RUMOURS - FIRST ALBUM EVER TO HAVE 4 TOP 10 HITS

I did not know this!... Or maybe I did, but I never realized the significance of it.
"Rumours" by Fleetwood Mac
The first album to have 4 Top 10 singles (let alone 4 singles period).

So I've read, back in the day albums were typically mined for a max of two singles.

GRAMMY SUBMISSIONS FOR BOTH MICK FLEETWOOD AND STEVIE NICKS OF FLEETWOOD MAC

Both Stevie Nicks and Mick Fleetwood have submitted their solo albums released this year for consideration at this years 52nd Annual Grammy Awards.

Stevie Nicks' CD "The Soundstage Sessions" along with The Mick Fleetwood Band Featuring Rick Vito "Blue Again" have been submitted in the following category:

Album Of The Year

Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s)/Mixer(s) & Mastering Engineer(s), if other than the artist.

Stevie's "The Soundstage Sessions" has also been submitted for consideration in:

Best Pop Vocal Album

For albums containing 51% or more playing time of VOCAL tracks.

Good luck to both... There's a lot of competition!

Actual Grammy Nominations are in December I believe. The Grammy Awards are at the end of January, 2010.

INSTRUMENTAL FORCE IN REUNITING FLEETWOOD MAC (1997) APPOINTED CHIEF CREATIVE OFFICER

Warner Music Group Corp. (NYSE: WMG) today announced that it has named Grammy Award-winning music producer, Rob Cavallo, to the newly created position of Chief Creative Officer. As such, Cavallo will provide WMG with his exclusive services as a producer and an A&R executive.

One of the top-selling producers in the world, Cavallo has produced or had creative involvement in albums that have sold more than 125 million units over the past 16 years, nearly 30 million of those units in the last five years alone.

In 1997, Cavallo was an instrumental force in reuniting the members of Fleetwood Mac at Warner Bros. and produced the band's reunion album, DVD video and TV special, "The Dance," which combined have sold more than six million units.

WMG PRESS RELEASE

Most recently, Rob Cavallo produced two tracks on Lindsey Buckingham's "Gift of Screws" "Wait For You" and "Gift of Screws".

** TONIGHT** FLEETWOOD MAC ON THE ELEVENTH HOUR - RTE 2

TONIGHT ON RTE 2 IN IRELAND.....

Dave Fanning returns to our TV screens this week with the new series of The Eleventh Hour. The first edition will feature Dave's interview with Fleetwood Mac. Fleetwood Mac will play The O2, Dublin on Saturday 24 and Sunday 25 October.

Tune into The Eleventh Hour on RTE 2 this Wednesday 7th October at 11.50pm.

Fleetwood Mac have confirmed an extra concert date at The 02, Dublin on Sunday 25 October.

The band will now play two concert dates on Saturday 24 and Sunday 25 October.

MCD.ie

'The 11th Hour' (RTE 2, Wednesday) - Dave Fanning is back with a brand new series bringing some of the hottest new music along with interviews from the biggest artists and specially recorded performances from some of the bands of the moment.

This week Fanning talks to Mick Fleetwood and Lyndsay Buckingham from Fleetwood Mac, who play a couple of sold-out shows in Dublin's O2 later this month.

The Meath Chronicle

MICK FLEETWOOD - ONLINE FOCUS VIDEO (FLEETWOOD MAC EURO PROMO)

(You're on your own for a translation on this one... But Mick speaks in english!)

Mick Fleetwood

Der Hüne von der Bühne
Von FOCUS-Online-Korrespondent Andreas Renner (Los Angeles)
Focus.de

Mick Fleetwood, Mitbegründer der Band Fleetwood Mac, blickt auf eine erfolgreiche Karriere mit vielen Höhen und Tiefen zurück. Doch der 1,97-Meter-Mann bereut keine Minute.

30 YEARS AGO TUSK RELEASED

October 1979 Fleetwood Mac's

double LP Tusk was released

Tusk
Fleetwood Mac
Warner 3350
Released: October 1979
Chart Peak: #4
Weeks Charted: 37
Certified Double Platinum: 10/22/84

At a cost of two years and well over a million dollars, Fleetwood Mac's Tusk represents both the last word in lavish California studio pop and a brave but tentative lurch forward by the one Seventies group that can claim a musical chemistry as mysteriously right -- though not as potent -- as the Beatles'. In its fits and starts and restless changes of pace, Tusk inevitably recalls the Beatles' "White Album" (1968), the quirky rock jigsaw puzzle that showed the Fab Four at their artiest and most indecisive.

Like "The White Album," Tusk is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers. Tusk's twenty tunes -- nine by Lindsey Buckingham, six by Christine McVie, five by Stevie Nicks -- constitute a two-record "trip" that covers a lot of ground, from rock & roll basics to a shivery psychedelia reminiscent of the band's earlierBare Trees and Future Games to the opulent extremes of folk-rock arcana given the full Hollywood treatment. "The White Album" was also a trip, but one that reflected the furious social banging around at the end of the Sixties. Tusk is much vaguer. Semiprogrammatic and nonliterary, it ushers out the Seventies with a long, melancholy high.

On a song-by-song basis, Tusk's material lacks the structural concision of the finest cuts on Fleetwood Mac and Rumours. Though there are no compositions with the streamlined homogeneity of "Dreams," "You Make Loving Fun" or "Go Your Own Way," there are many fragments as striking as the best moments in any of these numbers.

If Christine McVie and Stevie Nicks were the most memorable voices on Fleetwood Mac and Rumours, Lindsey Buckingham is Tusk's artistic linchpin. The special thanks to him on the back of the LP indicates that he was more involved with Tusk's production than any other group member. Buckingham's audacious addition of a gleeful and allusive slapstick rock & roll style -- practically the antithesis of Fleetwood Mac's Top Forty image -- holds this mosaic together, because it provides the crucial changes of pace without which Tusk would sound bland.

The basic style of Tusk's "produced" cuts is a luxuriant choral folk-rock -- as spacious as it is subtle -- whose misty swirls are organized around incredibly precise yet delicate rhythm tracks. Instead of using the standard pop embellishments (strings, synthesizers, horns, etc.), the bulk of the sweetening consists of hovering instrumentation and background vocals massively layered to approximate strings. This gorgeous, hushed, ethereal sound was introduced to pop with 10cc's "I'm Not in Love," and Fleetwood Mac first used in Rumours' "You Make Loving Fun." On Tusk, it's the band's signature. Buckingham's most commercial efforts -- the chiming folk ballads, "That's All for Everyone" and "Walk a Thine Line" -- deploy a choir in great dreamy waves. In McVie's "Brown Eyes," the blending of voices, guitars and keyboards into a plaintive "sha-la-la" bridge builds a mere scrap of a song into a magnificent castle in the air. "Brown Eyes" sounds as if it were invented for the production, rather than vice versa.

About the only quality that Stevie Nicks and Christine McVie share is a die-hard romanticism. On Tusk, Nicks sounds more than ever like a West Coast Patti Smith. Her singing is noticeably hoarser than on Rumours, though she makes up some of what she's lost in control with a newfound histrionic urgency: "Angel" is an especially risky flirtation with hard rock. Nicks' finest compositions here are two lovely ballads, "Beautiful Child" and "Storms." Her other contributions, "Sara" and "Sisters of the Moon," weave personal symbolism and offbeat mythology into a near-impenetrable murk. There's a fine line between the exotic and the bizarre, and this would-be hippie sorceress skirts it perilously.

McVie is as dour and terse as Nicks is excitable and verbose. Her two best songs -- "Never Forget," a folk-style march, and "Never Make Me Cry," a mournful lullaby -- are lovely little gems of pure romantic ambiance. With a pure, dusky alto that's reminiscent of Sandy Denny, this woeful woman-child who's in perpetual pursuit of "daddy" evokes a timeless sadness.

Tusk finds Fleetwood Mac slightly tipsy from jet lag and fine wine, teetering about in the late-afternoon sun and making exquisite small talk. Surely, they must all be aware of the evanescence of the golden moment that this album has captured so majestically.

- Stephen Holden, Rolling Stone, 12/13/79.