Fleetwood Mac by Mick Fleetwood with Stephen Davis

Rolling Stone
September 20, 1990

In an excerpt from his upcoming book, Mick Fleetwood tells how ‘Rumours’ got started.

IN 1969, the English blues band Fleetwood Mac was one of the top groups in the world, outselling the Beatles and the Rolling Stones in Europe. But within two years, guitarist and chief songwriter Peter Green would leave the band after an LSD-induced religious conversion; second guitarist Jeremy Spencer would disappear into a California hippie cult; and third guitarist Danny Kirwan would suffer a breakdown while the band was touring.

That left drummer Mick Fleetwood, bassist John McVie and singer-key-boardist Christine McVie to somehow carry on. In 1975, after relocating to Los Angeles, they hired a pair of starving American musicians, Stevie Nicks and Lindsey Buckingham.

Defying all expectations, the first album by the new lineup, Fleetwood Mac, became a huge hit, outselling all of the band’s previous albums. In this excerpt from Fleetwood: My Life and Adventures in Fleetwood Mac (which was written with Stephen Davis and will be published in October by William Morrow), Mick Fleetwood describes the volatile emotional climate that led to the artistic and commercial breakthrough of the follow-up album, Rumours.

AH, CRUEL FATE! Bitter destiny!

As Fleetwood Mac crawled and clawed our way back to the top, the gods were laughing at us and having sport. As Fleetwood Mac inched its way to the summit of the charts, our lives were snarled by disharmony and pain. In the year it took us to make our second album with the new lineup, the record that would change all our lives forever, we all got divorced.

Continue reading Fleetwood Mac by Mick Fleetwood with Stephen Davis

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

Lindsey Buckingham – Trouble Fanzine (issue two)

Scroll down to view scanned pages of the second and final issue of the Lindsey Buckingham ‘Trouble’ fanzine.

Created by Sue Cole in May 1990

Trouble_Fanzine_edition2

Lindsey Buckingham – Trouble Fanzine (issue one)

Scroll down to view scanned pages of the first issue of the Lindsey Buckingham ‘Trouble’ fanzine.

Created by Sue Cole in the early nineties

Trouble_Fanzine_edition1

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

Flashback 1989 – Fleetwood Mac’s leading ladies: Stevie Nicks & Christine McVie

Music Connection Vol. XIII, No. 1
Jan.9-Jan. 22, 1989

In 1975, when Fleetwood Mac entered the studio to begin recording a new studio album, no one could have predicted the massive success that this veteran English band would soon achieve. Following a ten-year, checkered history of changing personnel, which frequently left the band minus key members and a music direction, founding fathers Mick Fleetwood and John McVie recruited a little-known singer-songwriting duo, Lindsey Buckingham and Stevie Nicks. Nick’s bewitching musical persona and Buckingham’s guitar and arrangement talents, coupled with the earlier addition of Christine Perfect (later Mrs. McVie), gave this band all the chemistry and direction it needed. The resulting album, simply titled Fleetwood Mac, spawned the hit singles, “Rhiannon,” “Say You Love Me,” and “Over My Head,” and catapulted a band with a limited sales base into a multi-platinum hit machine.

In the years that followed, the band solidified its superstar status with 1977’s Rumours LP (an incredible twenty million copies sold worldwide); survived the traumatic breakup of two romances within the band – Stevie Nicks and Lindsey Buckingham, and John and Christie McVie; dabbled in experimentation with the ambitious, 1979 two-record set Tusk; and recorded the lackluster 1982 LP Mirage that had critics and fans wondering if the band had finally run out of creative steam.

But rumors of the band’s demise proved premature. In 1987, after a five-year layoff, Fleetwood Mac released the excellent Tango In The Night, an album that re-established the band both commercially and artistically. That was the good news. The bad news was Lindsey Buckingham, whose production and instrumental skills had so greatly contributed to their success, would be leaving the Mac fold. Undaunted, the band recruited two musicians, guitarist/vocalists Rick Vito and Billy Brunette, to fill the Buckingham void.

Now, with the release of their current greatest hits LP, Fleetwood Mac spears to be taking stock of its platinum past and looking forward to its future. The album is a reminder of past glories – “Rhiannon,” “Don’t Stop,” “Dreams,” and “Go Your Own Way” – and a harbinger of things to come, with two new tracks, “As Long As You Follow” (the album’s first single) and “No Questions Asked,” featuring the band’s new guitar lineup. We recently spoke to the two first ladies of Fleetwood Mac, Stevie Nicks and Christine McVie, about the band’s past, present and future.

MC: Tell me about the new Fleetwood Mac. What’s different and unique about Fleetwood Mac as we’re seeing you now?

Continue reading Flashback 1989 – Fleetwood Mac’s leading ladies: Stevie Nicks & Christine McVie

Big Mac – Fleetwood Mac talks to Record Mirror (Apr 1988)

Well, you can’t get much bigger than Fleetwood Mac, can you?
In the wake of Lindsey Buckingham’s much-publicised departure and their combined chart success.
Dave Zimmer talks to the band that just refuses to lay down and die….

Record Mirror (UK)
April 1988

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Somebody should write a soap opera based on Fleetwood Mac’s career. They’ve been plagued by jealousy, bankruptcy and alcoholism; and when guitarist Lindsey Buckingham left the band last year, it looked like the end of the road.

Buckingham had been with Fleet­wood Mac since 1975 when he and Stevie Nicks helped catapult the rather obscure ‘hippy’ band into the big time with the LP ‘Rumours’. To date, it’s sold over 30 million copies worldwide. But the relationship between Nicks and Buckingham soured, as Stevie explains.

“If Lindsey said the wall in the studio was grey, I’d be absolutely sure it was pink. In order to get one of my. songs on a record I’d have to say ‘Okay, the wall’s grey Lindsey’. Otherwise it was back on the bus.

Continue reading Big Mac – Fleetwood Mac talks to Record Mirror (Apr 1988)

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-