REVIEW: Fleetwood Mac Live - Parken Stadium Copenhagen Oct 8, 2009

(Translated Version)

FLEETWOOD MAC
PARKEN, KØBENHAVN
Gaffa.dk

Anmeldt af CARSTEN SKOV TEISEN

Foto: STEFFEN JØRGENSEN (flickr)

4 / 5 of the classic Fleetwood Mac rediscovered fairly formula on a musical eternity Maker

I sat up all night on 3 November 1992 to follow the culmination of the American presidential campaign, when Bill Clinton had won over Bush the Elder. Remember well how the neck hairs stood up as the result became clear, Bill, Hillary and Chelsea came up on the podium in front of governor house in Arkansas. This was done primarily to a thunderous applause - but the campaign song was now his to that mood, both in front of the podium and far away in Denmark, was high.

"Do not Stop" by Fleetwood Mac had for many years prior to the råkolde November morning served as my personal moral rygstød when work-life not just flaskede itself, as I had anticipated. The indomitable optimism of the invitation to never fail to focus on tomorrow's challenges spoke to the heart - both with myself and that is, with the majority of American voters.

The song is however in my view primarily as a motto for a rock group that has been a plethora of replacements, the corresponding many commercial ups and downs, marriages, divorces, drug addiction and many other things through. In addition, a sometimes profound disagreement about the group's musical expression, as from time to time has helped the team members could not endure the sight of each other.

In 2009, well 32 years after the name Fleetwood Mac stood to read on the cover of "Rumors", one of music history's most successful rock releases, there was again able to see most of the band's unconditional most successful line up at a Danish scene. The park was the setting for the opening of Fleetwood Mac's "Unleashed" tour.

Unsuitable acoustics

An expectant audience was opposed with great enthusiasm, but from the beginning, there was a degree of inertia - or tired - to track. Especially Stevie Nicks' voice in crunchy ballads was firmly mandsopdækket of an acoustics, which is decidedly inadequate to support Fleetwood Mac's usually melodious and well-produced musical expression. "The Chain" - the evening's first number from "Rumors" - at least in part a sad fate, in which the seat is on the right and left of the stage only to hear Stevie Nicks as a mumbling mess. On the other hand went Lindsey Buckingham guitar, drummer Mick Fleetwood and John McVies heavy bass clear through with a nervous, which drew an experience well above the regular sonic disaster.

Immediately after, Stevie Nicks chance again with "Dreams", which went a tooth for a very cozy and calculation of the interaction, as Lindsey Buckingham, immediately after talking about the band had met many times with long breaks - to reach the urge to to experience the thrill again. This time just to have fun, now was not to promote the new CD release ... yet. A few tracks later, it was Stevie Nicks, who remembered with nostalgia the times and music scene in San Francisco, where she once in a distant, distant past drawn into Fleetwood Mac. In the following version of "Gypsy" was unfortunately again as if her voice was wrapped in a Jysk stock of quilts. By contrast there came instantly more sharpness and savagery of Lindsey Buckingham "I Go Insane".

"Rumors" was presented by an album that despite the band's fierce disagreements about genesis was marked by humor and optimism. But the audience enthusiastically as if the mention of the album gave rise to was not completely redeemed at the next little forced version of "Second Hand News." In return, began the panels had been a covering of the scene now to move around and with a flickering images of movies and newspapers were the song's point, cut in inch thick boxes.

You would right up to the "Tusk" to experience the first signs that tonight's celebration was so small that unfold. Despite a little too synthetic fan section from the somewhat anonymous keyboard player in the background was "Tusk" as one of the evening's highlights, followed by "Sarah", where Stevie Nicks' song to herself, was audible.

Buckingham on the offensive

And then I love that the offensive was deployed. Lindsey Buckingham delivered an indisputable star and solo performance of "Big Love" which was stripped of superfluous nice for the rough, insistent guitar remained. Stevie Nicks scored immediately after some cheap points to dedicate "Landslide" to Copenhagen, where she had spent a week's time to prepare for the tour premiere, but the song was beautiful - and audible - as if lydfolkene finally had found the formula for Park lydhelvede adapt to the crisp elegance of Stevie Nicks' ballad-lectures.

Lindsey Buckingham tore another gem, "Never Going Back Again" out of the bag, and then it went otherwise than "Storm," "Say You Love Me" and "Gold Dust Woman" before the Lindsey Buckingham concert as provisional climax with an AC / DC'sk savagery bent in neon, there is still juice in "Oh Well".

The pace dropped a bit in "I'm So Afraid," which Lindsey had difficulty finding an escape route out of his guitar solo. On the other hand took Stevie Nicks nerve again in "Stand Back", who were looking forward to feast final redemption of the party and closing the set with divorce song "Go Your Own Way". A song which, paradoxically, was the evening's demonstration of the hopefully final brotherhood the quarrelsome band members in between.

The ring was connected

An enthusiastic audience fought in hardened to clap and pep band on stage again and was rewarded with an elegant and exuberant enthusiastic Mick Fleetwood, who as a bell clear anachronism went out in a drum solo with a character of African tribal dance, which excited audience sang along (!).

Before the excitement had completely subsided heard the first verses of the song, the motto of the Fleetwood Mac just can not avoid giving us out there in front. "Do not Stop" stood with the same clarity and energy as I remembered from hin November morning in 1992. Then the audience was sent home with a beautiful and touching version of "Silver Springs" and with Mick Fleetwood and well-meant anything but sticky admonitions to generally be good to each other.

The evening offered by natural causes is not very new, but the ring was completed, the wear resistance of Fleetwood Mac's extensive backlist conviction and sent the audience home with a quiet hope that the band can regain nerve in the studio and come out with new music bar where "Rumors "to size.

On the way home I could not avoid a stationary cutting by Christine McVie, whose absence was the reason why the songs feel like "Songbird" and "Over And Over" was not found on tonight's track list. But it was after all, a blot on the evening that was thoroughly confounded by the 4 remaining band members who, despite adversity, downs and past consumption of white powder in irregular evidence had set out to rediscover the formula of a musical perpetual machine.

Translated Version with lots of comments from fans

REVIEW: FLEETWOOD MAC LIVE IN DENMARK 4/5 Stars

Fleetwood Mac Live at the Parken Stadium

Copenhagen October 8, 2009

Pete Paphides

Timesonline.co.uk

4/5 Stars

Fleetwood Mac hardly need to be made aware of the fact, but hindsight can have a way of teasing you into your dotage. Thirty-three years after the group’s classic line-up released the 20 million-selling album Rumours, it has long become clear that — contrary to what arguably its most well-known song would have you think — going your own way is somewhat more easily said than done.

As Fleetwood Mac’s Unleashed tour finally reached Europe, it took Lindsey Buckingham all of three songs to address the “fairly convoluted emotional history” of the group who knew no equals when it came to alchemising their complicated hotel room arrangements into FM pop gold.

Buckingham and his ex-partner Stevie Nicks have since sporadically ventured into solo territory, but even in a characterless hangar on the outskirts of Copenhagen, it became clear that the on-stage dynamic between Buckingham and Nicks still exerts a fascinating hold.

With no new studio album to promote, a ruddy, red-shirted Buckingham suggested that band and audience were bound by no greater motive than to “have fun”. In the case of 61-year-old Nicks — who delivered star turns like Gypsy and Dreams with all the wistful gauziness you remembered from their recorded counterparts — that was easy enough to believe.

On a thrilling sprint through The Chain, drummer Mick Fleetwood showed a level of facial commitment that looked more like something out of the Jim Henson workshop than a rock show.

However, anyone who has seen Buckingham perform will know that fun, in the straightforward sense, isn’t a concept you would apply to the 60-year-old’s stage manner. Far from being a problem, however, it accounted for many of the evening’s most gripping spectacles. On the tribal paean to paranoia that was 1979’s Tusk, he was a picture of demonic intent. Left alone altogether to perform the group’s 1987 hit Big Love, Buckingham was revelatory. By the time he navigated the song from an intricate folk-picking whisper to a finger-shredding climax, all residual chatter from the back of the hall had dissipated.

Lest we had dared forget, of course, Fleetwood Mac’s success in the years predating Buckingham and Nicks was partly predicated on the brilliance of their troubled guitarist Peter Green.

Paying tribute to his predecessor, Buckingham turned his attention to Green’s own pièce de résistance Oh Well — while, behind him, Fleetwood and John McVie locked effortlessly into the song’s piledriving blues.

If Buckingham, on several occasions, looked close to stealing the show, it was to Nicks’s credit that she seemed happy to allow him. Even when occupying the spotlight for Sara, the female singer — dressed in figure-hugging black — left her microphone and ambled over to Buckingham. As the song finished, she hugged him and, sweetly, he simply allowed his head to rest on her shoulder. Time may have healed old wounds, but — in the case of certain songs — it made little difference to the pride Fleetwood Mac took in showing them off.

Ceremonially donning a top hat, Nicks assumed the position for Go Your Own Way. As ever, her performance was an object lesson in poise and control, while Buckingham’s was about the absence of those qualities. Minutes later, hindsight issued another tease — a valedictory Don’t Stop, complete with the exhortation, “Yesterday’s gone, yesterday’s gone.” Few noticed, less still cared.

Tour begins Glasgow SECC, October 22

(REVIEW) FLEETWOOD MAC - COPENHAGEN OCTOBER 8, 2009

Katastrofelyd i Parken

Premiereaftenen på Fleetwood Macs Europa-turné blev skændet af de horrible lydforhold i Parken. Men hvor var Lindsey Buckingham dog fantastisk.

Af Thomas Søie Hansen

Torsdag den 8. oktober 2009

berlingske.dk

Med blot to dage til den vigtigste fodboldkamp i dette årtusinde, måtte Morten Olsen og hans 11 udvalgte overlade Parkens græstæppe til et af populærmusikkens mere kulørte kapitler, nemlig Fleetwood Mac.

Dannet i 1967 bluesrockens tegn, hædret og hyldet i niveau med datidens Stones med en primær sangskriver- og guitarist, som forsvandt fra både sig selv og bandet i en rus af syretrips. For både otte- ti- og tolv år senere at vælte om ikke verden, så i hvert fald hitlisterne med albums bestående af lige dele softrock og perfektioneret voksenpop. Alene bandets ’77 skive ”Rumours”, som blevet lavet på nid, hævn, psykisk terror og sorg over to ødelagte ægteskaber mellem bandmedlemmerne og på et Mount Everest-højt bjerg af kokain, har rundet et salgstal på 40 millioner eksemplarer.

Den slags er rockhistorie af den helt rigtige slags.

Continue To Full Danish Review

Translated Version:

Katastrofelyd in the Park

Premier evening on Fleetwood Mac's European tour was desecrated by the horrible sound conditions in the park. But where was Lindsey Buckingham, however, fantastic.

By Thomas Søie Hansen

Thursday 8 October 2009

With just two days to the most important football game in this millennium, it had Morten Olsen and his 11 chosen to leave the park græstæppe to one of popular music's more colorful chapters: Fleetwood Mac.

Formed in 1967, Blue Rock character, honored and celebrated at the level of contemporary Stones with a primary songwriter and guitarist, who disappeared from both himself and the band in an intoxicated syretrips. For both otte-ti-and twelve years later to overthrow the world does not, then at least the charts with albums consisting of equal parts of soft rock and perfected voksenpop. Only the band's '77 disc "Rumors" as the centerpiece of spit, revenge, psychological terror and grief of two broken marriages between gang members and at a Mount Everest-high mountain of cocaine, has a rounded sales figures of 40 million copies.

It is kind of rock history of the right kind.

Pure pleasure

Why Fleetwood Mac, which has been dissolved and restored countless times and constellations, all touring, let alone why they have chosen to open the European leg in Copenhagen, is not known with certainty - they have no new album to sell, there would still be a little cash in various accounts, so it can probably only be merry, which operates the plant.

Desire for the meeting with the idols were painted directly into the faces of the approximately 19,000 peer audience in front of the stage, it is now silver Mick Fleetwood, John McVie and they still look fantastic, Steve Nicks and Lindsey Buckingham - the four remaining members of what one might call the second edition of Fleetwood Mac, where the London meetings, San Francisco and creates many magical moments in time cubes and tones. The audience had no means forgotten them, even if it's 22 years ago, wrote to Buckingham Fleetwood Mac's last great song.

In the foreground rays both Steve Nicks and Lindsey Buckingham, the former couple, singing signatories. They do indeed. Both had immediate contact with the audience. Buckingham, who looks like the same rock star he was for over 30 years ago, said after only a few tracks on the band's mildly turbulent history of psychological ups and downs even more, which he more or less promises a new album around the corner.

Later remembers Nicks at times in San Francisco in the sixties with the city's final phenomenal music scene as the best time in his life. Hujer audience, applauding and nodding in assent to the call to have a wonderful, festive evening.

The sound destroys everything

But it is a difficult, if not impossible mission, the sound is horrible, the worst I have ever heard in the park, only Fleetwood drums work in the soundstage.

Vowels, and Buckingham McVies bass guitars smashing and smashing in the soundstage. One gets the urge to cry, the melody is just as important a part of Fleetwod Mac's identity. Only occasionally can guess the indisputable delicate melodies, the songs are built, but the instruments within the scope and calling out, is almost impossible to hear. The nuances are there, away.

Especially is Stevie Nicks' usually so poetic and sensitive vocals beaten beyond recognition, the annoying noise.

Maybe play Fleetwood Mac a good concert underneath it all, presumably they can still, it can at least hope, but in fact it is not known.

Beautiful Buckingham

First, far down in the set begins park to give way when Lindsey Buckingham alone with his acoustic guitar, plays and sings "Big Love" which was the point.

Here he drowned discord with a crazy intense gripping appearance. Wow, 110 percent pure emotion. Audiences respond adequately to the evening's climax.

Similarly, acoustic but otherwise gently while continuing Buckingham Stevie Ncks comes in and sings "Landslide", together they sing then "Never Going Back Again". Only two, really well, mostly him, Buckingham is entirely discretionary.

Even when it is noisy and muddy, cut his intensity and desire through the dirt and makes "Oh Well" for tonight's other big moment. And the evocative "I'm So Affraid" to a third. Buckingham still has something at stake, far more than you can see with the naked eye and hear his vocals and solos.

After nearly two hours, with the snarling divorce song "Go Your Own Way" (a worldwide hit, long before the Internet age), sausage in the end, yesterday Fleetwood Mac from the stage to deafening cheers. It has not abated since the protagonists three minutes later again entrer the end of the park, where Jon Dahl will score twice on Saturday against the Swedes!

The mood in here is high, even under Mick Fleetwood too long and bøvede drum solo (eruption), and another pophit, this time "Do not Stop", but it is no less euphoric. Chance to reach up there, the park has long acoustically deprived Fleetwood Mac and the audience. Practice.

(PHOTO) FLEETWOOD MAC IN COPENHAGEN

It's real... Fleetwood Mac ARE in Copenhagen.

Photo by: Thomas Bech

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.