REVIEW: FLEETWOOD MAC - DEN LILLE NISSES VAGTPARADE - Copenhagen

Fleetwood Mac Live in Copenhagen - October 8, 2009

The printed edition of the Fleetwood Mac review in Politiken for their Copenhagen show, written by Erik Jensen, music editor appears to be slightly longer and a little different then the online version.

(Translated Version)

Drummer Mick Fleetwood was in the audience with a degree in something as old fashioned as a drum solo by Fleetwood Mac's grand demonstration of that old-fashioned musical virtues still are free.

Actually, it is unbelievable, they even said it several times throughout the evening that there has been so good and so long music out of an emotional disorder, infant up with drugs and booze in quantities far beyond the life-threatening. Livsførelsen takes into

consideration, it is also a minor miracle that four members of Fleetwood Mac from the Anglo-American group's heyday is on stage at sold-out stadiums around the world in these months. Plus he looks both vital out and play with tremendous commitment and energy.

That way Fleetwood Mac came to stand as a lively monument to everything that went well, and everything that went wrong in the 1960s so-called summer of love. Precisely in the year of the summer 1967, the band was formed as a regular blues band that later evolved towards a more airy, light and elegant melodic as members ended up in California and took the audio from the West Coast with refined harmonies up from among other Eagles. A musical museum of the endless and boundless love with two wrecked marriages in his luggage, degradation of community life and music as Redeemer for all sorts of plagues and pain.

In this context, it was a beautiful evening in survival name. A celebration of life, friendship and solidarity, sealed with a small, symbolic hug between the former spouses Stevie Nicks and Lindsay Buckingham after their duet of 'Sara'. But also a nostalgic and almost touching embrace of the music that dares to stand by itself and not be peppes up with anything to achieve his large audience.

No fancy effects. No modern hits. No other show or dance numbers. None lir. Just music. And a band that honestly stood by itself and its history and its chaos. Fleetwood Mac in the park and invited the kitsch adverts for airline Cimber Air on a journey back in time to when music on its own terms was enough to entertain 20,000 people. But in this case it was not just for fun. Start in a rather tight-lipped 'Monday Monday', it was clear that Fleetwood Mac represents the nostalgia of the purest sort, but does so without irony to distance himself and the grandiose past. Especially singer and guitarist Lindsay Buckingham performed with a vitality and commitment which he would convince every one of us that these beautiful melodic songs still mean something and not just golden genhør. There was also something to work with in the park.

First was the sound in the beginning a little muddy, and it took its time before it was mature audiences into the concert and began to show it enthusiasm, which in turn was top notch, as the concert turned into a pure celebration of the closing fireworks of the classics that everyone knows. Perhaps without knowing that it's Fleetwood Mac, who is behind them? For the band, despite its archetypal rock history with internal problems with drugs, booze and divorce in the two relationships, which represented the band in its heyday, has always been just as strange anonymous as his name.

After the little lamb came off the intensity of the concert with a successful and melodious acoustic chamber, where the sound was directed up and approached some of the best we have witnessed in the park with songs like 'Tusk'. This wonderful song was not to ruin the synthetic and in such a velkomponeret sound oddly misplaced 'fans' from the brought keyboardist, a deacon 'Sara' and 'Landslide' by Stevie Nicks dedicated to Copenhagen, which she obviously has spent some wonderful holiday week in.

Then relax Fleetwood Mac forces loose in a sand storm attack, led by energetic Lindsay Buckingham, whose rousing guitar reefs 'Oh Well' and 'Big Love' up by the roots and planted them on to the heavy rocks thorny rose bed. He was supported well by drummer Mick Fleetwood and John McVies cruelly heavy bass that is constantly hammering through all the sound barrier. Granted, that both Stevie Nicks and Lindsay Buckingham has lost little of the past lustrous vocal force. There is still juice in the old band that, ironically, really sealed the sensation of comparing the survival of divorce anthem 'Go Your Own Way', before the encores and an elongated anachronism in the form of Mick Fleetwood otherwise playful drum solo! The little goblin gråskæggede rose, knocked the dust off the drums and was a paradox at all with his back to watch the parade past the territory.

Drum Tampa Riet fell on fertile ground in the park, where the audience enthusiastically sang along to the inlaid African tribal dance before a powerful finale with 'World Turning' and 'Do not Stop'. What band did so while the game was not just good but great fun. On the way home we got a little prosecutor to remember to be good at each other from Mick Fleetwood, and so was the bridge back to the 60s, both built and open. No one fell into the water from the bridge, the Fleetwood Mac performed with dignity and honest commitment throughout.

FLEETWOOD MAC - Jyllands-Posten Article - PRESEDING DENMARK SHOW

This article ran in the Denmark publicaton Jyllands-Posten on October 8th. This is the translated version.

Portrait: Fleetwood Mac, who appears tonight in the park are among the world's most successful groups. Few bands have been through so many musical transformations, replacements and boyfriend troubles.

Around New Year's Eve 1974 Mick Fleetwood took a decision that would impact strongly on pop and rock music history.

The British drummer of Fleetwood Mac had been on the lookout for new members and elected multiinstrumentalisten Lindsey Buckingham and the charismatic singer Stevie Nicks that Mick Fleetwood had by chance heard of.

The two Americans formed private couple and had for several years unsuccessfully tried to break through as a duo. Nevertheless, Mick Fleetwood in no doubt that they would fit perfectly with the relaunch of the Group since 1967 with varying success and a variety of replacements were done in blues and rock.

Amazed bid

Buckingham and Nicks were astonished at the offer, but thanked yes. They liked Mick Fleetwood, and so they needed to get cash flow. It was soon apparent that the capital injection was much stronger than Fleetwood, Nicks and Buckingham and the group's other two members, John and Christine McVie, had dared dream of.

In 1975 they released five albums "Fleetwood Mac", which was one million Sellers.

Two years later came "Rumors", in the course of a year sold about ten million. paragraph. and which today is estimated to have sold up to 40 million. paragraph. This makes it one of the all time best selling plates ørehængere like "Go Your Own Way", "Do not Stop," "Dreams" and "The Chain" and "You Make Loving Fun".

The album, which was at the top of the U.S. album charts for six years, exhibited a band that in Mick Fleetwood and John McVie had a solid rhythm section with solid roots to the British blue rock.

A weak band

They had both been with since Fleetwood Mac in 1960 broke through with singer and guitarist Peter Green as a star. However he did in 1970 after a series hits announced his resignation with the band.

Peter Greene would rid themselves of the group framework and obligations, and it came out that he was dissatisfied with the other musicians' abilities. Nevertheless, it was McVie and Fleetwood, who proved the most long lasting.

Several times during the 1970s the first half but it seemed as if Fleetwood Mac had an unusually weak band that would not keep out the decade because of strife, addictions and strange decisions.

For example, walked singer and guitarist Jeremy Spencer in 1971 out to shop - never to return. Instead he became a member of the religious movement Children Of God.

An inaudible level

A few years later it ended with the then current band members after a grueling period ranged from one another - to see their former manager, Clifford Davis fabricate a completely new version of the band, later known as the fake Fleetwood Mac.

However, neither group received support among colleagues or success among fans karen, and it was only with Nicks and Buckingham's presence, to Fleetwood Mac with an inclusive and more popped sound was a viable format. At least until the late 1980s.

A highly visible and audible power from 1975 onwards was that of Christine McVie, Stevie Nicks and Lindsey Buckingham had three strong and diverse main characters, when the group performed. Furthermore, all three were talented, ambitious songwriters, which they each led evidence of "Rumors".

Lots of infidelity

The album's overwhelming commercial and artistic success story, however, stood in sharp contrast to what was happening behind the facade of a band that otherwise looked like a dream: two couples, John and Christine McVie and Lindsey Buckingham and Stevie Nicks and Mick Fleetwood in a bundle of energy and a father-figure and leader.

The reality was Christine and John McVies marriage after many years of crisis, not to save the mid-1970s. On the minus list was that she had been unfaithful to him while he struggled with a longstanding alcohol abuse.

The strong, beautiful partnership Buckingham / Nicks was the mid-1970s no longer idyllic. The relationship was worn out after years of striving for success and to make matters worse, was Stevie Nicks at a time girlfriend with Don Henley, leader figure in the Eagles who could match Fleetwood Mac in sales and popularity.

Then there was Mick Fleetwood, in addition to fit the drums had been manager for Clifford Davis' exit because of the fake Fleetwood Mac. The major responsibilities prevented him not from living the wild life and the life stages of a relationship marked by adultery.

Cost a fortune

The five musicians met never stopped writing or recording music, and the double album "Tusk" in 1979 would they - and not least Lindsey Buckingham - show what they could as songwriters and musicians. Today there are as many tasters, who considers "Tusk" as a big, exciting record with successful experiments.

During his time could record company Warner Brothers. not be satisfied with that follow-up to "Rumors" sold around. five million. paragraph. Recording of the many songs as it cost a million. dollars, which back then was a fortune.

Thus, there was commercial logic in that Fleetwood Mac with the following studio album, "Mirage" and "Tango In The Night" went to see it more simply catchy, especially "Tango" album was a commercial success.

Out of several periods

It was also the so far last album from the most successful Fleetwood Macopstilling. Since then, Buckingham, Nicks and Christine McVie had periods when they saw a Mac-plate will be recorded without being helped to make the decisions, and the audience must look in vain for Christine McVie in the park.

Here the audience will no doubt be presented to the success story through a string of catchy hits. But if you hear what Stevie Nicks and Lindsey Buckingham sings, you will be reminded that Fleetwood Mac is one of the bands who have survived and most crises and boyfriend troubles.

Flashback: Fleetwood Mac’s “Tusk” Turns 30

Flashback: Fleetwood Mac’s “Tusk” Turns 30:

We just glanced over at the calendar and realized in just over a week Fleetwood Mac’s masterpiece Tusk will celebrate its 30th anniversary. Sure, Tusk wasn’t (and still isn’t) as successful or acclaimed as its predecessor Rumours, but this perfectly flawed double vinyl has a special place in our hearts, and to celebrate, this week’s Flashback features Stevie Nicks’ “Angel” as it appeared onstage in the 1979 Tusk documentary. As Stephen Holden wrote in his Rolling Stone review of Tusk, “In its fits and starts and restless changes of pace, Tusk inevitably recalls the Beatles’ White Album, the quirky rock jigsaw puzzle that showed the Fab Four at their artiest and most indecisive.”

Bonus Flashback: The USC Trojan Marching Band, the stars of “Tusk,” perform the title track live — without Mac — on the 1979 year-end episode of Solid Gold, hosted by Dionne Warwick and Glen Campbell. Watch it below:

REVIEWS: Fleetwood Mac Live in Copenhagen at Park Oct 8, 2009

(Translated Review)

Singer Stevie Nicks was due to poor acoustics are not the expected strong role. Therefore came counterparty Lindsey Buckingham to fill up too much.

Park: Fleetwood Mac

Thursday evening

By PETER Schollert

kpn.dk

You could not criticize the four members of the famous Fleetwood Mac for not wanting to do their work.

Drummer Mick Fleetwood and bassist John McVie, who has been part of the Anglo-American group in over 40 years, worked conscientiously to provide a solid background in the events in more than two-hour concert.

Frontman Stevie Nicks and Lindsey Buckingham gave both indicated that they were happy to get started with a European tour in the park.

Stevie Nicks revealed even that she had spent several days in the Danish capital, impatient to tackle the first show, where she ended up dedicated "Landslide" to "Kaa legs HAG gene".

Lydfolk failed

Actually you would think that Nicks and Buckingham would complement each other optimally. They are after a long career still talented singers and different types of performers. The reality was, unfortunately, there was an imbalance in large parts of the show.

Lydfolk band that clearly had not prepared himself well enough on the concrete block park, must assume much of the blame.

For the Buckingham penetrated clear through from the beginning, it was deep in concert hard to get the optimal experience of Nicks' song talks, which is so crucial to the experience of the American group.

While Lindsey Buckingham is the cash, extroverted vocals, Nick is much more poetic and sometimes almost introverted singer.

And so it was good so not that many times found it difficult to hear what she sang.

Thus came her otherwise beautiful classics "Dreams," "Gypsy" and "Rhiannon" and "Sarah" not to leave the strongest impression, and so was the audience did not really necessary unlike many Lindsey Buckingham - and repeatedly Long - guitar solos.

Sweaty red shirt

Best, he was the head of the powerful collective performance "Tusk" and "one man show" Big Love ", where his fingers houses already hectic and with confidence on the guitar while the rest of the body boiled over, with his red jacket in leather jacket was even more wet with sweat.

The performance was not in doubt that it more than any other is the energy bundle Buckingham, who keeps in Fleetwood Mac.

Since the show would culminate with the monster hit "Go Your Own Way" could not help noticing that Buckingham was about to be worn. He seemed breathless and had to shout out words.

It would undoubtedly have benefited his vocal and durability if the fifth member from the commercially strongest period - 1975 to 1987 - had been on the scene.

But singer and songwriter Christine McVie, who with his dark voice gave Fleetwood Mac's melancholy expression and personal clout, has now a dozen years had opted out of the group.

Her role as the group's third full vocalist was missing, not least when the group finally came to grips with McVies largest Fleetwood Mac hit "Do not Stop."

What do you think?

Were you in the park last night to hear Fleetwood Mac, share your experience with readers.

How you saw the concert?

Do you agree with the notification?

Read Lots of Fan Responses at the bottom of the review.

(Translated Review)

Fleetwood Mac worked his way to victory

Politiken.dk

By Erik Jensen, music editor

Fleetwood Mac turned accomplished nostalgia for a straightforward victory after working a little hesitant start in the park.

No fancy effects. No modern hits. No other show or dance numbers. None lir. Just music.

And a band that honestly stood by himself and his history with explanations about how strange it really is that there has been so good music out of an 'emotional chaos'.

Fleetwood Mac in the park and invited the kitsch adverts for airline Cimber Air on a journey back in time to when music on its own terms was enough to entertain 20,000 people.

But in this case it was not just for fun.

Not just golden genhør

From the start in a rather tight-lipped 'Monday Monday', it was clear that Fleetwood Mac represents the nostalgia of the purest sort, but does so without irony to distance himself and the grandiose past.

The four members of the band, who together have been through a tough divorce and a heyday, and they invited guest musicians, all went to the task of standing in the interaction and energy.

Especially singer and guitarist Lindsay Buckingham performed with a vitality and commitment which he would convince every one of us that these beautiful melodic songs still mean something and not just golden genhør.

There was also something to work with in the park.

Fireworks festival to end

First was the sound in the beginning a little muddy, and it took its time before it was mature audiences into the concert and began to show it enthusiasm, which in turn was top notch, as the concert turned into a pure celebration of the closing fireworks of the classics that everyone knows.

Perhaps without knowing that it's Fleetwood Mac, who is behind them?

In the British-American band, despite an archetypal rock history with internal problems with drugs, booze and divorce in the two relationships, which represented the band in its heyday, always anonymous.

Almost as a kind lydtæppe from then just melody, melodic musical life, and profits were not enough.

It is still - at least for some, and if it is well to note delivered with a commitment, as happened Thursday evening.

Brotherhood

More than a successful and melodious acoustic chamber, where the sound was directed up and approached some of the best we have witnessed in the park with songs like 'Sara', which ended with a hug between available spouses Stevie Nicks and Lindsay Buckingham.

Departed the ring despite it could not conceal the fact that both have lost a little of the vocal brilliance.

Why it was necessary to slide into a labor victory, which is largely came in the house thanks to riveting guitar playing from Buckingham, the example 'Oh Well' and 'Big Love' served solos so vital and noble that you would think he would defy age and wear.

Drummer Mick Fleetwood and bassist John Mc Vie closely followed suit, as there was eventually rocket through the 'Go Your Own Way' and extra tracks 'World Turning' and 'Do not Stop'.

As the concert nevertheless did. But it came with dignity, and while the going was still good even better.

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