Category Archives: Release Info

Rumours Tribute and Stevie Nicks box fans Fleetwood Mac Flames | ICE Magazine

ICE Magazine
February 1998

In 1997, the RUMOURS-era lineup of Fleetwood Mac returned to the spotlight with a highly publicized live album (The Dance), an MTV special of the same name and a mega-successful reunion tour. Two new projects are likely to keep the Mac’s profile high through the first quarter of 1998: RUMOURS REVISITED, a various-artists salute to the band’s 1997 magnum opus, and ENCHANTED, a three-CD Stevie Nicks box set featuring two best-of discs and one CD filled with soundtrack songs, unheard outtakes, home demos and the like. The tribute album is due March 17 from Lava/Atlantic, while the Nicks box arrives a week later, on March 24, from Modern/Atlantic.

Modern/Atlantic has March 24 slated for ENCHANTED, the new three-CD box set covering Stevie Nicks’ career (apart from Fleetwood Mac). The first two CDs present the best tracks from Nicks’ five solo albums: BELLA DONNA, THE WILD HEART, ROCK A LITTLE, THE OTHER SIDE OF THE MIRROR and STREET ANGEL. Also included are four non-album B-sides mixed in with the album tracks: “Edge of Seventeen” (the unedited eight-minute live version, only released promotionally), “Garbo”, “One More Big Time Rock and Roll Star” and “Real Tears”.

All tracks on the first two discs are being presented in their original mixes. At the beginning of the decade, Nicks remixed much of her best material for a greatest-hits disc called TIMESPACE. So the thinking was, ENCHANTED would be a good forum to re-present the original mixes.

The third disc of ENCHANTED contains all of the collector’s items, and its contents were still being finalized at press time. Tentative plans called for the following 15 tracks to be included:

“Crying in the Night” ~ from the coveted BUCKINGHAM NICKS album that Nicks recorded with lifelong collaborator Lindsey Buckingham back in the early ’70s. The marks the first official CD release of any track from that album, generally considered to be “America’s most wanted” missing CD. We asked a source closely involved with the project how this particular track was chosen. “We sat down with the tracks that had the bulk of her lead vocals on them,” our source says, “and we all agreed that this was the catchiest track, and the one that people would probably enjoy the most. It was also the first single from BUCKINGHAM NICKS back then.”

“Whenever I Call You Friend” ~ sung with Kenny Loggins, from the latter’s 1978 album NIGHTWATCH.

“Gold” ~ done with John Stewart, from Stewart’s 1979 album BOMBS AWAY DREAM BABIES.

“Blue Lamp” ~ from the HEAVY METAL soundtrack, a cult item itself which was unavailable on CD for years. A track from the BELLA DONNA era.

“Sleeping Angel” ~ from the 1982 soundtrack for FAST TIMES AT RIDGEMONT HIGH.

“Golden Braid” ~ unreleased outtake from THE WILD HEART. Fans may be familiar with it from Nicks’ concerts, but this is the unreleased studio version. Both “Sleeping Angel” and “Golden Braid” are outtakes from THE WILD HEART.

“Violet and Blue” ~ from the 1984 soundtrack to AGAINST ALL ODDS.

“I Pretend” ~ performed with singer-songwriter Sandy Stewart, from the latter’s 1984 album CAT DANCERS. “Sandy wrote and performed with Stevie during THE WILD HEART/ROCK A LITTLE era,” says our source. “She co-wrote, and performs on, ‘Nightbird.’ So this duet, from Sandy’s album which is out of print, is kind of a payback.”

“Battle of The Dragons” ~ from the 1986 soundtrack to AMERICAN ANTHEM.

“Thousand Days” ~ an unreleased performance.

“Somebody Stand By Me” ~ from the 1995 BOYS ON THE SIDE soundtrack.

“Free Fallin'” ~ from the 1996 PARTY OF FIVE album.

“Twisted” ~ Nicks’ songwriting demo of the song that wound up on the 1996 TWISTER motion picture soundtrack. “It’s her playing guitar, with something like a percussion loop, and Jesse Valenzuela of Gin Blossoms adding a little mandolin part,” says our source. “It’s structurally different from the version that ended up on TWISTER. It’s really nice, kind of pure and sweet. Recorded in her living room, by her, on 4-track.”

“It’s Late” ~ a cover of Ricky Nelson’s 1959 hit, also with Valenzuela on guitar. “It’s an unusual side of her,” says our source. “It has kind of a rockabilly feel.”

“Reconsider Me” ~ an unreleased outtake from ROCK A LITTLE, written by Warren Zevon, with vocal parts added by Don Henley.

The new box set will be housed in a 6×10-inch package with digitrays, much like the box sets by Abba, The Police and Bob Marley. Tentative plans call for a 64-page booklet with lyrics to all the songs, musician credits, liner notes by Larry Flick of BILLBOARD, an introductory essay by Nicks, and lots of unreleased photos, including some taken by the artist herself. Superimposed over some of the photos will be handwritten extracts from Nicks’ diaries, revealing personal reflections on particular moments in her career. Her brother, Christopher, served as art director for the project, and our source says that Nicks “has been extremely involved in every aspect of the box set.” Published reports also indicate that Nicks will tour this spring in support of the project.

Lindsey Buckingham: Out Of The Cradle Review | People Weekly

People Weekly, July 6, 1992
Out of the Cradle. (sound recording reviews)
By Craig Tomashoff.

OUT OF THE CRADLE by Lindsey Buckingham

Out Of The Cradle

You could drive a convertible down a bucolic country road on a sparkling summer day. You could take a stroll along an unspoiled tropical beach on a starry night. Or you could settle into your favorite chair and listen to this third solo outing from Lindsey Buckingham, former guitarist of the late unlamented supergroup Fleetwood Mac. Whichever you choose, you’ll soon be feeling that, despite its bad publicity, earth isn’t such a bad place after all.

Nobody in pop music these days creates better feel-good melodies than Buckingham (who wrote or cowrote 11 of the 13 songs here, including six with partner Richard Dashut). The only bad thing you can say about the project is that it took too long to arrive: It’s been eight years since Buckingham released his last solo record (Go Insane), five since he left Fleetwood Mac. If Out of the Cradle has had an unusually long gestation, it’s a very healthy baby.

The record is enhanced by quirky guitar intros and songs brimming with the sort of aural oddities that mark Buckingham’s style. Familiar and fetching hooks are turned into something new, thanks to the thick layer of guitar effects that replicate everything from harp to mandolin to power drill. Whether the song skips along like the sweet-natured, Top 40-friendly “Don’t Look Down” and “Countdown” or crawls like the quiet and contemplative “All My Sorrows” and “Streets of Dreams,” the melodies nuzzle up irresistibly against your brain. Buckingham titled Out of the Cradle well. Not only is his career reborn, the music has all the innocence, charm and energy of a toddler. (Reprise)

CRAIG TOMASHOFF
Review Grade: B

‘Boy wonder’ puts out a new album | The Canberra Times

By Greg Kot
Sat 27 Jun 1992
The Canberra Times

Lindsey Buckingham, late of Fleetwood Mac, is back on top, as Greg Kot reports.

IN 1987, when the musical world last heard from Lindsey Buckingham, he was telling Fleetwood Mac he wanted out — and his bandmates were not taking the news well.

The break-up, on the eve of a world tour, was recounted in bloody detail by Mick Fleetwood in a recent autobiography, but the drummer says that, in retrospect, everyone saw it coming.

Buckingham had been the creative hub of the band for 12 years, as songwriter, singer, guitarist, producer and arranger, the “boy wonder” — as Fleetwood described him — who could take one of Stevie Nicks’s raw, rambling stories and sculpt it into a pop song such as Sara or Gypsy.

But he found himself no longer being challenged. “I had not been very happy in that situation for a while,” Buckingham says. His first new music in five years, Out of the Cradle (Warner Bros), is a fresh start for the 42-year-old singer.

Continue reading ‘Boy wonder’ puts out a new album | The Canberra Times

Fleetwood Mac: Behind The Mask Review | People Weekly

People Weekly, May 14, 1990
Behind the Mask. (sound recording reviews)
by Ralph Novak

BEHIND THE MASK by Fleetwood Mac

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The addition of singers-guitarists-composers Billy Burnette and Rick Vito has livened up the at-times institutional-sounding tendencies of Fleetwood Mac. This time around, things rock a bit harder, throb a bit deeper. The changes are not revolutionary, though; it’s as if General Motors or Ford had hired a couple of new designers who came up with a different bumper here, a sexier headlight there. The basic product stays the same: in this case, a stately sort of pop rock that ranges from ponderous to movingly effective.

Burnette and Vito joined the band for its 1987 tour when Lindsey Buckingham struck off on his own. (Buckingham appears on one track on this album, in a slight but appealing concession to loyalty.) That’s a two-guitars-for-one trade, thus the splashier, harder sound on such tracks as “When the Sun Goes Down,” which the newcomers co-wrote. The best Mac songs, though, still belong to Stevie Nicks. “Love Is Dangerous,” which she wrote with Vito, has a dirge-like, ’60s tone. But “Freedom” (written with Mike Campbell) and “Affairs of the Heart” both generate that disquieting sense of frustrated romantic impulses that Nicks conveys so well.

Christine McVie partisans will also enjoy the sweet lilt of “Do You Know,” composed with Burnette. Still moving to the beat of the same drummer — Mick Fleetwood himself — Mac has been nothing if not consistent over its 20-year, 19-album history, and there’s satisfaction, as well as entertainment, in that. “Predictable” is not always an insult. (Warner Bros.)

Ralph Novak
Review Grade: B

In The Nicks of Time | Record Mirror

Record Mirror
May 20, 1989

Stevie Nicks is one of pop’s most enduring personalities. As she releases her first solo album since 1986, Robin Smith meets the Joan Collins of rock and discovers a born survivor who’s just a romantic at heart


Stevie Nicks’ hotel suite is so large you could land a jumbo jet on the carpet or convert the place into an indoor golf course. But somehow, a smaller room just wouldn’t suit her. After all, Ms Nicks’ vocals have powered Fleetwood Mac to becoming one of the best seling groups of all time and she’s also pursued a very lucrative solo career. Her new single, ‘Rooms On Fire’, is nestling as comfortably in the charts as Stevie reclining on a plush sofa.

Stevie Nicks is the Joan Collins of pop. The struggling musician who scraped together a living as a waitress before she was whisked away to a limousine lifestyle. En route she’s suffered several broken love affairs, extreme loneliness and a drugs problem.

“Sometimes I think that not even the bubbliest, wildest soap opera could compare with being in Fleetwood Mac,” chuckles Stevie. “We’ve done a lot of laughing and a lot of bleeding in the band and I don’t think there are another group of people I could work with. There’s such a chemistry and a feeling of love and respect between us.” Continue reading In The Nicks of Time | Record Mirror

Stevie Nicks Live at Red Rocks. (video recording reviews) | People Weekly

STEVIE NICKS LIVE AT RED ROCKS

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People Weekly, Feb 15, 1988
Ralph Novak

One reason this is such a splendid concert tape is that director Marty Callner, who has worked with Hall and Oates, Heart and Whitesnake, doesn’t seem compelled to show off his technique. He has a gorgeous setting, the outdoor Red Rocks Amphitheatre near Denver. And he has one of pop music’s most physically attractive, musically interesting performers in Nicks. Callner’s cameras record the event faithfully, without distorting it. The second reason the tape is so enjoyable is that Nicks herself, about 10 minutes into what begins as a listless performance (taped in summer 1986), literally puts her foot down. In the middle of Talk to Me, she stomps three or four times, as if to pump herself up, and the effect is galvanizing. Impassivity is part of Nicks’s style, but from that moment her singing seems to take on an undervoiced passion. Her backup musicians also seem to take themselves up another notch, particularly drummer Rick Marotta, guitarist Waddy Wachtel and Robert Martin, who plays saxophone for Talk to Me. The appearances by ”special guests” are overbilled. Anyone who turns away to eat a potato chip could miss the contributions of Peter Frampton and Nicks’s Fleetwood Mac colleague Mick Fleetwood. And Callner lapses during Dreams, patching in a phony sky full of lightning. There’s nearly an hour of solid music, though, with such Nicks hits as Stand Back and an extended Edge of Seventeen, complete with a real dove in honor of the song’s refrain (”Just like the white winged dove sings a song/ Sounds like she’s singing it to you”). When Nicks is shown under the closing credits walking out to the edge of the audience (where she is loaded down with stuffed toys and flowers), the crowd’s affection seems well earned.

Sony, $19.95 — Ralph Novak

Review Grade: A
Mag.Coll.: 44D0668

Fleetwood Mac Return Without Leaving | CREEM Magazine

Creem Magazine
September 1987
by J. Fordosh

Up in the hills of Bel Air is Lindsey Buckingham’s house, Lindsey Buckingham’s croquet-perfect lawn, Lindsey Buckingham’s pool, Lindsey Buckingham’s radio-controlled toy submarine that’s busted, but could be fun in the pool, Lindsey Buckingham’s home studio, The Slope-where the final work on Fleetwood Mac’s Tango In The Night was done-and, indeed, Lindsey Buckingham himself.

Lindsey, like everyone in Fleetwood Mac, will tell us something of this latest record-and something of this immensely popular band. Their times and their troubles, stuff like that.

Fleetwood Mac’s saga has been a strange one: since Lindsey and Stevie Nicks joined up in 1975, the band’s made five studio albums, including Tango. The first four have sold something like 33 million copies-about 20 million of those courtesy of 1977’s monstrous Rumours.

You can perceive that, despite their relatively sluggish output, this band has a lot of fans. As I write this, Tango is safely ensconced in the Top 10, where it may well remain for eternity or the next Fleetwood Mac album, whichever comes first. But, coming almost five years after Mirage, we can correctly assume that there’s a story behind the story, so let’s start here . . .

Continue reading Fleetwood Mac Return Without Leaving | CREEM Magazine

Lindsey Buckingham: Go Insane Review | People Weekly

People Weekly, Oct 1, 1984
Go insane. (sound recording reviews)

GO INSANE by Lindsey Buckingham

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Buckingham–along with his former girlfriend, Stevie Nicks, and Christine McVie–provided the composing talent that boosted Fleetwood Mac to such overwhelming success in the ’70s.

Go Insane, Lindsey’s second solo album, is a manifesto of his intent to remain a rock ‘n’ roll force, even while the group itself seems to be a tabled proposition. The record is studded with power pop gems such as the title cut and I Want You, as well as Slow Dancing and Loving Cup. All of these continue in the tradition of songs that sold 35 million Fleetwood Mac albums after Buckingham joined the group in 1974. (Kind of makes you wonder why Mick Fleetwood has filed for bankruptcy.)

Lindsey flies off the handle of mainstream appeal with D.W. Suite, a seven-minute eulogy of Dennis Wilson that mixes Beach Boys-influenced harmonies with elements of prayer and traditional Irish music. There is also Play in the Rain, which closes out one side and continues as the opening cut on the other. An off-the-wall composition, it begins with high-tech surrealism before hitting a funk groove tinged with Indian sitar sounds. Those are, however, the only indications that Buckingham is indeed going off his commercial rocker.

Review Grade: A-

Lindsey Buckingham – Reels Himself In!

1984 Article on the recording of Go Insane

Lindsey Buckingham has never exactly set out to make a solo album. A confirmed studio addict, he methodically experiments with sounds and structures until enough of the pieces form the basis for songs that then cry out to be completed and recorded. On his second Elektra album, Go Insane, lyric ideas inspired some of the experiments, and the songs are tied together by a common thread.

*It’s really about going insane in the mildest possible sense, he explains. “It’s about having your sense of reality tested through various circumstances until you’re not really sure where reality lies and you have a choice of letting yourself continue to be insane on some level or of reeling yourself back in.”

Buckingham admits that he particularly “reels himself in on” Side One, which contains the hit single “Go Insane” followed by the tune “Slow Dancing.” “Both of those songs have certain esoteric aspects about them, he says, “although their form is not as challenging as some of the other things on the album. They draw you right in.”

The first side finishes with “Play in the Rain”, a song that continues onto Side Two. “We originally had the version that ends Side One” explains Lindsey, “but it seems like it would be very interesting to continue that particular thing which is probably the most experimental piece on the album.

“That, as the beginning of Side Two, and the next song on that side are rhythm pieces, Then it goes into ‘Bang the Drum’, for which we sent John, the second engineer, into a schoolyard to record kids playing. That song is certainly influenced by the Beach Boys use of vocals, and it is a prelude to ‘D.W. Suite’. It shifts from being non-melodic and purely rhythmic into harmonies in major keys. In fact, the whole second side is pretty much in that frame of mind, going from minor to major keys.

Continue reading Lindsey Buckingham – Reels Himself In!

Christine McVie Album Review | People Weekly

People Weekly, March 19, 1984
Christine McVie. (sound recording reviews)

CHRISTINE McVIE by Christine McVie
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There’s a loose, good-time feeling to this album. The tunes, most of them written by McVie and sometime Hall and Oates guitarist Todd Sharp, are snappy and full of rhythmic rock and roll hooks. The production by Russ Titelman is slick. For all that, there’s not much excitement in McVie’s first solo album since 1970 (shortly after she’d left the British group Chicken Shack to join then-husband John McVie in Fleetwood Mac). The subtle harmonic skills that make McVie a peerless ensemble singer and musician with Mac don’t necessarily translate into a solo act.

Her singing seems colorless at times and her keyboard work is overshadowed by her sidemen. Mac mates Lindsey Buckingham and Mick Fleetwood sat in, as did Eric Clapton, Elton John, drummer Ray Cooper and rock ‘veteran Steve Winwood. McVie, in fact, calls Winwood “my idol,” and their vocal duet on One in a Million is the LP’s most striking track, though the no-frills rock tune Got a Hold on Me has become its hit single.

Maybe McVie’s heart wasn’t totally in this project–“It had reached a point where this record was expected of me,” she has said–but if nothing else, she has it out of her system.

Review Grade: B