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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.
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