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Fleetwood Mac announce the first leg of 2013 reunion world tour

December 4, 2012 9:01
NME

Band confirm US dates – and say there’s European shows in the pipeline, too

Fleetwood Mac have announced the first leg of their planned 2013 reunion world tour.

The much-revered band have confirmed a large run of US shows to take place from April to June next year, and also told Rolling Stone that they plan on playing a spate of European festivals and shows too.

Speaking about the dates, singer Stevie Nicks said:

It’s the perfect time to go back out. 2013 is going to be the year of Fleetwood Mac.

John Mcvie and Stevie Nicks of Fleetwood Mac perform at Madison Square Garden, Thursday, March 19, 2009, in New York. (AP Photo/Charles Sykes)

Nicks also teased that fans would be treated to new songs at the shows, revealing: “We actually have two new Fleetwood Mac songs that I cut with Lindsey two weeks ago we might play. I had a really good time working with him for four days at his house. I got to hang out with his family and his kids, his grown up kids, and really connect with him again. We’re pretty proud of what we have done, and we’re looking at it through the eyes of wisdom now, instead of through the eyes of jealousy and resentment and anger.

Discussing the prospect of playing European shows, meanwhile, she said: “If everything goes will we’ll be in Europe doing festivals this summer. Then we’ll actually tour Europe, which is different than just doing festivals. Then we might do 15 or so shows in Australia.”

Her comments could spark renewed speculation that the band are set to headline Glastonbury when the festival returns in 2013. When previously asked about the rumours, festival boss Emily Eavis said: “I think Fleetwood Mac would be amazing to get, I’ll be totally honest we haven’t had any conversations with them yet but, you know, it is still early days. We’re just talking to some headliners now. For us it’s about getting the balance of heritage bands, legends and new bands – just keeping that balance.”

Guitarist Lindsey Buckingham also provided some insight as to what fans could expect from the gigs. “We always have to play ‘Dreams,’ ‘Rhiannon,’ ‘Don’t Stop,’ ‘Tusk,’ ‘Big Love,’ ‘Landslide’ and all our most famous songs,” he said. “When you’ve gone through all your must-do’s, that’s 75% of your potential setlist. I think with the other 25 per cent, there are areas of our catalog that are more under-explored. Maybe we’ll play more songs from ‘Tusk’. I’d also like to see an extended middle portion of the show that’s just me and Stevie. This is just me talking from the top of my head. For now, I have no particular vision of what this tour is going to be.” Continue reading Fleetwood Mac announce the first leg of 2013 reunion world tour

Lindsey Buckingham Talks ‘One Man Show’ « Guitar Aficionado

By Richard Bienstock | Photo by Jeremy Cowart

Earlier this month, Lindsey Buckingham released the live document One Man Show exclusively through iTunes. The album captures the legendary singer and guitarist onstage in Des Moines, Iowa, during a stop on his most recent tour — his first playing a full set of music in a solo acoustic configuration.

Buckingham recently sat down with Guitar Aficionado to discuss the impetus behind doing these shows, the process by which he adapts his music to an acoustic setting, and his feelings on returning to the “Big Machine” — his term for Fleetwood Mac — for a scheduled tour in 2013.

GUITAR AFICIONADO: What led you to embark on this solo acoustic tour?

My mentality for a while has been of this idea of ever moving toward the center, so to speak, in terms of presenting my songs with only guitar and vocal. So it was kind of an experiment. And I wasn’t sure how it would go. I knew in my head I could do all the stuff on my own, but figuring out how to plan the arc of an entire set was more difficult. But the main thing I had to get used to was the idea of standing up there all alone. Those first couple of shows I was looking around the stage going, “Where is everybody?” [laughs] Continue reading Lindsey Buckingham Talks ‘One Man Show’ « Guitar Aficionado

Lindsey Buckingham on Finding Happiness Balancing an Enormous Band and a Cozy Solo Project (Q&A)

11/20/2012 by Chris Parker
Hollywood Reporter

As a guitarist known for his rich, almost orchestral finger-picked playing style, solo acoustic might be the last thing you expect from Lindsey Buckingham. But the Fleetwood Mac veteran isn’t limned in by expectations. (Something about co-penning a 40 million-selling album and being a member of the Rock and Roll Hall of Fame.) Last week he released Lindsey Buckingham: One Man Show, culled from his current solo American tour.

When commercial concerns became an issue in Fleetwood Mac, Buckingham’s experimental explorations manifested a solo career that has endured fits and starts. Of late he’s been quite prolific, releasing three discs in six years exploring the kind of intimate, keenly crafted and emotionally edgy songwriter pop favored by indie artists such as Sondre Lerche, Joe Pernice and Ron Sexsmith.

Following the raw, almost lo-fi intensity of 2011’s Seeds We Sow, on which he played every instrument, Buckingham took the next logical step embracing the austerity of the solo performer. He captured a Sept. 1 show in Des Moines, Iowa, and made it available online through the wonders of digital distribution.

Buckingham spoke with The Hollywood Reporter about the freedom of being onstage alone, defying the mediocrity of commercially successful career artists and Fleetwood Mac’s immediate plans — calling from a concert stop near Grand Rapids, Mich., where, liberated from a tour bus, Buckingham had wandered off the beaten path again. Continue reading Lindsey Buckingham on Finding Happiness Balancing an Enormous Band and a Cozy Solo Project (Q&A)

BRIT Awards 1998 – Outstanding Contribution to British Music

Fleetwood Mac

Over thirty years after they were formed and two decades since the release of their most famous and biggest selling album, Fleetwood Mac are being honoured with the BRIT Award for Outstanding Contribution to the British Music Industry.

The Anglo/American rock group emerged from Britain’s blues boom of the late 1960s, moved to America in the mid 70s, released the 20 million selling album “Rumours” in 1977 and re-appeared last year with their million selling comeback album ‘The Dance,” During that time Fleetwood Mac have featured a total of 16 musicians in more than a dozen different line-ups built around the one remaining original member, drummer Mick Fleetwood. But it is the five piece of Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks (the band that created the award-winning “Rumours” album and re-formed last year) which is acknowledged as the classic Fleetwood Man line-up and the group honoured at this year’s BRIT Awards ceremony. Continue reading BRIT Awards 1998 – Outstanding Contribution to British Music

Mick Fleetwood fought off insecurity | Classic Rock

Classic Rock Website
MARTIN KIELTY
July 30 2012

Mick Fleetwood admits it took him years to stop feeling insecure about his approach to playing music.

But now he’s learned to live with it, he believes his “back to front” attitude is the only way he could ever perform his percussion duties.

The Fleetwood Mac icon tells Music Radar: “I approach my own work in a very emotional, personal way, and so I have to rely on one thing – the essence of feel.

“I didn’t always understand what it was and I used to be insecure about that. But now I truly know that I feel most comfortable when I’m emotionally involved.

“I don’t think about what I’m going to play until I feel a personal and emotional dynamic.”

That attitude has led to a style of performance which has been called “back to front” by some. Fleetwood explains: “The fills are usually not in the obvious places – it’s because I don’t really know what I’m doing. I just do it spontaneously. Through the years I believe I’ve honed it down to an accidental skill. Continue reading Mick Fleetwood fought off insecurity | Classic Rock

Psychosis, sex cults, suicide and the curse of Fleetwood Mac guitarists | Daily Mail

Daily Mail
Monday June 11th 2012
by Tom Leonard

An autumn night in 1972, and minutes before Fleetwood Mac are due on stage for the latest gig of their U.S. tour, a drama is unfolding in their dressing room. Danny Kirwan, talented guitarist and the glamour boy of the band, is drunk. At just 22, he is an alcoholic who goes for days without food, existing only on beer. Increasingly mentally fragile, he suddenly loses his temper over the simple process of tuning a guitar. Banging the wall with his fists, he hurls his expensive Gibson Les Paul instrument at a mirror, showering broken glass over his bandmates. He then stomps off into the auditorium, pausing only to smash his head against a wall until blood pours from his face. Refusing to come on stage, he spends the show heckling the band from the audience as they struggle to play without him. Perhaps it’s not surprising to learn that after he was swiftly sacked, Kirwan developed mental health problems as the effect of drink and drug abuse caught up with him. He even ended up living homeless on the streets of London. But if Danny Kirwan’s story is a salutary warning of the excesses of rock and roll, he was certainly not the only member of Fleetwood Mac to suffer bizarre breakdowns or personal tragedy.

Now, yet another former guitarist with the group has succumbed to what many people regard as something of a hoodoo.
Last week, Bob Welch, 66, was found dead by his wife after writing a suicide note and shooting himself in the chest. Bob Weston, another former guitarist with the band, was found dead following a brain haemorrhage at his flat in North London in January. He was 64. According to one source, Welch — who lived in Nashville, Tennessee — had spinal surgery three months ago. Informed by his doctors that he would never recover the use of his legs, he told his wife Wendy he did not want her to have to care for an invalid. It was a heartbreaking end for the soft-spoken Californian who years ago fell out with his old bandmates after he sued them over the rights to royalties — and was then excluded from Fleetwood Mac’s induction into the Rock and Roll Hall Of Fame.

The band’s singer Stevie Nicks said his death was ‘devastating’, hailing ‘an amazing guitar player, he was funny, sweet and he was smart’. She was, she added: ‘So very sorry for his family and for the family of Fleetwood Mac — so, so sad.’
Sad for sure, but Welch’s tragic end could not be called entirely unexpected given that — even by the standards of rock bands — the Fleetwood Mac ‘family’ is as turbulent and dysfunctional as they come.

The long-lasting British-American group may be remembered for such hits as Don’t Stop, Little Lies and Go Your Own Way, but in terms of drug-bingeing, partner-swapping, back-stabbing drama, it made the Rolling Stones look like a village fete brass band. And perhaps no job in rock has proved so ill-starred as being a Fleetwood Mac guitarist. Welch was the second of them to die this year.

Bob Weston died in London in January from a haemorrhage aged just 64. He was found in bed with the TV on at his flat in Brent Cross, North London. Friends had called police after not being able to contact him for several days. What current frontman Lindsey Buckingham recently dubbed ‘The Curse of the Fleetwood Mac Guitarist’ started back in the late Sixties.

Guitar hero Peter Green founded Fleetwood Mac as a blues band in London in 1967. Colleagues noticed that by the time they released their fourth album in 1969, he was going off the rails mentally. After taking large amounts of the hallucinogenic drug LSD, he grew a beard, began to wear robes and a crucifix and told the band’s manager he was Jesus. He became obsessed by the supposed immorality of them becoming rich and wanted to give the band’s earnings away. The others could not believe he was serious. Touring Europe in March 1970, Green binged on dangerously impure LSD at a party thrown by a bunch of rich Communists in a Munich commune. Friends said he was never the same again, transforming from mildly eccentric to fully-fledged basket case. Green, who said he’d had a vision at the party in which he saw an angel holding a starving child, left the band two months later, complaining drummer Mick Fleetwood had refused his request that they donate all their royalties to charity.

He was later diagnosed with schizophrenia. Green spent time in various psychiatric hospitals in the 1970s undergoing electroconvulsive therapy, and his friends were shocked to find him in an almost continual trance.

The man who had been hailed as one of the finest blues guitarists of his generation fell into destitution, having to find work as a hospital porter and even a gravedigger. Much of his financial troubles were self-inflicted. In 1977, police surrounded his house and he was arrested for threatening the band’s accountant, David Simmons, with a shotgun. Bizarrely, Green said he was furious because Simmons was still sending him royalty cheques. Mick Fleetwood used to visit Green regularly, but eventually gave up. ‘I was just so sad I couldn’t wave a magic wand and have him be the person I wanted him to be . . . he was very sick,’ he said.

Green managed some sort of recovery after he moved in with his mother in Great Yarmouth and even managed to resurrect his musical career in 1995 with a band called The Splinter Group. But he will always be remembered as one of the great Sixties musical talents cut off in his prime by drugs.

Slide guitarist Jeremy Spencer, one of the Fleetwood Mac’s original members, was notoriously wild on stage, imitating Elvis Presley and Buddy Holly. Offstage, he couldn’t have been more different, a closet religious fanatic who sneaked away from the rest of the band on tour to read from one of the small Bibles he hid in the linings of his jackets.

Former band members say Spencer, too, had a bad trip — in his case on the mind-altering drug mescaline — during a 1971 tour of the U.S. After an earthquake hit Los Angeles, he had a premonition that something bad would happen there. It did — for Fleetwood Mac. Spencer told Mick Fleetwood he was popping out to Hollywood Boulevard to buy a magazine. He never came back. Days later, his frantic fellow band members discovered he had joined the Children of God, a sinister cult which used sex to ‘show God’s love’ and win converts. Spencer refused to rejoin the band.

He later explained he had been approached in the street by a Children of God member named Apollos, got chatting about religion and was invited to visit a nearby ‘church mission’. He still works for the organisation, now called The Family International, writing and illustrating stories.

Then there was Kirwan, a talented if humourless musician who was so emotional he would cry as he played. Landed with much of the songwriting duties after Spencer vanished, he was soon out of control, struggling to handle fame and gradually unravelling — as the story of the smashed guitar illustrates all too well.

And what of the tragic Bob Welch, who took his life last week? A young hippy whose father was a successful Hollywood producer, he joined the band after Jeremy Spencer joined the Children of God. Mick Fleetwood credited Welch with saving the group — a sane and good-humoured presence who kept spirits up in those dark years. Sadly for him, he left the band in 1974 just before Fleetwood Mac recruited Nicks and Buckingham, and made Rumours — which until Michael Jackson’s Thriller was the best-selling album of all time.

Before his departure, though, yet another guitarist sparked a drama that threatened to tear the band apart. Plymouth-born Bob Weston was revealed to be having an affair with Mick’s wife, Jenny Boyd — sister of Pattie Boyd, the former wife of both George Harrison and Eric Clapton. Devastated, Fleetwood sacked Weston and the band cancelled a planned tour of America. Determined to recoup some of his financial losses, manager Clifford Davis launched one of the most bizarre stunts in the history of rock. Without telling the band, he formed a ‘new’ Fleetwood Mac — none of whom had ever played in the group — and packed them off to play the U.S. dates. In the ensuing legal battle over ownership of the band’s name, neither the real nor the fake Fleetwood Mac were able to play. Bob Welch put up with the madness for another year before he left and launched a moderately successful solo career.

Today, after going through a staggering 15 different personnel line-ups, Fleetwood Mac still reunites for occasional project. As for the curse on their guitarists, Buckingham is still going strong, somehow avoiding ever becoming a deranged alcoholic, drug-addled schizophrenic or Bible-carrying cult member. In his last interview, Welch mused that he, at least, had found happiness in Fleetwood Mac. ‘I just wanted to play guitar in a good band,’ he said. For several of his old bandmates, it wasn’t quite such a great career move.

 

 

Bob Welch obituary | The Times

The Times

Guitarist with Fleetwood Mac during the band’s transition from hard-driving blues to mainstream rock

Elvin Bishop and Bob Welch, 1980
REX FEATURES

Bob Welch played a key role in the transition of Fleetwood Mac from gritty British blues band to multimillion-selling American soft-rock heroes. As a guitarist, singer and songwriter, he performed on five albums by the band in the early 1970s, including Heroes Are Hard to Find (1974), which gave Fleetwood Mac its first American Top 40 hit.

Welch was widely credited with keeping the group going through several difficult years. Under his influence Fleetwood Mac swapped its early hard-driving blues sound in favour of a more melodic and radio-friendly style, heard to fine effect on compositions such as Sentimental Lady and Hypnotise. The first American member of the British-based group, he was also instrumental in persuading Fleetwood Mac to relocate to his home town of Los Angeles, a move which was pivotal in their subsequent success.

He left the group in late 1974 and was replaced by Lindsey Buckingham and Stevie Nicks. The new line-up went on to record Rumours, one of the biggest-selling albums of all time and a record which, in many ways, was the logical outcome of the musical direction in which Welch had taken the band.

Initially there was no bitterness on his part at having missed out on the group’s greatest commercial success. He remained close friends with former bandmates Mick Fleetwood and Christine McVie, both of whom played on his 1977 million-selling album French Kiss, which also gave him three hit singles with the title track (which he had previously recorded with Fleetwood Mac), Ebony Eyes and Hot Love, Cold World.

But his solo career subsequently petered out, in part due to heroin addiction, and relations with his old bandmates also turned sour. He sued for underpayment of royalties. Although the case was settled in 1996, the resentment lingered. Two years later, when Fleetwood Mac was inducted into the Rock’n’Roll Hall of Fame, he was not among the former members invited to participate. “My era was the bridge era,” an angry Welch complained at the time. “It was a transition, but it was an important period in the history of the band. Mick Fleetwood credited me with ‘saving Fleetwood Mac’. Now they want to write me out of the history of the group. It hurts.” Continue reading Bob Welch obituary | The Times

New Press Kits Added

Press Kit for The Other Side of The Mirror uploaded – http://www.fleetwoodmac-uk.com/articles/presskits/pk_OSOTM.html

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Press Kit for TUSK uploaded – http://www.fleetwoodmac-uk.com/articles/presskits/pk_tusk.html

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Lindsey Buckingham: A Time To Every Purpose

Lindsey Buckingham’s new album is titled Seeds We Sow.

Jeremy Cowart

Lindsey Buckingham helped make Fleetwood Mac one of the biggest rock bands of all time. He works mostly solo today, and his sixth solo album, Seeds We Sow, just came out.

Buckingham takes the “solo” designation seriously: He wrote, produced and engineered the album himself, as well as playing most of the instruments. He tells Weekend Edition Saturday‘s Scott Simon that the effects of that approach come through in the music.

“You work in a band, and it tends to be more like moviemaking, I think. It tends to be more of a conscious, verbalized and, to some degree, political process,” he says. “I think when you work alone — the way I do it, anyway — you could sort of liken it to painting, where there’s sort of a one-on-one with the canvas. And you get different results.” Continue reading Lindsey Buckingham: A Time To Every Purpose

At Home with Lindsey Buckingham

At Home with Lindsey Buckingham

Spin Magazine

By Spin Staff on September 12, 2011 10:24 PM 

As part of Fleetwood Mac, Lindsey Buckingham wrote some of rock’n’roll’s most eternally beloved songs, and the bedroom in his Los Angeles home is packed with artifacts that have influenced his creative path over the years — which we discovered when we visited for our monthly “In My Room” feature. Watch video from Buckingham’s room below.

Among the treasures: a Martin D-18 acoustic guitar he bought at age 19 (“It’s gotten better and mellower with age…a bit like me”), a boogie board (“The sensibility of water is something I hope would enter my music”), and vinyl 45s by Elvis and Chuck Berry that sparked his interest in rock’n’roll.

Buckingham, 62, has traded in a tumultuous past for blissful domesticity (he’s married with three school-age children). But that doesn’t mean he’s taking it easy. His new solo effort, Seeds We Sow (Mind Kit), continues a rich tradition of adventurous songcraft driven by virtuosic guitar fingerpicking. The man also wrote, performed, produced, and released the album himself. “I’ll always have Fleetwood Mac,” he says, “but my solo work is where the growth and heart is. It’s where I live.”

Watch: In My Room with Lindsey Buckingham

INTERVIEW BY CHRIS MARTINS / VIDEO BY RHYS ERNST

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