Tag Archives: Fleetwood Mac

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

RecordMirror_Apr88_FrontCover_small

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)

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

Gypsies, Tramps or Thieves? The World According To Fleetwood Mac | CREEM Magazine

Creem Magazine
Feb 1983
by John Mendelssohn

One day soon, there will be no more stuffed animals in the world. No stuffed koalas or pandas or ocelots or giraffes will remain for parents to bring their brave little tykes in the pediatric wards of hospitals. Pubescent girls will have no more stuffed leopards or ponies or lynxes to snuggle while they jabber on the telephone. And no stuffed teddy bears will be found in the rooms of Elvis impersonators who are intent on recreating every phase of the King’s life.

One day soon, all the stuffed animals in the world will have been presented to Stevie Nicks while she is on stage with Fleetwood Mac.
Or on stage without Fleetwood Mac. Industry insiders assure us that it won’t be long before Stevie Nicks goes her own way, for she has her own manager, who won’t let her talk to Rolling Stone, and a hit solo album and tour to her credit. Likewise, Lindsey Buckingham, the other half of the duo whose recruitment in 1976 transformed Fleetwood Mac from the blues band that time forgot into mega-platinum ultra superstars, makes no secret of the fact that he much prefers working on own projects these days. And John McVie gives the very distinct impression of not being long for this world, let alone the group. Which means that the time to get to know these five nice people who make nice music for nice people is right now, before they scatter every which way.

An electrician who did some wiring in her home assured CREEM that keyboard- ist Christine McVie, in marked contrast to her boyfriend at the time, Dennis Wilson, is as unaffected and gracious person as one might yearn to do wiring for, her deportment on stage serves to affirm this impression. The only time she gets stuffed animals or bouquets is when somebody who’s about to be throttled by a security gorilla despairs of getting Stevie’s attention. But she neither glowers or sulks about this, nor makes a spectacle of herself in an attempt to pilfer some of Stevie’s thunder. In doing so, she represents the English temperament at its noblest.

Continue reading Gypsies, Tramps or Thieves? The World According To Fleetwood Mac | CREEM Magazine

Stevie Nicks Steals the Show – Atlanta Journal Review, 1980

Atlanta Journal
August 11, 1980
By Andrew Slater

Standing in a backstage room at the Omni, Stevie Nicks stared longingly at a bowl of Cheetos cheese balls. “I love these things,” she said as a small group of anxious post-concert party guests waited their turn to talk with Fleetwood Mac’s lead singer. “These are great to eat when you’re not on a diet.”

“However,” she added with a sardonic whine, “I am on one, so keep me away from them.”

That was not a difficult task for Ted Cohen, the Warner Bros. Press liaison who is travelling with the group and who acted as ringmaster for Fleetwood Mac’s Friday night gathering. At this reception, following the band’s first Atlanta performance in almost two years, Miss Nicks was the centre of attention, after strolling into the room fashionably later than the other band members.

Manager/drummer Mick Fleetwood, bassist John McVie, and vocalist/keyboardist Christine McVie had been milling about the room, talking with members of local radio stations and Atlanta representatives from Warner Bros. Records. The trio has served as the muscular rhythm section and spinal chord for three incarnations of Fleetwood Mac: the first during the late ’60s, when the group was a British blues band with guitarist Peter Green; the second as early ’70s melody makers with California guitarist Bob Welch; and now with their most successful aggregation, featuring third-generation Mac guitarist Lindsey Buckingham and Miss Nicks.

Continue reading Stevie Nicks Steals the Show – Atlanta Journal Review, 1980

Fleetwood Mac – Can’t Go Home Again | Trouser Press

April 1980
By Chris Salewicz

Of course, Fleetwood Mac is the American Dream. The band’s success story is the stuff of which the mytho-logy of modern day America is made: Mick Fleetwood, John and Christine McVie, down on their luck in the Oulde Country, make the decision to move to the Promised Land. Traveling as far west as possible, these humble immigrants settle on the most advanced technological frontier in the world, Los Angeles.

Operating within rock ‘n’ roll’s picaresque tradition, a surprise encounter teams up the three Britishers with two down-and-out American natives, Stevie Nicks and Lindsey Buckingham. Within a year, following closely the WASP work ethic, their fortunes change for the better.

Within three years of moving to America they have become part of the aristocracy to which you are granted entry in the United States by virtue of your material rather than your blood. In Washington Fleetwood Mac is invited to the White House for social chit-chat with President Jimmy Carter.

By now they are so rich that Mick Fleetwood tells a friend he knows he need never work again in his life. It’s like a good made-for-TV movie!

Continue reading Fleetwood Mac – Can’t Go Home Again | Trouser Press

Tusk Tour Starts | Rolling Stone

Fleetwood Mac’s world tour begins on October 26th

Rolling Stone (issue 303)
November 1, 1979

Fleetwood Mac’s first world tour in two years will begin in Pocatello, Idaho, on October 26th, about a week after the release of their new album, Tusk. The group will play thirty-one concerts in twenty-three cities before heading to Japan, Australia and New Zealand; the band will return to the U.S. next year for more dates.

Most of the two-hour sets will be in arena-sized halls. Danny Douma, whose debut solo album features appearances by all the members of Fleetwood Mac, will open the majority of the shows.

Their U.S. itinerary is as follows:

October 27th, Ogden,UT;
October 28th, Salt Lake City, UT;
October 31st, November 1st, Denver, CO;
November 2nd, Albuquerque, NM;
November 5th, 6th, St. Louis, MO;
November 7th, Cincinnati, OH;
November 10th, New Haven, CT;
November 11th, 12th, Hempstead, NY;
November 15th, 16th, NYC;
November 17th, Boston, MA;
November 20th, Rochester, NY;
November 21st, Philadelphia, PA;
November 22nd, Providence, RI;
November 25th, Washington DC;
November 26th, Pittsburgh, PA;
November 29th, Ann Arbor, MI;
November 30th, Champaign, IL;
December 1st, Cedar Falls, IA;
December 4th-6th, Los Angeles, CA;
December 9th, San Diego, CA;
December 10th, 11th, LosAngeles, CA;
December 14th-16th, San Francisco, CA.

With thanks to Dark Angel who sent me this article

Tusk – Warner’s Largest Campaign Ever | Rolling Stone

Warners’ largest campaign ever
Fleetwood Mac’s ‘TUSK’ LP gets big push

Rolling Stone (issue 303)
November 1, 1979
by Steve Pond and James Henke

Warner Bros. Records is unveiling its largest promotional campaign ever to accompany the release of Fleetwood Mac’s Tusk on October 17th. The record company originally hired a New York advertising agency ‘Lord, Geller, Federico and Einstein ‘ to develop a marketing strategy, but after reviewing the plan, Warners and Fleetwood Mac decided against using it. This was the first time in its history that the company went to an outside firm for an ad campaign.

“We felt we owed it to the band to exhaust every conceivable outlet,” said Shelly Cooper, director of advertising for Warners. “We thought we might get a more creative campaign by going to an agency that has experience selling more than just records.”

But Cooper said that the band, which has been heavily involved in planning the campaign, “felt it was being oversold, so the entire campaign is now being done in-house. It’s more understated.”

Added a source close to Fleetwood Mac: “When the group saw the agency’s plan, they thought it was outrageous. They felt that they were being sold like a product ‘ like chewing gum.”

The advertising agency, which specialises in paperback books, hadn’t done any work for the record industry for about a dozen years, according to its executive vice-president, Ed Yaconetti. “We developed a campaign and now it’s in the hands of our client,” he said. “We don’t know whether they’ll use it or not.”

Continue reading Tusk – Warner’s Largest Campaign Ever | Rolling Stone

Rumours reaches the magic million in Canada | RPM

RPM MAGAZINE – May 20, 1978
by J.J. Linden

Warner Bros. album Rumours by Fleetwood Mac, this year’s Juno Award winner as top selling international album, has become the first album in history to ever sell one million units in Canada. The milestone was announced recently by WEA Music of Canada, who noted, “This unprecedented accomplishment of 1,000,000 units not only reflects the unparalleled artistry of Fleetwood Mac, but also reflects the enormous potential of the Canadian market to those who can fully tap it.”

The album was released in February of 1977. At that time, WEA Music quickly implemented a full-scale marketing program, with promotion and sales teams throughout the country working full-force to national exposure gain and visibility for the album. The sales force concentrated on obtaining prominent displays from tiny independents to the largest chain stores. The promotion and publicity team embarked on a virtually unequaled media campaign to break the album in Canada.

The company’s marketing efforts began to pay off almost immediately. Go Your Own Way, the first single released from the album, became a major hit across the coun try. It was followed quickly by three more hit singles, Dreams, Don’t Stop and You Make Lovin’ Fun. As each subsequent hit showed the commercial value of the album, sales began to increase rapidly. WEA’s national promotion manager Larry Green notes, “We were very conscious of the possibility of the album going five or six times platinum by the second single. The Eagles do it and Queen does it – we really saw this thing flying bỳ the second single. By the third single, it was a pretty tremendous growth situation, and by the fourth single…

Continue reading Rumours reaches the magic million in Canada | RPM

Big Mac……..Over 8 million sold | Rolling Stone

Rolling Stone Magazine (issue 256)
January 12, 1978
By Dave Marsh

There is nothing mysterious about Fleetwood Mac sweeping Rolling Stone’s 1977 Readers’ Poll. Rumours, the album that topped the charts for six months, has sold almost 8 million copies and still sells over 200,000 copies weekly. Released in February, Rumours sold enough copies at its peak to go gold twice a month, platinum every thirty days. (They’ve also got a platinum eight-track and gold cassette.) Four of the album’s eleven songs have become hit singles: “Go Your Own Way,” “Dreams,” “Don’t Stop” and most recently, “You Make Loving Fun.” Over in Burbank, the biggest problem the band has created for its record company, Warner Bros., is deciding whether to release a fifth single. Should it be “The Chain” or “Second Hand News,” or should they forget about it altogether to avoid saturating the market?

Multimillion monsters have become commonplace in the record business. Consider the history of the gold and platinum awards the industry (through the Recording Industry Association of America) makes for LPs that move heavy tonnage. Prior to 1969, only gold records (for $1 million in sales, about 450,000 copies) were awarded. That year, Atlantic gave Cream’s Wheels of Fire the first unofficial platinum record (for sales of one million units or more). Unsanctioned platinum awards appeared sporadically for the next several years despite RIAA protests. But in 1975 the RIAA raised the gold standard to 500,000 units to compensate for increases in wholesale record prices, and because of the increasingly large market was forced to officially sanction platinum. Platinum has replaced gold as confirmation of star status, and record companies advertise LPs as double, triple and soon (who knows?) octuple platinum.  

Continue reading Big Mac……..Over 8 million sold | Rolling Stone

The Making of Rumours

The Recording of Fleetwood Mac’s Rumours

Memories of the Making of Rumours

Richard Dashut (co-producer)
I’d worked with Lindsey Buckingham and Stevie Nicks since their debut album, Buckingham-Nicks. After they joined Fleetwood Mac, Lindsey invited me to do their live sound. They started recording Rumours in Sausalito, across the bay from San Fransico, with the Record Plant’s engineer, but they fired him after four days for being too into astrology. I was really just around keeping Lindsey company, then Mick takes me into the parking lot, puts his arm around my shoulder and says, Guess what? You’re producing the album. The funny thing was, I never really wanted to be a producer. I brought in a friend from wally Heider’s studio in Los Angeles, Ken Caillat, to help me, and we started co-producing. Mick gave me and Ken an old Chinese I-Ching coin and said, Good luck.

Cris Morris (recording assistant):
I’d helped build the Record Plant. I knew every nail, because I’d driven most of them in. I’d helped make what became known as Sly Stone’s Pit, a control booth sunk into the floor, so the musicians could sit and play around it. When we recorded Sly there, he had his own personal tank of nitrous oxide installed, and that was still there.

Mick Fleetwood (Fleetwood Mac):
It was a bizarre place to work, but we didn’t really use Sly Stone’s pit. It was usually occupied by people we didn’t know, tapping razors on mirrors.

Continue reading The Making of Rumours