REVIEWS It all began with Fleetwood Mac

It all began with Fleetwood Mac

Spectrum Culture
by Kevin Korber

Casual music fans would be forgiven for thinking that Fleetwood Mac is the band’s first album. It isn’t even the first self-titled album in the band’s discography–that honor goes to a 1968 release put out when the band was a blues-rock trio led by Peter Green–but it might as well serve as a starting point for what Fleetwood Mac would eventually become. While it is often overshadowed by the iconic Rumours, much of what made that album great is laid out here, from the band’s smooth, folk-rock sound and the identity that Lindsey Buckingham and Stevie Nicks brought to the band. If this re-issue demonstrates anything, it shows that this album is very much deserving of the instant-classic status that its successor also enjoys.

Fleetwood Mac is an album of three distinct personalities and styles that mesh surprisingly well together in a beautiful way. Buckingham provides most of the album’s rocking moments, but his slick, polished West Coast rock is far removed from anything the band did with either Peter Green or Bob Welch at the helm. Everything seems to have arrived fully-formed: the shimmering harmonies and scorned-lover lyrical perspectives are all there on “Monday Morning” and “Blue Letter,” the latter of which is one of the real hidden gems on this album. Nicks arrived in the band with a mix of heart-on-sleeve sincerity and sultry mysticism that created two of the album’s most enduring hits (“Landslide” and “Rhiannon,” respectively), and the new mastering on this edition makes her irreplaceable voice all the more powerful.

However, it’s arguably Christine McVie who stands out as the MVP on the album, straddling a line between Nicks’ ethereal folk and Buckingham’s driving rock to create songs that are really crucial to how the band would later develop. McVie had previously acted as the pop counterbalance to the band’s more blues-y tendencies after she joined in 1971, but the drastic shift to a more pop-leaning sound allowed her to truly shine with compositions like the dreamy “Warm Ways” and the undeniably catchy “Say You Love Me.”

The extra material available here only serves to underline just how remarkable the album is. Demos on box sets like these usually show a slow progress as each song develops from its barest beginnings to the finished product. That’s not quite the case with the demos for Fleetwood Mac, nearly all of which are mostly finished songs that lack the final production touches of the album versions. The early versions of Buckingham’s songs here mostly just lack the vocal harmonies that gave the final versions that extra kick, while McVie’s early recording of “Over My Head” is essentially finished. Given the amount of overhaul in the band at this time, the unified front presented in these studio outtakes is surprising indeed.

The real conflict in Fleetwood Mac circa 1975 comes out in the live material listed here. Yes, Buckingham and Nicks were brought in with the purpose of shaking up the band’s sound, but Fleetwood Mac had spent a decade as a wonky blues band before then, and those habits are difficult to break. Live, the band seem to be in a constant tug of war between their hard-rocking past and their poppy present. It should be a mess, but it instead gives the band a fire and energy that one doesn’t get on the recordings. The band’s newer material has a sharper edge, best exemplified by Buckingham’s blistering guitar work on the live version of “Rhiannon.” Similarly, the renditions of early blues material gets a new life by being interpreted by musicians less attached to the traditions of the material, turning them into fiery rock songs with just the right amount of aggression. It’s a wonderfully jarring experience for anyone who thinks of this era of Fleetwood Mac as a baggy-clothed folk-pop band without any harsh edges.

Whether they rocked or not, this iteration of Fleetwood Mac endured because of their songs. For all that can be said about Peter Green or Bob Welch during their respective time with the band, it’s clear now that the band’s focus was more on performance than on songwriting when they were figureheads. Buckingham and Nicks changed that entirely, and along with Christine McVie, they put pop songwriting at the forefront of what the band was about. The end result was a run of some of the greatest, most enduring pop music of all time and it all began with Fleetwood Mac.

Music Review: Fleetwood Mac, By Fleetwood Mac
By: Tony Nielsen
NZHearld

The original Fleetwood Mac was a British blues band, which operated between 1967 and 1974 when Mick Fleetwood, John McVie and his new wife, keyboardist Christine, found themselves without a lead vocalist and lead guitarist, and scouting LA for replacements.

Cue Lindsay Buckingham, who insisted his singer and partner Stevie Nicks were conditions of his joining Fleetwood Mac. Musically this also drew a line in the sand to their role as blues campaigners.

So, 40 years on we're celebrating what was the new-look Fleetwood Mac's self-titled album, second only to the mega selling Rumours, reaching over 40 million in sales, and securing a top 10 position in overall album sales.

This special edition version of Fleetwood Mac contains favourites like Oh Daddy, Say you love me, Rhiannon, Landslide and Over my Head. Better still the CD/LP that accompanies the original album catches early versions of some of the songs, as well as live versions. In other words, it's a treasure trove of a band that's on its way to super-stardom.

While, with sales of just 40 million, it's overshadowed by Rumours, Fleetwood Mac is one of those releases that sounds as fresh today as it did in 1975, and with then bonus album it's pretty much essential for any record collection.

Fleetwood Mac - Fleetwood Mac album review
by Mark Beaumont
Teamrock.com

In which Fleetwood Mac Mk 2 rises from two separate dumpers

Some tacos are destined to change the world. Take the ones over which the remnants of Fleetwood Mac ‘auditioned’ Lindsey Buckingham and Stevie Nicks in a Mexican restaurant in LA in 1974. Mac were smarting from five years of slumping record sales and the departure of guitarist and songwriter Bob Welch; Buckingham and Nicks, who had a flop album themselves with 1973’s Buckingham Nicks, were on the verge of quitting their part-time LA jobs, ending their floundering relationship and going their separate ways. The Mac needed only a new guitarist, but Buckingham refused to join unless they took Nicks as well. Mick Fleetwood gave his remaining core songwriter, Christine McVie, a veto over Nicks, but the pair got on famously. By the time the margaritas were drained, softrock history was shaken on.

The Mac album (the band’s tenth) that this fresh new line-up began recording just three weeks later – with Buckingham so pushy in teaching the veteran rhythm section their parts that John McVie chided him: “The band you’re in is Fleetwood Mac. I’m the Mac. I play the bass” – would become their second self-titled release, to mark their final transition from Peter Green’s blues-rock version to a new country-rooted pop-rock sound. The title heralded a new Fleetwood Mac, and their second era would become one of the most successful rebirths in rock.

Inevitably, one returns to 1975’s Fleetwood Mac with radar attuned to the first whispers of Rumours, and there are plenty circulating within these semi-magical 42 minutes. The simmering emotional friction that gave the 40-million-selling 1977 follow-up its invigorated snarl is absent, but the building blocks are stacked high. Buckingham sets out his stall from the off, with the country rock rattle of Monday Morning acting as a practice run at Second Hand News and a minor hint of the unsettled bitterness to come. ‘Got to get some peace in my mind,’ he whines, little knowing he was at least one monster international hit album away from any such thing. Later he plays the invigorated Nashville cowboy rocker with aplomb on Blue Letter and World Turning – an early attempt at electrifying spit’n’sawdust C&W in the vein of The Chain – but at this stage, as he lilts a little blandly over ponderous album closer I’m So Afraid and a reworked version of Crystal from Buckingham Nicks, he feels something of a bit-player in the new Mac order.

It’s Nicks who lands with the impact of a superhero from space. Rhiannon’s sly-eyed dance of the seven veils was the first stone-cold classic of Mac 2.0, instigating the strain of guttural gypsy queen allure that would give this new incarnation its sliver of exoticism, and her other major contribution, future live staple Landslide, set a benchmark for Fleetwood Mac’s folk balladry that they would, somewhat miraculously, go on to top. Here, Nicks is slumped disheartened in an Aspen sitting room, gazing out at the Rocky Mountains, considering giving up everything to go back to school and wondering how her life had become such emotional scree. The autobiographical honesty of the track would seep into the bedrock of Rumours.

Elsewhere, Christine McVie was demonstrably coming into her own. Languid, mildly jazzy tracks such as Warm Ways and Over My Head perhaps throw back too heavily to the Bob Welch era or even Albatross, albeit with Buckingham’s country licks hovering overhead, but with the wonderfully upbeat Say You Love Me and Sugar Daddy she dovetailed perfectly with Nicks and Buckingham’s brand of honeyed hippie honky-tonk.

Of the live tracks, instrumentals and studio out-takes making up the additional 35 tracks of the deluxe package, it’s the unpolished, formative early takes of the original album’s tracks that will most fascinate the dedicated Mac-heads – this was, after all, where Fleetwood Mac’s most celebrated incarnation clicked or clashed. Here, the urgent quiver to Buckingham’s ragged rough takes of Monday Morning and Blue Letter smack of a desperate young songwriter grasping his last chance hard. In contrast, Nicks’ sultry assurance has her adding to the ghostly charms of Rhiannon with an opening speech: “Sometimes you wake up and Rhiannon’s right there.” When the in-band soap opera kicked off in earnest, exaggerating these very traits in Nicks and Buckingham, the world would love to love them both; for now, Fleetwood Mac was the sound of a blessed second chance gradually realising just how blessed it was.

Fleetwood Mac - Fleetwood Mac

Though far from their debut, the band’s 1975 self-titled album felt like a debut: a pop-rock statement and the unexpected intersection of two parallel spheres that offered something genuinely new.

by Stephen Thomas
Pitchfork.com


Reissue Review: Fleetwood Mac’s pivotal 1975 s/t LP remains a timeless classic
By Andrew Sacher
Brooklyn Vegan

UPDATE: The Fleetwood Mac SiriusXM Channel has been delayed

UPDATE: The Fleetwood Mac Channel has been delayed. Please stay tuned for more details. In the meantime, you can hear Fleetwood Mac on Classic Vinyl, Classic Rewind, The Bridge, & The Blend. For a complete list of our rock channels, you can go to

http://www.SiriusXM.com/ChannelLineup .

Fleetwood Mac helps raise $7 million for charity

VIEW PHOTO GALLERY

Fleetwood Mac helps raise $7 million for charity

NEW YORK (AP) — Rock 'n' roll's dysfunctional family, Fleetwood Mac, joined with artists paying tribute to their work to raise $7 million for down-on-their luck musicians at a benefit in Radio City Music Hall on Friday.

The annual MusiCares fundraiser, held each year just before the Grammys, like the awards show was in New York for the first time in 15 years. Fleetwood Mac, made whole again recently when Christine McVie rejoined after a 15-year hiatus, have mellowed and grown more appreciative of their career since their drug-taking, partner-swapping heyday.

"Not very far below the level of dysfunction is what really exists and what we're feeling now more than ever in our career, which is love," said member Lindsey Buckingham.

The band capped the benefit with a five-song mini-set, including the sprawling, experimental "Tusk" and Buckingham's classic kiss-off, "Go Your Own Way." Before that, they listened to artists like Lorde, HAIM, OneRepublic and Miley Cyrus perform their songs.

Former President Bill Clinton was on hand, joined by wife Hillary in the audience, to honor the band whose song "Don't Stop" was the theme for Clinton's 1992 campaign. He said the song was played for him more than "Hail to the Chief."

"I owe them more than any of you do, and I wouldn't miss this for the world," he said.

Clinton and Fleetwood Mac have something else in common: They've both won two Grammys in their careers; Clinton's was for spoken-word recordings.

NY Daily News/AP

Stevie Nicks reveals Fleetwood Mac's 'paid the same' policy
By: Chloe Melas

(CNN) — Rock icon Stevie Nicks believes the fight against sexual misconduct and gender inequality in the entertainment industry is going to require persistence.

"Everybody needs to not let this be a kind of big wave and just go away and say, 'Oh well, you know, it's over and nobody cares anymore,'" Nicks told CNN at the Recording Academy's MusiCares event on Friday. "Everybody has to keep really fighting because otherwise women, we will be swept under the carpet yet again and it will just start over."

Nicks and the other members of Fleetwood Mac were honored at the annual pre-Grammy Awards charity event.

The singer, who joined Fleetwood Mac in 1975, said she and fellow bandmate, Christine McVie, did not experience much sexual harassment over the course of their meteoric careers.

"I think I've been very lucky," she said. "And maybe it's because when I joined Fleetwood Mac, Christine and I made a pact. We said we will never ever be treated like a second class citizen amongst our peers as we get more famous and more famous -- and if we're in a room with famous rock n' roll stars that are men and they treat us that way, we will scream at them and then we'll walk out."

"We've been a force of nature our entire career, so nobody has dared to step over that line to Christine McVie and Stevie Nicks," she continued. "I'm such a raging monster when I'm angry that it would have never worked, so I'm really glad I never had to run into that."

As for the ongoing conversations about pay disparities between men and women in entertainment and across industries, Nicks said she's in full support of those calling for pay equity.

"Fleetwood Mac has two women and we all get paid the same," She said. "And if we didn't, Christine and I would be walking out the door."

CNN

The Fleetwood Mac Channel is coming to SiriusXM in February

GRAMMY Award-winning rock band Fleetwood Mac will launch an exclusive, limited-run SiriusXM channel, The Fleetwood Mac Channel, on Thursday, February 1.

** Update ** The channel has been delayed according to SiriusXM, no reason given.

The Fleetwood Mac Channel will showcase music from Fleetwood Mac’s extensive Rock & Roll Hall of Fame career, including their indelible hits, solo material, live songs, rare demo tracks and musical influences.

The channel will also include exclusive stories and insights from Lindsey Buckingham, Mick Fleetwood, Stevie Nicks and Christine McVie, plus special hosted shows by band members.

Fleetwood Mac will be honored at the 2018 MusiCares Person of the Year tribute on Friday, January 26 in recognition of their significant creative accomplishments and their longtime support of a number of charitable causes, including MusiCares, the premier safety net of critical resources for the music industry.

SiriusXM’s The Fleetwood Mac Channel kicks off on Thursday, February 1 at 12 pm ET, via satellite on channel 4, and through the SiriusXM app on smartphones and other connected devices, as well as online at siriusxm.com.

Siriusxm

Fleetwood Mac 2018 MusiCares Person of the Year January 26, 2018

GRAMMY-winning group will receive the prestigious MusiCares Person of the Year honor on Jan. 26, 2018, at Radio City Music Hall in New York.

Two-time GRAMMY winners Fleetwood Mac will be honored at the 2018 MusiCares Person of the Year tribute on Jan. 26, 2018. The quintet — comprising Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks — is the first band to receive the prestigious award.

Fleetwood Mac will be honored as the 2018 MusiCares Person of the Year in recognition of their significant creative accomplishments and their longtime support of a number of charitable causes, including MusiCares, the premier safety net of critical resources for the music industry.

Proceeds from the 28th annual benefit gala — to be held at Radio City Music Hall in New York City during GRAMMY Week two nights prior to the 60th GRAMMY Awards — provide essential support for MusiCares, which ensures music people have a place to turn in times of financial, medical and personal need.

MusiCares Person of the Year: Purchase Ticket Packages & Individual Tickets 

For questions, contact Dana Tomarken at MusiCares at 310.392.3777

"Our 2018 MusiCares Person of the Year tribute is a celebration of firsts — the first time our annual signature gala will be held in New York City in 15 years, and the first time in the benefit's history that we will honor a band," said Recording Academy President/CEO Neil Portnow. "This excitement is only matched by the genuine thrill and privilege of paying tribute to Fleetwood Mac, a legendary and influential group of artists whose music has provided the soundtrack for music lovers around the world."

Fleetwood Mac earned two GRAMMYs for their Album Of The Year-winning LP, Rumours, for 1977. The band also has two recordings inducted into the GRAMMY Hall Of Fame, including Fleetwood Mac (1975) and Rumours (1977).

"It's a tremendous honor to be the first band to receive the MusiCares Person of the Year award," said Mick Fleetwood on behalf of Fleetwood Mac. "Independently and together, we all set off on a journey to spend our lives as artists, songwriters and musicians. None of us did it alone and there were plenty of helping hands along the way, so we applaud and celebrate MusiCares' guiding principles of giving musicians a helping hand and a place to turn in times of need. We are very appreciative of this recognition."

Grammy.com

Performers Announced: Fleetwood Mac MusiCares Person Of The Year Tribute

From Keith Urban to Haim, find out who is among the first group of performers for GRAMMY Week event honoring Fleetwood Mac.

GRAMMY winners John Legend, Lorde and Keith Urban are among the first group of performers announced for the 2018 MusiCares Person of the Year tribute concert honoring Fleetwood Mac on Jan. 26 in New York.

Past GRAMMY nominees Haim and OneRepublic and singer/songwriter Harry Styles will also join the performance lineup. GRAMMY winners Fleetwood Mac — Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks — will close the evening's performances. 

For more information on purchasing VIP ticket packages to the event, or placing ads/messages in the tribute journal, please contact Dana Tomarken at MusiCares at 310.581.8727. Individual tickets for mezzanine seats are on-sale to the general public via Ticketmaster.  

Grammy.com

Check out Fleetwood Mac's Early Version of 1975 Classic 'Monday Morning'

As the opening track on 1975's five-times-platinum Fleetwood Mac album, "Monday Morning" was the first thing most fans heard from the new incarnation of the band after Lindsey Buckingham and Stevie Nicks joined. But the song also revealed a new Buckingham. You can listen to an exclusive early take of the song, from the upcoming Fleetwood Mac deluxe edition, below.

Check out billboard.com for more.

Pre-order at iTunes
Pre-order at GooglePlay

Pre-order at Amazon US

Pre-order at Amazon UK 

Three early versions have been released to date:  Say You Love Me, Landslide and Monday Morning.

President Bill Clinton to Present Fleetwood Mac with MusiCares Person of the Year Award

President Bill Clinton will be on hand to present Fleetwood Mac with MusiCares Person Of The Year Award January 26th in New York City. Tickets to this event in which the band also performs, are available at Ticketmaster.

New performers announced: Brandi Carlile, Miley Cyrus, Imagine Dragons, Juanes, Alison Krauss and Jerry Douglas, Little Big Town, Portugal. The Man and Zac Brown Band.

Fleetwood Mac's 'Rumours' Third Biggest Selling Vinyl Album in UK - 2017

The Official Top 40 biggest selling vinyl albums and singles of 2017

Fleetwood Mac's Rumours was the third biggest selling vinyl album in the UK in 2017. Amazing for an album released over 40 years ago!

1 - 51,000 - ÷, ED SHEERAN
2 - 37,000 - AS YOU WERE, LIAM GALLAGHER
3 - 35,000 - RUMOURS, FLEETWOOD MAC

OfficialCharts.com

Stevie Nicks classic previews a new Fleetwood Mac reissue

Hear Fleetwood Mac's Intimate Early 'Landslide'
Alternate version of the Stevie Nicks classic previews a new reissue of the band's self-titled 1975 LP.

In 1975, Fleetwood Mac debuted their classic lineup with their second self-titled album. Not only did
Fleetwood Mac establish the musical chemistry of the band for decades to come, it helped solidify the group as a pop juggernaut with singles like "Rhiannon" and "Say You Love Me." Ahead of the January 19th release of the album's expansive reissue, listen to an early version of Stevie Nicks' classic "Landslide," which would become one of their signature songs.

The "Landslide" outtake sounds surprisingly similar to the final version. Nicks' voice has a little more rawness on the edges here, and where the album cut features Lindsey Buckingham's multi-tracked acoustic guitars and a brief electric solo, this version includes just a single acoustic-guitar track and some light percussion.

The reissue follows a recent series of remastered and re-released Fleetwood Mac albums. Like the others, Fleetwood Mac will include previously unreleased studio and live recordings. The reissue will come out in multiple formats, including a deluxe version that includes three CDs, a DVD and a vinyl LP.

In late January, artists such as Lorde, Harry Styles and Haim will perform at a Fleetwood Mac tribute show at Radio City Music Hall. The concert is part of a MusiCares benefit that will occur days before the Grammy Awards. The band's classic lineup will also perform at the concert.

Rollingstone

Pre-order at iTunes
Pre-order at GooglePlay
Pre-order at Amazon US
Pre-order at Amazon UK 

FLEETWOOD MAC’S CLASSIC 1975 ALBUM TO GET EXPANSIVE REISSUE JANUARY 19

Fleetwood Mac

Release Date

Fri, 01/19/2018

3CD/LP/DVD Deluxe Edition Features Remastered Audio On CD And Vinyl, Along With Rare  And Unreleased Live And Studio Recordings, Including An Alternate Version Of The Full Album.

Three Versions Available January 19 From Warner Bros. Records

LOS ANGELES – The current incarnation of Fleetwood Mac made its debut in the summer of 1975 when the band released its second eponymous album. An overwhelming smash, the record topped the Billboard album chart, spent more than a year in the Top 40, and sold more than five million copies in the U.S. thanks to classic songs like “Landslide,” “Say You Love Me,” and “Rhiannon.”  

The band’s campaign to reissue its classic albums continues with FLEETWOOD MAC: DELUXE EDITION. Available on January 19, 2018, the collection includes newly remastered audio, rare and unreleased studio and live recordings, and more. The music will be available in several formats:

• Deluxe (3CD/DVD/LP): The original album with newly remastered audio on CD and LP; rare and unreleased studio and live recordings; plus a DVD with 5.1 Surround Sound and high-resolution mixes of the original album. $99.98
• Expanded (2CD): The original album with newly remastered sound expanded with rare and unreleased studio and live recordings. $19.98
• Remastered (CD): Original album with newly remastered sound. $11.98
• Remastered audio will also via digital download and streaming services.

Fleetwood Mac’s lineup solidified in 1974 when Lindsey Buckingham and Stevie Nicks joined Mick Fleetwood, John McVie, and Christine McVie to form what would ultimately become the band’s most successful incarnation. FLEETWOOD MAC: DELUXE EDITION is packaged in a 12 x 12 embossed sleeve with rare and unseen photos along with in-depth liner notes written by David Wild featuring new interviews with all the band members.

Both the deluxe and expanded editions feature a newly remastered version of the original album along with single mixes for “Over My Head,” “Rhiannon,” “Say You Love Me.” Also included is a second disc with an alternate version of the complete album comprised of unreleased outtakes for each album track, plus several unreleased live performances from 1976. Exclusive to the deluxe edition is a third disc filled with even more unreleased live recordings highlighted by stellar performances of “Landslide,” “Oh Well,” “Station Man,” “World Turning,” among others.

FLEETWOOD MAC: DELUXE EDITION also comes with a DVD featuring 5.1 Surround Sound and high-resolution 24/96 Stereo Audio mixes of the original album and four single mixes. Completing the set is an LP version of the original album pressed on 180-gram vinyl.

FLEETWOOD MAC: DELUXE EDITION

Disc One – Original Album Remastered and Singles
1. "Monday Morning"
2. "Warm Ways"
3. "Blue Letter"
4. "Rhiannon"
5. "Over My Head"
6. "Crystal"
7. "Say You Love Me"
8. "Landslide"
9. "World Turning"
10. "Sugar Daddy"
11. "I'm So Afraid"
12. "Over My Head" – Single Version
13. "Rhiannon" – Single Version
14. "Say You Love Me" – Single Version
15. "Blue Letter" – Single Version

Disc Two – Alternates and Live
1. "Monday Morning" – Early Take *
2. "Warm Ways" – Early Take *
3. "Blue Letter" – Early Take *
4. "Rhiannon" – Early Take *
5. "Over My Head" – Early Take *
6. "Crystal" – Early Take *
7. "Say You Love Me" – Early Version *
8. "Landslide" – Early Version *
9. "World Turning" – Early Version *
10. "Sugar Daddy" – Early Take *
11. "I'm So Afraid" – Early Version *
12. "Over My Head" – (Live from The Burbank Studios, Burbank, CA, 1/26/76) *
13. "Rhiannon" – (Live from The Burbank Studios, Burbank, CA, 1/26/76) *
14. "Why" – (Live from The Burbank Studios, Burbank, CA, 1/26/76) *
15. "World Turning" – (Live from The Burbank Studios, Burbank, CA, 1/26/76) *
16. Jam #2
17. "I'm So Afraid" – Early Take Instrumental *

Disc Three – Live
1. "Get Like You Used To Be" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
2. "Station Man" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *
3. "Spare Me A Little" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *
4. "Rhiannon" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *
5. "Why" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *
6. "Landslide" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *
7. "Over My Head" (Live at Campus Stadium, University of California, Santa Barbara, CA 5/2/76) *
8. "I'm So Afraid" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
9. "Oh Well" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
10. "The Green Manalishi (With The Two Pronged Crown)" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
11. "World Turning" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
12. "Blue Letter" (Live at Capitol Theatre, Passaic, NJ, 10/17/75) *
13. "Don't Let Me Down Again" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
14. "Hypnotized" (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75) *


DVD: 5.1 Surround Mix and 24/96 Stereo Audio of Original Album plus four single mixes
1. Monday Morning (5.1 Surround Mix)
2. Warm Ways (5.1 Surround Mix)
3. Blue Letter (5.1 Surround Mix)
4. Rhiannon (5.1 Surround Mix)
5. Over My Head (5.1 Surround Mix)
6. Crystal (5.1 Surround Mix)
7. Say You Love Me (5.1 Surround Mix)
8. Landslide (5.1 Surround Mix)
9. World Turning (5.1 Surround Mix
10. Sugar Daddy (5.1 Surround Mix
11. I'm So Afraid (5.1 Surround Mix)
12. Monday Morning (24/96 Stereo Audio)
13. Warm Ways (24/96 Stereo Audio)
14. Blue Letter (24/96 Stereo Audio)
15. Rhiannon (24/96 Stereo Audio)
16. Over My Head (24/96 Stereo Audio)
17. Crystal (24/96 Stereo Audio)
18. Say You Love Me (24/96 Stereo Audio)
19. Landslide (24/96 Stereo Audio)
20. World Turning (24/96 Stereo Audio)
21. Sugar Daddy (24/96 Stereo Audio)
22. I'm So Afraid (24/96 Stereo Audio)
23. Over My Head (Single Version)
24. Rhiannon (Will You Ever Win) [Single Version]
25. Say You Love Me (Single Version)
26. Blue Letter (Single Version)

LP – Side One
1. Monday Morning (Remastered)
2. Warm Ways (Remastered)
3. Blue Letter (Remastered)
4. Rhiannon (Remastered)
5. Over My Head (Remastered)
6. Crystal (Remastered)

LP – Side Two
1. Say You Love Me (Remastered)
2. Landslide (Remastered)
3. World Turning (Remastered)
4. Sugar Daddy (Remastered)
5. I'm So Afraid (Remastered)

* Previously Unreleased

FLEETWOOD MAC: EXPANDED EDITION

Disc One: Original Album Remastered and Singles
1. “Monday Morning”
2. “Warm Ways”
3. “Blue Letter”
4. “Rhiannon”
5. “Over My Head”
6. “Crystal”
7. “Say You Love Me”
8. “Landslide”
9. “World Turning”
10. “Sugar Daddy”
11. “I’m So Afraid”
12. “Over My Head” – Single Version
13. “Rhiannon” – Single Version
14. “Say You Love Me” – Single Version
15. “Blue Letter” – Single Version *

Disc Two: Alternates and Live
1. “Monday Morning” – Early Take *
2. “Warm Ways” – Early Take *
3. “Blue Letter” – Early Take *
4. “Rhiannon” – Early Take *
5. “Over My Head” – Early Take *
6. “Crystal” – Early Take *
7. “Say You Love Me” – Early Version *
8. “Landslide” – Early Version *
9. “World Turning” – Early Version *
10. “Sugar Daddy” – Early Take *
11. “I’m So Afraid” – Early Version *
12. “Over My Head” – Live *
13. “Rhiannon” – Live *
14. “Why” – Live *
15. “World Turning” – Live *
16. Jam #2
17. “I’m So Afraid” – Early Take Instrumental *

* Previously Unreleased

Pre-Order via Amazon

CD Review Lindsey Buckingham Christine McVie "Red Sun lives in the same neighborhood as “Hold Me” does"

Review: Buckingham/McVie – Lindsey Buckingham . Christine McVie
By MARowe
Musictap.net

From the goofy, Animal House silliness that weaves in and out of the pop perfection of “Feel About You”, to the way that the opening number, “Sleeping Around the Corner” makes you smile when the band suddenly kicks in after a tortured vocal on the intro, Lindsey Buckingham/Christine McVie is almost everything that you could possibly want from a Fleetwood Mac album.

Which of course, it really isn’t. For a variety of reasons and speculation that you can find everywhere, Stevie Nicks sat this one out. Thankfully, in an odd parallel to her own beginnings, we get to stand back and discover her bandmates, Buckingham and McVie as a duo.

Full review at MusicTAP

"Your Hand I Will Never Let It Go" - Stevie Nicks

Your Hand I Will Never Let It Go

Not to be upstaged by the release of an album that all of her Fleetwood Mac bandmates contributed to except for her, Stevie Nicks has returned with her first solo song since 2014’s 24 Karat Gold: Songs from the Vault. The track, “Your Hand I Will Never Let It Go,” comes from the soundtrack to the new dramatic film from Focus Features, The Book of Henry, which stars Naomi Watts and Sarah Silverman. The song was written by Thomas Bartlett (also known as Doveman) and (!) Ryan Miller from Guster. (Miller posted on Guster’s Facebook about the collaboration, which he called “ONE THE GREATEST EXPERIENCES OF MY LIFE”).

The sparse, constantly mutating ballad finds Nicks bridging country-tinged pop songwriting with some modern electronic production and New Age-y flourishes. Watch the lyric video and hear the song below.

Spin


 

Stevie Nicks' new ballad, "Your Hand I Will Never Let Go," will be featured in the Naomi Watts-led drama, The Book of Henry. The song was written by Thomas Barlett and Ryan Miller. 

"Drowned in thought and caught in a stare/ Talking to ghosts who were not there," Nicks sings plaintively. "Then you took my hand/ Transformation began/ Commotion where it once was still/ Fireworks explode/ Front row tickets to the show/ This hand I will never let it go."

Nicks also contributed vocals to Lana Del Rey's new Lust for Life track "Beautiful People, Beautiful Problems." In a recent interview, Del Rey confirmed she recruited the Fleetwood Mac singer for a last-minute collaboration.

"I kind of thought I had finished the record a couple times," said Del Rey. "One of those times, I felt I wanted a woman on the record, and I was talking to [Nowels] about who would be great to get on the record. We both could only come up with Stevie. Funny enough, he went to high school with Stevie and wrote his first hit with her."

Nicks recently appeared onstage with Harry Styles at that singer's small venue Los Angeles gig. 

Rollingstone

CD Review Lindsey Buckingham, Christine McVie "A worthwhile exercise"

Lindsey Buckingham / Christine McVie
Drowned in Sound
by Joe Goggins
6/10

There’s a couple of possibilities in play when it comes to the title of this collaborative LP from Lindsey Buckingham and Christine McVie. One is that they’re especially paranoid about the possibility of falling foul of the Trade Descriptions Act, and feared that a simple Buckingham-McVie moniker might have had fans storming record shops in their droves and demanding refunds after discovering that this isn’t, in fact, some kind of creative partnership between the House of Windsor and Fleetwood Mac bassist John McVie, who by all accounts would rather be pursuing his love of sailing these days than touring the world in a famously tortured rock and roll band. The other line of reasoning, of course, is that comparisons with the highly-charged Buckingham-Nicks label would’ve been uncomfortable at best and an outright distraction at worst.

It’s exactly that line of thinking, though, that brings you to wonder what it is that Buckingham and McVie were looking to get out of this joint effort; after all, the former has always quietly served as his band’s musical director and the latter was, until recently, entirely off the radar, having effectively spent the best part of two decades as a recluse in the English countryside before finally rejoining Fleetwood Mac on the road. That said, the idea that their partnership was somehow less worthy of attention than that between Buckingham and Nicks is daft; after all, the last truly classic album that the band turned out, Tango in the Night, was built primarily around their songs, with McVie - who, of course, was a part of the setup before Buckingham - laying claim to the classics ‘Little Lies’ and ‘Everywhere’.

It’s worth mentioning that McVie’s ex-husband and Mick Fleetwood both chip in on this album, meaning it’s only a Nicks guest turn away from basically serving as the first new full-length from the group since 2003’s tepid Say You Will. Perhaps that’s the best prism through which to view it, especially given that the last recorded output we got from them as a whole was Extended Play in 2013, prior to McVie rejoining. It was, not to put too fine a point on it, absolutely rubbish. It also felt really regressive, a cynical jab at recapturing some idealised Fleetwood Mac sound, when of course that in its genuine form relies on a cornucopia of different ideas from different songwriters.

Lindsey Buckingham/Christine McVie comes quite close to it. Both sound pretty free; there’s plenty of experimentation, which is ultimately for both better and worse. ‘Feel About You’ is slight and would barely be there without the peculiar, Grease-esque backing vocals, and yet it’s an earworm. ‘In My World’ is the opposite, thickly layered and constantly shifting shape - it’s deliberate and considered, with the midsection recalling ‘Big Love’ with the vocal back-and-forth.

There’s inevitably missteps. ‘Too Far Gone’ goes all-out in its pursuit of disco and falls short on pretty much every front; the guitars have a weird, off-putting buzz to them, and both vocalists sound achingly uncomfortable, to the point that it’s astonishing that they listened back to it and were happy to put it on the record. Additionally, ‘On with the Show’ is a mid-tempo plodder that might conceivably have been intended for Fleetwood Mac, given that’s what their last world tour was called - it certainly wears the lethargy of Extended Play.

Flashes of vintage Mac remain, though, from both Buckingham and McVie. The latter takes the lead on what might be the standout, the gorgeous ‘Red Sun’, whilst ‘Lay Down for Free’ has Lindsey pulling that strange trick of sounding laid-back but emanating urgency on what should otherwise be a breezy, country-flecked rocker; it’s proof that all of his songwriting faculties are still intact. The fascinating thing is the overall sound of Lindsey Buckingham/Christine McVie and its production; it’s intriguingly low-key, especially given Buckingham’s appetite for lush textures in recent years. Accordingly, the album falls somewhere between curio and convincing; there’s enough here to hold the attention of the casual Mac fan, however fleetingly, but diehards should find a bit more to dig into in the brighter moments. A worthwhile exercise.

CD Review Lindsey Buckingham, Christine McVie

Otago Daily Times

Fleetwood Mac fans as well as casual passers-by will recognise these names. Yes, two-fifths of the rock colossus has headed to the studio and come up with a 10-song duo album that shows big choruses can almost (but not quite) cover up for occasional by-the-numbers clangers (Too Far Gone). 

Still, inviting drummer Mick Fleetwood and bassist John McVie along for the ride has had its obvious benefits, allowing Buckingham to revel in his guitar technique, an assured hybrid of folk and country fingerstyle and distorted wig-out.

McVie brings the air and lightness of touch, her warm vocals a foil to Buckingham’s more gritty delivery (Red Sun and Lay Down For Free are classic Mac).

• Lindsey Buckingham/Christine McVie. Self-titled. Warner Music.
• Three stars (out of five)

Single download: Red Sun
For those who like: Elton John

— Shane Gilchrist

Lindsey Buckingham & Christine McVie on SiriusXM

SiriusXM’s Volume presented a Town Hall with Lindsey Buckingham and Christine McVie, hosted by Mark Goodman.   Buckingham and McVie, founding members of Fleetwood Mac, have a new album out together called, Lindsey Buckingham and Christine McVie.

During this SiriusXM Town Hall, Buckingham and McVie talk about the writing of their new album, Lindsey Buckingham and Christine McVie, taking a break from Fleetwood Mac, and the joys of working together.

Hear some of this Town Hall below.  The full hour-long SirusXM Volume Town Hall airs on Friday, June 16, at 7 PM ET on SiriusXM Volume channel 106.

BuckinghamMcVie.com

Christine McVie reveals why she returned to the spotlight with new duet album

FLEETWOOD Mac star Christine McVie reveals why she returned to the spotlight with her band... and a new duet album.

By CLAIR WOODWARD
Express

The new album from Fleetwood Mac’s Lindsey Buckingham and Christine McVie feels like a big, warm hug.

The great melodies, intimate harmonies and terrific arrangements are instantly recognisable as coming from two of the band’s songwriters yet they’re new and intriguing enough to make it more than just another side project from an iconic group.

And for Christine, 73 – the understated genius behind the keyboards in Fleetwood Mac and writer of some of their most recognisable songs (Don’t Stop, Little Lies, Say You Love Me, Hold Me and Everywhere) – the sensation of reconnecting with old friends was the inspiration behind the new collaboration.

She officially retired from the band in 1998, after stepping away from touring a few years earlier, and it was her return to it for the 2015 reunion tour that sparked the collaboration with Lindsey.

“We’ve always had a particular musical relationship since he first joined the band – it was immediate,” Christine explains in her warm, honeyed tone.

“The whole band was just chemistry abounding but Lindsey and I, me being the piano player and him the guitar player, understand each other musically without saying anything.

“We’ve always worked well together over the years but never thought about doing an album together until recently and now we wonder why we didn’t think about doing it before.

“The moment I knew I was going back into the band I flew over to Santa Monica to start rehearsals but, before that, I’d sent Lindsey a few demos of stuff I’d recorded and he went into his studio to arrange them. He played them back to me and I said, ‘These sound really great.’ So we decided to go and record them properly. (Fittingly, fellow Mac members Mick Fleetwood and John McVie, on drums and bass, also perform on the album.)

“After we finished the world tour, Lindsey got in touch and said, ‘What are we going to do with these songs, they’re too good to just shelve?’ So we decided to go ahead with releasing a duet album.”

Christine’s return to Fleetwood Mac and her new burst of creativity comes at a time when many people thought that, after several years away from the hurly-burly of rock star life, she would never be seen on stage again.

In the intervening years she moved from California where she had lived for the best part of 30 years (she grew up in Birmingham and moved to London after attending art college), and bought a beautiful country home in the village of Wickhambreaux, Kent, which she spent several years restoring.

“I felt very at home in California but the place is prone to earthquakes and the one in 1994 scared the life out of me. For months afterwards I felt that every time I sat down I should have put on a seatbelt. It was really bad and I thought, ‘I’m going to get a house in England.’ I got to a point where I’d been in a band for 40 years and wanted to get back to real life.”

Yet being a lady of leisure eventually proved to be not enough for Christine.

“I started to say, ‘OK, now what?’ I had my two dogs there, they were my life. My marriage (to keyboardist Eddy Quintela) fell through, so I was living on my own and felt isolated. Most of my friends were in London or Los Angeles and worked nine-to-five for a living.

“I did have some friends living with me for a while but, eventually, I reached a point where it was time to start changing things.”

The catalyst for this change was Christine’s need to overcome her fear of flying and the intervention of Mick Fleetwood.

“I had a horrible terror that the next plane I got on would crash,” she remembers.

“So I had therapy to get over that, and other issues I’d developed through isolation, and sorted myself out. My therapist and I discussed the idea of me writing songs again and trying to reach out to the rest of the band as well.

“The therapist asked where I wanted most to fly if I could and I said Maui (one of the Hawaiian islands), as Mick lives there and I have a lot of friends there. So I just bought the ticket without knowing if I’d actually go. I’d always stayed in touch with Mick and soon after I bought the ticket he said he was coming to London, so we met up and I flew back to Maui with him. I didn’t even notice the wheels leave the ground. Since then, it’s been great. I’ve even flown in Africa in one of those prop jobs.”

While with Mick in Maui, he persuaded her to get on stage with his local band, gradually coaxing her back into the idea of returning to her musical career.

“Steven Tyler, from Aerosmith, was there. We belted out a few songs and I just thought, ‘This is good...’”

Christine admits that it was performing live that sustained her through her final years before she left Fleetwood Mac.

“When I first left, I didn’t miss it as I was tired of the travelling. The gigs were the only thing that really sustained me.”

And after her long break, being back with her bandmates has given her a new lease of life.

The closing track on the Lindsey Buckingham/ Christine McVie album is called Carnival Begin, written by Christine and with its lyrics of “I want it all... a new merry-go-round” it is clear that she has a strong appetite for change. Fleetwood Mac’s famously colourful previous life, where sex, drugs and rock ’n’ roll made for a potent combination, is now a thing of the past and they are enjoying better personal relationships and new respect from audiences.

“Underlying the band now is a great sense of affection,” reflects Christine.

“We bind together my style, Lindsey’s style and Stevie’s (Nicks) style as songwriters, and it’s a democratic band in that we make sure everyone has the same amount of songs to sing both onstage and on record, although I have to say, it’s Lindsey that really directs the band.”

Next month, Christine and Lindsey are touring the States with the new album and she is looking forward to it after Fleetwood Mac’s triumphant world tour in 2015.

“We had such a great range of ages in the audience, from people who bought our albums the first time around to their children and grandchildren.

“I think we’ve become a hip band to the younger generation. After being seen as middle-of-the-road, we are now fashionable again.”

Christine is now living in London and when she gets back from touring in America she will decorate her new house, which is currently “an empty shell filled with cardboard boxes”.

Who looks after her beloved dogs when she’s away, I ask?

“They passed last year. They were very obliging,” she laughs.

“My other house was for sale. They were 16 and had had a good life. It was sad but things came together at the right time. Everything is for the good in the end.”

The single In My World is out now; the album Lindsey Buckingham/Christine McVie is released on June 9 on Rhino Records.

THE MAKING OF BUCKINGHAM MCVIE

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Stevie Nicks addresses a few rumours... head on!

Why I've gone my own way: On the edge of 70, Stevie Nicks addresses a few rumours... head on!

By CRAIG MCLEAN
Dailymail

Turning her back on Fleetwood Mac. Teaming up with Chrissie Hynde. And ditching drugs with a little help from Prince. The rock icon confronts all those rumours... head on!

Now this is a treat. It’s Saturday night in a cavernous rehearsal facility in the San Fernando Valley, over the hills from Hollywood, and I’m enjoying a private concert from rock ’n’ roll’s greatest woman – a living, breathing, dancing, sunglasses-indoors legend. Ahead of an American tour, Stevie Nicks is running through a selection of hits from her multi-million-selling career as a solo artist and as frontwoman with Fleetwood Mac.

Rhiannon, Gold Dust Woman, Stand Back, The Wild Heart, Edge Of Seventeen: these are some of the best-loved songs of the past 40 years. And the woman who wrote them – more used to wowing arenas – is standing a few feet away, singing them to me, bashing a tambourine as if her life depended on it, swirling in a vision of black scarves and drapes.

During a break, I sit down with Nicks and, as she cradles her beloved terrier Lily, she talks. And talks. At the age of 69, this warm, witty woman remains as irrepressible as ever. As is usual in the world of Fleetwood Mac, there’s a lot to discuss. One topic is her upcoming US shows with fellow icon Chrissie Hynde, in support of Nicks’ 24 Karat Gold album. Another is rumours of a Fleetwood Mac tour – a tour that’s possibly a farewell one.

But more pressing is the imminent release of Lindsey Buckingham/Christine McVie. It’s ostensibly a duo album from Mac guitarist Buckingham and keyboard player/singer McVie. In the set-up and billing, it feels like a successor to Buckingham Nicks. This legendary ‘lost’ 1973 album was made by Stevie and Lindsey – then a couple – before the Californians joined a mouldering English blues band led by drummer Mick Fleetwood and assisted by bass player John McVie.

Their duo act didn’t last, and neither did their relationship. But Nicks’ and Buckingham’s songwriting contribution – not to mention their split, as famously documented in their songs on 1977’s 40-million-selling album Rumours – helped rocket-power Fleetwood Mac to Seventies rock’s mega-league.
When we speak, Nicks hasn’t heard the Buckingham/McVie album. ‘I was gone when they were doing it,’ she says. ‘I was in Nashville making 24 Karat Gold. And when they were finishing it, I was on this last tour. I’m sure it’s pretty great, because why wouldn’t it be?’

John McVie (Christine’s ex-husband) and Mick Fleetwood also play on the album. Which begs the question: if Nicks had contributed, would it have been a Fleetwood Mac album? The band haven’t made an album since 2003’s Say You Will, so it feels like time...

‘It probably would have been, but I had just given three years to Fleetwood Mac [for the last tour] and I wanted two years off. And they decided to go into the studio and I said: “I’m not going. But you guys can do whatever you want.”’

She understands why Christine was keen to make the album. The English keyboard player rejoined Fleetwood Mac in 2014 after a decade-and-a-half’s retirement in Kent.

‘Christine had been gone for 16 years and she had [only] done one tour and she needed to work. She needed to stand in front of those keyboards and write songs and play. And that’s why Fleetwood Mac will probably go back out next year and do a farewell tour,’ Nicks reveals. ‘Because Chris really wants to. Because she was gone for so long.’

For her part, Nicks can’t conceive of retiring. In that regard, her current partner is the perfect musical compadre. Both Nicks and Hynde have been through the sex and drugs and rock ’n’ roll wars. Tragically, The Pretenders’ frontwoman lost two band mates to drugs, while Nicks has had her own well-publicised battles with addiction in the Seventies and Eighties. She’s also had her share of intense love affairs: with Buckingham, with Fleetwood, and also with Eagles guitarist Joe Walsh and producer-turned-Apple-exec Jimmy Iovine.

These days, though, she’s contentedly single, surrounded by a wide circle of musician friends and various godchildren. Nicks’ homes in Los Angeles – one on the beach in Venice and one in the nearby hills – are retreats where she can indulge her love of writing poetry, reading the Twilight novels and watching Game Of Thrones.

That said: while both Nicks and ardent vegetarian Hynde, 65, are now both the epitome of clean and serene, they’re also capable of kicking up an onstage storm.

‘We became really good friends,’ says Nicks. ‘She calls me the Elizabeth Taylor of rock ’n’ roll. Because I always arrive in [hair] rollers with my big Elizabeth Taylor sunglasses, and my hair’s usually wrapped because it was cold when we first went out on tour.

‘But on stage, we don’t feel old. And hopefully we don’t look old! When we feel it’s not cool any more, we’ll change our shows. We’ll do more intimate shows and we’ll do more ballads. We’ll never be age-inappropriate.’

As for her ‘day-job’ band, their shows remain as huge, hits-filled and entertaining as ever. ‘When we did the last Fleetwood Mac show, on my birthday,’ Nicks recalls, referring to the band’s gig at London’s O2 in May 2015, ‘it was the nicest birthday I’d had in ten years. Harry Styles brought back a cake. Mick [Fleetwood] has kind of adopted him. There are just women in Mick’s family and Harry is that tall, lanky musical son he always wanted, so they keep in touch.’

Indeed, so do Styles and Nicks. A few weeks after our meeting, she joins the visibly awestruck 23-year-old onstage for three songs at LA’s Troubadour. Even the hottest 20-something in pop has his fanboy moments.

No doubt Nicks’ UK fans, celebrity and otherwise, will be out in force at London’s Hyde Park in July. As part of the British Summer Time concerts, she’s playing with headliners Tom Petty And The Heartbreakers. She counts Petty as her lifelong musical brother, and she pops up several times in the Florida rocker’s recent authorised biography, Petty. And the affection between the pair goes both ways.

‘There was a point when Tom thought I was probably not going to make it,’ says Nicks. ‘He said, “I started to expect I would get a phone call to say that Stevie had died from a drugs overdose”.’

Nicks has always been wholly honest about her years abusing drugs, notably cocaine. But she’s come out the other side, not just intact but shining. The same, tragically, can’t be said for her friend Prince. The pair collaborated on Nicks’ 1983 solo album The Wild Heart, and the two remained close.
‘He was as against drugs as anybody I’ve ever known. But what happened with him was that from the very beginning, he was doing insane things like jumping off six-foot risers in little Argentinian heels – and smashing down into the ground.’

Prince was reported to have died from an accidental overdose of the prescription painkiller Fentanyl.

‘He thought I absolutely was going to die of a drugs overdose. This guy gave me a lecture on over-the-counter cough medicine!’ she exclaims. ‘That’s when I was totally a drug addict and he was straight as an arrow. He’d bring me cough medicine when I was sick and then I’d ask for another spoon of it, and he’d go, “I didn’t come here to start you on a new drug!” I’m like, “Come on, really, please, seriously?” ’Cos I’ve done way worse.’

That, however, is a long way behind her. Now Nicks gets all her highs playing shows. ‘When I go up on that stage, that arena is my own personal house of love. And I’m going up there to tell these funny stories and to make people pump their fists in the air. I want to bring joy to these people.’

The same applies to Fleetwood Mac. Nicks ‘of course’ will take part in the band tour she mentioned earlier. But will it really be a farewell trek? ‘Well, we’re not young. The thing is, I’m probably still going to be performing long after next year. But as for everybody else, I don’t know. We’ll be skating into our seventies.’

For her part, performing is what keeps Nicks youthful and rocking – and with an energy and enthusiasm artists half her age would kill for. ‘Totally!’ she says. ‘It’s the love of my life.’

Lana Del Rey and Stevie Nicks Team Up for New Song on Lust for Life

Two generations of witchy women, together at last
by Amy Phillips and Amanda Wicks
Pitchfork

Lana Del Rey has tapped none other than Stevie Nicks for a feature on her forthcoming album Lust for Life. No more information is available about the team-up between Lana and the Fleetwood Mac singer/songwriter, but it follows news of two more high-profile guests on the LP: the Weeknd on “Lust for Life” and Sean Ono Lennon on “Tomorrow Never Came.” Del Rey has not yet announced a release date for the album, which also features the single “Love.” 

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Zach Rance has been taking the South Florida real estate market by storm. If you are looking to buy, sell, lease or rent in Palm Beach County, Florida, contact Zach Rance through his website at www.ZachRance.com
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Stevie Nicks Rollin Into The Fall with 24 Karat Gold Tour

Dates available so far:

07.09 - London, UK - Hyde Park (W/Tom Petty) [previously announced]

09.09 - Chicago, IL - Ravinia Pavilion
09.10 - Chicago, IL - Ravinia Pavilion
09.24 - Louisville, KY - Bourbon and Boyond

Ticketmaster

Record Store Day April 22, 2017 - Fleetwood Mac and Stevie Nicks Releases

Look for both of these vinyl albums to drop April 22nd!!

FLEETWOOD MAC - Alternate Mirage 

Event: RECORD STORE DAY 2017 

Release Date: 4/22/2017

Format: LP

Label: Rhino/Warner Bros. 

Quantity: 3500

Release type: RSD Exclusive Release

An album of alternate takes from the Mirage Deluxe edition, originally released in 2016. Includes the early versions of Mirage favorites "Gypsy", "Hold On" and "Oh Diane". Previously released only on CD, first time on vinyl. (Limited worldwide release of 6500.)

STEVIE NICKS - Rarities

Event: RECORD STORE DAY 2017 

Release Date: 4/22/2017

Format: 10" Vinyl

Label: Atlantic Catalog Group

Quantity: 5000

Release type: RSD Exclusive Release

This Record Store Day release is a 10" featuring rare demos, live and early takes from Bella Donna and Wild Heart deluxe editions. Includes two key Stevie Nicks soundtrack cuts: "Blue Lamp" (from the Heavy Metal soundtrack) and "Sleeping Angel" (from the Fast Times at Ridgemont High soundtrack). (Limited worldwide release of 7500.)

SIDE A: 01 Bella Donna (demo) 02 Edge of Seventeen (early take) 03 After The Glitter Fades (Live 1982) (Remastered) 

SIDE B: 01 Wild Heart (Session) 02 Blue Lamp (from Heavy Metal soundtrack) (Remastered) 03 Sleeping Angel (from the Fast Times at Ridgemont High soundtrack) (Remastered)

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Buckingham McVie Tour Dates Announced - New Album Out June 9th. Pre-Order Now

Lindsey Buckingham and Christine McVie have joined together to record their first-ever album as a duo. Simply titled LINDSEY BUCKINGHAM/CHRISTINE McVIE, the 10-song album will be released June 9th, followed by a run of special U.S. concerts beginning June 21st. The first single “In My World” will be available on all digital and streaming services this Friday, April 14th.

Visit BuckinghamMcVie.com to pre-order the album and see a full list of dates and on sale details.

BuckinghamMcVie.com

Tour Dates

06.21 - Atlanta, GA - Chastain Park Amphitheater
06.23 - Nashville, TN - Ascend Amphitheater
06.24 - Raleigh, NC - Red Hat Amphitheater
06.26 - Vienna, VA - Wolf Trap Foundation
06.28 - Boston, MA - Blue Hills Bank Pavilion
06.30 - Philadelphia, PA - The Mann
07.02 - Detroit, MI - Fox Theatre
07.03 - Chicago, IL - Huntington Bank Pavilion
07.05 - Toronto, ON - Budweiser Stage
07.19 - Woodinville, WA - Chateau Ste Michelle Winery
07.21 - Murphys, CA - Ironstone Amphitheatre
07.22 - Las Vegas, NV - Park Theater at Monte Carlos
07.25 - Phoenix, AZ - Comerica Theatre
07.27 - Denver, CO - Paramount Theatre

More dates to follow!

Tickets go on-sale to the general public on April 21st and 22nd. Pre-sale tickets go on-sale prior to those dates. Check Ticketmaster

Lindsey Buckingham and Christine McVie Announce Joint Boston Concert

Fleetwood Mac’s Lindsey Buckingham and Christine McVie Announce Joint Boston Concert

Lindsey Buckingham and Christine McVie are ready to take their new Buckingham/McVie record on tour. The duo, two parts of Fleetwood Mac’s most popular lineup, will hit Boston’s Blue Hills Bank Pavilion Wednesday, June 28th.

No word yet on whether or not other members of Fleetwood Mac will join the pair onstage. Tickets go on sale Friday, April 14th at 10:00 AM.

WZLX

(the information and link have been removed from the site. Someone likely jumped the gun and posted a little too early so an official announcement will likely be coming soon.)



Fleetwood Mac’s Lindsey Buckingham And Christine McVie Announce Joint Concert

Fleetwood Mac members Lindsey Buckingham and Christine McVie have announced their first duel concert.

The duo, who have been recording an album together, will play Chateau Ste. Michelle Winery in Woodinville, WA., on July 19. Tickets start at $59 for lawn seats.

Buckingham and McVie began writing songs for a new Fleetwood Mac record three years ago, but Stevie Nicks‘ resistance to recording new music led the pair to record the songs on their own. Buckingham McVie is set to drop later this summer.

Fleetwood Mac drummer Mick Fleetwood opened up to Uncut about his band mates’ side project. “This relationship is a real expression of a musical powerhouse that’s come to the fore, and we’re all happy about that,” he said. “It’s really cool. I think they’ll be walking down some red carpets with this one.”

Ticketmaster

Fleetwood Mac and The Eagles Headline "THE CLASSIC CONCERTS" Los Angeles and New York

Live Nation's "The Classic Concerts" Welcomes Timeless Rock Legends

Nothing screams classic rock like the enduring musicality of Steely Dan, Fleetwood Mac, The Eagles and other legends brought to us by Live Nation's "The Classic" concert set. These events present both east and west coast crowds an unforgettable summer opportunity to experience some of the biggest names in classic rock history set in two historic and beautiful stadium venues.

Sensibly entitled The Classic Concerts, Live Nation has sourced age-old favorites suitable for all generations, splitting each concert series into two days of rockin' performers. The Los Angeles performances are called The Classic West, and will take place at Dodger's Stadium over the weekend of July 15-16, while New York's series is titled The Classic East, and is set during the weekend of July 29-30.

Single ticket admission is good for both days of this innovative festival, featuring The Eagles, Steely Dan and The Doobie Brothers on Saturday and Fleetwood Mac, Journey and Earth Wind & Fire on Sunday.  What better way to see some of the most well-loved and lasting musical acts from the last century than in the iconic stadiums that house the Los Angeles Dodgers and The New York Mets? Each venue will also offer delectable eats and drink from both local and international vendors, designed to offer visitors an authentic music festival experience.

Don't miss out on purchasing your ticket to this unforgetable event as tickets are sure to sell fast!
Tickets go on sale Friday, April 7th at 10am, TheClassic.com.