(REVIEW) Fleetwood Mac: Nur noch Akkordfolgen (BERLIN)

(translated)

Fleetwood Mac: Just one chord

VON HARALD PETERS

Welt online

Fleetwood Mac have now experienced during her 42-year career, so many disasters, highlights, crashes, and personnel changes that it is almost a miracle that one of the core cast of the middle 70s today may live on stage. While singer and keyboardist Christine McVie has now folded, but guitarist / vocalist Lindsey Buckingham, singer Stevie Nicks, drummer Mick Fleetwood and bassist John McVie are miraculously back as a unit. On Monday evening they were seen in the sold-out 02-World in Berlin. Thus devised and disciplined the Fleetwood Mac albums still sound like today, their formation was always accompanied by hysterical chaos - excesses of drugs, intrigue and extreme shopping attacks. If you went on tour together, which usually led to excesses and plays incredible proportions.

This was at the O2 World feel nothing more, however, Lindsey Buckingham recalled repeatedly in his moving announcements at the time: "As probably all know here in the hall, had Fleetwood Mac is often an emotionally difficult past." It fit beautifully into the context that even the band played hits from the past. "Second Hand News," "Go Your Own Way", "Looking Out For Love" - all songs about interpersonal turmoil that support the old theory that inspires great suffering to great art.

But the pain only time history, artists sometimes tend to forget the original idea behind their work. For Buckingham, the songs were only chord that had to be present with the greatest possible gesture. "Tusk" was prepared not only by horns from the preserve, but by howling and panting, just as if Buckingham, the chief of the Indians.

Clearly worthy was the presence of Stevie Nicks, who know and share with lumps aufgerüschten witches clothes and fashion accents. Now caught up with her husky voice, she sang hits like "Rhiannon," "Sara," "Gypsy" and the touching "Landslide," where she is constantly on gloves and went out - short and long gloves, with or without fingers, and sometimes with long tinsel fringe-turn. Remarkably their footwear: For much of the concert was wearing leather boots with lace-up nicks orthopedic meaningful platform shoes. Where they turned against the light, spread her shawl when she was a bat on his way to himself

So the time passed. The totally unnecessary solo by drummer Mick Fleetwood was then, even for some stubborn fan too much. With all the prejudices, too, again confirmed to the band: They were never very cool, but for a longer period in the middle of the 70s Fleetwood Mac was once the best band in the world.

Original Review

Fleetwood Mac - ein Schatten ihrer selbst
Berliner-Morganpost
Von Harald Peters
(same review - only a little longer)

(REVIEW) Mit Fleetwood Mac ins Pop-Paradies (BERLIN)

Mit Fleetwood Mac ins Pop-Paradies

bz-berlin

kü

Unübersehbar: Mick Fleetwood, Stevie Nicks, Lindsey Buckingham und John McVie, sie sind jetzt auch schon 60 und drüber. Mrs. Nicks hat Pfunde zugelegt, ihre Stimme aber, die steckt noch immer voller süßer Geheimnisse. Und zusammen als Fleetwood Mac konnten sie gestern in der O2 World ohnehin beweisen, dass guter Pop nie altert. "Don't Stop" und "Tusk" brachten die Augen der Fans zum Leuchten. Einige hatten sogar ihre Sprösslinge dabei. Die konnten lernen, dass es vor dem HipHop noch Melodien gab. Doch eine gefällige Jukebox wollten Fleetwood Mac bei ihrem fast dreistündigen Abend auch nicht sein. Sie brachten nicht nur Hits zu Gehör. Leider teilweise viel zu laut und die Vollbestuhlung störte beim Tanzen. Für uns Ältere war's trotzdem ein Dauerschwelgen im Paradies Pop. kü

(TRANSLATED)

With Fleetwood Mac into the pop paradise

bz-berlin

kii

Obvious: Mick Fleetwood, Stevie Nicks, Lindsey Buckingham and John McVie, they are now already 60 and upward. Mrs. Nicks has risen pounds, but her voice, which is still always full of sweet secrets. And together as Fleetwood Mac, they were able to show yesterday at the O2 World in any case, that good pop never grows old. Do not Stop "and" Tusk "brought to light the eyes of the fans. Some even had their offspring there. They could learn that there was still before the hip-hop tunes. But a pleasing jukebox wanted Fleetwood Mac during their nearly three-hour evening, maybe not. They brought not only hits can be heard. Unfortunately, sometimes too loud and disturbed Vollbestuhlung dancing. For us, it was nevertheless a mature Dauerschwelgen in Paradise pop. kii

(REVIEW) Fleetwood Mac wagten sich in Berlin mal wieder gemeinsam ins Konzert

Fleetwood Mac wagten sich in Berlin mal wieder gemeinsam ins Konzert

Von Gerd Dehnel

Maerkische Allgemeine

BERLIN - Wer es schafft, eine Band zusammenzuhalten, obwohl sie doch gerade von privaten Trennungen und Affären erschüttert wird, wer in einer solchen Krise sogar noch ein großartiges Album auf den Weg bringt, der hat alle Bewunderung verdient. Mick Fleetwood ist ein solch talentierter Menschenführer. Ihm vor allem ist es zu danken, dass sich die getrennten Christine und John McVie sowie Stevie Nicks und Lindsey Buckingham 1976 im Studio nicht die Augen auskratzen, sondern eine Handvoll unsterblicher Popsongs aufnehmen.

Ihm auch ist zu danken, dass Fleetwood Mac sich noch immer gelegentlich auf den Weg zu ihren Fans machen, obwohl der ganz große Pop-Ruhm schnell verblasst ist. Im Wesentlichen gründet er auf der zweiten Hälfte der 70er Jahre mit den Platten „Fleetwood Mac“, „Rumours“ und „Tusk“. Vorher galt die Band eher als britische Blues-Combo für Spezialisten, nachher gab’s vor allem Streitereien und minder erfolgreiche Solo-Versuche ohne Fleetwood.

Der Namensgeber hat eigentlich genug zu tun als Schlagzeuger seiner Mick Fleetwood Blues Band. Manchmal aber packt ihn wohl die Lust auf den großen Pop-Rausch – und vielleicht auch auf die höheren Tantiemen. Dann holt er die Weggefährten von einst wieder zusammen und feuert wie am Montagabend mit ihnen alte Über-Hits wie „Second Hand News“ oder „Little Lies“ in die bis unters Dach besetzte Berliner Arena am Ostbahnhof.

Sein Kumpan aus Anfangstagen John McVie legt dynamische Basslinien, Lindsey Buckingham reißt ohne Plektrum die E-Gitarre, als wolle er seine Fingerkuppen einbüßen. Und Stevie Nicks lässt mit rauchiger Stimme weitgehend vergessen, dass seit „Rumours“ mehr als drei Jahrzehnte ins Land gegangen sind. Leider fehlt in dieser Besetzung Christine McVie und damit das harmonische Ineinandergreifen verschieden getönter Stimmen. Stattdessen setzt die Band auf knirschenden Rock-Radau, was den Songs nicht immer gut tut. Zumal die Halle ohnehin das Entstehen von pappigem Soundbrei fördert. Nervende Längen tun sich auf, wenn Buckingham zu immer neuen und immer ähnlichen Soli anhebt, dazu gockelhaft als Gitarrengott über die Bühne stolziert.

Auf diese Weise wird ausgerechnet „Tusk“ brutal dahingemetzelt. Das verwirrende Klangexperiment von einst mit den alptraumhaft gewisperten Passagen und den furiosen Ausbrüchen ist, in brachialen Haudrauf-Rock gewandet, kaum zu erkennen.

Doch alle Einwände verfliegen in einem Finale, wie es nicht alle Tage vorkommt. Da feuert erst Lindsey Buckingham ein ausuferndes hochenergetisches Solo in bester Brit-Blues-Manier ab, das die Besucher in einen tanzenden Haufen vor die Bühne treibt.

Schließlich findet die Band zu einem derart beseelten und inspirierten Zusammenspiel für „Go Your Own Way“, als werde der Song just in diesem Moment auf dieser Bühne erst geboren. „Don’t Stop“ im Zugabenblock klingt nach Ankündigung. Aufhören scheint kein Thema. Im nächsten Jahr soll’s sogar ein neues Album geben. (Von Gerd Dehnel)

(REVIEW) FLEETWOOD MAC BERLIN - KONZERTKRITIK

Fleetwood Mac at the O2 World

Always twisting your breaks again, but now they're back: Fleetwood Mac played in Berlin's O2 World - and feed on the successes of the past.

BERLIN --
H.P. Daniels
Der Tagesspiegel

At half past eight, it is in the duster vollbestuhlten, packed O2 World. Metallic crickets is washed over by a roaring surf rejoicing, for on the stage a couple of shadows: Fleetwood Mac scurry, perhaps with the Eagles, the largest American Main stream pop band for over thirty years. Even the wild jubilation, as can be seen in the darkness, the silhouettes of a couple: Stevie Nicks and Lindsay Buckingham, hand in hand. Once the two were a married couple, long time ago, before everything started to go under it and over it, both privately and in the band. As has been internal squabbles and excessive use of drugs for a long time for more exciting topic of the gossip press as the music of Fleetwood Mac, their fine, pleasing melodic pop songs, theme of those very difficult interpersonal relationships.

The couple splits to pieces, light goes on: "One-Two-Three-Four" roars Buckingham - jeans, pink T-shirt, leather jacket - and he sings the first of those old pop songs: "Monday Morning" from the year 1975. Lindsay stakelt on his spindly legs like a wounded stork, while Stevie beside him in schwarzgerüschten designer dress scarves and Schellenkranz vibrates and rotates on high platform boots like a mixture of blond and Rauschgoldengel bleiente on a music box. "Bööhlinn," she cries, and that could now start the party. Even more cheering, and two songs from "Rumors", one of the most commercially successful pop albums of all time. Fans jump out of their seats to run, before the stage, stretching his arms and camera phones, while the music so hinplätschert before him, with a sound that sounds like a tiled swimming pool. On the front edge of the stage, the American couple stands behind the two Englishmen, after which the group was originally named: the long 67-year-old Mick Fleetwood on drums, the drives properly. And John McVie, who backed a solid bass. Both had played in the '60s with John Mayall's Bluesbreakers, along with the gifted guitarist Peter Green, with whom she eventually founded the excellent blues band Fleetwood Mac.

Few other bands would have taken a blatant stylistic direction as Fleetwood Mac after leaving her severely injured LSD front man Peter Green in their history. The rhythm section with the former singer and keyboardist Christine McVie, wife of the bassist, moved 1974 of regengrauen England to sunny California, teamed up with Nicks and Buckingham, and was a rasping blues band to the lovely mainstream pop group. With the enormous worldwide success of which they consume today. Yes, they have brought in between and over again a couple of long pauses, says Buckingham, and now they are back again, without a new album, but with all the old songs. And only the old fans who want to be heard. " So they get what they want: Most of the pieces of the two best albums: "Fleetwood Mac" (1975) and Rumors (1977), the old hits, "Rhiannon," "Dreams," "Sara," "Go Your Own Way, "" Do not Stop "and so on. Since then, it does not matter that everything is a bit bumpy and reverberant sounds like Stevie Nicks' husky voice is still beautiful and more blecheimerig. Where it does well to not to try to meet the very high notes from the past, but holding it in a deeper interval, and let the rest of the three leather mice in the background doing, to act where even a keyboardist and an additional guitarist.

Buckingham's solo on his Rick Turner Model One Guitar contribute a bit unimaginative and klischeebeladen and his guitar player, poses a little too narcissistic. But no doubt he is the chief role of the evening. Nostalgically recalls one voice and guitar of the good old Peter Green, as attempts to Buckingham with heavily mannered in his hit song "Oh Well Pt. 1". The most beautiful are even the more delicate-Buckingham Nicks duets with economical acoustic guitar accompaniment. But for the fans today is the party as an event with sausage and beer more important than any musical nuances, dynamics and artistic expression. And so is the boundless joy long after two and a half hours and several encores, with drum solo and a lot Gegröle.

Original review

(REVIEW) FLEETWOOD MAC (BERLIN) spielen sich in die 70er zurück

(Translated Review - Not entirely clear if it's positive or negative)

Fleetwood Mac to play back in the 70s
By Harald Peters
Berliner Morgenpost

It was as if you just wanted to stop. Fleetwood Mac played on Monday evening in Berlin about three hours before the spectators in the sold-out 02 World could go home. News, however, there was not. Pleasant - but also a bit of yesterday.

They played and played and played. On Monday evening, the Anglo American band Fleetwood Mac in the sold-out O2 World is a nearly three-hour concert, which once moved across her career led. Because it was necessary to apply a new album, there was a pleasant way and no new songs.

The focus was on pieces from the mid to late 70s, because at that time Fleetwood Mac with the albums "Fleetwood Mac", "Rumors" and "Tusk" had its best time. It was also the time of the band other with great devotion made life difficult, after all, was the then quintet made up of two couples who split up just hated and reconciled. Musically, the have been led to wonderful results, it must be the true horror of interpersonally, as guitarist Lindsay Buckingham repeatedly stressed at the O2 World.

But time heals some wounds, but does not always lead to the correct path. Why it was sometimes difficult to see how Buckingham presented himself as the guitar god and a Bühnengebahren the day presented, which may have been appropriate, perhaps sometime in the seventies. Singer Stevie Nicks, is evident in the decades of cocaine did not go entirely without a trace over, looked downright pathetic, as declared in its Feenkleider, scarves and gloves draped tinsel titles such as "Landslide," "Rhiannon" and "Sara" has brought to hearing.

Fleetwood Mac spielen sich in die 70er zurück

Von Harald Peters

Berliner Morgenpost

Es war, als wollten Sie einfach nicht mehr aufhören. Fleetwood Mac spielten am Montagabend in Berlin gut drei Stunden lang, bevor sie die Zuschauer aus der ausverkauften 02 World nach Hause gehen ließen. Neuigkeiten gab es allerdings nicht. Angenehm – aber auch ein bisschen von gestern.

Sie spielten, spielten und spielten. Am Montagabend gab die britisch amerikanische Band Fleetwood Mac in der ausverkauften O2-World ein knapp dreistündiges Konzert, das einmal quer durch ihre bewegte Karriere führte. Weil es kein neues Album zu bewerben galt, gab es angenehmer Weise auch keine neuen Songs.

Der Schwerpunkt lag auf Stücken aus den mittleren bis späten 70er-Jahren, denn damals hatten Fleetwood Mac mit den Alben „Fleetwood Mac“, „Rumours“ und „Tusk“ ihre beste Zeit. Es war auch die Zeit, der sich die Band mit großer Hingabe gegenseitig das Leben schwer machte, immerhin bestand das damalige Quintett aus zwei Paaren, die sich gerade trennten, hassten und wieder versöhnten. Musikalisch führte das zu wunderbaren Ergebnissen, zwischenmenschlich muss es der wahre Horror gewesen sein, wie Gitarrist Lindsay Buckingham mehrfach in der O2-World betonte.

Doch die Zeit heilt manche Wunde, führt aber nicht immer auf die richtige Bahn. Weshalb es mitunter schwer mit anzusehen war, wie Buckingham sich als Gitarrengott gerierte und ein Bühnengebahren an den Tag legte, das vielleicht irgendwann in den Siebzigern angemessen gewesen sein mag. Sängerin Stevie Nicks, an der offensichtlich der jahrzehntelange Kokainkonsum nicht ganz spurlos vorbei gegangen ist, wirkte geradezu rührend, wie sie in ihren Feenkleider, Tüchern und Lametta behangenen Handschuhen Titel wie „Landslide“, „Rhiannon“ und „Sara“ zu Gehör brachte.