FLEETWOOD MAC HAS HAD THE LONGEST SPAN OF #1 ALBUMS OF ANY MIXED-GENDER GROUP

Pop Music's Longevity Champs
Chart Watch Extra:
by Paul Grein in Chart Watch

Barbra Streisand returned to #1 on The Billboard 200 this week with Love Is The Answer, 45 years after she first topped the chart with People. Only one artist in chart history, Elvis Presley, has had a longer span of #1 albums.

Lyndon Johnson and Barry Goldwater were in the final week of a Presidential election when Streisand first reached #1 on Oct. 31, 1964. Bonanza was the season's top-rated TV show. Hello, Dolly! was Broadway's biggest hit. Mary Poppins was on its way to becoming the year's top-grossing movie.

Streisand landed her first #1 album by knocking off the Beatles' A Hard Day's Night soundtrack. She returns to the top spot this week after winning a close contest with Paramore, whose lead singer, Hayley Williams, was born 18 years after the Beatles broke up.

Streisand is one of two dozen artists who have had #1 albums spanning 20 or more years. In a business where even highly successful acts often have just a few years at the top, these artists have managed to spend decades at the forefront. Here's a complete list of these acts. Whether you're a headbanger or a "Fanilow," you're bound to find a favorite artist here.

Here are the acts that have had the longest span of #1 albums on The Billboard 200 since the chart debuted in March 1945 (when it was just a top 10 listing). Spans were rounded off to the nearest month.

1. Elvis Presley, 46 years and six months.

2. Barbra Streisand, 44 years and 11 months.

3. Ray Charles, 42 years and eight months.

4. The Beatles, 37 years.

5. Johnny Cash, 36 years and 11 months.

6. Bob Dylan, 35 years and three months.

7. Rod Stewart, 35 years and one month.

8. Led Zeppelin, 33 years and six months.

9. Eagles, 32 years and four months.

10. Santana, 32 years and one month.

11. Bruce Springsteen, 28 years and three months.

12. Barry Manilow, 28 years and seven months.

13. The Isley Brothers, 27 years and eight months.

14. AC/DC, 26 years and 11 months.

15. Eric Clapton, 26 years and two months.

16. Whitney Houston, 23 years and six months.

17. Madonna, 23 years and three months.

18. Pink Floyd, 22 years and two months.

19. U2, 21 years and 11 months.

20. Janet Jackson, 21 years and eight months.

21. Prince, 21 years and eight months.

22. Fleetwood Mac, 21 years. Fleetwood Mac (Sept. 4, 1976) to The Dance (Sept. 6, 1997). The former album spawned three top 20 hits, including "Over My Head" and "Rhiannon (Will You Ever Win)." Fleetwood Mac has had the longest span of #1 albums of any mixed-gender group.

23. Bon Jovi, 20 years and eight months.

24. Frank Sinatra, 20 years and four months.

The Fine Print: Michael Jackson would have appeared at #15 on this list if catalog albums were eligible to appear on The Billboard 200. Jackson first topped the chart with Thriller on Feb. 26, 1983. He had the best-selling album in the country most recently on Aug. 22 with Number Ones. Because that 2003 compilation is deemed "catalog," it was ineligible for the big chart. If it had been allowed to compete there, Jackson would have #1 albums spanning 26 years and six months.

And while hitting #1 is the ultimate badge of chart success, it's not the be-all and end-all. Frank Sinatra reached #2 in May 2008 with his hits compilation Nothing But The Best. If that album had sold 45,000 more copies that week, it would have topped the chart. If it had, Sinatra's span of #1 albums would have swelled to 62 years and two months, which would have propelled him into the top spot on this list. That's show-biz.

REVIEW: FLEETWOOD MAC - Lydmaessigt MacVaerk - Copenhagen 2009

This Review of Copenhagen is from the Publication Ekstra Bladet. Again the translated version below.

Sonically MacVærk

Once again, a really excellent concert knackered by wretched acoustics

Fleetwood Mac is really a strange size. They began their career in the sixties as a traditional British blues band, but after several mutations ended up as one of the seventies most popular American names, to ennoble the radio-friendly pop music for a noble art form. Albums like 'Fleetwood Mac' (1975) and, not least 'Rumors' (1977) is still a pleasure to listen to today - so at once simple and sophisticated as it gets. And the double-LP (yes, it was then) 'Tusk' (1979) were the shows that they also had the courage to test the musical boundaries.

Golden years

And although the group that visited Denmark for the first time last night, has released a string of albums since the golden years, the last honest 'Say You Will' (2003), it is primarily these three slices, which is why that 18,000 young people not quite showed up for the European premiere tour of the park. And by Fleetwood Mac well. The entire 18 tracks from tonight's track list came from here. And it could certainly have come a potentially wonderful evening of nostalgia gracious cut out. The band (especially Stevie Nicks and Lindsey Buckingham in front) seemed like such a playful enough.

Outrageous

But alas, alas. Once again we were presented with acoustically cameras in the park that the tangent the scandalous. The combination of national arena hopeless acoustics and a seemingly tone-deaf sound engineer obliterated any nuance - yes, it sounded almost as if you had thrown a blanket over the speakers, and then turned up the bass. It is one of the worst I have ever been offered here.

What does extra distracting when we are talking about a band, where melody and elegant works is an essential part of the point. Shit and paper, because I had damned really enjoyed myself. And behind the roll of thunder, I am quite convinced that veterans delivered a very fine concert. But what helps when you can not hear it? It's music to hell.

As aforementioned greasy star distribution is not so much on the Fleetwood Mac's efforts - it was almost impossible to judge under the circumstances - but more disturbed by the return to office a few acoustics, which can be rock audience to find itself in.

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.