Fleetwood Mac: The Saga Continues. Meet… Buckingham McVie | Uncut Magazine

Uncut Magazine
Stephen Deusner
May 2017

Go Your Own Way

Fleetwood Mac should be preparing for their farewell tour but, true to form, their epic saga has taken on another complicated turn. Introducing, then, the dynamic duo of Buckingham McVie  – “a nice splinter off the main artery of Fleetwood Mac.” In this exclusive interview, Lindsey Buckingham and Christine McVie reveal all to Stephen Deusner about their unexpected side project, and about how it fits into the storied past, present and future of Fleetwood Mac. “It’s that umbilical cord that can’t be broken,” says Christine. “It just pulls you back.”

“THERE WAS SOMETHING COSMIC about it.” says Lindsey Buckingham. He’s sitting at the head of a long table in the brightly lit conference room of an anonymous office building in the Westwood neighbourhood of L.A, talking about Buckingham McVie, the new album he wrote and recorded with his Fleetwood Mac bandmate Christine McVie. Even as they are preparing for a Fleetwood Mac farewell tour in 2018, these two members have emerged as intimate collaborators proving there’s still a lot of life left in the band. “She and I kept saying to each other, ‘Why did it take us so long to think that it would be cool to do a duets album?’ I guess it was logistics – just getting to the point where the stars all aligned.” It’s a record with a lot of history behind it: more than 40 years of hook-ups and break-ups, marriages and divorces, drug abuse and recovery, departures and returns, hits and misses. It’s a story that begins with pub gigs in the late 1960s and a fateful Tex-Mex dinner meeting in the early 1975 and ends with a final arena tour in the late 2010s, spanning nearly every continent (even Antarctica, if you count the band’s penguin mascot) and almost every style of rock, including Buckingham’s early acid-rock and McVie’s beloved blues. And yet, these two musicians, both so embroiled in their own dramas, never really had any drama between them.

“The idea of us working together wasn’t about what kind of album we were making, at least not initially. It was just about getting together and finding some common ground. The fact that she had stuff she wanted to work on was really intriguing, and as soon as we got in the studio – maybe a week in – we looked at each other and were like, Holy shit, this feels like… something… I don’t want to say a ‘duets album’, but it felt like something substantial. It had never occurred to us to pursue anything like that.” As he speaks, Buckingham glances out the window, which offers a perverse panorama of L.A swallowed up by low clouds. “It’s been raining for a while,” he says, “but we need it.” That might be an understatement. The city with which he and Fleetwood Mac have long been associated is under siege: it’s been pouring for hours, with a strong wind coming in off the ocean. Meteorologists call it a bombogenesis, or a weather bomb. Streets are flooding all over town. Traffic lights are going out. Fallen trees are blocking roads. There are reports of sinkholes opening up and swallowing cars whole. The scene is apocalyptic – if California is ever going to sink into the Pacific, today might be the day.

“I’ve grown up since I last worked with her”
Lindsey Buckingham

Buckingham, by contrast, looks the model of a gracefully ageing Golden State rock star, tanned and animated, his grey-green eyes still lively and his salt-and-pepper hair still standing on end. He’s sporting a black leather jacket over a plunging black V-neck and blue jeans: something of a uniform for the singer-songwriter-guitarist, producer. His hands fidget at the table, as though he’d much rather be playing guitar than talking to a journalist. Who wouldn’t? Continue reading

Memories of Meantime | Uncut Magazine

Christine McVie on her ‘lost’ third album

In September 2004, six years after retiring from Fleetwood Mac, Christine McVie released her third solo album, In The Meantime. It was a casual affair, Helped by her nephew Dan perfect and featuring contributions from former Fleetwood Mac member Billy Burnetts, ex-husband Eddy Quintela and singer-songwriter Robbie Pattern (with whom she wrote “Hold Me” in the early 1980s.

Recorded entilely in her garage in rural Kent, In The Meantime feature some of the strongest songs in decades, including the sweet opener “Friend” the globe-trotting travelogue “Bad Journey” and the devastating “So Sincere” (“Didn’t you like my love song darling? I was so sincere”). “It’s a great little record.” she says. “My nephew happens to be pretty handy with ProTools, and he plays a pretty good guitar. He did quite a bit of writing on it as well. He and I get on really well, I think because we share the same self-deprecating humour. It was a successful project inasmuch as it brought us closer together.

It was not a particular successful however, in other regards, and McVie blames herself and her fear of flying for the record’s failure to fine an audience. “I couldn’t even contemplate going on the road with it. I did fly to New York once, bit I had to get drunk to do it. So then album died a graceful death.

In retrospect, In The Meantime holds up surprisingly well, especially when compared to Fleetwood Mac’s more bombastic Say You Will, released the year before. It was the band’s first record in 36 years without McVie, and her love songs are greatly missed. “Even with John and Mick playing, it was a glorified Buckingham-Nicls album,” she says, referring to the duo’s pre-Mac release. “I think that element of me might have been missing, those love songs that are both intimate and commercial. So to be back in the band again is just magical.

Fleetwood Mac: Tango In The Night Deluxe Edition Review | Classic Rock Magazine

The soundtrack to the Yuppie era in all its designer-suited finery.

There’s a reason that 1980s nostalgia has never really taken hold, and that’s because the 1980s generally sucked. Sure, interesting things were happening on the fringes, but mainstream culture was taking the express elevator all the way down to Yuppie Hell. And playing through the speakers in that elevator was Tango In The Night.

With 1977’s Rumours, Fleetwood Mac had accidentally invented the 80s in all its self-absorbed cocaine glory three years early. A decade on, the pharmaceutical vitality which gave that album its spirit had given way to the hollow-souled, million-dollar chintz of Tango In The Night. That it sold by the truckload tells you all you need to know about 1987.

This 30th-anniversary ‘deluxe’ edition is the musical equivalent of digging up a Blue Peter time capsule and finding the films of Sylvester Stallone on VHS. In both cases, you can’t help thinking: “Did people really like that shit?” As with Rocky IV and Rambo, Fleetwood Mac’s 14th album has not aged well. The twinkling keyboards and electronic drums that cling to Everywhere and Little Lies like an Exxon Valdez oil slick may have been state of the art in 1987, but then so was the Sinclair C5.

But the production isn’t the biggest problem here — the songs are. Whatever magic Mac once possessed had long since been dispelled by time and internal psychodramas. Lindsey Buckingham would once have dismissed Family Man and You And I, Part II for being too trite, Christine McVie’s Mystified is barely a breath away from lift music, while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose. Continue reading

Fleetwood Mac’s Lindsey Buckingham And Christine McVie Reunite For ‘In My World’

Lindsey Buckingham and Christine McVie’s new album, Lindsey Buckingham/Christine McVie, comes out June 9.
COURTESY OF THE ARTIST

Tell me if you’ve heard this one before: Lindsey Buckingham, Christine McVie, Mick Fleetwood and John McVie walk into a studio… and actually make a record together. Fleetwood Mac’s drama-filled history is the stuff of a “great play,” to say the least.

McVie returned to the band after 15 years during its 2014 tour, which sparked the forthcoming duets record, Lindsey Buckingham/Christine McVie. It’s the first time the two have worked together since Fleetwood Mac’s 1987 album Tango In The Night.

“We were exploring a creative process, and the identity of the project took on a life organically,” Buckingham says in a press release. “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?!'”

With so many years since her time with these musicians and over a decade since her last solo album, In The Meantime, it’s a treat in itself just to hear Christine McVie sing again. The Buckingam-penned “In My World” is immediately familiar to anyone who’s spent many nights pouring over the swift guitar work and swaying grooves of Rumours or Tusk, striking a delicate balance between whimsy and wistful.

Lindsey Buckingham/Christine McVie comes out June 9 on Atlantic. The pair go on tour this summer.

Posted: At Radio WPSC
By: Lars Gotrich

 

Fleetwood Mac members announce new album – without Stevie Nicks | Sky News

Entitled simply Lindsey Buckingham/Christine McVie, the 10-track album will come out on 9 June and will be followed by a US tour.

Members of the rock band Fleetwood Mac stand together on stage after performing a concert on NBC’s ‘Today’ show in New York City, October 9, 2014. REUTERS/Mike Segar

Members of rock group Fleetwood Mac have announced a new album that will bring together all of the classic lineup – minus Stevie Nicks.

Entitled simply Lindsey Buckingham/Christine McVie, the 10-track album will be the first for the band’s guitarist and keyboardist as a duo.

Christine McVie, who stayed out of the spotlight for years, rejoined Fleetwood Mac for a 2014-15 global tour alongside Buckingham.

The pair said in a statement that the two started working on new material when McVie joined rehearsals for the tour and “their natural creative chemistry was reignited”.

Drummer Mick Fleetwood and bassist John McVie, two of the founding members of the group, joined their bandmates in the studio in Los Angeles – but not Nicks. Continue reading

Album Review: Fleetwood Mac: Tango In The Night Deluxe | The Times

Will Hodgkinson
March 31 2017, 12:01am,
The Times

★★★★☆

Fleetwood Mac’s 1977 masterpiece, Rumours, is remembered as the ultimate cocaine album, but the warring superstar rockers saved the real excesses for ten years later. Tango in the Night is the last word in sophisticated, expensively produced soft rock, with such FM radio classics as Christine McVie’s Everywhere and Lindsey Buckingham’s Big Love sounding as if they were made for driving your Ferrari down Sunset Strip to.

The songs were, however, born of total chaos. The bassist John McVie was drinking himself into a stupor; Stevie Nicks, busy swapping cocaine for the damaging tranquilliser Klonopin, while also building up her now successful solo career, rarely turned up at the studio. The whole thing came to an end when guitarist Buckingham announced he was leaving the band, reportedly leading to an ugly physical confrontation between him and his former girlfriend Nicks.

All these years later the album seems less like a soundtrack to a designer lifestyle and more a portrait of collapse. Nicks’s little-girl-gone-to-seed croak on the ballad When I See You Again is heartbreaking, and the evergreen synthesizer pop of McVie’s Little Lies smoothes over words about refusing to face up to reality, something the band members appear to have been quite good at.

On this three-disc set not all of the alternative versions are strictly necessary, and Buckingham’s comedy voices on Family Man are as dated as a piano necktie, but for the most part the quintessential Eighties album has ended up being far more profound and enduring than anyone could have predicted. (Warner Bros)

Fleetwood Mac: Tango in the Night review – timely reissue coasts from gloss to gloom | The Guardian

Alexis Petridis’s album of the week
The Guardian
March 23rd, 2017

This 1987 classic is a blend of solid-gold pop and super-slick production, interwoven with the sound of a band sliding into chaos

Fleetwood Mac … ‘No gloss can hide the turmoil’ Photograph: Alamy Stock Photo

The mid-80s were not the kindest time for 60s and 70s rock legends. For every gimlet-eyed operator who successfully navigated an alien and unforgiving landscape of power ballads, crashing snare drums, Fairlight synthesisers and MTV moonmen – the Eagles’ Don Henley and Glenn Frey; Tina Turner – there were scores who seemed utterly lost. It was a world in which the natural order of things had been turned on its head to such a degree that the drummer from Genesis was now one of the biggest stars on the planet. David Bowie, Bob Dylan, Neil Young, Joni Mitchell, Lou Reed … at best, they ended up making albums that diehard fans pick over for tiny morsels that suggest they’re not as bad as the reputations preceding them; at worst they made stuff they’d spend subsequent years loudly disowning, involving terrible clothes, inappropriate producers, awful cover versions and – in extreme cases – attempts to rap. Continue reading

Listening Guide – Fleetwood Mac | Q Magazine

Q Magazine, Review, Reissues
May 2017

Fleetwood Mac have been through many different incarnations over the course of their five-decade existence. There has been the psychedelic blues period in the late ’60s, the freaky jazz-rock of the early ’70s, and then the mega-selling West Coast pop years, including the bit where they loved each other, and then the bit where they hated each other. MARK BLAKE joins he dots of their definitive work.

Last of the Guitar Heroes
THEN PLAY ON (Reprise 1969)
By Fleetwood Mac’s third album, their co-founder, guitarist Peter Green was frazzled by LSD, convinced he’d found God and demanding he and his bandmates giveaway all their money. He wasn’t alone Fellow guitarist Jeremy Spencer had become disillusioned, barely
played on the LP and would join a religious commune soon after. Fleetwood Mac might have been in psychic disarray, but Then Play On is both a sterling swan song for Green and a showcase for thee newly recruited 19-year-old guitar prodigy Danny Kirwan. Sturdy blues songs such as Rattlesnake Shake share space with trippy psych-rock (Coming Your Way) and Oh Well, a single whose double A-side mashup of hard riffs and spaghetti western melodrama was so good it was included in the LP’s second pressing.
Listen To: Oh Well

Lost in Space
FUTURE GAMES (Reprise 1971)
After Peter Green’s departure, Fleetwood Mac made four largely forgotten albums with American guitarist/frontman Bob Welch. Future Games is the first from the Mac’s lost-era
with their earlier blues shapes replaced by jazz-rock, stoner lyrics and harmony vocals. Welch joined his new bandmates and their extended family of roadies in a communal house in Hampshire. The group’s fascination with hallucinogenics and all things mystic permeate the fees of Woman Of A 1000 Years and Sands Of Times tellingly, Welch once convinced himself a flying saucer driven by a Navajo shaman had landed on the house’s tennis court. Future Games reflects this space cadet environment, and while its excellent title track isn’t quite the burnished West Coast pop of Rumours, it’s heading that way.
Listen To: Future Games

Sex, Drugs and Rock n’ Roll
RUMOURS (Reprise 1977
When Fleetwood Mac invited Lindsey Buckingham to replace Bob Welch in 1975, he
insisted his girlfriend, singer Stevie Nicks join too. The Buckingham-Nicks duo regenerated the band, encouraged keyboard player Christine McVie’s nascent’ songwriting, and helped turn that year’s self-titled LP into a US Number 1 hit. But it was the next one, Rumours, which transformed Fleetwood Mac’s lives. Dreams, Don’t Stop, The Chain and Go Your Own Way became huge hits,while detailing Buckingham /Nicks and Christine McVie and her bass playing husband John’s disintegrating relationships; the marital disharmony compounded by the group’s Herculean drug intake The 40 million-plus selling  Rumours’ sumptuous harmonies and easy grooves are a smokescreen. Inside its as hard as nails.
Liston To: The Chain

That Way Lies Madness
TUSK (Reprise 1979)

In 1979, Tusk was deemed a failure, after shifting four million copies in the same time
it took Rumours to sell 10 million. Perhaps the public were put off by Tusk sounding like two albums jammed together. Since making Rumours, Lindsey  Buckingham had become obsessed with punk and, apparently, chopped off his flowing locks in solidarity with The Clash. Buckingham’s disarmingly raw songs (The Ledge, Not That Funny, the fabulously odd title track) seemed to fight a rear-guard action against Stevie Nicks and Christine McVie’s gentler compositions. Furthermore, those infra band low affairs had descended into bitter resentment and the drugs had taken over. The result an uneasy but brilliant listening experience and arguably the strangest greatest Fleetwood Mac album yet.
Listen To: Tusk

Welcome To The Machine
TANGO IN THE NIGHT (Warner Bros. 1987)
In the eght years between Tusk and Tango In The Night, Fleetwood Mac managed one studio album, the unremarkable Mirage; Stevie Nicks became a solo star and her ex-partner Lindsey Buckingham didn’t. Buckingham was persuaded to turn his next solo venture into a band LP. He agreed on the condition he ran the whole show. Everything on Tango… is an homageto the studio technology of the time: Big Love, Family Man and Little Lies are machine-polished, radio-friendly pop songs, with thee composers’ voices sometimes the only discernibly human element in the mix. While those programmed drums and bleating synthesisers might be a tad rich for the modem palate, some of the songs are as good as anything on Rumours.
Listen To: Big Love

The Compilation
25 YEARS: THE CHAIN (Warner Bros. 1992)
While there has been several Fleetwood Mac compilations over the years (reaching back to 1969’s US collection, English Rose), only 1992’s four-disc 25 Tears: The Chain box set collates material from all areas of the band to date. The means the evergreen Dreams, Rhiannon and Don’t Stop coexist side by side with such Peter Green staples as Albatross and The Green Manalishi (With The Two-Pronged Crown), and even a few items from the overlooked “Bob Welch Years” (see the spooked-sounding Bermuda ‘Mangle). For those put off by the price, there’s a two-disc version, which pays lip service to pretty much every Fleetwood Mac incarnation, and includes the lesser-heard Silver Springs, one of Rumours’ great lost songs.
Listen To: Albatross

Christine McVie: “Fleetwood Mac’s 2018 tour is supposed to be a farewell tour” | Uncut Magazine

Tom Pinnock
March 16, 2017

McVie and Lindsey Buckingham reveal all about their collaboration in our exclusive interview

The pair’s debut as Buckingham McVie – also featuring Mick Fleetwood and John McVie – is set for release this summer.

“I’ve grown up a lot since the last time I really worked with [Christine],” explains Buckingham. “I realised: ‘Oh, here I am, a completely different person. I’m a father of three children. I’ve been married almost 20 years. I’ve had my journey, and Christine has had her own journey.’”

However, the singer, keyboardist and songwriter also reveals that the future of Fleetwood Mac is far from certain.

“The 2018 tour is supposed to be a farewell tour,” says McVie. “But you take farewell tours one at a time. Somehow we always come together, this unit. We can feel it ourselves.”

Buckingham and McVie are on the cover of the new Uncut, dated May 2017 and on sale March 16.

Click here to buy the issue digitally

Stevie Nicks: Recording ‘Tango’ in my ex-boyfriend’s bedroom was ‘extremely strange | Miami Herald

BY HOWARD COHEN
hcohen@miamiherald.com

On Friday, March 10 (re-scheduled till March 31), Fleetwood Mac releases a 30th anniversary expanded edition of one of its most popular and influential albums, “Tango in the Night.” The lavishly packaged reissue offers a remastered version of the original album, a disc of B-sides and outtakes, plus another disc of 12-inch dance mixes of its hit singles like “Big Love” and “Little Lies” and a vinyl LP.

The 30th anniversary edition of Fleetwood Mac’s 1987 album, “Tango in the Night,” hits retail on March 10. The album includes four Top 40 singles, “Big Love,” “Seven Wonders,” “Little Lies” and “Everywhere” and remains the last studio album to feature the original “Rumours” lineup. Warner Bros./Rhino

For Stevie Nicks, the group’s star attraction, recording her parts for the 1987 album proved difficult. After the completion of a ragged tour for her third solo album, 1985’s “Rock a Little,” she went into rehab at the Betty Ford Center for a cocaine addiction. After her release, she was misguidedly placed on a Klonopin regimen. Few in her inner circle thought rehab would stick unless she was dosed on anxiety medication. They were wrong.

Her first test: joining her Fleetwood Mac band mates for the 1986 tracking sessions for “Tango in the Night.” The band hadn’t recorded since the release of “Mirage” in 1982.

Nicks’ ex-boyfriend Lindsey Buckingham, the group’s guitarist, was co-producing the band’s efforts, again, but this time the tension was poisonous, even by Fleetwood Mac’s standards.

“When I started recording for ‘Tango,’ they were recording at Lindsey’s house up on Mulholland somewhere. He lived there with his girlfriend Cheri and this record was being recorded at his house and I didn’t find that to be a great situation for me. Especially coming out of rehab,” Nicks said in an interview last year. “And then I was on Klonopin and not quite understanding why I was feeling so weird and this doctor kept saying, ‘This is what you need.’ It’s the typical scenario of a groupie doctor. Discuss rock and roll with you, so in order to do that he would keep upping your dose so you’d come in once a week.”

John McVie (seated), Mick Fleetwood (standing), Christine McVie (on floor), Lindsey Buckingham and Stevie Nicks (on seat) in a photo shoot from the “Tango in the Night” sessions. The original album was released in April 1987 and was a worldwide hit, especially in England where it hit No. 1. In the United States the album spent 44 weeks in the Top 40. Warners Bros./Rhino

Nicks sets the scenario: “I can remember going up there and not being happy to even be there and we were doing vocals in their master bedroom and that was extremely strange. In all fairness, it was like the only empty room and they had a beautiful master bedroom all set up like a vocal booth but I found it very uncomfortable, personally. I guess I didn’t go very often and when I did go I would get like, ‘Give me a shot of brandy and let me sing on four or five songs off the top of my head.’” Continue reading