arrangement.

Sonically, too, it felt a little underwhelming, a bit too nice. A bit easy listening. Nothing like the aural feast that tears from the grooves of Rumours and beyond. Or maybe that’s just hindsight talking, because the first thing you notice this time around is, just how aggressive it can be.

Four discs (plus remastered vinyl of the original album) serve up Fleetwood Mac and four attendant single edits (disc one); early versions and a live appearance on the Warner Bros. sound stage (disc two); a compilation of tracks from the accompanying tour (disc three) and, finally, a 5.1 surround sound mix that brings a whole new ambiance into play.

Remixed, the album feels tougher, wilder. Buckingham’s guitar is seldom less than in-yer-face, while it feels as though the original mix was completely set aside, in favor of what the early versions and the live tracks reveal to have been the group’s natural sound.

Not every track has been re-envisioned, not every change is for the best — the added laughter and effects appended to “Sugar Daddy” do not raise the song above its customary mawkish demeanor, and the vocals on “I’m So Afraid” feel thinner than the song demands.

But “Over My Head” suddenly touches Tusk‘s “Warm Ways” in the quest for all-encompassing perfection; “Landslide” and “Crystal” feel more raw than ever; and “World Turning” is simply unhinged. Again, you catch hints of this in the alternate versions, and extensions of it in concert… the seven minute “Rhiannon,” taken from the Sound Stage tapes, is a tout-ensemble peak that Mac in general, and Nicks in particular, never recaptured. History itself might not have been rewritten had this mix been deployed back in 1975, but the album’s reputation may well have been.

With just one of the non-album tracks, the aptly-named “Jam #2,” having seen release in the past, the box is generous. The live discs afford us the opportunity to hear this lineup tackle selected highlights from the past (“Hypnotized” is a genuine treat), and though the liner essay feels a little too rote, the booklet itself packs some terrific photos. Indeed, no matter how much you love the other box sets in this series, Fleetwood Mac might well be the one you need to hear the most.

Maybe they should tackle Behind the Mask next.

Dave Thompson / Goldmine / April 2018, p. 31.

Album Reviews Article Fleetwood Mac Fleetwood Mac (1975)

REVIEW: Fleetwood Mac Deluxe

Fleetwood Mac 1975, Deluxe EditionFLEETWOOD MAC

Fleetwood Mac: Deluxe

Reprise R2 559454 (1 LP/3 CDs/1 DVD). 1975/2018. Fleetwood Mac, prods.; Keith Olsen, prod., eng.; David Devoe, Dan Hersch, others, engs. ADD? TT: 3:27:04



I’ll never forget the first time I heard this album. I’d been a keen fan of Fleetwood Mac since its early days, and each release was greeted with great expectations. Like a lot of British blues bands of the late 1960s, in the mid-’70s the Mac seemed to struggle toward a difficult career coda; lineups didn’t last, and we even had to endure a completely different band touring under the Fleetwood Mac name.

But from the first joyous moments of Fleetwood Mac, it was clear that this new version of the band was something special. I’d heard and liked the California power pop of Buckingham Nicks, but had no inkling how well that duo could complete an entirely new Fleetwood Mac identity. Hearing Lindsey Buckingham’s “Monday Morning” ring out of my speakers was akin to hearing “Suite: Judy Blue Eyes” for the first time. The extraordinary harmonies of Buckingham, Stevie Nicks, and Christine McVie were the sound of angels, as yet another British singer found her true roots in California.

Fleetwood Mac 1975, Deluxe EditionThe shock of how good this record was accumulated as the disc played out and it became clear that the Mac had changed stripes. Always a guitarist’s guitar band with some great songwriting but vocals that were secondary to the overall sound, this Fleetwood Mac was all about the songs and the singing. Buckingham’s inspired guitar work was in support of the whole meal, but was not itself the main course. For the first time, the band featured three outstanding singers and songwriters, who balanced each other fully in all the compositions. The stalwart rhythm section of Christine McVie on keyboards, her husband, John McVie, on bass, and Mick Fleetwood on drums kept the core identity of the band on course.

Perhaps most important, the new lineup brought Christine McVie into focus. By this time, the Mac had long been a guy’s band, with Christine a featured element. Now she was the fulcrum between the old and new lineups, her dusky soprano the anchor between Buckingham’s jolly, effusive tenor and Nicks’s soaring alto. With Buckingham and Nicks as her band partners, McVie, one of the greatest R&B singer-songwriters England has ever produced, upped her writing game. She delivered soulful expressions of sexual emotion in “Say You Love Me,” “Over My Head,” and “Sugar Daddy,” and of abiding tenderness in “Warm Ways.” What’s more, it was now a woman’s band, with Christine and Nicks contrasting brilliandy. Nicks countered McVie’s earthiness with an ethereal, otherworldly quality in her writing epitomized by her self-branding vehicle, “Rhiannon,” and the timeless life metaphor of “Landslide,” still so apt today. Buckingham’s shimmering pop songs, including “World Turning,” cowritten with McVie, fit perfectly.

What we hear here is the magic of discovery. This band hadn’t even played together live when they began work on these tracks with producer Keith Olsen, and they were all finding something new about themselves. Perhaps one can’t attribute spirit or emotion to the technical job of recording sound, but I believe that Olsen’s original analog vision for this music can’t be improved on by a digital remastering. The 180gm vinyl of this new set is heavier than the original LP, and lovingly mastered by Dan Hersch in what might be called a modernization. Fleetwood’s drums are now closer to the front of the mix, but something unexplainable is missing from the sense of how it all hangs together. Instead of the music surrounding Buckingham’s voice, now it shoots past. Playing the new LP, I kept wanting to turn the volume up, but that only further diluted the song’s emotional core. If you want an LP of Fleetwood Mac, get an original pressing.

The real pay dirt is in the three CDs. The remastering, though inferior to the original CD, sounds appropriately bright, and fuller than the previous digital transfers in 1984 and 2004. Disc 1 also includes mixes of the singles “Over My Head,” “Rhiannon,” “Say You Love Me,” and “Blue Letter.” On Disc 2 we hear ideas being worked out in early takes, as well as live tracks from a Warner Bros, soundstage, where “Over My Head,” Rhiannon,” and “World Turning” hint at the concert staples they would become.

On disc 3, Fleetwood Mac morphs before live audiences into the band we still recognize today. The foundation jam tracks “Oh Well” and “The Green Manalishi (With the Two Pronged Crown),” from the Mac’s Peter Green era, still strut their stomp but are clearly not where this group is headed. The beautiful, hypnotic “Station Man,” a relic from the wonderful Kiln House, does manage to fit within the contours of the New Mac, and the expanded set list, which includes the soulful “Spare Me a Little,” emphasizes even more how much the new lineup has begun to orbit Christine McVie. Disc 4 is a DVD with a 5.1-channel surroundsound mix of the original album and two-channel, 24-bit/96kHz mixes of the four singles from disc 1. The music is also available as digital downloads and from streaming services.

Say you love me to my face

I need it more than your embrace

Just say you want me, that’s all it takes

Heart’s getting torn from your mistakes.”

—Christine McVie from “Say You Love Me”

John Swenson / Stereophile / April 2018

Fleetwood Mac Song of the Week Tango in the Night - Deluxe & Expanded Editions (2017)

SONG OF THE WEEK: Big Love (Extended Remix)

“Looking out for love…BIG BIG love,” Lindsey Buckingham tunefully wails on the Top 5 lead single from Fleetwood Mac’s 1987 glossy pop classic Tango in the Night. “Big Love” also led to the creation of a BIG BIG remix with a BIG BIG production that epitomized the BIG BIG ’80s sound. Remixers basically threw in everything that made noise, including the proverbial kitchen sink of beat boxes, synthesizer solos, and assorted blips and bleeps. (Go BIG or go home!)

For better or worse, the Tango in the Night remixes offered fans “fly-on-wall” soundbites of the tumultuous Tango in the Night recording sessions; namely Stevie Nicks’ raucous backup vocals, which were decidedly left off the album. (Stevie later admitted these parts “totally sucked.”) In his 1990 autobiography, Mick Fleetwood said that these elusive vocals were later weaved into the mix of the album to create a more cohesive band sound. But whether that was actually done for the main release remains debatable, as you can only hear trace amounts of Stevie singing on her bandmates’ songs. (Christine McVie’s “Little Lies” is the only song on the album that distinctly features all three singers.)

So where did Stevie’s rockin’ backup vocals end up? On the remixes! On the “Big Love” Extended Remix and House on the Hill Dub, you can hear Stevie occasionally belting the chorus and some of the verses. She also contributes similar parts on the “Little Lies” and “Family Man” remixes.

There was also a edit of the Extended Remix, but it doesn’t include any of Stevie’s backup vocals.

Both versions can be found on Disc 3 of the 2017 deluxe package for Tango in the Night.


Fleetwood Mac Rumours (1977)

Fleetwood Mac enters LOC’s National Recording Registry

Fleetwood Mac has earned a spot in the Library of CongressNational Recording Registry with its iconic, Grammy-Award-winning 1977 album Rumours. Each year, the Registry honors 25 culturally, historically or aesthetically significant recordings.

Rumours — the band’s infamous breakup album — includes some of pop music’s most recognizable tunes of all time, including “Dreams,” “Go Your Own Way,” and “You Make Loving Fun.” The album continues to sell well after all these years, with upwards of 40 million in total sales.

Here’s the full list of the 2017 inductees.

  1. Alice’s Restaurant—Arlo Guthrie (1967) (single)
  2. New Sounds in Electronic Music—Steve Reich, Richard Maxfield, Pauline Oliveros (1967)
  3. Calypso—Harry Belafonte (1956) (album) (RCA)
  4. Complete Beethoven Piano Sonatas—Artur Schnabel (1932-1935)
  5. Dream Melody Intermezzo: Naughty Marietta–Victor Herbert and His Orchestra (1913)
  6. Standing Rock Preservation Recordings—George Herzog and Yanktoni Indians (1928)
  7. Evening with Groucho, An—Groucho Marx (1972)
  8. Folk Songs of the Hills—Merle Travis (1946)
  9. Footloose—Kenny Loggins (1984) (single)
  10. Raising Hell—Run-DMC (1986)
  11. Gambler, The—Kenny Rogers (1978) (single)
  12. How I Got Over—Clara Ward and the Ward Singers (1950) (single)
  13. I Left My Heart in San Francisco—Tony Bennett (1962) (single)
  14. If I Didn’t Care—The Ink Spots (1939) (single)
  15. King Biscuit Time (only extant episode with Sonny Boy Williamson) (1965)
  16. Lamento Borincano–Canario y Su Grupo (1929)
  17. Le Freak—Chic (1978) (single)
  18. My Girl—The Temptations (1965) (single)
  19. Proceedings of the UN Conference on International Organization (4/25/45-6/26/45/45)
  20. Rhythm is Gonna Get You–Gloria Estefan (1987) (single)
  21. Rock Around the Clock–Bill Haley and His Comets (1954) (single)
  22. Rumours—Fleetwood Mac (1977)
  23. Sitting on Top of the World—Mississippi Sheiks (1930)
  24. Sound of Music, The (1965) (soundtrack)
  25. Yo Yo Ma Premieres—Yo Yo Ma and the Philadelphia Orchestra (1996)

Tango in the Night (1987)

Fleetwood Mac to issue ‘Tango in the Night – The Alternate’ on Record Store Day 2018

Fleetwood Mac will be issuing Tango in the Night – The Alternate on Record Store Day on April 21. The special vinyl release, limited to 4,000 copies in the U.S., features early versions and demos from Fleetwood Mac 1987 album Tango in the Night. The Alternate will be exclusively available on Record Store Day at participating stores.

Visit Record Store Day for more information, including the list of releases and participating record stores.

DESCRIPTION: An album of alternate takes from the Tango In the Night Deluxe Edition, originally released in 2017. Includes early versions and demos of “Tango In The Night” and “Seven Wonders”. On vinyl for the very first time. Worldwide run of 8500.

Article Fleetwood Mac Fleetwood Mac (1975)

Diamond returns with hits

Following the Jan. 22 announcement by Neil Diamond of his retirement from touring due to his recent Parkinson’s diagnosis, the music legend’s catalog grew in sales and streams during the week ending Jan. 25.

Diamond’s overall album sales jumped 157 percent to 6,000 copies sold, according to Nielsen Music. His total equivalent album units earned grew 121 percent to 10,000, while digital song sales vaulted 197 percent (to 14,000) and on-demand audio streams rose 41 percent (to 3.3 million).

His All-Time Greatest Hits album re-enters the Billboard 200 at No. 86 — its highest rank since 2014. It earned 7,000 units during the week (up 119 percent). The set also zooms 27-4 on the Catalog Album Sales chart with 4,000 sold (up 164 percent).

Also on Catalog Album Sales, Fleetwood Mac‘s self-titled 1975 album re-enters the list at No. 7 with 3,000 sold (up 3,528 percent). The set, which was the band’s first No. 1 on the Billboard 200, rebounds thanks to its deluxe reissue on Jan. 19. The album was available in various remastered editions, some with multiple bonus tracks, all of which are tracked together for sales and charting purposes. Fleetwood Mac also reenters the Billboard 200 at No. 132, the first time the set has been on the list since 2012, and its highest rank since 1981. The Fleetwood Mac redux is the latest expansive archival reissue from the act, following Rumours (in 2013), Tusk (2015), Mirage (2016) and Tango in the Night (2017).

Keith Caulfield / Billboard / February 3, 2018, p. 58

Fleetwood Mac MusiCares

PHOTOS: Fleetwood Mac rocks Radio City Music Hall

Here are photos from Friday night’s MusiCares Person of the Year ceremony and concert:

Fleetwood Mac MusiCares

Bill Clinton, Harry Styles, others honor Fleetwood Mac


NEW YORK (Reuters) – Their 1977 song “Don’t Stop” helped power Bill Clinton into the White House in 1992, and on Friday it was the former U.S. president doing the honors for Fleetwood Mac.

Clinton presented Fleetwood Mac with statuettes as the 2018 MusicCares honorees, making them the first band to win the annual award given to a musician for creative achievements and charitable work.

Clinton chose the British-American band’s single “Don’t Stop” as the theme song for his 1992 presidential campaign, helping to revive their popularity and encouraging the fractious soft rock band to reunite for his inaugural ball in 1993.

Fleetwood Mac, MusiCares, Bill Clinton, Radio City Music Hall, January 26 2018
Bill Clinton chats with Lindsey Buckingham and Mick Fleetwood. (Getty Images)

“They let me use it as a theme song and I have been trying to live by it ever since,” Clinton told the audience at Radio City Music Hall in New York.

“I owe a great deal to all of them,” he added.

At the concert and ceremony on Friday, Miley Cyrus, Lorde, Keith Urban, Harry Styles and Juanes were among musicians across genres to perform their own interpretations of Fleetwood Mac’s biggest hits over a 50-year career.

Band members Mick Fleetwood, John McVie, Stevie Nicks, Christine McVie and Lindsey Buckingham ended the three-hour celebration by taking to the stage to perform “Go Your Own Way” and “Little Lies.”

Fleetwood Mac formed in London in 1967 and went on to become one of the best-selling bands in the world, with more than 100 million records sold, including Grammy-winning 1977 album Rumours and hit singles “Songbird,” “Rhiannon” and “Dreams.”

After romantic and creative tensions, some members going solo and several changes of line-up, Fleetwood, McVie, Nicks, Buckingham and Christine McVie put their differences behind them and reunited in 2014 for the first time since 1998, and embarked on a sell-out world tour.

“Fleetwood Mac is well known for being a dysfunctional family… and it was certainly much of the fuel for our material,” said Buckingham.

“But what we are feeling really more now than ever in our career is love,” he added.

Proceeds from the annual MusiCares gala support members of the music industry in times of financial and medical need.

Friday’s event, held two days before the Grammy Awards, raised some $7 million for MusiCares, Recording Academy chairman Neil Portnow said.

Previous recipients include Tom Petty, Bob Dylan, Barbra Streisand, Bruce Springsteen and Paul McCartney.

Fleetwood Mac SiriusXM

Fleetwood Mac to launch exclusive SiriusXM channel

SIRIUS XM logo. (PRNewsFoto/SIRIUS XM Radio)NEW YORKJan. 25, 2018 /PRNewswire/ — SiriusXM announced today that GRAMMY Award winning rock band Fleetwood Mac will launch an exclusive, limited-run SiriusXM channel, The Fleetwood Mac Channel, on Thursday, February 1.

The Fleetwood Mac Channel will showcase music from Fleetwood Mac’s extensive Rock & Roll Hall of Fame career, including their indelible hits, solo material, live songs, rare demo tracks and musical influences.

The channel will also include exclusive stories and insights from Lindsey BuckinghamMick FleetwoodStevie Nicks and Christine McVie, plus special hosted shows by band members.

Fleetwood Mac’s body of work is so large and their music so unforgettable that we are thrilled to celebrate their music with their own exclusive SiriusXM channel,” said Scott Greenstein, President and Chief Content Officer of SiriusXM. “For our subscribers it will be a fresh sounding and relevant presentation of their music, including special hosted shows from members of the band. The programming will deliver to our subscribers the band’s hit singles, favorite artist influences, and their solo works too. For several generations, this will be a must-listen for fans of Fleetwood Mac.”

Fleetwood Mac will be honored at the 2018 MusiCares Person of the Year tribute on Friday, January 26 in recognition of their significant creative accomplishments and their longtime support of a number of charitable causes, including MusiCares, the premier safety net of critical resources for the music industry.

SiriusXM’s The Fleetwood Mac Channel kicks off on Thursday, February 1 at 12:00 pm ET, via satellite on channel 4, and through the SiriusXM app on smartphones and other connected devices, as well as online at

SiriusXM subscribers with streaming access can also listen to SiriusXM’s 200+ channels at home on a wide variety of connected devices including smart TVs, Amazon Alexa devices, Apple TV, Sony PlayStation, Sonos speakers and more. Go to SiriusXM to learn more.

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Fleetwood Mac (1975)

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Article Fleetwood Mac (1975)

Landslides, Goose Bumps, and Other First Initial Feelings

“Do you always trust your first initial feeling?”

That was the memorable question poetically posed in the song “Crystal,” a gorgeous composition written by Stevie Nicks, featuring a moving lead vocal by Lindsey Buckingham that was first recorded for their 1973 debut effort as a duo, Buckingham Nicks; and then more famously redone for Fleetwood Mac, the game-changing 1975 release that will forever hold a special place in the enduring history of this legendary band.

Fleetwood Mac — also commonly known as “The White Album” — would ultimately prove in the best possible way that hood things do indeed come to those who dare to trust their first initial feelings. Whereas The Beatles’ “White Album” captured a brilliant band just as it was starting to splinter in separate directions, Fleetwood Mac’s own “White Album” marked the opposite — that notable moment when another genuinely fabulous band’s most beloved and successful lineup first came together. In a sense, Fleetwood Mac stands as the late-breaking origin story that tells the true tale of how a dynamic but little-known duo from America joined forces with what was left of a better-known but somewhat struggling blues band from England, then somehow all simultaneously becoming international superstars in the process. And to think, it all happened because Mick Fleetwood took a giant leap of faith and trusted a gut instinct as if it was pure crystalline knowledge.

“Thankfully, the undeniable musical genius of Lindsey Buckingham and Stevie Nicks struck an instant chord with me when I first heard them,” Mick Fleetwood says today, with a laugh. “So I trusted my first initial feeling, and believe me, that has made all the difference.”

“This Fleetwood Mac album represents a magical time to remember when the planets all aligned for us,” adds Christine McVie, still sounding extremely grateful, all these years later. “This is where the goose bumps all began.”

Long ago and far away in the distant time called the middle ‘70s, Fleetwood Mac was an established veteran band that had already survived numerous incarnations and dramatic personnel changes since their early days in the British blue-rock scene of the late ‘60s, initially fronted by Peter Green, a notable guitar god who had left the group back in 1970. There were times when one really needed a scorecard to keep track of who was on the Fleetwood Mac team. Then in late 1974, Fleetwood Mac hit another significant bump in the road when the group’s latest lead guitarist, frequent lead singer and songwriter Bob Welch, announced he was leaving. And now there were just three band members left in the ranks of Fleetwood Mac — name partners Mick Fleetwood on drums, John McVie on bass, and Christine McVie (former Christine Perfect) still there and still perfect on keyboards and vocals, and by now married to her bandmate.

It is what we’re discussing here. It is what made Lindsey’s guitar and that vocal blend with Stevie stay with me. It is whatever makes music and people connect. Ultimately, It is what it’s about.”—MICK FLEETWOOD

A sudden departure like Welch’s might have ended up causing some lesser bands to throw in the towel, but not a band with an endlessly energetic and optimistic drummer and then-manager like Mick Fleetwood. Rather, Mick instantly flashed back a few weeks to a tip he had taken in search of a relatively inexpensive place to record Fleetwood Mac’s next album — their tenth — in the Los Angeles area. At the behest of Keith Olsen, an excellent producer and engineer acquaintance of his, Fleetwood took a little time to go check out the Sound City Studios in Van Nuys, California, much later to become legendary thanks to Dave Grohl’s documentary of the same name. While there, Olsen demonstrated Sound City’s sonic potential by playing Fleetwood a few tracks from the Buckingham Nicks album he had produced there. Though the release had already come and gone commercially, something about the music stayed with Fleetwood, particularly the unusual and impressive guitar work from this Lindsey Buckingham character. “Lindsey’s style was so stunning and unique, it was what hit me first, and it hit me hard.”

“Mick has a sixth or seventh sense about these things,” Christine McVie says, before adding, “He may have made a few mistakes in band personnel over the years, but this was definitely not one of them.”

“That hour and a half spent in Sound City changed everything,” says Fleetwood. “I think Keith Olsen played me ‘Frozen Love,’ ‘Crying in the Night,’ and ‘Crystal’ — which we ended up re-cutting for Fleetwood Mac — by Buckingham Nicks. I do not believe I even heard the whole album. Bob Welch had not left yet. So I was not looking for a new guitarist or other band members at the time. It was purely the music that, by some miracle, made such a vivid impression. And I give myself kudos there because the music Lindsey and Stevie were making was very different — it wasn’t blues or the sort of thing I’d been brought up on. But what it did have was something that from the start in this band, Peter Green — who taught me so much — me, and, John used to call simply ‘It.’ We’d always say, ‘Yes, but does it have It.’ It is what we’re discussing here. It is what made Lindsey’s guitar and that vocal blend with Stevie stay with me. It is whatever makes music and people connect. Ultimately, It is what it’s about.”

And yet it all almost didn’t happen because, as Stevie Nicks still loves to jokingly remind Mick Fleetwood, his initial call was to Lindsey Buckingham to ask only him about joining Fleetwood Mac, and not her. “In my defense, our pressing need at the moment was for a guitar player,” Fleetwood recalls with a laugh. “To Lindsey’s credit, Buckingham made it immediately and eminently clear that he wasn’t going anywhere without Stevie Nicks.” Thankfully, Buckingham’s bold insistence on this matter led to Fleetwood Mac making perhaps the single greatest package deal in all of musical history. Yet before this wildly successful musical merger could happen, there were a few matters to attend to, like these young Americans getting to know the current British band members to see if they could work and play well with another.

The now-legendary Fleetwood Mac chemistry test took place at El Carmen, a Mexican restaurant on 3rd Street in Los Angeles. “We already loved the music,” remembers Mick Fleetwood, “but the dinner was the audition. Because the only thing Chris said to me was, ‘There’s nothing worse than two women who don’t get on. And I’ll know right away.’ So that was a very pivotal dinner. Luckily, Chis loved Stevie, straight away — this sparkling, little high-energy lady. And that was that. Lindsey and Stevie were asked to play with us without ever playing a note with us. It’s almost insane in retrospect considering the high risk, but somehow Christine and all of us knew.”

As Christine McVie remembers, “What Mick said to me before the meeting was, ‘Chris, if you don’t like the girl, then it’s not going to happen.’ I had never been in a band with another girl before, so it was important. So we met for Mexican food. First, right from their entrance, I was so struck by the way Lindsey looked when he in walked in the door — I said to myself, Wow, this guy is a god. And then Stevie walked in laughing, so cute and so tiny, and I took an instant liking to her. She has this wonderful laugh and a fantastic sense of humor. So by the end of that evening, I said, ‘Mick, let’s do this.’”

For Christine McVie, the key moment came a little later when the group finally gathered for their first musical rehearsal. “I had written a new song called ‘Say You Love Me’ that ended up being a bit of a hit,” she explains. “So I just started playing the song, and when the chorus came around and I sang, they started piping in with these perfect three-part harmonies. We carried on singing, but we all got enormous goose bumps. I looked at Mick, and he looked at me, and we went, ‘This is it.’ We would talk a lot about ‘The It Factor’ then, and this was It all over. Right from that moment, we went straight into making this album, and the whole experience was this wonderful giant discovery. We all had the best time, and I think that joy comes across even when you listen to it today.”

“As soon as Christine heard the Buckingham Nicks music she knew there were musical and harmonic possibilities she could not deny,” says Fleetwood. “A huge switch went off in her head, and by hearing all the harmonies and layering, there was something thrilling here to explore. We’d only touched a little on harmonies with Bob Welch, but these two new voices exploded in our heads, and suddenly, all these possibilities opened up because these two were so good, such powerhouses. When I first heard Lindsey and Stevie, it was like hearing The Everly Brothers on steroids, where they know instinctively what they are doing at any given moment. Christine adding her own earthy tones and soul to that made for some extreme magic right away. Hearing us all together for the first time is the reason we’re all still talking about this album after all this time.”

For Christine, the addition of Buckingham and Nicks was not simply a golden opportunity, but also the best kind of artistic challenge. “I was excited by their talent, but I also sensed I had to upgrade my game as a songwriter to keep up with them after I heard the Buckingham Nicks album,” she explains. “I thought, Crickey, these two can really write. So I got on my piano — one of those transistorized Hohners — in a tiny bedsit that John and I rented in Malibu, right on the ocean. And I sat there and wrote ‘Over My Head,’ ‘Warm Ways’ — those two at least. And I also found Lindsey, and I could co-write — ‘World Turning’ was our first song together and a strong start.”

Even all these years later, the overall strength of the material featured on Fleetwood Mac remains astounding, with McVie singling out “Monday Morning” and “I’m So Afraid” by Buckingham, and “Rhiannon” and “Landslide” by Nicks as just a few of her many favorites. And somehow, despite all the change and the new infusion of talent, including Buckingham’s growing strength as an arranger and producer, there remains the pulse of Fleetwood Mac, thanks in large part to the distinctive pulse of the group’s rhythm section. “If you change members in a lot of other big bands, I don’t think they change the essence, the musical identity as much as we have,” says Mick Fleetwood. “Put on this album and put on Live At Chess Records with Peter Green, and it is stunning to think that can be the same band, but somehow it is. I feel like there are other bands that have survived, but no other that changed as much, and despite or perhaps because of that somehow survived as well. I think perhaps John and I hanging in there allowed this funny diverse band to keep changing and evolving. It was really all three of the writers’ songs — and our balls — keeping it going. And the album you’re writing about that is that line in the sand where you can see the biggest and most significant change. It came along at a time when it could have the end, but instead it became a new beginning.”

With the initial sessions for Fleetwood Mac proceeding so well in Sound City, Mick Fleetwood couldn’t wait to take this new version of Fleetwood Mac on the road. As he recalls, “At that time I was the manager — or the nearest facsimile to a manager we had — so I remember going to see Mo Ostin at our label, Warner Bros., while we were making that album, and it was so evident to all of us that something was happening. So I took some of the tracks, and I remember I went around the corner for two brandies to pluck the courage before seeing the big head honcho. I sat down with Mo and said, ‘I’m just saying, if you don’t hear something special here, will you let us go? Because I really believe this is something special.’ It was a kind of naive threat, I think. And of course, Mo loved it. Then I said, ‘This is so special, I think we need to go out as a band because I knew when the record came out, we had to be ready for whatever came. Also we really needed a little pocket money.”

Right from that moment, we went straight into making this album, and the whole experience was this wonderful giant discovery. We all had the best time, and I think that joy comes across even when you listen to it today.” —CHRISTINE MCVIE

Thinking back now, Mick Fleetwood says, “We were literally knowing but unknowing about what lay ahead for us. But I wanted to make sure we were tried and tested and ready for whatever was coming. Lindsey and Stevie walked onstage with nobody knowing who they were as part of Fleetwood Mac, playing some of our old music, a few songs of theirs, and of course, some of the stuff on our album to come. Yet when we walked on the stage together, we instantly saw our audience coming alive, as something new unfolded onstage. So we did a short tour like that, went back and finished the album already knowing that we were ready for whatever came. We knew there was this tremendous chemistry onstage. We became very aware of what a remarkable player Lindsey is and of young Stevie’s amazing stage presence, and how that changed the game. And the rest is history.”

As Christine recalls, “Obviously, we started out in some half-empty halls, but right away there was something happening onstage that ignited between the five of us. Even back then before all the social media, there was word of mouth and good reviews, and gradually the audience heard the buzz and started showing.”

Fleetwood Mac was released in July 1975 by Warner’s Reprise label, and shared that minimalist title with the group’s 1968 debut. Gradually, the new album became a slow-burning sensation — reaching #1 on the Billboard 200 more than a year after entering the chart. Ultimately, the album would spend 37 weeks in the Top Ten and more than fifteen months in the Top 40. The “White Album” became the second-biggest album of 1976, outsold only by Peter Frampton’s Frampton Comes Alive. As singles from the album, “Over My Head,” “Rhiannon,” and “Say You Love Me,” all went Top 20, “Monday Morning” became an FM favorite, and “Landslide” slowly but surely emerged as an enduring standard. Another radio favorite was “Blue Letter,” a song with a lead vocal by Buckingham, which Lindsey and Stevie had demoed with their former Polydor labelmates, The Curtis Bros., making it a rare cover for this lineup of Fleetwood Mac.

In the end, the goose bumps were only the beginning. “There was such a sense of excitement, you didn’t want to leave the studio,” say Christine McVie. “We are so diverse in so many ways, including that we have men and women, Americans and Brits, and three main writers with very different styles of writing. We all sing on each other’s songs. And the songs themselves are diverse. Yet there’s always a thread that catches all the songs together and makes all the pieces fit. Even before there was ‘The Chain,” there was something tying us all together.”

David Wild / Fleetwood Mac – Deluxe Edition / January 19, 2018

Fleetwood Mac (1975)

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Fleetwood Mac (1975)

Enter to win a copy of Fleetwood Mac Deluxe!

We are giving away free copies of Fleetwood Mac Deluxe! Simply register below for a chance to win.

Winner of Drawing #1 (January 19): Courtney K.
Winner of Drawing #2: (February 23): Melanie H.


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FLEETWOOD MAC: DELUXE EDITION is packaged in a 12 x 12 embossed sleeve with rare and unseen photos along with in-depth liner notes written by David Wild featuring new interviews with all the band members. Features a newly remastered version of the original album along with single mixes for “Over My Head,” “Rhiannon,” “Say You Love Me.” Also included is a second disc with an alternate version of the complete album comprised of unreleased outtakes for each album track, plus several unreleased live performances from 1976. Exclusive to the deluxe edition is a third disc filled with even more unreleased live recordings highlighted by stellar performances of “Landslide,” “Oh Well,” “Station Man,” “World Turning,” among others.

FLEETWOOD MAC: DELUXE EDITION also comes with a DVD featuring 5.1 Surround Sound and high-resolution 24/96 Stereo Audio mixes of the original album and four single mixes. Completing the set is an LP version of the original album pressed on 180-gram vinyl.

Disc: 1
1. Monday Morning (Remastered)
2. Warm Ways (Remastered)
3. Blue Letter (Remastered)
4. Rhiannon (Remastered)
5. Over My Head (Remastered)
6. Crystal (Remastered)
7. Say You Love Me (Remastered)
8. Landslide (Remastered)
9. World Turning (Remastered)
10. Sugar Daddy (Remastered)
11. I’m So Afraid (Remastered)
12. Over My Head (Single Version) [Remastered]
13. Rhiannon (Will You Ever Win) [Single Version] [Remastered]
14. Say You Love Me (Single Version) [Remastered]
15. Blue Letter (Single Version)

Disc: 2
1. Monday Morning (Early Take)
2. Warm Ways (Early Take)
3. Blue Letter (Early Take)
4. Rhiannon (Early Take)
5. Over My Head (Early Take)
6. Crystal (Early Version)
7. Say You Love Me (Early Version)
8. Landslide (Early Version)
9. World Turning (Early Version)
10. Sugar Daddy (Early Take)
11. I’m So Afraid (Early Version)
12. Over My Head (Live from The Burbank Studios, Burbank, CA, 1/26/76)
13. Rhiannon (Live from The Burbank Studios, Burbank, CA, 1/26/76)
14. Why (Live from The Burbank Studios, Burbank, CA, 1/26/76)
15. World Turning (Live from The Burbank Studios, Burbank, CA, 1/26/76)
16. Jam #2 (Remastered)
17. I’m So Afraid (Early Take Instrumental)

Disc: 3
1. Get Like You Used To Be (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
2. Station Man (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
3. Spare Me A Little (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
4. Rhiannon (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
5. Why (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
6. Landslide (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
7. Over My Head (Live at Campus Stadium, University of California, Santa Barbara, CA 5/2/76)
8. I’m So Afraid (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
9. Oh Well (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
10. The Green Manalishi (With The Two Pronged Crown) [Live at Capitol Theatre, Passaic, NJ, 10/17/75]
11. World Turning (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
12. Blue Letter (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
13. Don’t Let Me Down Again (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/
14. Hypnotized (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)

Disc: 4
1. Monday Morning (5.1 Surround Mix)
2. Warm Ways (5.1 Surround Mix)
3. Blue Letter (5.1 Surround Mix)
4. Rhiannon (5.1 Surround Mix)
5. Over My Head (5.1 Surround Mix)
6. Crystal (5.1 Surround Mix)
7. Say You Love Me (5.1 Surround Mix)
8. Landslide (5.1 Surround Mix)
9. World Turning (5.1 Surround Mix)
10. Sugar Daddy (5.1 Surround Mix)
11. I’m So Afraid (5.1 Surround Mix)
12. Monday Morning (24/96 Stereo Audio)
13. Warm Ways (24/96 Stereo Audio)
14. Blue Letter (24/96 Stereo Audio)
15. Rhiannon (24/96 Stereo Audio)
16. Over My Head (24/96 Stereo Audio)
17. Crystal (24/96 Stereo Audio)
18. Say You Love Me (24/96 Stereo Audio)
19. Landslide (24/96 Stereo Audio)
20. World Turning (24/96 Stereo Audio)
21. Sugar Daddy (24/96 Stereo Audio)
22. I’m So Afraid (24/96 Stereo Audio)
23. Over My Head (Single Version)
24. Rhiannon (Will You Ever Win) [Single Version]
25. Say You Love Me (Single Version)
26. Blue Letter (Single Version)

Disc: 5
1. Say You Love Me (Remastered)
2. Landslide (Remastered)
3. World Turning (Remastered)
4. Sugar Daddy (Remastered)
5. I’m So Afraid (Remastered)
6. Crystal (Remastered)

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Fleetwood Mac (1975)

Hear an early version of ‘Monday Morning’

Fleetwood Mac has shared another rare track from its upcoming Fleetwood Mac reissue, an early version of the jaunty “Monday Morning.” The early take sounds a bit slower than the final recording and doesn’t have Stevie Nicks’ signature harmonies, but the track highlights Mick Fleetwood’s spirited drumming and includes a few playful ad-libs from Lindsey Buckingham.

Here’s Billboard Magazine’s review of the track:

As the opening track on 1975’s five-times-platinum Fleetwood Mac album, “Monday Morning” was the first thing most fans heard from the new incarnation of the band after Lindsey Buckingham and Stevie Nicks joined. But the song also revealed a new Buckingham. You can listen to an exclusive early take of the song, from the upcoming Fleetwood Mac deluxe edition, below.

The singer-guitarist and his then-girlfriend Nicks joined Fleetwood Mac at the recommendation of co-producer Keith Olsen, after releasing their own Buckingham Nicks album. And Buckingham freely acknowledges that becoming part of a group required him to adjust his approach to music.

“If you go all the way back to before Stevie and I joined Fleetwood Mac, the application of guitar was a lot more prevalent in the whole scheme of the space that was taken and the work that was done by a particular instrument,” Buckingham, who wrote the buoyant, surging “Monday Morning” for a second Buckingham Nicks album, told Billboard previously. “I wasn’t even sure what my role was gonna be at that point; Obviously it was kind of a lesson in adaptation for me, and maybe giving up on certain things and concentrating on other things which were maybe strengths for the good of the band. So part of the exercise of joining Fleetwood Mac was adapting down to not only fit a sound, but I had to get off the guitar I was using and get on to a Les Paul. Their sound was very fat, and the nature of the playing with Christine (McVie) and John (McVie), there was a lot of space taken, so you had to sort of take what was left and fit into it.”

He clearly figured it out. Fleetwood Mac (aka The White Album) was the veteran group’s most successful to that point, hitting No. 1 on the Billboard 200 during the summer of 1976 and spawning three Hot 100 top 20 hits in “Over My Head,” “Rhiannon” and “Say You Love Me.” It also established a new creative partnership between Buckingham and Christine McVie — directly via their co-write of the track “World Turning” but also with Buckingham as a sounding board for McVie’s other songs, a relationship that came to full fruition with last year’s Lindsey Buckingham Christine McVie duo album.

“It just came from this chemistry that I can’t really analyze,” explained Buckingham. “I remember being in rehearsals with Christine and the rest of the band before we cut that first album and we were running down song ideas. But it was so clear that right away that Christine and I had this thing. She was just really looking for direction. She was open to me taking liberties with her songs. So early on, that was probably the first thing that hit me about being in Fleetwood Mac was being extremely aware that I had something to contribute to Christine’s songs as a producer and possibly as a co-writer.

“I think we just have this mutual respect as musicians and as artists. We’re both really grounded in our craft, and I think in the same way she’s filled in the middle ground between one pole and another pole that Stevie and I might represent, you know, on the right and the left, I think that when you make it just the two of us it’s that thing. It sort of naturally unites.”

The Fleetwood Mac: Deluxe Edition comes out Jan. 19 in a variety of formats, the expanded editions including more unreleased early takes and live tracks. The band, meanwhile, is expected to be touring during the coming year, though Buckingham also has a solo album that’s due out this year. “I think the earliest anyone expected to be back on the road with Fleetwood Mac might’ve been spring of 2018,” Buckingham said last year. “Stevie, my understanding is that she’s all ready. I’ve got this solo album; I’m the one who’s holding it up. But, you know, that’s typical for us. There’s a lot of moving parts so, you know, you gotta wait for everyone to be ready.”

Gary Graff / Billboard / Thursday, January 11, 2018

Fleetwood Mac (1975)

Hear Early Version of ‘Landslide’ from upcoming deluxe reissue

Fleetwood Mac has released an early version of “Landslide” from the forthcoming deluxe reissue of Fleetwood Mac (1975). The early version features a different vocal from Stevie Nicks with simple guitar work from Lindsey Buckingham, much like how it’s performed today onstage.

Fleetwood Mac Deluxe will be released on Friday, January 19 and can be pre-ordered now.

Album Reviews Article Fleetwood Mac Fleetwood Mac (1975)

Mac-ing a mountain out of a molehill

Fleetwood Mac
Fleetwood Mac — Deluxe
** (two stars)

Rhino 0081227940669

Do you need another expanded copy of Fleetwood Mac? We’re not so sure. There’s the remastered album, though arguably it has always been a mixed bag, carried on the strengths of Stevie Nicks’ and Christine McVie’s excellent contributions.

There is a disc of demos which, in truth, don’t stray too far from the finished products, with only slight alterations being generally noticeable, such as some added guitar work on “Say You Love Me” or a fully acoustic “Landslide.” Similarly extras such as Jam #2 and single versions of the hits were all issued on a 2004 package.

The remainder showcases previously unreleased live takes from the Jorgensen Auditorium in Connecticut, among other venues and while overall enjoyable, versions of songs like “Rhiannon” reveal that at their worst, the band are given to bloated pomp; with chief offenders being the indulgent guitar playing of Buckingham and Nicks’ clumsy lyric changes.

There are some interesting live cuts of “Why” and “Hypnotized” (Mystery To Me); “Station Man” (Kiln House); “Spare Me A Little Of Your Love” (Bare Trees); “Don’t Let Me Down Again” from Buckingham/ Nicks and Peter Green’s “Oh Well” and “The Green Manalishi With The Two Pronged Crown” — clearly performed with love but still best heard when performed by early Mac.

Completlsts will want It but better was to follow, and this set is overall a reminder of that.

Hannah Vettese / Record Collector / January 2018

Article Christine McVie

‘Fleetwood Mac rocked thanks to drugs’ says Christine McVie

FLEETWOOD MAC singer Christine McVie says she doesn’t know if the band’s seminal album Rumours would have been possible without the influence of drink and drugs.

The 74-year-old songwriter tells Desert Island Discs how their hit “Songbird” came to her in the middle of the night when she couldn’t sleep, but that it likely wouldn’t have happened if she hadn’t binged on cocaine.

She said: “I don’t know if I would have written ‘Songbird’ had I not had a couple of toots of cocaine and a half bottle of champagne and I just couldn’t sleep. Or written any of the songs that were on that album because, I mean, I think we were all pretty loaded.”

Christine joined her then husband John McVie’s band back in 1967, contributing to their folky, blues-inspired sound.

“For me, I think I was probably the most restrained of the lot of us but I was no angel.”

She added that it is amazing that they have all survived: “Everybody does look great, clean and sober and happy. Somehow we crawled through the cracks, all five of us are healthy.”

Rumours, which came out in 1977, was famously made in a tense environment.

Christine and John were in the process of splitting up, while songwriting couple Stevie Nicks and Lindsey Buckingham were also separating.

McVie and her husband divorced in 1976, but she didn’t leave the band until 1998.

She took a 15-year hiatus, during which time she bought a large house in Kent and a Range Rover in an attempt to get back to her English roots.

She said of that time: “I had this wild image in my mind that I was going to become a country lady. Everything had to be really English, the Aga, the Range Rover, the Hunter boots, the Barbour jacket. I think because my dad was ill to start with and later died, I think I wanted to be closer to my family and that’s why I moved to Kent.

“I developed agoraphobia, a dreadful fear of leaving my front doorstep. I couldn’t even get in my car. That’s how bad it was. So then this therapist said, ‘Well, first of all you have to get someone to drive your car out of the garage so it is closer to the house, go touch the car and the next day sit in the driver’s seat’. I did that for about two weeks and within two weeks I was driving again.”

The star says she had been reluctant to play music and write again.

“There was a beautiful piano there in the study and I never played it. It is like the blank canvas again. The perfectionist in me. Every time I sat down at this piano I wanted to write ‘Songbird’ again. So I was afraid to sit down and try.”

The British/American rock band, formed in London, have sold more than 100 million records.

She chose the Beatles’ hit “Roll Over Beathoven,” the “Four Seasons” by Vivaldi and “Angel Come Home” by the Beach Boys as her music with which to be marooned.

Her book was a biography of Henry VIII. And her baby grand piano that she wrote “Songbird” on was her luxury item.

Desert Island Discs, BBC Radio 4 today, 11:15 a.m.

Jaymi McCann / Express / Sunday, December 17, 2017

Fleetwood Mac Fleetwood Mac (1975)

Fleetwood Mac ‘Deluxe’ out Jan 19

Fleetwood Mac will be releasing three editions of its 1975 self-titled album, including a fully-loaded Deluxe set, on January 19. The band issued a new release about the reissues on its official website. The reissue sets up the promotion for the band’s world tour, which is expected to kick off in 2018.

Deluxe (3CD/DVD/LP): The original album with newly remastered audio on CD and LP; rare and unreleased studio and live recordings; plus a DVD with 5.1 Surround Sound and high-resolution mixes of the original album.

Expanded (2CD): The original album with newly remastered sound expanded with rare and unreleased studio and live recordings.

Remastered (CD): Original album with newly remastered sound.

Remastered audio will also via digital download and streaming services. The deluxe can be pre-ordered from Amazon now.

Fleetwood Mac Deluxe Edition Track List

Disc One – Original Album Remastered and Singles
1. “Monday Morning”
2. “Warm Ways”
3. “Blue Letter”
4. “Rhiannon”
5. “Over My Head”
6. “Crystal”
7. “Say You Love Me”
8. “Landslide”
9. “World Turning”
10. “Sugar Daddy”
11. “I’m So Afraid”
12. “Over My Head” – Single Version
13. “Rhiannon” – Single Version
14. “Say You Love Me” – Single Version
15. “Blue Letter” – Single Version

Disc Two – Alternates and Live
1. “Monday Morning” – Early Take
2. “Warm Ways” – Early Take
3. “Blue Letter” – Early Take
4. “Rhiannon” – Early Take
5. “Over My Head” – Early Take
6. “Crystal” – Early Take
7. “Say You Love Me” – Early Version
8. “Landslide” – Early Version
9. “World Turning” – Early Version
10. “Sugar Daddy” – Early Take
11. “I’m So Afraid” – Early Version
12. “Over My Head” – Live
13. “Rhiannon” – Live
14. “Why” – Live
15. “World Turning” – Live
16. Jam #2
17. “I’m So Afraid” – Early Take Instrumental

Disc Three – Live
1. “Get Like You Used To Be”
2. “Station Man”
3. “Spare Me A Little”
4. “Rhiannon”
5. “Why”
6. “Landslide”
7. “Over My Head”
8. “I’m So Afraid”
9. “Oh Well”
10. “The Green Manalishi (With The Two Pronged Crown)”
11. “World Turning”
12. “Blue Letter”
13. “Don’t Let Me Down Again”
14. “Hypnotized”

Check back soon for details on how you can enter to win a free copy of Fleetwood Mac Deluxe!

Buckingham McVie

Lindsey Buckingham, Christine McVie share songs new and old at Bass Concert Hall

Three songs into Lindsey Buckingham and Christine McVie’s performance at Bass Concert Hall on Wednesday evening, you might have guessed they’d turned the set list on its head and put an encore number near the beginning. “Never Going Back Again,” one of the most memorable songs from Fleetwood Mac’s generation-defining 1977 album Rumours, was spectacular, delivered mostly by Buckingham alone on acoustic guitar.

McVie eventually joined in with subtle accordion-like keyboard accents, but mostly this was a showcase for her touring partner’s considerable talents as both a guitarist and singer. Plucking the strings gently with careful deliberation, Buckingham wrapped the song’s lyrics around the tune in dramatic fashion, bringing his voice down to a near-whisper before ending with a flourish of full guitar strums as the enraptured crowd went from dead-quiet to a rousing ovation that brought many out of their seats.

It was a magical moment, but one that underscored a somewhat unfortunate aspect of this unlikely partnership between two of Fleetwood Mac’s five musicians in the twilight of their careers. While neither Buckingham nor McVie hold the arena-level draw of their bandmate Stevie Nicks — who played the much-larger Erwin Center this past March — they’re both brilliant musicians in their own right. When they teamed up to make a duo album this year, it was a welcome and intriguing development. In concert, though, this feels more like the Lindsey Buckingham show, with McVie in a significant but ultimately supporting role.

That’s not necessarily a bad thing. Buckingham did a lot of solo tours during the years that McVie was on the sidelines, before she rejoined Fleetwood Mac in 2014, so it makes sense for him to be in the bandleader role. But although they clearly made a conscious effort to balance the set list between material from the new collaborative record and songs that each of them wrote in their Fleetwood Mac days, it was hard not to come away wishing for more of McVie’s best work with that band: “Warm Ways,” “Over My Head,” “Say You Love Me,” “Over and Over” and “Songbird,” just for starters.

They did play McVie’s Rumours standout “You Make Loving Fun,” plus two songs each from the Mirage and Tango in the Night records (highlighted by “Hold Me,” a top-5 hit from Mirage). But the most well-received selections from the Mac catalog were Buckingham’s: That early “Never Going Back Again” marvel, a full-throttle mid-set romp through the epic title track of Tusk, and the main-set closing smash “Go Your Own Way.”

A terrific acoustic version of “Trouble,” Buckingham’s first solo hit in 1981, proved a great show-starter and was one of two songs taken from his own records. We heard nothing from McVie’s three solo albums, even as her 1984 self-titled record was a solid seller that produced two top-40 singles.

To their credit, the duo pointedly focused much of the show on their new record, performing eight of its 10 tracks. Frequent calls for various favorites from the crowd (and, in one boorish fan’s case, simply “more Fleetwood Mac!”) didn’t deter them as they delivered excellent renditions of new tunes such as their co-write “Red Sun” and Buckingham’s “In My World” and “Sleeping Around the Corner.”

Perhaps the most intriguing move was their decision to forgo a big-bang encore for a more soft-and-sweet letdown. McVie got more of a spotlight here, singing “Everywhere” from the Tango in the Night album — one of a half-dozen Fleetwood Mac songs in the set that the band also performed during their last visit to Austin in 2015 — and the tender ballad “Game of Pretend,” one of two tracks from the new record that McVie wrote on her own.

And while it might have been nice to hear more from McVie in the occasional banter between songs, Buckingham did a lovely job of expressing his appreciation for this late-career rejuvenation of the duo’s songwriting partnership. Though they’d written together in the band before (including “World Turning” from the 1975 self-titled album and three tracks from 1987’s Tango in the Night), this new connection was special. “We knew there was a spark right away,” Buckingham said. “A wonderful circular karmic gift had been bestowed on us.”

Buckingham also used the encore to give extensive and much-deserved introductions to the duo’s backing crew. Guitarist Neale Heywood, guitarist/keyboardist Brett Tuggle and bassist Federico Pol all contributed backing vocals on many songs as well, while drummer Jimmy Paxson’s colorful personality and superb playing — alternately thunderous and subtle as needed — made him a clear crowd favorite.

Los Angeles pop band Wilderado played a short but well-received opening set, even if the crowd was partly held captive to hear them. No opener had been listed on the venue’s website; those who arrived early and scrambled to get to their seats by 8 p.m. would have had a hard time returning to the lobby to stand in long drink lines, thanks to Bass’s confounding floor plan of rows around 50 seats long with no middle aisles. Still, the four musicians made the best of it, playing harmony-rich original tunes and thanking the crowd profusely for the opportunity.

Set list:

1. Trouble
2. Wish You Were Here
3. Never Going Back Again
4. Shut Us Down
5. Sleeping Around the Corner
6. Feel About You
7. In My World
8. Too Far Gone
9. Hold Me
10. Little Lies
11. Tusk
12. Love Is Here to Stay
13. Red Sun
14. You Make Loving Fun
15. I’m So Afraid
16. Go Your Own Way


17. Everywhere
18. Lay Down for Free
19. Game of Pretend

Scott Moore / Austin American-Statesman / Thursday, November 16, 2017

Article Buckingham McVie Concert Reviews

REVIEW: Buckingham & McVie go their own way

One of the laws of the universe is that galaxies cluster and are bound together by gravity.

They rarely escape from each other, and such is the case in the unlikely, but thoroughly lovely, gravitational attraction between Lindsey Buckingham and Christine McVie.

The legendary Fleetwood Mac members — McVie rejoined the once-volatile fold in 2014 after a 15-year hiatus — brought their acclaimed Buckingham/McVie tour to the Majestic Theatre on Tuesday. They are on the road promoting a new duo album.

Both were in incredibly good voice – Buckingham much more powerful and emotional than on record; McVie as velvety voiced and wistful as ever — and their pairing is a reminder of what they brought to Fleetwood Mac in its heyday.

Buckingham is all about kinetic passion and exquisite precision. McVie adds simmering soul and something of a genteel British hippie vibe.

Some 1,500 fans took it all in.

The show opened with the two walking onstage and performing a slowed down, acoustic version of Buckingham’s “Trouble.”

Buckingham finger-picked the familiar hook. At times, like the Byrds’ Roger McGuinn used to do, he managed rhythm and melody simultaneously.

McVie, standing behind her keyboard rig, added the faintest hint of synth behind the muscular vocal. Then it was her turn on Fleetwood Mac’s “Wish You Were Here.”

The two were setting the stage to introduce the new material. But Buckingham was not going quietly into the night, easing the crowd into the show. His take on Fleetwood Mac’s “Never Going Back Again” achieved a new level of defiance.

It garnered the first standing ovation of the night.

The first new song, the chiming “Sleeping Around the Corner,” was song number five in the set and was performed with four additional musicians.
Buckingham talked about the duo’s album.

“It’s not something we saw coming,” he explained, describing it as an unlikely but “very happy occurrence.”

Obviously, it’s impossible not to conjure Fleetwood Mac with the new songs. It’s in the bounce, the arrangement and the Buckingham sheen.

But other elements sneak in. There is a poppy Talking Heads/Blondie/R.E.M vibe to “Feel Around You,” and “In My World” recalls, at times, Foster the People’s “Pumped Up Kicks” with a little Hall & Oates.

McVie stepped out from behind her keyboards to shake maracas and belt out the blues rocker “Too Far Gone.”

The two kept the energy up with “Hold Me,” a reminder of how their vocal blend was a touchstone of mid- and late ’70s pop.

“Little Lies” and a raucous take on “Tusk,” with McVie on keyboard accordion, found Buckingham singing as if under a spell.

The new “Love Is Here to Stay” made the case that the duo’s pairing was, as Buckingham put it, a karmic gift.

These are adult love songs of the highest order, and evidence that the project was collaboration of music and emotion.

Buckingham and McVie prove that it’s possible to follow one’s muse, take a chance and make some great pop and folk-pop music. That they’re also able to gift-wrap it with monster hits like “You Make Loving Fun” and “Go Your Own Way” is part of the magic and history of their universe.

Hector Saldana is curator of the Texas Music Collection at The Wittliff Collections at Texas State University.

Hector Saldana / My San Antonio / Wednesday, November 15, 2017

Fleetwood Mac US Festival 1982

Us Festival 1982 rock-doc to air on AXS TV

The rock documentary Us Festival 1982: The Us Generation Documentary will debut on AXS TV on Tuesday, November, 28 at 10 p.m. ET / 7 p.m. PT.

Producers may the announcement on Monday, calling the film “an in-depth look at one of the most influential music festivals of all-time.”

Buckingham McVie

REVIEW: Buckingham, McVie warm as the night goes on

Christine McVie and Lindsey Buckingham have been bandmates in Fleetwood Mac off and on for better than four decades. Some of it has been glorious, some of it rocky.

That’s kind of what their show Sunday night at the Times-Union Center was like, sometimes jaw-droppingly good, sometimes a little rough.

The two are touring behind an album they released earlier this year, Lindsey Buckingham/Christine McVie, that they put together during breaks with Fleetwood Mac. They played most of it Sunday night. A few of the songs — “Sleeping Around the Corner,” “Red Sun,” “Game of Pretend” — wouldn’t sound out of place on a Fleetwood Mac album. Others — “Lay Down for Free,” “Love is Here to Stay” — were a lot poppier than you’d expect from the duo. And one, “Too Far Gone,” was a straight-out rocker with tribal drum breaks.

People, of course, weren’t really there to hear the new songs anyway. Despite 40 percent of Fleetwood Mac being on hand, it wasn’t a Fleetwood Mac concert, and that freed Buckingham and McVie up to play what they wanted. The setlist included eight Fleetwood Mac songs (the same amount of songs they played from the new album), but they weren’t necessarily the songs people were expecting or played note-for-note, and that’s where the fun was to be found. (They actually played nine Fleetwood Mac songs. —Ed.)

Sure, they played “Go Your Own Way” (and played it quite well, backed by a four-piece band). And “You Make Loving Fun” sounded just like you remember it from Rumours.

But “Never Going Back Again” was slowed a glacial pace, with Buckingham whispering the lyrics and enunciating every word to, frankly, a pretty creepy effect. They dug deep and pulled out gems like “Little Lies” and “Wish You Were Here.” “Tusk” was the highlight of the evening, with McVie taking the horn parts originally played by the USC marching band and playing them on accordion.

At first, it seemed the chemistry between Buckingham and McVie wasn’t working at all. They were five songs into the show before they both sang at the same time. But they warmed up as the night progressed, until he was leaning on her shoulder while holding a long note during a guitar solo.

McVie, who retired from music for 15 years before returning in ’13, sounded great, particularly on “Hold Me” and the first encore, “Everywhere.” The format of the show allowed her to step away from behind her bank of keyboards to sing a few songs.

Buckingham, as is his history, was all over the place. He can find the quiet moments in a song better than just about anyone, but he can also rage with the best of them — and sometimes it’s all during the same tune. Early on, during songs McVie was singing, he made little eye contact with the crowd and simply played. But he was howling and stalking the stage like a madman during “Tusk,” and holding nothing back as he poured everything into his guitar on “I’m So Afraid.”

The crowd was disappointingly small, with the entire upper deck of the Moran Theatre closed and a smattering of empty seats on the floor. That may be due to the sold-out Chris Stapleton show the night before and the Jaguars game that ended just hours earlier. There’s only so many entertainment dollars to be spent in one weekend, but for those who chose Buckingham and McVie, it was money well spent.

Tom Szaroleta / Florida Times-Union / Sunday, November 12, 2017

Article Buckingham McVie Concert Reviews

REVIEW: Lindsey Buckingham, Christine McVie revive Fleetwood Mac magic, minus the drama

Lindsey Buckingham, Christine McVie revive Fleetwood Mac magic, minus the drama, at Ruth Eckerd Hall in Clearwater.

Here’s the beautiful thing about a concert by Lindsey Buckingham and Christine McVie, as opposed to a concert by Fleetwood Mac: There’s no drama. There is no forced theatricality, no overwrought play-acting, no nostalgic dance to dance for the graying, paying Boomers in the crowd.

Instead what you get is two old friends playing music – some of it old, some of it new, and all of it, more often than not, with a smile.

“This is not something we really saw coming,” Buckingham said during their Thursday at Ruth Eckerd Hall in Clearwater. “It was kind of a surprise.”

Indeed it was, McVie’s return to Fleetwood Mac in 2014 after a 15-year-absence. Rejoining the band rekindled McVie’s creative spirit, and she and Buckingham – two of the Mac’s primary songwriters, along with Stevie Nicks – paired off for this year’s album Lindsey Buckingham/Christine McVie, and a smaller-venue tour as a duo. Call it Halfwood Mac – not the full experience, but pleasantly different and fulfilling.

Buckingham, 68, and McVie, 74, opened with four acoustic duets, him on guitar and her on keys, an intimate staging that showed off the husky humanity in their voices. There was Buckingham’s delicate solo number “Trouble”; Fleetwood Mac’s rarely played 1982 track “Wish You Were Here,” the newer Buckingham single “Shut Us Down” and the iconic Rumours single “Never Going Back Again,” with Buckingham’s voice flaring from a whisper to a snarl in an instant. Together they harmonized with the ease of old partners, every so often you’d catch one grinning or clapping for the other.

Certainly, Buckingham’s showiest tendencies at times overwhelmed the stage – “I’m So Afraid,” for example, which ballooned and bloated into a monstrous, bluesy shredfest, with the singer kicking, vamping and screaming until he was left hunched and panting at the end. But when it works, it definitely works. “Tusk,” that furious, tribal freight train of an anthem, got people dancing in the aisles down front, so much so that an accordion-rocking McVie shimmied over to dance with them.

McVie’s voice bore a touch of rust from her years off the road, but she wore it honestly on “Little Lies,” “Everywhere” and “You Make Loving Fun,” gamely enlivening their sweet, springy spirit. And it fared better on songs from the new album. Two of the album’s best – the sock-hoppy “Feel About You” and gentle, California-coastal “Red Sun” – sounded like classic McVie.

“Exchanging ideas across the ocean,” Buckingham said of the demos that led to their dual album, “we knew right away that there was something, that there was a spark.”

Watching McVie and Buckingham play together, it seemed like that spark hadn’t dimmed. Buckingham sidled up to McVie on the spry and springy “You Make Loving Fun,” and she gave him a happy little pat on the back. He did so again on “Go Your Own Way,” leaning into her until they embraced in a brotherly-sisterly hug.

This tour may be the only time Buckingham and McVie play their new duets live, but when Fleetwood Mac reconvenes for what could be its farewell tour in 2018, they should bring that camaraderie with them. All the drama gets old after a while. Just a few good songs and a few genuine songs between old friends, well, that could be a beautiful thing.

Jay Cridlin / Tampa Bay Times / Friday, November 10, 2017

Article Buckingham McVie Concert Reviews

Lindsey Buckingham, Christine McVie feature plenty of Mac

Review: In Clearwater Lindsey Buckingham and Christine McVie’s attack features plenty of Mac at Ruth Eckerd Hall (w/photos + setlist). They’re both every bit as charming as ever, too.

The impact of a popular, beloved rock and roll band is felt when its solo members have the pull to draw large crowds to see them perform alone, and the mighty Fleetwood Mac is no exception. Whetting the appetite of dedicated Mac fans while the band is on what appears to be an indeterminable hiatus is the fine, sleek, pop-driven collaborative album that two of its key members released earlier this year, Lindsey Buckingham/Christine McVie. In light of the record’s unpredicted creation and success, this duo embarked on a limited run of tour dates to support the record and, luckily, Clearwater’s exquisite Ruth Eckerd Hall was included as a tour stop and hosted the pair (alongside its magnificent backing band) on Thursday night.

Kicking things off early, after an abbreviated set from up and coming California rock outfit Wilderado, Buckingham and McVie quietly walked out together onto the expansive, dark stage to begin their performance. Both clad in black, the pair emerged and quietly jumped into a hushed version of Lindsey’s solo hit from 1981, “Trouble.” With the aid of the acoustic guitar he’d strapped on and some subdued keyboard work from Christine, the poppy, rockabilly-inspired tune took on a darker, more somber edge but sounded magnificent. Buckingham is an ace guitarist and an emotive singer (which he’d more than prove for the duration of the 100-minute set) and he made that more than known right from the get-go. Utilizing the duo-only format for the first four songs of the set found the pair touching on some classics from its Mac days as well as on another Buckingham solo track. The focus was on the two headliners for the night’s prologue and McVie certainly made her presence known with her lovely, delicate reading of “Wish You Were Here,” the ballad that closes Fleetwood Mac’s 1982 album, Mirage.

Before shifting gears into full-band mode, Buckingham spoke at length of how this duo project came together and how wonderful it was to have Christine McVie back in the spotlight after her extended decade-and-a-half break from music and a live concert stage, a statement that drew wild applause. And, with that, the full ensemble consisting of hard-hitting drummer Jimmy Paxson, and three guitarists rounded out the sound and added flourish to the performance. Diving head first into selections from their collaborative album, Lindsey and Christine instantly served up the two opening selections from the album, the catchy “Sleeping Around The Corner” and “Feel About You” back-to-back while sharing lead vocal duties and harmonizing together. A superb mix and the hall’s impeccable sound made the songs really come alive and, although some in attendance seemed unfamiliar with the material, the new stuff seemed to go over well.

But the audience really showed its appreciation when the long-missed McVie came from around her bank of keyboards to the front of the stage to show off her still sweet and soothing vocal abilities for the upbeat “Too Far Gone” on which she shook a pair of maracas while crooning. Though her vocals are a little aged and not quite able to reach the highest notes she used to hit, McVie, now 74, is still a gifted player and performer, and she can still belt out a hit song like few other veteran singer/songwriters can. And speaking of hits, the fierce reactions for the Mac mini-set that followed sure served to engage the nearly sold-out hall. The pair’s vocal harmonies were in fine shape for its reading of the pop classic “Hold Me.” A fever pitch was hit when the band tore into a ferocious version of quirky 1979 rocker “Tusk.” McVie strapped on an accordion and Buckingham nearly stole the show with his almost psychotic, desperate delivery of the song’s opening lines which helped to accentuate its deep, dark paranoia. His maniacal laughs throughout and his frantic pacing while playing made this the first of many show-stopping moments.

McVie ran into some vocal troubles during her solo spotlight on early Mac classic “You Make Loving Fun,” but quickly recovered and made the song a truly memorable part of the program. Another Buckingham jaw-dropping moment came on his extended, super-charged version of “I’m So Afraid,” a track from the first Fleetwood Mac album he appeared on in 1975. Showing off his indescribable skill and prowess as one of the most gifted and unique guitarists to ever play. and under a flood of beaming red lights, Lindsey entered other-worldliness with his passionate and possessed reading of the claustrophobic rocker.

A moment of heartfelt levity came during an inspired rendition of another Fleetwood Mac classic, the cutting, callous sentiment enveloped in a guise of a catchy pop song, “Go Your Own Way.” Buckingham worked his way to behind Christine’s keyboards and lovingly wrapped his arm around her shoulder and the two shared what appeared to be a sentimental smile which could have served as a nod to the collective fine job they’ve done of carrying on their musical legacy with this, their newest project.

A three-song encore included thorough, detailed individual band member introductions courtesy of Buckingham and closed with “Game Of Pretend,” one of McVie’s best ballads from the pair’s recent album and, arguably, her finest and most delicate and gorgeous vocal performance of the night. The hushed, shimmering beauty of the tune reminded everyone in the hall of the pop elegance she’s still capable of conjuring and how sorely missed she’s been missed from a live concert stage. It made for a fitting close to an enjoyable night filled with familiar classics, some surprises, and a hint of the fine material this talented pair of artists can still produce.

See more photos from the set below. Listen to a playlist featuring songs Buckingham & McVie played here. Read an interview with McVie here.


  1. Trouble
  2. Wish You Were Here
  3. Never Going Back Again
  4. Shut Us Down
  5. Sleeping Around The Corner
  6. Feel About You
  7. In My World
  8. Too Far Gone
  9. Hold Me
  10. Little Lies
  11. Tusk
  12. Love Is Here To Stay
  13. Red Sun
  14. You Make Loving Fun
  15. I’m So Afraid
  16. Go Your Own Way
  17. Everywhere (encore)
  18. Lay Down For Free (encore)
  19. Game of Pretend (encore)

Gabe Echazabal and Tracy May / Creative Loafing Tampa Bay / Friday, November 10, 2017

Article Buckingham McVie

Lindsey Buckingham, Christine McVie talk Fleetwood Mac’s ‘dysfunctional family’

Lindsey Buckingham and Christine McVie talk Fleetwood Mac’s ‘dysfunctional family’ before Clearwater show

Certainly, you are advised against it before hopping on the phone with Lindsey Buckingham and Christine McVie, the singer-songwriters who were — all due respect to Queen Stevie Nicks and the founding rhythm section of Mick Fleetwood and John McVie — the primary architects of the classic Mac sound.

Keep the focus on the new album and tour, you are urged by a publicist. Not on the old days.

Which is, of course, much easier said than done. Forty years after their all-time breakup album Rumours, the mythology and romance — literal and otherwise — of Fleetwood Mac still towers over the band’s imposing legacy. You cannot discuss Buckingham and McVie’s new album, and the tour that brings them to Ruth Eckerd Hall Thursday, without breaking it down through the lens of Fleetwood Mac.

And, it turns out, neither can they.

“Obviously, there’s been so much written about Stevie’s and my relationship, and the underpinnings of the romance that go along with that and create that part of the musical soap opera that was Fleetwood Mac,” said Buckingham, 68. “Unlike with Stevie — with whom I did have a romantic relationship, and with whom we had a great vocal blend — Christine and I had the kind of bonding that comes from both of us being grounded in our craft as musicians.”

“It’s a strange one, really, because we’re not really the best of chums,” McVie, 74, said in a separate call a little later. “We don’t really hang out very much together. But we have a really strong musical bond with each other. Once we’re in the studio, we work as a team really well. We inspire ideas with each other. It is quite amazing, really, that I can listen to something he’s playing and tooling around on, and then we link up off each other very well. It’s been like that over the years — we come up with different ideas, and cooperate in a very natural way.”

Cooperation? Bonding? Working together as a team? This is Fleetwood Mac we’re talking about, right?

Not exactly. It’s Lindsey Buckingham/Christine McVie, the title of their new album and the one coupling within the band left mostly unsullied by discord. That they found harmony with one another in the year of Fleetwood Mac’s golden anniversary is probably not a coincidence.

• • •

It was 1970 when the former Christine Perfect married Fleetwood Mac bassist John McVie and joined the band as a singer, songwriter and keyboardist. She was instrumental in the band’s evolution from a British blues-rock combo to a transcontinental pop-rock phenomenon — as were Buckingham and Nicks, who joined in late 1974.

The next year, Fleetwood Mac’s breakthrough self-titled album featured seven songs written by McVie and/or Buckingham, including “Say You Love Me” and “Monday Morning,” and nine where they traded lead vocals.

“I think it was from Day 1,” McVie said. “When we got into the studio, it was like, I get what he’s playing, and he gets what I’m playing.”

Buckingham, an assiduous studio wonk known for sonic perfectionism, fleshed out and spit-shined McVie’s indelible melodies. While they rarely shared songwriting credit, between them, they penned many iconic hits — Buckingham’s “Go Your Own Way,” “Never Going Back Again” and Tusk; McVie’s “You Make Loving Fun,” “Everywhere” and “Little Lies.” They shared lead vocals on “Don’t Stop,” a McVie composition that became their signature, show-closing hit.

Over time, Nicks, Buckingham and McVie all found themselves pulled in different directions away from the band. McVie, long divorced from John, quit for good in 1998 out of a crippling fear of flying and a desire to stay closer to family in England. The band soldiered on, with Nicks handling her vocals. But in 2014, after years of self-imposed isolation, McVie asked to come back.

“It catapulted Fleetwood Mac back into another kind of stratosphere, really, because then the original Rumours five were back onstage again,” she said. “The chain was complete, if you like.”

McVie met with Buckingham in the studio to jam out some new demos, partly as “a great welcoming gesture to get her into another familiar arena,” he said, “prior to just getting dumped into rehearsals with all the politics that exist within the band.”

“Fleetwood Mac is absolutely a dysfunctional family, but it is a family.”

What he means by that isn’t explicitly clear — but it is true that Fleetwood and John McVie were in on some of those sessions, and for a time, at least, it looked like Fleetwood Mac might be working on its first classic-lineup LP since 1987’s Tango In the Night.

“As far as Stevie’s involvement, there was never really a clear-cut time where she said, ‘No, I’ve got other commitments,’” Buckingham said. “In the same way we weren’t saying it was a Fleetwood Mac album, I don’t think anyone was saying it wasn’t a Fleetwood Mac album. But Christine and I recognized this enhanced rapport, this unbelievable sort of connection that seemed to have only gotten better over time, and we did get protective over it rather quickly.”

McVie quibbles with that word, “protective” — “It’s not quite the word I would use,” she said. But, she adds, “One had to wonder what Stevie would have sung, and where she would have sung. … It sounded like me and Lindsey singing duets. It just sounded lovely.”

That it does. Lindsey Buckingham/Christine McVie isn’t Rumours or Tusk, but it’s a collection of sweet songs that show off the singers’ easy chemistry. For McVie, who spent all those years off the road, it was such a fun experience that she’d like to do it again — either with Buckingham or with all of Fleetwood Mac.

“One lives in hope, but I just have no idea,” she said. “I’m no spring chicken. But hey, I feel pretty darn good, so yeah, I see no reason why not.”

• • •

For all the positive vibes Buckingham and McVie are feeling in 2017, the politics of Fleetwood Mac still do come into play at their shows, which are split about evenly between new songs and old. Picking the latter has led to some curious choices (like the 1982 rarity “Wish You Were Here”) and omissions (like their iconic duet “Don’t Stop”).

“Even though it’s Lindsey and I singing on the record, I think we just thought, Nah, that’s very Fleetwood Mac. We can’t do that,” McVie said of “Don’t Stop.”

Fleetwood Mac will tour in 2018, but it’s unknown how that will play out. A lesser band, one without so much pre-existing baggage, might split over two members — or four, if you count Fleetwood and John McVie’s studio contributions — splintering off on their own. Buckingham doesn’t think it’ll happen here.

“Fleetwood Mac is absolutely a dysfunctional family, but it is a family,” he said “There may be a time when people start wanting to pare down that part of their lives. That hasn’t really happened yet.

“It is nice to know that Christine and I are having such a good time,” he adds. “One of the things I think has been so eye-opening for her about the tour is that she had gotten used to the dysfunction of Fleetwood Mac, and the politics being so convoluted within the band, as the norm. And then we got out there and she saw this group of people who had no issues with each other, who all wanted to be doing the same thing for the same reasons. She saw that there was this sense of family that doesn’t really exist in that way with Fleetwood Mac.

“So who’s to say? It would surprise me if she and I didn’t want to do this again in another year or two. I don’t think it’s necessarily an either/or with Fleetwood Mac. I think Fleetwood Mac will have the life it has until people start dropping out.”

He laughed. The band has survived much tougher times than this. At this point, they’re likely all in it for life. Two of them, at least, sound sure of it.

Contact Jay Cridlin at or (727) 893-8336. Follow @JayCridlin.

Lindsey Buckingham and Christine McVie
Wilderado opens at 7:30 p.m. Thursday at Ruth Eckerd Hall, 1111 N McMullen Booth Road, Clearwater. $63.25 and up. (727) 791-7400.

Jay Cridlin / Tampa Bay Times / Tuesday, November 7, 2017 

Article Buckingham McVie

REVIEW: Fleetwood Mac’s Lindsey Buckingham, Christine McVie go their own way

NORTHFIELD, Ohio – Lindsey Buckingham and Christine McVie may just be two-fifths of Fleetwood Mac, but the pair are dandy as both halves of Buckingham-McVie.

Stevie Nicks, John McVie and Mick Fleetwood don’t need to practice fetching carts for Walmart shoppers just yet, but the fact of the matter is that guitarist and co-lead singer Buckingham and keyboardist and singer/background vocalist McVie are just fine as a duet.

More than fine, actually. The two wowed a nearly sold-out Hard Rock Rocksino Friday night, rocking through eight of the 10 songs on their new collaborative album, along with nearly a dozen Mac attack hits.

In a large way, the 2,600-seat venue was a perfect place to showcase the “new” old sound from the Rock & Roll Hall of Fame band mates. I say new because the album Lindsey Buckingham / Christine McVie is all songs written by the pair, and I say old because on the recording, the rhythm section is bassist John McVie and drummer Mick Fleetwood. On top of that, the union of their voices is reminiscent of the pairing first heard on “Hold Me” nearly four decades ago.

And yet, you can’t call this hybrid “Fleetwood Mac Lite,” because while the MacDNA is clearly evident, songs like “Sleeping Around the Corner,” “Feel About You,” “In My World” and “Too Far Gone” are anything but “lite.” Buckingham kept saying it is a newfound chemistry, but really, it’s more like post-graduate chemistry, the kind that only comes from time and experience.

To be fair, the electricity and pizazz of the full band is irreplaceable, so this new pairing just doesn’t have time to eclipse the marks that the group has set in a career that began 1967 and really jelled with the addition of Buckingham and Nicks in the mid-’70s.

That doesn’t belittle in any way, shape or form what McVie and especially Buckingham have done.

The Rocksino is an interesting venue, largely because of its clientele. Few fans stand throughout an entire show – something commonplace at arenas and amphitheaters. The comfy seats get a lot of action, so to speak. Add that the calendar usually boasts legacy acts (frankly, like the two Fleetwood Mac stars) and you come up with a concert hall that’s just right for “veteran” music lovers who prefer to listen, remember and relive rather than party.

To their great credit, while Buckingham and McVie are touring to promote their new duets album, they still gave Fleetwood Mac aficionados plenty of opportunities to “listen, remember and relive,” too.

McVie’s voice at 74 isn’t as strong as it once was, but her unique delivery scored in turns as lead vocalist on “Wish You Were Here” and “Little Lies,” and her underneath alto added just the right seasoning to 68-year-old Buckingham’s frontman vocals on “I’m So Afraid.”

It’d be kind of tough to pick a highlight in the short evening, not because there were no highlights, but because there were so many. But “Go Your Own Way” and especially “Tusk” showed off just why the band was inducted into the Rock Hall in 1998. And any time Buckingham went into a lead guitar riff with his finger-picking style — why on earth did he even bother to put picks in the holder on his mic stand, anyway — we all knew we were getting a master class in guitar virtuosity.

Because of that, none of the night would’ve worked with a lesser band. Bassist Federico Pol perfectly captured John McVie’s celebrated, driving bass line for “Go Your Own Way,” and Jimmy Paxson could be Mick Fleetwood’s drummer brother from another mother. Guitarist Neil Heywood and multi-instrumentalist Brett Tuggle rounded out the band, with background vocals from Pol, Heywood and Tuggle providing the lushness the Fleetwood Mac tunes required.

In dandy fashion, natch.

Chuck Yarborough / The Plain Dealer / Friday, November 3, 2017

Article Interview Love That Burns (2017)

Starting Fleetwood Mac

The legendary drummer chronicles the first chapter of his band in Love That Burns.

Any music fan with a working knowledge of Fleetwood Mac can probably name at least five of the classic-rock titans’ hits: “Landslide,” “Rhiannon,” “The Chain,” “Dreams,” “You Make Loving Fun”—that is, the omnipresent radio fare that dominated airwaves in the late 1970s and early ‘80s, bolstered by Lindsey Buckingham’s guitar and Stevie Nicks’s and Christine McVie’s vocals. But that band was really the American sequel to Fleetwood Mac. Their origins trace back to 1967 and London’s mid-century blues explosion, with guitarist Peter Green at the helm and guitarist Jeremy Spencer, bassist Bob Brunning and percussionist Mick Fleetwood (the only member to survive every lineup change) at his side.

The newborn Fleetwood Mac played a well-crafted facsimile of Chicago blues, plus some faithful covers of its progenitors, mostly Elmore James and Howlin’ Wolf. The group’s lineup would famously turn over in the years ahead, with John McVie assuming bass duties and his then-wife, keyboardist Christine McVie, coming on board later. Once Buckingham and Nicks joined up in 1974, the California edition of Fleetwood Mac found overwhelming mainstream success with celebrated records like Rumours (1977), Tusk (1979) and Mirage (1982).

It’s too much to fit in one book, so Mick Fleetwood has essentially written Chapter 1 with Love That Burns: A Chronicle of Fleetwood Mac, which came out Wednesday via Genesis Publications. It chronicles the band’s blues era via essays and photos, and pays homage to Green, who left the band in 1970 and has struggled off and on with mental illness in the decades since.

Fleetwood Mac – Dust My Broom 06/08/1968



Paste caught up with Fleetwood, who turned 70 in June, for a conversation about his role in the formation of Fleetwood Mac, what Green said to convince him to join, and what’s kept him invested in the band after half a century.

Paste: What inspired you to discuss the genesis of the band in this way, and why did you choose to do it with the visual aspects of this book?

Mick Fleetwood: More than 20 years ago, I saw one of the lovely presentations of George Harrison’s original book. George used to be my brother-in-law, so that’s how I blundered into seeing the book. Beautiful, it was like a piece of art. The book itself started the original fantasy of, “One day, I’ll do that,” type of thing. It went off the radar, but that’s how they’re connected to this book. I wanted to do “Part 1,” or whatever you want to call it. I was totally unaware of the fact that, apart from the original members, in August, it’s 50 years [since Fleetwood Mac formed]. Totally not a part of why we were doing this. Now it’s hugely relevant.

And you intend to put out a second volume, is that right?

It has to be. That’s what’s so cool about this. Whether that happens or it [doesn’t], Genesis were super, super focused and cool with saying it, and that has real value just in it—If we never did another thing, this existed. Most people would say, “I want the whole thing.”

Why do just the band’s earliest days?

It’s too much information [otherwise]. Fleetwood Mac’s had so many incarnations and have delineated lines that are so clear, you go, “it should be done like this.” That’s what we did, and it’s been revealing. The title itself is a song that Peter [Green] used to sing.

And why choose Love That Burns for a title?

None of this would’ve happened without Peter. At all.

When the band took off commercially in the mid-’70s, did it feel strange that somebody who was your reason for being in Fleetwood Mac was no longer involved?


Someone else framed the question in a way that was very similar, but in truth, I’ve never been asked that before. You have to understand that when we started the band, very shortly after it, unbelievably quickly, the first album we made was a No. 1 album. The funny blues album we made, all the Elmore James stuff, that was Peter. Then he started writing even more stuff.

Peter’s experience was from nothing, although he had a great reputation as a guitar player already with John Mayall. A little earlier on, we were totally unknown. I worked with Peter in a small instrumental band. Then he joined John Mayall, took over from Eric [Clapton], and he became “the dude,” the gunslinger. He saw and experienced huge success from that early band, so it’s all relative. Not on the level of what you’re talking about, I get, but it is all relative. In our world and his world, we went from nothing to the biggest band in our world, which was Europe. The band was huge, and there was some joke—which I still think is a joke, but it actually was true—that there was a period where we were outselling The Beatles—which you go, “Well, who cares?” It wasn’t true—well, it sort of actually is true, but probably for about five days or something. Whatever it was, Peter wasn’t devoid of his own realization of huge success. The reality is that he didn’t want that, and it became his nightmare, so he certainly wouldn’t have been comfortable with the journey that we were later to take. With the dynamic of his personality, and what happened emotionally to him, which is truly another book. It’s touched on, but Love That Burns, the title, is about that.

You collected the essays in the book from different people in your orbit at that time, as well as from Peter. What was the process like when you reached out to him?

We spoke on the phone over a couple of hours, and we taped it all. It was very hard to listen to it, really. I was not dreading it, but I was going, “Oh my God, he’s like my mentor.” It’s like an ex-lover; it’s sort of more major [than other interviews].

The 10 Best Books About Fleetwood Mac

So I get on the phone, and it was powerful. Some of his memories were unbelievably accurate, and at some I was going, “Wow, I never thought that.” He was almost forced to form a band, he didn’t really want to do it. He probably had agents going, “You gotta do this, you gotta do that!” So he asked me to do it with him, and I don’t remember even being asked, it just sort of happened. But in this phone conversation, when I asked him [why he decided to start a band], I thought it would be more of a musical thing. I don’t know what I was thinking. I wanted to know, “What was it that you reckoned that we put this band together?” And it had nothing to do with music at all. He said, “You were so sad and unhappy.” I had just broken up with my girlfriend, who he knew, Jenny [Boyd], who I’d later marry. I burst into tears after the phone call. That’s Peter. He was concerned about that. The irony and the joke would be, if I hadn’t have been sad and fucked up and unhappy, Fleetwood Mac would never have happened. [Laughs.] And that struck me as unbelievable. There wouldn’t have been a Fleetwood Mac if Jenny hadn’t [broken up with me]. So I phoned Jenny up, and I said, “Jenny, good job you left me, or none of this would’ve happened! Thank you!” It’s probably the truth. How about that? I found out all these years later [it] had nothing to do with, “Well you’re a pretty good drummer, and you’re my mate.” It was to do with pain.

The best art often comes out of the worst pain.

It’s certainly the inception of what we were doing. It was a bunch of guys led, certainly at that point, majorly by Peter. I was the last in line to be a real blues player. John was so conversant, having played with John Mayall, and his whole life was playing blues. Peter, no wonder, he was wired to be blue. And later on, it really manifested in a way that wasn’t great for him, and there’s nothing more we can do about it.

So many members rotated in and out of Fleetwood Mac through the years. What was it that kept you there year after year?

Fear of losing a job! [Laughs.] No, it was my nature I think, and also what I had to do. It [would’ve been] a pretty lonely entity; you can’t exactly drum on your own, you know. By nature of the rhythm section, me and John go like, “Shit, we’re still here!” After you put the humor into it and say, “Well, you know, we needed someone to play with,” there’s sort of some truth to that: We don’t do what we do without other people. I don’t sit in a room and sing and write songs, that’s just the way it turned out. But as a team player, I’m “it.” I was wired to keep that around me, because I love it, need it, want it. It became a part of my expression.

The 20 Best Fleetwood Mac Songs

When Peter left, we were all frightened. Really, it was a form of fear. But John, Jeremy, Danny and myself made Kiln House, that funny little album. Christine [McVie], who was now married to John, she watched us all and suddenly, after we made the album, we were like, “Would you like to join?” She didn’t even play on the album—I think she played one bit of piano, didn’t sing—but it was about holding together. My version of that was: When you’re a little fearful that the structure is falling apart, it’s human nature. You’ll even make friends with some of your enemies quickly, if the overview is saying, “You’re in trouble, you better start rowing the boat, or we’re all going to die.”

Did you ever feel like you were keeping at it for someone else, or was it always for you?

No, I think it was just my instinct not to give up. I do think it was a combination of how I was wired anyhow, and being a drummer and part of something Peter predetermined. He gave the name of the band to the rhythm section. All these things came out, and I found out a lot later, in an interview, I never knew, he said, “Well, I always thought that I would leave, but I wanted Mick and John to have the band.” This is him. It was almost like he knew what was going to happen.

Fleetwood Mac in 1968: Mick Fleetwood, Peter Green, Jeremy Spencer and John McVie.

Do you think that you’ll keep in contact with Peter more going forward?

No, I don’t think Peter is interested in that. I know when I go to England—I saw him on the last [Fleetwood Mac] tour, and he was happy enough to come. He came to two shows which, for him, was a lot. You can tell he has no interest. Lindsey [Buckingham], who has total respect for who Peter is, doesn’t know Peter, but knows of him through me and through John, had more than a couple at certain shows in London. Lindsey said, “Did you see Peter?” I said, “Yeah, I said hello to him.” I [used to] be like, “God, I just want Peter to say that he really enjoyed it, something.” We had played a great show, and Lindsey just said, in good humor, “I don’t know whether [Peter] liked it or not, he just talked about something that had nothing to do with anything, really.” But that’s Peter. He’s sort of disconnected from ego. That part was only really revisited after that phone call. I was realizing that Peter truly is not coming back from his particular change of life. It’s selfish, but I don’t have what I used to have, and I was re-reminded of all the withdrawals that we had as a band. The good graces of that was that it led to an ability to keep going.

I think the tragedy of losing [Peter] enabled me and my connection to this band. It’s not him we’re [following] with that fucking flag; who’s picking the flag up again and going, “C’mon, we can do this?” It’s like that Monty Python skit where you go, “You ain’t got no legs! You’ve got nothing! C’mon, c’mon, get me!” And in the end you say, “I got no teeth, but I’ll gum you!” I think that I suffered from a bit of that. But in the end, who cares really? We are where we are. A lot of those sensibilities come from these days and all the changes.

Rachel Brodsky | Paste | September 21, 2017

Article Fleetwood Mac

The Last Word: Mick Fleetwood on Fleetwood Mac’s ‘Dirty Laundry,’ band’s future

The drummer also discusses why we shouldn’t romanticize drugs and what Fleetwood Mac taught him about compromise.

It’s been two days since Fleetwood Mac played in front of a sold-out crowd at Citi Field in New York City and drummer Mick Fleetwood is leaning back in a chair high up in an Upper East Side suite hotel room marveling at the fact that the group pulled the gig off. With the exception of a show at L.A.’s Dodger Stadium two weeks earlier, they hadn’t played since the final show of their 2015 tour. “With all due respect to John [McVie], I doubt he picked up the bass more than five times in the past two years,” he says with a chuckle. “But that son of a gun was like a Rolls Royce, that smooth. The rest of us had been working like slaves.”

One project that has taken up his time since the last tour is the new photo history book Love That Burns: A Chronicle of Fleetwood Mac Volume One, 1967–1974. It tells the epic saga of Fleetwood Mac from their earliest days as a blues rock band all the way to their first meeting with Stevie Nicks in 1974. “For the most part, this is not a horrible well-known story, at least in America,” he says. “It’s time for the story to be told.”

As part of Rolling Stone’s Last Word interview series, Fleetwood shared wisdom about aging, fatherhood, drugs and money. He also spoke about Fleetwood Mac’s future plans.

What’s the best advice you ever got?

It came from my father. He was a pilot officer in the Royal Air Force. When I started to be what could be construed as famous-ish, he said, “Never forget you get up and go to the toilet in the morning, Michael.” Which means, just keep it in perspective and have a good sense of humor and remember that you are a human being, and keep it in line. If he had added, “And don’t take too many drugs,” that might have been helpful too.

What’s the most indulgent purchase you ever made?

I bought a thousand-acre farm in Australia in the early 1980s. It was this whimsical decision to start a whole new life. The property had about eight houses on it and a fishing lake. I cashed out about 3 million bucks and bought it. I actually immigrated to Australia and gave up my green card. I thought it was a great place for all my friends and family, but it was also a pipe dream that literally took me to the poorhouse. I went broke. It was beautiful, and I don’t bemoan the fact that I did it. I also don’t bemoan that I’m not sitting there right now getting eaten by toxic spiders.

What have 50 years in Fleetwood Mac taught you about compromise?

I don’t think it would have been possible without the wit of healthy compromise. My father was a fine officer and in charge of organizing large groups of people. He said, “No matter what, as long as you get it done, you don’t need to take the credit.” Some people say, “You’ve had to suck eggs to keep some elements of your story going.” John [McVie] and I can say in good humor we’ve caused some pain, but it turned out pretty good.

Your philosophy seems to be “No matter what, the band carries on.” That was true even when Stevie Nicks and Lindsey Buckingham left for a time.

That’s the nature of being in a rhythm section. You need someone to play with. John and I can’t do this in our living room. Also, John and I sticking it out comes from abject fear. What the hell would we do if there was no band? For the most part, amazingly, it worked out, which is a form of alchemy and magic that I will never really truly understand.

“What the hell would me and John do if there was no band?”

You raised teenage girls in the 1980s, and you’re raising teenage girls now. How is it different?

They are frighteningly well-informed now, first of all. If I say something as a parent or a friend – I like to think of myself as both – it puts you on your mark because they can, in 40 seconds, see whether or not you’re full of shit. But I’m way better at being a dad now than I was with my first lovely two daughters. That’s because I’m not as crazy as I used to be, and hopefully not as selfish.

What do you understand about drugs now that you didn’t understand when you started out?

They end up being a nightmare. Maybe we would never have cut certain songs if we hadn’t been up for five days. But you think now, “Does that make it OK?” And it wasn’t OK. You shouldn’t romanticize those things. I’m lucky to be sitting here talking to you now.

What do you wish someone had told you about the music business before you started?

Look out for charlatans who will send you down the road. Yet actually, the real nuts and bolts is I am quite happy that I didn’t have that advice. I’d like to think I could have handled the warning, but if I had been warned, I might not have even signed anything.

Stevie Nicks told me she has no interest in making another Fleetwood Mac album, since it takes too long and nobody would buy it. How do you feel about that?

I’m not super keen on getting into all of that. But what I do know is that the music of Fleetwood Mac, and the music from everyone that coexists in and outside of that band, is everyone’s prerogative. She is gonna be there next year when we begin a tour and spend the better part of 18 months wandering the planet. And this band has to be able to [allow] that and have no blame game at all. If you want me to say, “Hey, the utopian dream would be that before we hang it up, we all play [new] stuff [in the studio] …,” but we play onstage! God knows we’ve sacrificed huge chunks of time for this strange animal known as Fleetwood Mac, so I’m OK with it.

Christine McVie has hinted that the tour in 2018 might be a farewell. Is that true?

No. I don’t know where that is coming from. In my mind, it’s not, and everyone in the band has decided that it’s not. But we thought we were finished 30 years ago. And so it’s a Rolling Stones model. I don’t know if morbid is the correct word here, but when everyone is in their seventies and you think about five years from now … You know, at some point I wish I’d seen Frank Sinatra. And I didn’t. And lo and behold, one day Frank’s dead. Phil Collins is calling his tour “Not Dead Yet.” Well, we’re not dead yet, but god forbid, we might be, so you could be like, “I better go and see them!” But you will not see a poster saying this is our farewell tour that I could dream of.

Are you thinking at all about the set list yet? Will it be very different than the last tour?

Yeah. I was in Italy recently and met Stevie out there.  Actually, she was in Capri and I was close to there. She said to me, “Let’s sit down and really listen to some stuff that sort of almost got forgotten.” So I know she’s already thinking she wants to do some things we haven’t done in years. I always think that Stevie and Lindsey should do a Buckingham Nicks song in the set. And have Christine should do a blues song. I hope it certainly won’t be the same show as we did before.  We always played nearly three hours, and we cut it back a little bit for the wear and tear, but we do over two hours. And when you got three singers, which is, like, three bands, really, to get that perfect set, it’s a trip.

“I think people invest in Fleetwood Mac because there’s an intrigue there. We put our dirty laundry out there for everyone to see.”

You play nearly every Rumours song in the set. Ever think about just playing the album straight through?

It would be fantastic. But we’d have to be like Bruce Springsteen, out there for seven hours. Then it could be the last tour. You’ll see wooden boxes onstage. Five of them.

You turned 70 this year. Does it feel different than you imagined it would?

Yeah, it does. Physically, I think I’m healthier than I was at 50. [Grabs chest, fakes a heart attack before laughing hysterically] But I am surprised that, like Phil, I’m not dead yet. I hardly know the date of my own birthday. This is an awful admission, but I don’t know my children’s birthdays. When I was young I never remembered anything either. I was just talking to my daughters in the car, saying that when they are 24 or 25 I’ll be 80. Whatever happens, in 15 years I’ll probably either be dead or sitting in a chair somewhere near a spittoon. Maybe by some miracle I’ll be like my mom, 98 years old and then you just drop.

No matter how clever you are, however fit you are, you’re doing going to die someday. It hits me when someone asks me about Fleetwood Mac’s future plans. It hits me that if we tour and then maybe do something else and then possibly live out a pipe dream of a Broadway play, that’ll take five or six years. I’ll be on the red carpet and 76, even closer to death than I am now. You start thinking about things like that at 70.

Let’s not wrap up on your inevitable death, so I wanna go somewhere lighter. I feel like I hear Fleetwood Mac’s music more often now than I ever have, and young people seem to just idolize Stevie Nicks more than I’ve ever seen. How do you explain that?

The comedic answer is that we wouldn’t go away. I do like to think that our story is a human story. It sounds corny, but I think people invest in it because there’s an intrigue there. We put our dirty laundry out there for everyone to see. We were naive in many ways. I can’t believe the papers didn’t hound us. They never followed Stevie around or found out what we were up to. It’s sort of a miracle.

Picture all that happening now with TMZ? They’re torture you.

Can you imagine that with early Fleetwood Mac? But even back then we were so open about it that we sort of blew their biscuit. You never got pictures of Stevie in Phoenix or wherever having a love affair, but we have our own version of it. Anyway, it’s old news now.

Andy Greene | Rolling Stone | August 28, 2017

Article Fleetwood Mac The Dance (1997)

‘Silver Springs’: Inside Fleetwood Mac’s Great Lost Breakup Anthem

‘Silver Springs’: Inside Fleetwood Mac’s Great Lost Breakup Anthem

As classic live album The Dance turns 20, we look back at Stevie Nicks’ tortured torch song – and how it almost broke up the band

By 1997, Stevie Nicks and Lindsey Buckingham’s romance should have been ancient history. The pair had split two decades prior, fueling Rumours‘ famously raw breakup anthems. But during a taping of a Fleetwood Mac reunion show later released as The Dance, shit once again got very real. Midway through a non-album rarity called “Silver Springs,” Nicks turned and faced her former flame as she sang the song’s rueful bridge: “Time cast a spell on you, but you won’t forget me/I know I could have loved you but you would not let me.” The pair locked eyes, and Nicks gradually built to a cathartic howl – “I’ll follow you down ’til the sound of my voice will haunt you/You’ll never get away from the sound of the woman that loves you” – indicating that, for her at least, resolution had never really come.

Suddenly, “Silver Springs,” a song written for Rumours but left off the finished album and relegated to B-side status, seemed like the key to the entire messy and enthralling saga of Fleetwood Mac’s most beloved lineup. Even back in ’77, amid iconic tracks like “Go Your Own Way” and “Dreams,” Nicks’ tender yet vengeful post-mortem on her breakup with Buckingham had become an emotional lightning rod. The song would have behind-the-scenes repercussions for decades to come – nearly leading to the breakup of the band. “Silver Springs” would also become a treasured touchstone for Nicks acolytes ranging from Courtney Love, who has passionately covered it, to Lorde, who cited it as an influence on her Melodrama LP.

Fleetwood Mac’s own melodrama was brewing well before Nicks penned “Silver Springs.” She and Buckingham met as teenagers at a religious-group gathering; after high school, they became romantic and musical partners, eventually teaming up in the duo Buckingham Nicks. In December 1974, Mick Fleetwood called up Buckingham to join the already-established Fleetwood Mac. The guitarist insisted that he and Nicks were a package deal, and both would join and appear on the band’s self-titled 1975 album – their first international smash and U.S. Number One.

As they worked on a follow-up, which would become Rumours, Buckingham and Nicks’ relationship, as well as the marriage of bandmates Christine and John McVie, began to implode. Nicks officially ended things, but neither were taking it well.

“[Stevie] was going through a bit of a hard time too because she was the one who axed it,” Christine McVie, who had become Nicks’ close friend and confidant during this time, said in Bob Brunning’s Fleetwood Mac: The First 30 Years. “Lindsey was pretty down about it for a while, then he just woke up one morning and said, ‘Fuck this, I don’t want to be unhappy,’ and started getting some girlfriends together. Then Stevie couldn’t handle it … !”

Rumours became a theatrical affair, with the exes addressing one another’s faults, their own pain and a storm of other topics related to their respective heartbreaks. “Silver Springs” was Nicks’ tribute to the fairy-tale ending that never was. The title came from Silver Spring, Maryland: While passing through the town on tour, Nicks romanticized the name. “It sounded like a pretty fabulous place to me,” she said in the Classic Albums documentary about Rumours. “It’s a whole symbolic thing of what [Lindsey] could have been to me.”

Rolling Stone coverAs Rumours co-producer Ken Caillat recalls, Fleetwood Mac recorded “Silver Springs” about six months into the process. “Stevie was in love with the song,” he tells Rolling Stone, noting that he views it as one of the best-engineered and best-produced tracks from the sessions, emphasizing the combination of acoustic and electric guitars added by the song’s own subject, Buckingham.

“Lindsey was the guy who laid all of these big colors on the record and so you have to imagine it’s an odd position for him to be in,” Caillat explains. “He’s mad at her, the song’s about them being mad but it’s a good art form. But you can tell by all those parts he did on the guitars and the harmonics and the picking, it’s a piece of art.”

Nicks was proud of “Silver Springs,” and while it was in part a revenge anthem directed at her bandmate/ex, there was someone more important in her life who was meant to benefit from the commercial success she assumed it would gain.

“She decided to give the publishing rights to her mother [Barbara] as kind of a big thanks with a nice royalty check for her mom,” Caillat adds.

The album was nearly finished when Mick Fleetwood pulled Nicks out into the parking lot of the Record Plant, the Sausalito, California, studio where much of the album had been recorded.

“I knew it was really serious ’cause Mick never asks you to go out to the parking lot for anything,” Nicks recalled in a 1991 BBC radio interview. It was there that Fleetwood revealed that “Silver Springs” had been cut from the album for being too long and “a lot of [other] reasons,” according to Nicks. Fleetwood wanted the lighter “I Don’t Want to Know” on the album instead, a track on which she and her ex-boyfriend harmonized about their breakup. She did not approve.

“I started to scream bloody murder and probably said every horribly mean thing that you could possibly say to another human being and walked back in the studio completely flipped out,” she continued.

The producers tried to find a way to keep the song on the album, and offered to cut down its length or trim a different Nicks track, like the seven-minute “Gold Dust Woman.” As Fleetwood had relayed to Nicks during their fateful parking-lot argument, length was a major factor in the song’s displacement, given the limitations of vinyl pressings and her bandmates’ desire for equal representation on the LP. Plus, “Silver Springs” would have made for a third ballad by Nicks on the album, as opposed to the more upbeat “I Don’t Want to Know,” a duet with Buckingham.

“As you can hear, [the album] turned out feeling poppy despite the fact that we had a lot of slow songs in there like ‘Oh Daddy’ and things like that,” Caillat adds. “So we gave her the option that we could cut one of the slow songs down so we could have room for the other ones or we could take one of the other songs off and she said, ‘Let’s do it.’ She wanted to keep all of the other songs more than ‘Silver Springs.'”

According to Nicks, however, she wasn’t so compliant.

“With a gun to my head, I went out and sang ‘I Don’t Want to Know’ and they put ‘Silver Springs’ on the back of ‘Go Your Own Way,'” she told the BBC in ’91.

As Caillat sees it, the placement of “Silver Springs” as a B side on the album’s first single was a peace offering. “Stevie was devastated for a number of reasons,” he explains. “She loved the song, and by it not being on the LP, her mom didn’t make all the extra publishing because the single didn’t sell very much.”

The story of “Silver Springs” appeared to end right there, in Sausalito. The band performed the song live a few times in 1976 and ’77 before moving on from it for the remainder of the Seventies and the entirety of the Eighties. Even so, Nicks devotees still found their way to the tune. Tori Amos’ family lived in Silver Spring, Maryland, during the Seventies, and in the Rumours era, she was cutting her teeth by playing gay bars around nearby Washington, D.C. Nicks had long been one of her biggest influences, but it was a random barfly who put in a request for “Silver Springs” that led to her discovery of the song.

“I heard it and thought it was beautiful,” she tells Rolling Stone. “It just became part of the repertoire for the past 39 years.”

For those not frequenting the bars where Amos kept the song’s spirit alive, the track’s primary exposure was as a B side to “Go Your Own Way” – Buckingham’s own expression of anger and revenge against Nicks, where he claimed that “packin’ up, shackin’ up is all you wanna do.” The song would become one of the band’s biggest hits, charting in the Top 10.

“He knew it wasn’t true. It was just an angry thing that he said,” Nicks told Rolling Stone in 1997 of the “packin’ up, shackin’ up” line. “Every time those words would come onstage, I wanted to go over and kill him. He knew it. He really pushed my buttons through that. It was like, ‘I’ll make you suffer for leaving me.’ And I did.”

Of course, Nicks had the exact same motivation when she wrote “Silver Springs.” In a 1997 interview with Arizona Republic, she explained the song’s message as “I’m so angry with you. You will listen to me on the radio for the rest of your life, and it will bug you. I hope it bugs you.”

(Rolling Stone)

After their breakup and massive success with Rumours, Buckingham and Nicks spent a decade continuing to sing to and about each other onstage, even as they appeared to move on with their respective personal lives. They courted different people – Nicks even briefly married – and pursued solo careers alongside their work with the band. But according to Mick Fleetwood’s autobiography Play On, the passion and anger had not entirely died down, and a physical altercation between the former couple during a band meeting in 1987 is what ultimately led to Buckingham’s departure from the group. Both Buckingham and Nicks denied Fleetwood’s claims.

Three years later, the new, Lindsey-less incarnation of Fleetwood Mac released Behind the Mask and went on a world tour. Following the trek, Nicks began plotting a greatest hits compilation titled Timespace – The Best of Stevie Nicks where she hoped to include “Silver Springs” alongside her other Fleetwood Mac contributions and solo hits. But her plan got in the way of Fleetwood’s own desire to include it on a forthcoming box set cataloging the band’s discography. This led to another heated dialogue between the two about “Silver Springs.”

“I told [Fleetwood’s manager] that I want ‘Silver Springs’ because it belongs to my mother,” she told the BBC in 1991. “It didn’t occur to me that they wouldn’t let me have it back. I said to his manager, ‘You find Mick, and you tell him that if I don’t have those tapes by Monday, I am no longer a member of Fleetwood Mac.'”

Fleetwood won, and the song appeared on 25 Years – The Chain. True to her word, Nicks left the band.

By the time of The Dance, both Buckingham and Nicks had seemingly settled into a new era of their lives. Nicks had been sober for a few years, having finally kicked the drug addiction that had plagued her since the Seventies. Buckingham was then dating Kristen Messner, the woman who would give birth to the first of their two children a year later and marry him in 2000. It was an improbable Buckingham Nicks reunion in 1996 for the duet “Twisted” off the Twister soundtrack that would put the Fleetwood Mac reunion in motion. (The tornado metaphor was hopefully not lost on the pair.)

The Dance, a release largely made up of Fleetwood Mac’s best-known hits, would earn the band three Grammy nominations and their first Number One album since 1982’s Mirage.”To be honest, I don’t remember hearing ‘Silver Springs’ done at rehearsals,” Elliot Scheiner, producer and engineer of the concert film, tells RS. Similarly, director Bruce Gowers doesn’t recall anything special about the early run-throughs of the song. It had always been a part of the set list for as long as he had been attending their practice sessions, and he just assumed that it had been a part of their pre-breakup concert repertoire. The looks exchanged by Buckingham and Nicks throughout the show – and the particularly raw moment between them during the climax of “Silver Springs” – did not come about until the two nights of taping in Burbank.

This was by design. Nicks has admitted that the fiery take on the song that appears in The Dance was “for posterity,” as she told RS at the time. “I wanted people to stand back and really watch and understand what [the relationship with Lindsey] was,” she later told Arizona Republic.

“‘Silver Springs’ always ends up in that place for me because she’s always very committed to what those words are about, and I remember what they were about then,” Buckingham told Rolling Stone in 1997. “Now it’s all irony, you know, but there is no way you can’t get drawn into the end of that song.”

“When we’re [onstage] there singing songs to each other, we probably say more to each other than we ever would in real life,” Nicks added.

For many Fleetwood Mac fans, The Dance marked the first time they had even heard the track. One of these was Courtney Love, who has long been a very public admirer of Nicks and Fleetwood Mac. Hole had released their own cover of “Gold Dust Woman” in 1996 and interpolated “Rhiannon” into their Pretty on the Inside track “Starbelly” back in 1991.

“I wouldn’t exist without Stevie,” she tells Rolling Stone. Love and Nicks have known each other for years, and the alt-rock singer had been in attendance for one of the live tapings of The Dance, even spending time with a nervous Nicks in her dressing room before the show.

“I thought it was an old Buckingham Nicks song,” she recalls of her first exposure to “Silver Springs.” “It really moved me. I was like ‘What the fuck is this?’ I didn’t ask her about it.”

While Love had been playing “Gold Dust Woman” live for decades, she recently chose to sing “Silver Springs” instead at a Fleetwood Mac tribute show in Los Angeles last year. “I started crying as I was singing it,” she admits. “It doesn’t sell itself, you have to sell it a little bit. Take it to the end. Before the instrumental break, it builds, it builds, it builds and it climaxes. It’s an unusual song musically in that sense.”

Nicks’ own performance earned “Silver Springs” a belated Grammy nomination, in the category of Best Pop Performance by a Duo or Group With Vocals (it lost to Jamiroquai’s “Virtual Insanity”). It was the only song from The Dance to be recognized outside of the album as a whole.

“I never thought that ‘Silver Springs’ would ever be performed onstage,” she reflected during a 1997 MTV interview. “My beautiful song just disappeared [20 years ago]. For it to come back around like this has really been special to me.”

“Silver Springs” has gone on to have an extraordinary second life. Besides Love and Amos, Florence and the Machine and Lykke Li have covered it live; it appeared in the finale episode of American Horror Story: Coven; and just this year, 20-year-old Lorde cited “Silver Springs” during a conversation about her own heartbreak album Melodrama, released in June.

“I remember being [15 years old] listening to [‘Silver Springs’] over and over, doing my art homework, thinking it was a beautiful song,” she said in conversation with Tavi Gevinson for the Rookie Magazine podcast. “I remember hearing ‘Time cast its spell on you but you won’t forget me/I’ll follow you down ’til the sound of my voice will haunt you/You’ll never get [away from] the sound of the woman that loves you’ and feeling the weight of them, and I also remember hearing them six months ago and hearing a total different thing unlock.”

Speaking to Rolling Stone later, Gevinson cites her own high-school breakup as her impetus for connecting to the song. “I definitely copied down the lyrics in multiple journals,” she says.

Fleetwood Mac still plays “Silver Springs,” often as an encore alongside “Don’t Stop” and other signature songs. Live, Buckingham and Nicks have continued to revive their haunting locked-gaze Dance duet. In late 1997, live footage captured Buckingham welling up with emotion and embracing Nicks at the end of the song. In a 2004 clip, he aggressively strums his guitar and yells into the microphone, making his harmonies more audible than ever.

After Christine McVie rejoined Fleetwood Mac in 2014, her heartbreak sisterhood with Nicks was rekindled. By that time, “Silver Springs” had already become a staple of the band’s set lists. “When I finish [performing] ‘Silver Springs,’ Christine waits for me and takes my hand,” Nicks told Maclean’s Magazine in 2015. “We walk off and we never let go of each other until we get to our tent. In that 30 seconds, it’s like my heart just comes out of my body.”

Since Nicks was able to turn “Silver Springs” into the hit she always wanted it to be, her mom Barbara did receive the royalty check her daughter had earmarked for her – 20 years later than expected. “My mom ended up getting a $50,000 check two months after The Dance went out,” the singer revealed. “To my mother, it had been a million dollar check.”

Nicks also finally had the opportunity to place the song on her own compilation, including it on 2007’s Crystal Visions – The Very Best of Stevie Nicks. In the liner notes, she dedicated “Silver Springs” to her mom, who passed away four years later. It was the elder Nicks’ “rainy day song.”

Brittany Spanos / Rolling Stone / Friday, August 18, 2017

Article Buckingham McVie Concert Review Concert Reviews

Buckingham-McVie show they’re head, heart of Fleetwood Mac.

Stevie Nicks may be the face of Fleetwood Mac, and likely its most recognizable voice.

But Lindsey Buckingham is clearly the band’s head — author of many of its biggest hits, player of its distinctive guitar, master behind its sound with his production.

And Christine McVie may be its heart — the warm, welcoming vocal counter to Nicks’ emotional gypsy.

So you would expect that even though Buckingham and McVie’s current duo tour is to support their new self-titled, Top 20 album, they would carry many of Fleetwood Mac’s attributes into concert with them.

And indeed they did Friday at Sands Bethlehem Event Center in Bethlehem, on the last date of the tour’s first leg — to the point of playing almost as many Fleetwood Mac songs (nine) in the 19-song, hour-and-40-minute set than they did the new songs (10).

The songs weren’t always Fleetwood Mac’s biggest hits, but they displayed the pair’s contributions to the band.

And the concert also showed how distinctive Buckingham and McVie are as solo artists.

That talent was on display immediately as the concert opened with Buckingham doing a slow, studied and acoustic version of his solo debut single hit, “Trouble” before being joined by McVie singing the deep Fleetwood Mac cut “Wish You Were Here,” warm and lovely.

Then Buckingham did the Fleetwood Mac song “Never Going Back Again” as a pained lament that was simply stunning. And he followed with an also-acoustic but angry and aggressive version of his “Shut Us Down.” His guitar work was as impressive as his voice.

For the rest of the show, the duo had a four-person band.

Saying she wanted to do older material “from the second century,” McVie kicked into Fleetwood Mac’s wonderful “Hold Me,” sounding more mature and mellow than the original arrangement — as if it had been seasoned over time.

“Little Lies” was still a great song, but McVie seemed to struggle with her higher range. Buckingham made up for it by growling on the chorus and playing great lead guitar. “Tusk” was as pretentious as ever, but darned if it still doesn’t have the power to make you move.

The middle of the set showed McVie at her Fleetwood Mac best, on “Hold Me,” the intense fleeing-love song hit from “Mirage.” And while it was McVie’s song, it also show how much Buckingham contributed with simply his high counter-voice.

Then “Little Lies” again showed how much the combination of McVie and Buckingham’s voices mean to Fleetwood Mac.

The Fleetwood Mac song that suffered most was McVie-voiced “You Make Loving Fun,” which felt weighted down by age, as McVie again fell short vocally.

The songs from the new disc were surprisingly strong. As Buckingham said, clearly the pair still can capture that band magic.

Early in the set, the chiming “Sleeping Around the Corner” sounded like Rumours-era Fleetwood Mac, both musically and vocally. Same for “Feel About You,” except for additional muscle. Buckingham’s masterful melody work was evident. The disc’s first single, “In My World,” was more the kind of song McVie did for the group.

The harder “Too Far Gone” sounded impressive, with heavy percussion and Buckingham’s searing guitar, but was a bit too obvious.

Later in the set, “Love is Here to Stay” was very much a Buckingham tune — lovely guitar and voice over a swirling melody, it’s an unusually hopeful love song. But the wistful, left-love “Red Sun” also was too obvious — saved only by Buckingham’s echo-y guitar.

It was something of a disappointment that McVie didn’t sing perhaps her best Fleetwood Mac song, “Over My Head.” The duo instead offered its B-side, “I’m So Afraid” — which made for a fine Buckingham guitar centerpiece (and his playing got a standing ovation from the near-sellout crowd). But the song was leadened under its own weight.

The duo made up for it by closing the main set with Buckingham’s kiss-off song “Go Your Own Way” — which still carries a beautifully bitterly sting after all these years, and was even stronger and meaner now.

And McVie got her chance, opening the encore with the beautifully bubbling “Everywhere,” which she sang great.

In an odd move, Buckingham-McVie closed with two new songs. “Lay Down for Free” sounded a lot like “Hold Me” — in a good way, clearly from Buckingham’s head. And the closing “Game of Pretend” was very much the kind of song to which McVie gave warmth — and heart — in Fleetwood Mac.

Sands Bethlehem Event Center
August 11, 2017

John J. Moser | The Morning Call | August 11, 2017

Buckingham McVie

Leg 2 announced

Official Press Release



Lindsey Buckingham, Christine McVie, June 9 2017

On the heels of a sold-out critically acclaimed summer tour, longtime Fleetwood Mac members Lindsey Buckingham and Christine McVie announced today the second leg of their North American tour. The pair will hit an additional 22 stops on this leg of the tour beginning in San Jose, CA and wrapping in Sugar Land, TX.  Tickets will go on sale Friday, August 18th to the general public except for Louisville which will go on sale Friday, August 25th.   American Express pre-sale for cardholders will begin Tuesday, August 15th at 10am local time. The duo also announced a new single going to radio this week “Lay Down For Free.”

“Lindsey Buckingham & Christine McVie Introduce Vibrant New Material at Sold-Out L.A. Show…It’s not often that rock legends depart their comfort zones and pair off for experimentation…..and in this current 19-song show with McVie, there is just enough of it – plus enough of the familiar – to create a truly intriguing evening.” – Billboard

“Lindsey Buckingham, Christine McVie mix new songs with Fleetwood Mac classics at the Greek …over 90 minutes of performance, delivered one strong moment after another.” – Orange County Register  

“Buckingham McVie Brought Down the House in Downtown Phoenix” – Phoenix New Times

“…The gusto with which Buckingham and McVie approached the night animated both their new material and classic cuts” – The Boston Globe

Simply titled LINDSEY BUCKINGHAM/CHRISTINE McVIE, the 10-song album is now available on CD, LP, and all digital and streaming services via Atlantic Records. The North American tour began on June 21st in Atlanta, GA. A full itinerary of newly added dates for the tour can be found below.

Of the album, NPR writes “The marvel is that these two longtime band mates can simultaneously stand on their own and exert a gentle pull on each other, expanding our appreciation of them as living, breathing artists…”

The collaboration began three years ago, when McVie rejoined Fleetwood Mac for the group’s “On With The Show” tour.   The pair went in to record new material prior to rehearsals for the tour and their natural creative chemistry was reignited.  According to Buckingham, “We were exploring a creative process, and the identity of the project took on a life organically. The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘what took us so long?!!’”

Working their natural singer songwriter skills together came easily for the duo.  Said Christine McVie, “We’ve always written well together, Lindsey and I, and this has just spiraled into something really amazing that we’ve done between us.”

Sessions for the album took place at The Village Studios in Los Angeles, which is where Fleetwood Mac recorded several of their classic albums, including Tusk. Buckingham and McVie were joined in the studio by fellow bandmates Mick Fleetwood and John McVie, who supplied much of the dynamic rhythmic engine.


10/14/2017 – San Jose, CA @ City National Civic
10/15/2017 – Paso Robles, CA @ Vina Robles Amphitheatre
10/17/2017 – Santa Barbara, CA @ Arlington Theater
10/19/2017 – San Diego, CA @ Humphrey’s
10/20/2017 – Indio, CA @ Fantasy Springs Resort Casino
10/22/2017 – Midland, TX @ Noel Wagner Performing Arts Center
10/24/2017 – Irving, TX @ Irving Music Factory
10/25/2017 – Little Rock, AR @ Robinson Center Music Hall
10/27/2017 – Indianapolis, IN @ Murat Theater
10/28/2017 – St. Louis, MO @ Fox Theater
10/30/2017 – Minneapolis, MN @ Northrop Auditorium
10/31/2017 – Milwaukee, WI @ Riverside Theatre
11/2/2017 – Charleston, WV @ Clay Center for Arts & Sciences
11/3/2017 – Northfield, OH @ Hard Rock Live
11/5/2017 – Louisville, KY @ Palace Theatre
11/7/2017 – Orlando, FL @ Dr. Phillips Center for the Performing Arts
11/9/2017 – Clearwater, FL @ Ruth Eckerd Hall
11/11/2017 – Hollywood, FL @ Seminole Hard Rock Hotel & Casino
11/12/2017 – Jacksonville, FL @ Moran Theater
11/14/2017 – San Antonio, TX @ Majestic Theater
11/15/2017 – Austin, TX @ Bass Concert Hall
11/16/2017 – Sugar Land, TX @ Smart Financial Centre at Sugar Land

Fleetwood Mac The Classic East

Fleetwood Mac closes out The Classic East

Fleetwood Mac closed out The Classic East at Citifield on Sunday night, a repeat performance of The Classic West, two weeks earlier at Dodger Stadium in Los Angeles.

Fleetwood Mac started their set at 9:00 p.m. local time, following Earth, Wind & Fire and Journey. Once again, due to the curfew, the band performed a shorter version of the On With The Show set, performing for exactly two hours. Concert goers were treated to a great firework show during “Don’t Stop,” the set closer.

Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(The Classic)
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(David J. Criblez)
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(Marc Urselli‏)
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(Marc Urselli‏)
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(Kaitlyn Deere)
Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017
(Sean Blankenship)

Twitter was abuzz with celebrities sightings — particularly for One Direction alum Harry Styles, who has been spotted often over the weekend enjoying the festival. Fashion models Camille Rowe and Alexa Chung were also part of Harry’s encourage.

Fleetwood Mac, The Classic East, Citifield, New York, July 30 2017


Much love and gratitude to alk61695, ani270674, ErinBrown1978, Mike Fitzsimmons, Stephen Hurtes, Megan McCarthy, richeye, Chuck Siegel, speechino, and Maryanne Roberto Fine for sharing these videos!

The Chain (Stephen Hurtes)

You Make Loving Fun (Stephen Hurtes)

Dreams (speechino)

Second Hand News (alk61695)

Rhiannon (Stephen Hurtes)

Everywhere (coming soon!)

Bleed to Love Her (ani270674)

Bleed to Love Her (ErinBrown1978)

Tusk – end (richeye)

Sara (Chuck Siegel)

Say You Love Me (coming soon!)

Big Love (coming soon!)

Landslide / Never Going Back Again (Maryanne Roberto Fine)

[jwplayer mediaid=”380310″]

Never Going Back Again (Megan McCarthy)

Think About Me (ErinBrown1978)

Gypsy (Stephen Hurtes)

I’m So Afraid (coming soon!)

Go Your Own Way (Dennis Farrell)

Don’t Stop (Maryanne Roberto Fine)

[jwplayer mediaid=”380305″]

Don’t Stop – fireworks (Mike Fitzsimmons)

[jwplayer mediaid=”380316″]

Set List

  1. The Chain
  2. You Make Loving Fun
  3. Dreams
  4. Second Hand News
  5. Rhiannon
  6. Everywhere
  7. Bleed to Love Her
  8. Tusk
  9. Sara
  10. Say You Love Me
  11. Big Love
  12. Landslide
  13. Never Going Back Again
  14. Think About Me
  15. Gypsy
  16. Little Lies
  17. Gold Dust Woman
  18. I’m So Afraid
  19. Go Your Own Way
  20. Don’t Stop


Album Reviews Article Buckingham McVie

REVIEW: Lindsey Buckingham / Christine McVie

Fleetwood Mac – Stevie Nicks = Buckingham/Mcvie. Typical Fleetwood Mac math, yet somehow it adds up to a pretty-good album.

Lindsey Buckingham, Christine McVieOver past few decades, a couple of would-be Lindsey Buckingham albums have been co-opted into Fleetwood Mac albums. Tango in the Night (1987) and Say You Will (2003) both began as Buckingham solo projects, but fate, not to mention the record company, intervened. This time, though, things have worked out the other way around, sort of.

Since Christine McVie rejoined Fleetwood Mac in 2014 after a 16-year absence, the band have talked excitedly about a new era and a new album, and have been recording new material. All of them except Stevie Nicks that is. Nicks has been doing Fleetwood Mac and solo tours but apparently, has little interest in recording.

Apparently, the rest of the band got tired of waiting for her. Lindsey Buckingham / Christine McVie also features the Mick Fleetwood/John McVie rhythm section. So that’s four-fifths of Fleetwood Mac. Though Buckingham and McVie have claimed their album was not intended as a Fleetwood Mac record, that’s only because Nicks precluded the idea. It is safe to say that any new Fleetwood Mac album would have featured much of the material on Lindsey Buckingham / Christine McVie. All this makes it difficult to listen to Lindsey Buckingham / Christine McVie without thinking of it as a companion piece to Say You Will, which featured all involved save McVie.

Even after all these years, it’s never simple with Fleetwood Mac.

Still, Lindsey Buckingham / Christine McVie commands some attention in its own right. McVie has not released anything since her 2004 solo album. Save a low-key Mac EP, Buckingham has not been heard from since 2011. Do the pair, who between them have written some of the most enduring radio hits of the last 40 years, still have it? Do they, at their ages (Buckingham is 67; McVie turns 74 this year), have anything new to say, and can they still sing, even?

This is a “duet” album, which is not to be mistaken for a “duets album”. Each of the ten songs alternates between a Buckingham vocal and a McVie vocal. There are no duets. Not surprisingly, Buckingham fairly dominates affairs, writing or co-writing nearly all the tracks and co-producing with Mitchell Froom. The sound is crisp, clean, and slightly DIY, in the manner of Buckingham’s last several solo albums.

And the songs?

Buckingham still has it, because he never really lost it. He still has a way with an incisive-yet-catchy, quirky-yet-charismatic melody and arrangement. He is more straightforward here than on his solo releases, keeping his trademark fingerpicking filigree at a minimum and his eccentricities in check. His “Sleeping Around the Corner”, a years-old, remodeled solo outtake, has one of those classic, giddy choruses he is so good at, and it would be a great opener on any album. Single “In My World” is nearly as good, with Fleetwood and John McVie laying down their trademark, rock-solid, less-is-more groove. In fact, one of Lindsey Buckingham/Christine McVie ‘s true pleasures is Fleetwood’s drumming, deft as ever.

“Love Is Here to Stay” is a breezy, fingerpicked ray of sunlight. All the effortless “Lay Down For Free” is missing is some Nicks harmonies. “On With the Show” seems to address her absence, with Buckingham proclaiming, “I will stand with my band / There’ll come a day / When we all feel the same.”

As for McVie, well, her method has not changed much, either. She still deals in sweet, guileless romance. She has lost something, though. Time has taken a substantial toll on both singers’ voices, but McVie seems to struggle just to sound like herself. More importantly, often there is not enough of a pure pop rush to make up for her simplistic lyrics and phrasing. “Red Sun” gets some good vibes out of her familiar rolling piano sound, and the hard-boogying “Too Far Gone” just barely manages to avoid being an embarrassment. Only the beautifully stark piano ballad “Game of Pretend” stands on its own without the production propping it up.

A curious album to be sure, Lindsey Buckingham/Christine McVie could just as well have been released as two separate EPs. In particular, it is difficult to hear McVie in the Buckingham-fronted songs. Still, in the end, an almost-Fleetwood Mac album turns out to be a pretty good Fleetwood Mac album, especially this late in the game.

Rating: 6/10

John Bergstrom / Pop Matters / Wednesday, July 12, 2017

Album Reviews Article Buckingham McVie

Bright and breezy

ALBUM REVIEW: Lindsey Buckingham and Christine McVie – Buckingham/McVie

***1/2 (3 and a half stars out of 5)

If you’ve ever wondered what a golden era Fleetwood Mac album might sound like without Stevie Nicks, here’s your answer. From 1975’s self-titled effort to ‘87s Tango in the Night, the Mac’s transatlantic reinvention and huge global success was built on the potent creative relationship between the British trio of Mick Fleetwood, John and Christine McVie and American pair Nicks and Lindsey Buckingham. Boasting a unique combination of interpersonal friction and natural musical understanding, the quintet crafted some of the finest, most emotionally raw pop-rock songs ever made.

In particular, Buckingham and McVie struck up an immediate rapport, elevating each other’s songwriting as his idiosyncratic musicianship melded perfectly with her penchant for penning melodic, romantic gems. That was most apparent on Tango in the Night, a record that, with Nicks largely absent, was largely shaped by the duo and went on to shift 15 million copies.

Fast forward three decades and the circumstances surrounding the genesis of this release are somewhat reminiscent of that period. After McVie re-joined the band in 2014, she and Buckingham swiftly realised their collaborative spark still burned bright.

A new Fleetwood Mac album might have been in the works, but Nicks was again on solo duty. So, instead we have Buckingham/McVie.

Stylistically speaking, this is a simple sounding record full of immaculately produced, easy listening vignettes that are incredibly bright and breezy. McVie’s musical aesthetic forms the blueprint, with her gifted co-creator reining in his experimental tendencies to complement her easy going pop sensibilities.

“Feel About You” is a bubbly ‘60s bijou with instrumental nods to “Everywhere” and the exquisitely tuneful “Red Sun” offers a relaxed gospel-style chorus that has the air of a soothing nursery rhyme. “Lay Down For Free” finds the pair’s vocal interplay as enchantingly timeless as ever, while “Too Far Gone” echoes “You Make Loving Fun.” Its electronically swaggering groove, brilliantly clipped chorus and tribal drum bursts are an absolute blast.

With Mick Fleetwood and John McVie also playing on the LP, strands of Fleetwood Mac’s DNA are, understandably, woven into the fabric of these songs. “Love Is Here To Stay” recalls a slower, more optimistic “Never Going Back Again” and the sparse piano and guitar strains on “Game of Pretend” immediately bring to mind “Songbird.” “Carnival Begin” is a hazy dream-like number that could have featured on Tusk, with Buckingham’s closing solo his most intense contribution.

Where the simmering undercurrent of love and hate betwixt Buckingham and Nicks always gave their music a certain spikiness, the collaborative vibe here is noticeably more relaxed, enjoyable and carefree. The only downside to such harmony is that these songs are very middle of the road and some will find them far too bland and beige. If you’re looking for a little edginess in your life, feeding ducks at the local park or eating a non-organic apple with the skin on will offer more than this record.

It won’t wipe away the frustration with Nicks for potentially depriving us of a final album from Fleetwood Mac’s classic line-up, but without her presence the dynamics at play on this classy, mature and well sculpted offering do present another fascinating portal into the inner workings of music’s longest running soap opera.

Simon Ramsay / Stereoboard (UK) / Monday, June 26, 2017