FLEETWOOD MAC DELUXE EDITION ****
A fine romance
Starcrossed lovers 1975 hits album just before divorce proceedings began now expanded
Has there ever been any more serendipitous album then Fleetwood Mac? At the end of 1974, Mick Fleetwood and John McVie’s group were drawing their last breath. The boom years with guitarist Peter Green over, and the previous years trippy West Coast influenced Heroes Are Hard To Find was the latest in a long line of poor sellers.
It was make-or-break time, when Fleetwood hired unknown singer/ songwriter Lindsey Buckingham and, despite Fleetwood’s initial reluctance, Buckingham’s girlfriend Stevie Nicks; a story Nicks’ has rightly dined out on ever since. A year later, the rebooted Fleetwood Mac were basking in the success of a US number one hit. This deluxe edition contains fewer previously unreleased studio tracks but more live numbers than 2016’s things remastered Tango In The Night. The ‘White Album’ (as it’s often known) doesn’t have to sleep-deprived, teeth-grinding tension of his successor Rumours or a song as gleefully bombastic as The Chain. It’s warmer, slightly less druggie, and none the worse for that.
The original album contains three songs which between them templated the future sound of Fleetwood Mac. As anyone has heard 1973’s Buckingham Nicks album will confirm, the couple bought existing ideas to the table. They even re-recorded one of its songs, Crystal on Fleetwood Mac.Continue reading Fleetwood Mac Reissue Review | Mojo Magazine→
Classic Rock Magazine (issue 246)
By Mark Beaumont
4th Feb 2018
Fleetwood Mac | WARNERS | 8/10
In which Fleetwood Mac Mk 2 rises from two separate dumpers.
Some tacos are destined to change the world. Take the ones over which the remnants of Fleetwood Mac ‘auditioned’ Lindsey Buckingham and Stevie Nicks in a Mexican restaurant in LA in 1974. Mac were smarting from five years of slumping record sales and the departure of guitarist and songwriter Bob Welch; Buckingham and Nicks, who had a flop album themselves with 1973’s Buckingham Nicks, were on the verge of quitting their part-time LA jobs, ending their floundering relationship and going their separate ways.
The Mac needed only a new guitarist, but Buckingham refused to join unless they took Nicks as well. Mick Fleetwood gave his remaining core songwriter, Christine McVie,
a veto over Nicks, but the pair got on famously. By the time the margaritas were drained, soft-rock history was shaken on.
The Mac album (the band’s tenth) that this fresh new line-up began recording just three weeks later — with Buckingham so pushy in teaching the veteran rhythm section their parts that John McVie chided him: “The band you’re in is Fleetwood Mac. I’m the Mac. I play the bass” would become their second self-titled release, to mark their final transition from Peter Green’s blues-rock version to a new country-rooted pop rock sound. The title heralded a new Fleetwood Mac, and their second era would become one of the most successful rebirths in rock. Inevitably, one returns to 1975’s Fleetwood Mac with radar attuned to the first whispers of Rumours, and there are plenty circulating within these semi-magical 42 minutes. Continue reading Fleetwood Mac Reissue Review | Classic Rock Magazine→
Classic Rock Magazine (Issue 246)
By Gary Graff
4th Feb 2018
After going from small fry to big Mac, now she balances the band and a solo career.
Stevie Nicks may appear to have a complicated and ambivalent relationship with Fleetwood Mac, but you’d be bard-premed to find a greater public proponent for the band. Since 1981 the writer and singer of Rhiannon, Dreams, Sara and many more has juggled a successful solo career alongside being in the group and has sometimes frustrated her bandmates with her priorities. But Nicks still swears allegiance to the Mac and is always ready to add a new chapter to the saga – when it fits.
You maintain an active and successful solo career, as well as membership in Fleetwood Mac. What’s the agar of doing both?
Solo work and Fleetwood Mac is a really great thing to be able to go back and forth to. You can do your own thing until you get bored and then you can go to the other thing and do that until you start to get bored, and then you can go back to the other thing. It helps you stay more excited and uplifted for what you do so you’re not just doing one thing year after year.
It keeps it fresh, in other words.
Basically, what we are is entertainers. When we go on stage we’re performers. That’s what we do. Even if this band had never made it big, we’d be playing all the dubs. So it isn’t a question of keeping it fresh, it’s that were doing what we love and we don’t have anything else, basically, to do.
What’s the most difficult adjustment when you move between the two?
From the very beginning, when I was seventeen, I wanted to be in a band. When you’re in a band you’re a team. When I’m in solo work, I’m the boss. I have gone back and forth about it in my head. I’ve decided I do like being the boss, but I’ve been in Fleetwood Mac for so long I understand how to not be the boss and be part of a team and a team player and it’s okay. Part of it knocks your ego down, makes you humble. So there’s a lot of good things about being in a band. Continue reading Stevie Nicks Interview | Classic Rock Magazine→
Classic Rock Magazine (Issue 246)
By Gary Graff
4th Feb 2018
The in, out, in songwriting heart of Fleetwood Mac.
Five years ago in September, Christine McVie stepped on stage with Fleetwood Mac for the first time since 1997 and has been touring with them since. More importantly, she went into the studio with the guys in the band for sessions that resulted in last year’s lauded Buckingham McVie duo album with Mac’s Lindsey Buckingham. At 74, the former Christine Perfect is fully in, and it doesn’t sound like she has any plans to go her own way ever again.
Are you still glad that you rejoined Fleetwood Mac almost five years ago?
Oh yes. It’s fantastic. I love it.
In hindsight, do you regret the hiatus?
I quit the band only because I developed this horrendous fear of flying and was run down and tired of touring. I bought a home in England that was being restored. I wanted to move back closer to my family. It was not out of any lack of love for these guys. They’re my musical family.
What brought you back?
I realised that I made a huge mistake, that’s all. I started missing them and playing with them and the interaction, the chemistry of it all. I started to really, tray desire to star/ doing something again, and the only people that I would have any desire to do anything with would be Fleetwood Mac.
Your first step back was writing and recording again with Lindsey. You two clearly have a unique emulation. What is it draw out of each other?
It’s a hard thing to analyse, really. I suppose it’s just a musical rapport Is very easy to work with him_ Although I know people say he can be a difficult bugger, I’ve always found him to be a terrific fellow to work with. I enjoy it.
There are some who would say, with all deference to Stevie Nicks, that it’s the product of your collaboration that is the real sound of Fleetwood Mac.
Lindsey just loves producing other people’s songs. He always has. I think with me he tends to lean slightly towards a romantic side of him musically, I’m speaking – because he describes himself as the brains and me as the heart. Continue reading Christine McVie Interview | Classic Rock Magazine→
Career-changing 1975 album expanded into three-disc deluxe edition
When Lindsey Buckingham was invited to join Fleetwood Mac in late 1974, it was the group’s final throw of the dice. After nine lineup changes in eight years, the previous album, Heroes Are Hard To Find, had barely sold enough “to pay the electric light bill”, as Mick Fleetwood put it. When Buckingham insisted that his girlfriend Stevie Nicks join with him, the group agreed with considerable reluctance. Yet the results were transformative.
The newcomers wrote six of the 11 songs on the next album, including Nicks’ all-time classics “Rhiannon” and “Landslide”, which came to define the Mac’s ‘new’ sound. Their presence also energized Christine McVie, who contributed two of her most enduring compositions in “Say You Love Me” and “Over My Head”. The album was released to initial indifference, but support built slowly. Fifteen months after its release, the album was sitting on the top of the US charts, by which time the group were already back in the studio recording the epoch-defining Rumours.
Extras 8/10. An alternate version of the original album comprising unreleased outtakes and early versions of each of the 11 songs, plus a plethora of 1976 live performances.
Thanks to Stéphane Blanc for providing this review