Showing posts with label Unleashed in Europe. Show all posts
Showing posts with label Unleashed in Europe. Show all posts

Tuesday, October 27, 2009

Fleetwood Mac - Don't Stop BBC One Documentary & Johnnie Walker's Sounds Of The 70's

All you BBCer's in the UK - keep your eyes peeled for late this Sunday night on BBC One a Fleetwood Mac Documentary called "Don't Stop" will be on... Not sure if this is a new doc on the band, or a rebranding of something old... In any case, here are the details:

Fleetwood Mac - Don't Stop
Sunday, 22:20 on BBC One (except Northern Ireland)

Fleetwood Mac, one of the biggest-selling bands of all time, are back on the road again. Their story, told in their own words, is an epic tale of love and confrontation, of success and loss.

Few bands have undergone such radical musical and personal change. The band evolved from the 60s British blues boom to perfect a US West Coast sound that saw them sell 40 million copies of the album Rumours.

However, behind the scenes relationships were turbulent. The band went through multiple line-ups with six different lead guitarists. While working on Rumours, the two couples at the heart of the band separated, yet this heartache inspired the perfect pop record.

Sun 1 Nov 200922:20BBC One (except Northern Ireland)
Sun 1 Nov 200922:50BBC One (Northern Ireland only)

Johnnie Walker's Sounds Of The 70's
On BBC Radio 2's Johnnie Walker's Sounds Of The 70's - Fleetwood Mac's Mick Fleetwood and Lindsey Buckingham join Johnnie Walker to discuss the stories behind their incredible 70s back catalogue, which includes the hits Go Your Own Way, Dreams, The Chain and Rhiannon.

Mick and Lindsay have reunited with Stevie Nicks and John McVie for Fleetwood Mac's first live tour in five years and have released a remastered collection of their greatest hits.

Next on: Sunday, November 1st - 15:00 on BBC Radio 2

Monday, October 26, 2009


Fleetwood Mac make their Sheffield Arena debut!

One of the most successful Rock bands in history are back. With their best-selling line up featuring Stevie Nicks, Mick Fleetwood, John McVie and Lindsey Buckingham, Fleetwood Mac make their Sheffield Arena debut on Monday 2nd November AND The star have 5 pairs of tickets to give away.

Since forming in 1967 the only thing about the group that hasn't changed is the rhythm section of Mick Fleetwood and John McVie. Through the '70s, the band's personnel and style shifted with nearly every recording as Fleetwood Mac metamorphosed from a traditionalist British blues band to the maker of one of the best-selling pop albums ever - Rumours. From that album's release in 1977 into the present, Fleetwood Mac has survived additional, theoretically key, personnel changes and yet remained a dominant commercial force.

Fleetwood Mac has sold more than 100 million copies of its albums — including 25 million for Rumours alone — making it one of the most popular rock bands in history, don’t miss out on this rare outing for the band.

If you are not one of our lucky winners don’t worry tickets are still available to buy from The Arena Box Office priced £75, £60, £45 (subject to booking fee) and are available in person at the Arena box office, by phone on 0114 256 5656 and online at .

For your chance to win this fantastic prize simply enter our free prize draw by text or online at

Text STARFLEET and leave a space, followed by your members zone number, full name, postcode and house number, then send to 81800.

Texts cost £1.00p plus your standard network charge. This will be charged to your mobile phone bill. Get the bill payer's permission. Do not text after deadline and please ensure you enter the correct competition name, if this is incorrect you may still be charged and your entry will not be entered into our draw.

Service provided by g8wave London N7.

Deadline for all entries is Friday Oct 30th at 10am.

Sunday, October 25, 2009


Mick Fleetwood puts rumours of the band's hedonism to bed
Sunday October 25 2009

If one band summed up the hedonistic eighties more than any other, it was Fleetwood Mac.

Now founder member Mick Fleetwood admits that it was early to bed on Friday night in Dublin in advance of their two gigs at the 02 Arena.

He's a little shamefaced to say that he had dinner at his hotel with his sister, who travelled over from Cornwall with a mutual friend.

"A lovely quiet evening. The old hedonism sometimes rears its head when I discover I've had too much wine but these days we are all very well- behaved. It's one glass of wine and five glasses of water."

The band has been exploring Dublin.

"Lindsey (Buckingham) loves walking and loves architecture so he was off exploring the city. He seems to always find his way back to the hotel in time for the gig."

The current tour features Buckingham and Stevie Nicks along with the legendary rhythm section of Fleetwood on drums and John McVie on bass.

Despite their best efforts it proved impossible to lure Christine McVie, writer of some of their biggest hits, out of a self-enforced retirement.

"Christine hates flying, which is something of a impediment when it comes to a world tour. We are still all close to Christine and looking forward to catching up with her in London," he says.

But before that there may be another reunion.

Peter Green, the original creative genius behind Fleetwood Mac during their heydey as one of the most influential British blues bands, is playing the Academy on Monday night with his own band.

"Is Peter playing? Brilliant, it's my night off. I would love to go. When I'm not with Fleetwood Mac I have my own little band playing small venues and we play all of the old stuff that Peter created. I'm so glad you told me that," he added.

Last night's gig at the 02 was a sell-out but there are still tickets left for tonight's concert promoted by MCD.

Mick is convinced that there is another album in the band -- possibly next year.

"We are all up for it but Stevie is a little bit reluctant to commit to a time."

"I truly hope we get it together. It's tough committing to a new album. Stevie works incredibly hard and she is the lady of the band.

"We are trying not to really discuss it yet," he added.

Saturday, October 24, 2009


Fleetwood Mac, On tour
The Guardian - Guide:  If you needed to describe the 1970s in two words, "Fleetwood Mac" would do pretty nicely. Some of this is down to what we know about the group outside the recording studio – all heavy relationship drama and era-defining drug problems. More significantly, the band put all this into their music, creating along the way a divorce rock triptych – their Fleetwood Mac, Rumours and Tusk albums – which brought sumptuous musical expression to the phrase "we need to talk about us". Most of the Mac's music still sounds great, a canon that will be faithfully revisited here by Mick Fleetwood, John McVie, Stevie Nicks, and Lindsey Buckingham – Christine McVie could not be tempted out again.

The O2, Dublin, Sat & Sun; Manchester Evening News Arena, Tue; Wembley Arena, London, Fri

John Robinson

Wednesday, October 21, 2009


As Fleetwood Mac return to Britain 40 years after they first formed, the band that once outsold The Beatles have proved extraordinary survivors

‘We were selfabsorbed… it’s more fun now’
By Adam Edwards

IF THE brass trumpet that kicks off the Beatles’ All You Need Is Love is the defining sound of the late-Sixties then the falsetto chorus of Fleetwood Mac’s Go Your Own Way is the soundtrack to the second half of the Seventies.

It was the opening track to the band’s 1977 album Rumours, the best-selling LP of that decade and still one of the 10 best-selling albums of all time. I doubt if there are many fortysomething men who don’t think fondly of blonde singer Stevie Nicks when they hear The Chain, the music that nowadays introduces Formula One motor racing on TV.

Yet there was no more curious group than this unstable offspring of the Sixties that metamorphosed into a soap opera. And despite the madness that was “The Mac”, the one-time blues combo still managed to become one of the biggest bands in the world.

This week The Mac return, starting tomorrow in Glasgow and taking in Manchester, Sheffield, Birmingham, Dublin and London’s Wembley Arena, after a six-year absence. The Unleashed Tour is their latest offering in a saga that has lasted 40 years.

And yet when they started the band’s fans believed that there was not a gang of more ordinary blokes. Peter Green’s Fleetwood Mac, so-called because its three stalwarts were Green on lead guitar, John McVie on bass and Mick Fleetwood on drums, was heir to the legendary British blues acts such as John Mayall, the Yardbirds and Cream.

The music transcended the fashion – or lack of it. The band’s raw first LP, released in 1968, called simply Fleetwood Mac, has variously been described as “a masterpiece” and “the best electric blues album in a generation”.

It had to be good, as were its two follow-ups, because when one looked behind the album covers it was impossible to believe that the collection of hairy musicians could ever be rock stars, let alone one day win adulation as superstars.

The 6ft 7in drummer looked like an upturned mop, the brilliant lead guitarist Peter Green went bonkers after taking too much LSD, a second lead guitarist Jeremy Spencer joined a religious sect and guitarist Danny Kirwan was such an alcoholic that he was sacked. And all this was before the girls joined.

In California, left with only the rump of the band, Fleetwood and McVie teamed up with singer Stevie Nicks and her partner Lindsey Buckingham. With McVie’s wife Christine on vocals the five began to evolve into what the world would come to know as the classic Fleetwood Mac.

Furthermore, while the members were beginning to establish themselves as a first-rate soft rock outfit their relationships were in turmoil. Nicks and Buckingham were breaking up while the marriage of McVie and Christine was on the rocks. Meanwhile Mick Fleetwood (who was having an on-off affair with Nicks) was in the throes of divorce from his first wife Jenny Boyd – sister of Eric Clapton’s wife Patti.

The break-ups were chronicled in the Rumours album, so-called because the band members were all writing songs about one another (Buckingham’s Go Your Own Way was aimed at Nicks, for example, while Christine McVie’s Don’t Stop was about her husband.) The record was described by one band member as “bringing out the voyeur in everyone”.

Whether that was true or not it was a piece of recording brilliance that sold more than 40 million and sent the band into the stratosphere.

But the record came with a price. Christine McVie began a series of relationships with various rock stars including Beach Boy Dennis Wilson. Nicks became addicted to cocaine and then prescription drugs and had affairs with two different members of The Eagles.

McVie became an alcoholic and was arrested for possession of a gun while Fleetwood incomprehensibly went bankrupt after a series of property deals. He also remarried Jenny Boyd and then divorced her again.

“We decided to be comfortable and lost control,” was how Fleetwood would later describe those years in his autobiography.

Since those heady days the band has broken up and re-formed at regular intervals. Buckingham left for nine years and in 1998 Christine McVie retired and lives quietly in Kent.

Now The Mac are about to perform their greatest hits across the UK. Despite the current incarnation of the band featuring Nicks, Buckingham, Fleetwood and John McVie, it is, says Stevie Nicks, very different to its heyday in the Seventies. There are no drugs, no dippy guitarists and no damaging affairs (and no Christine McVie of course).

“Thirty years ago we were all so self-absorbed,” says Nicks. “Things are a lot more fun now.”
But it is worth remembering that self-absorption produced one of the great post-war musical achievements. For if the Sixties legacy was Sgt Pepper’s Lonely Hearts Club Band by the Beatles, then the Seventies have left us Rumours by rock ’n’ roll’s strangest band – Fleetwood Mac.

Sunday, October 18, 2009


IN A frank interview, the Fleetwood Mac star tells CHARLOTTE HEATHCOTE about sex, drugs and rock 'n' roll and how, despite being battered by all three, she's emerged stronger than ever.

Fleetwood Mac are as famed for their in-fighting, feuds and messy, almost incestuous inter-band romances as for Go Your Own Way, Don’t Stop, Everywhere, The Chain and countless other adult-oriented rock songs that have seen them shift more than 100million records.

Stevie Nicks, however, makes absolutely no attempt to put a shiny PR gloss on the legendary tensions.

“We did our first tour and we were p***** off with each other then. We made another record [Rumours] and we were all angry with each other afterwards. We did Tusk and that was 13 months of anger. We did an 18-month tour and by the time that was done everyone was really not speaking...”

She’s half-weary, half-wry. “It’s really nothing new. It’s been happening since time began but if this was a bland, boring band we’d definitely not still be together.”

Stevie and her then-boyfriend Lindsey Buckingham brought a stability of sorts to the shape-shifting line-up of Fleetwood Mac in 1975, joining Mick Fleetwood, John and Christine McVie.

Christine left 11 years ago, ground down by relentless touring, and Stevie misses her ally “every day”.

The other four remain a unit, on the whole, which is especially miraculous when you consider that Stevie and Buckingham’s six-year relationship foundered during the recording of the drug-fuelled Rumours in 1976 (the McVies were splitting at the same time) and, shortly after the Rumours tour, Stevie fell for Fleetwood. They separated for the sake of the band.

By the time of Fleetwood Mac’s last tour, 2003’s Say You Will, Stevie’s relationship with Buckingham had become so fraught that, unless he treated her better this time around, she threatened to walk away “so fast that palm tree tops will fall on his head”.

Now, she says the underlying problem was how much she hated the Say You Will album.

“It was five years ago now so I can say I didn’t like it at all; I didn’t like making it, I didn’t like the songs, so that tour was very hard for me.”

On a Greatest Hits tour, however, there is no new material to quibble over.

“Doing all the very famous material is actually more fun,” insists this born entertainer. “It’s been a breath of fresh air for us to not have to worry about trying to sell [new] songs.”

With five platinum-selling solo records to her name, Stevie is easily the most successful member of Fleetwood Mac. Wasn’t she tempted to walk away during Say You Will?

“Well, I’m a peacemaker and I didn’t want us to break up because the music didn’t go my way. If I’ve learned nothing else in my 61 years it is that four years down the line you’re over it.” She sees the remaining foursome touring for another seven or eight years.

“I’m a performer and an entertainer, that’s what I live for. I would be dancing on tables in bars if I wasn’t in Fleetwood Mac, doing small shows all over the world, driving my van.”

Stevie’s passion for entertaining runs so deep, however, that she admits she has sacrificed all of her romantic relationships for the band but with no regrets.

“My love affair is with my work. I’ve had many wonderful relationships but I could never give up what I do for a relationship; in all of my relationships, at some point, that [prioritising] came up.

“Am I sad about the fact that I don’t have a relationship? No. I’m going to Europe to stay in the best hotels, to play huge shows, playing my music, to meet lots of interesting people. So I really don’t care.”

To Stevie’s amusement, her 81-year-old mother reckons she still hasn’t met Mr Right. She’s all too happy for her mother to be proved right but, to date, the love of her life is a member of the Eagles and not the one you’d expect.

After her split with Buckingham she spent 18 months with Don Henley but, of his bandmate Joe Walsh, she says: “He was the great love of my life. I fell in love with Joe in the same way that Lindsey fell in love with me.”

As their cocaine addiction spiralled out of control in the early Eighties, though, Walsh reluctantly left her for both of their sakes. Now she muses: “Maybe the people you can live best with aren’t the great love of your life; the men you love deeply, the calmer, more loving, more solid people but who you weren’t super passionately crazy in love with. The ones to marry aren’t the ones as crazy as you are.”

Her romance with Walsh was not the only fall-out of her drug addiction. Cocaine has left a hole in her septum, leaving her wishing her generation had not been told that cocaine was “safe, recreational and not a bigger deal than smoking pot or cigarettes”.

A bigger regret is that, after successful treatment for cocaine addiction, her friends persuaded her to see a psychiatrist, hoping this would ensure she avoided a relapse. The doctor prescribed the tranquilliser Klonopin.

“That took eight years out of my life,” she says.

“Those were my prime years, my 40s, when a lot of my heavy, creative activity was really happening. Klonopin grabbed hold of you and made you sit down on your couch and not get up.

“I just watched TV for eight years in a daze. I’m sorry I didn’t have a car crash on the way to seeing that doctor.”

So when Stevie finally got herself back on track, she needed to make up for lost time. “I made a decision a long time ago to follow my artistry. I decided that my mission here on this earth was to write songs for people and make them happy.”

● The UK leg of Fleetwood Mac’s Unleashed tour starts on Thursday and the double CD The Very Best of Fleetwood Mac is out tomorrow.

Saturday, October 17, 2009


Fleetwood Mac's unfinished business
If the bust-ups are over, Stevie Nicks and Lindsey Buckingham still have unfinished business as their latest tour hits the UK
Dan Cairns

Mick Fleetwood, 6ft 6in of military bearing, white beard, gold watch chain and pinstriped waistcoat, sits back in an armchair that can barely contain his extensive frame. “You know what I’d love?” the Fleetwood Mac drummer says to a hovering assistant, eyeing the bottle of water in front of him with some disdain, “A little glass of red.” In the old days, that little glass of red would have been the first of many libations, accompanied by copious quantities of cocaine: when the band recorded Rumours, a velvet bag full of the drug was kept beneath the studio mixing desk, for dipping into at will.

Nowadays, the group’s remaining co-founder is drug-free, and, though he still carries about him an unmistakable whiff of volcanic unpredictability, the 62-year-old seems to be settling into his role as the calm centre of the Fleetwood Mac storm. During the band’s mid-1970s commercial heyday, he served briefly as their unofficial manager, which, considering that he was running amok on brandy and cocaine, probably says a lot.

Thirty-plus years on, the group have individual managers, together with an impressive number of helpmeets, chauffeurs and eagle-eyed enablers. The band appear to travel for the most part separately, with their own retinues. What Lindsey Buckingham will later describe as the “residue” of historic dysfunction still requires placating. They could surely, I suggest to Fleetwood, just sort it all out themselves, couldn’t they?

“It could be a lot easier,” he agrees with a characteristic chuckle. “You know, make a decision and move on. We all used to be so much more in control of our own destinies, we just bundled along ourselves and did pretty well — considering. I always call the managers, and I don’t mean it nastily, the Gang of Five [Christine McVie, who left the band in 1998, is still represented], like a kind of Maoist thing. So, yes, things take a little more time now. But, you know, we’re still here.”

Fleetwood is holding court in a hotel suite in Copenhagen, the city where, several days later, the four surviving members of the Rumours line-up — Fleetwood and his fellow original bandmate John McVie, plus Stevie Nicks and Buckingham, who both joined in 1974 — are due to kick off the European leg of their current world tour. To accompany the dates, a double album of greatest hits is being released, featuring the songs that make up the majority of the set-list they will perform. It is the first time they have headed out on the road without a new studio album to promote, but that, says Fleetwood, has its advantages. “There’s a lot less of that pressure, of having to rehearse a load of new songs, then force people to listen to them.” Does he wonder why they didn’t try it years ago?

“I always joke with Lindsey,” he replies, “that we’re probably the worst run but most ongoingly successful music franchise in the business, if you look at what we don’t do and what we could have done. If you were a cynic and went, ‘Huh, they’re just doing it for the money,’ it’s like, ‘Hang on a minute, I wish we had.’”

None of this is said with any apparent bitterness: Fleetwood has the avuncular-referee role down pat. He admits the biggest pleasure he derives from the hits-only set list is the opportunity it gives him to place the band’s key albums in some sort of perspective. The biggest surprise, he says, is how linked they strike him as being: the feeling-their-way radio pop/lingering blues hybrid of the new line-up’s self-titled 1975 debut, the soft-rock masterclass of Rumours and the wildly experimental disjointedness of 1979’s Tusk. And how uncategorisable. “As poppy as our legacy is in many ways,” he says, “I think, equally, there’s a darkness about it. We’ve never done coy and cute.”

The tension Fleetwood admits marred the band’s previous world tour — to promote 2003’s Say You Will album — is, he believes, less evident now. Not that things don’t remain unsaid: this is Fleetwood Mac, after all. But there is still no chance, he says, of recruiting a group therapist, of the type documented in the Metallica film Some Kind of Monster. “At various times,” Fleetwood laughs, “I think we’ve all been to one on our own. When it sort of imploded with emotion was when all of us were besotted with emotional overload, so nobody could sort of take the back seat and come in impartially. But it’s like kids in a playground. Last week someone was your best friend, and this week they’re inviting someone else round for a play.”

Several days earlier, in a different suite at the same hotel, one of the other kids in the Mac playground reclines with a Lady Bertram-like torpor on a giant sofa, her eyes hidden behind vintage Aviator shades. It would simply not be possible to talk to either Nicks or Buckingham about their love affair, which famously crashed and burned during the Rumours sessions, in tandem with the collapse of the McVies’ marriage, without reopening a can of worms. “Residue”, Buckingham called it. I’m not sure that does it justice.

“Lindsey is definitely still angry with me,” Nicks says in her dusky drawl. “Absolutely. He’s never quite understood why we broke up. Even though he’s married and he’s very happy, and he’s a great dad, I think that he never really forgave me for breaking up our relationship.”

Long characterised as an away-with-the-fairies fruitcake, Nicks strikes me as having a core of steel, no matter her languor or penchant for woolly soliloquy. By her own admission the only member of the band who could rival Fleetwood — with whom she had an affair — for hedonism, she long ago conquered her drug addiction, then endured a lengthy and briefly life-threatening dependency on the tranquillisers she had been prescribed to wean her off cocaine. These days, she appears to be physically somewhat fragile, but the mischievous candour remains. She tells me she finally went to see a psychologist “about five years ago, a really sweet little lady, and we were just talking about my life, and I was telling her about those years, when Lindsey and I first moved to LA, and I was a waitress, a cleaning lady, and anything else I could do to pay our rent, and I said to her, ‘But there was something about those years that I really loved.’ And she said, ‘Well, in many ways, Stevie, the day you joined Fleetwood Mac was the saddest day of your life — because it was the day you stopped being the caretaker.’ You can imagine, there was a real big silence in the room when she said that”.

When Nicks and Buckingham joined Fleetwood Mac, they were at the tail end of a four-year struggle to make it as a duo, and heavily in debt. But they both to this day believe that they would have made it on their own terms, and it is this sense of unfinished business and unrealised dreams, together with nostalgia for a time before what Nicks calls the “very fast and very hard” ascent to stardom they experienced with Fleetwood Mac, that appears to haunt them still.“It was scary,” Nicks continues. “To not have enough money to even file a tax return, then to have so much, eight months later, that you had to hire someone to file it for you. All of a sudden you have a big, huge house, and you end up filling up your time, doing drugs and just getting lost in that whole world. I didn’t any longer have the responsibility of having to watch out for Lindsey. We all just stayed in great places, and we got room service. Nobody had to cook, nobody had to clean up the kitchen.”

She looks suddenly lost. “We joined Fleetwood Mac, we made a record in three months, put it out, went on the road in May. We did a four-month tour, we got home and we had close to $1m between us. What Lindsey grieves for, in my opinion, is, if he had the chance to go back and decide, when we were beginning the second Buckingham-Nicks record and we got asked to join Fleetwood Mac, he would not join.” Again, she pauses. “If we had not moved to LA, would Lindsey and I have gotten married and had kids? Probably.”

The man she refers to, and whom she can, on one level, still not let go of, sits in a dressing room, legs up on the chair in the lotus position, the tension crackling off him as audibly as it does off his music. Easily the most uncomfortable interviewee — however courteous — of the three, the band’s 60-year-old sonic architect answers in carefully structured, emotionally arid chunks, cool where Nicks is confessional.

“When we first got together to talk about the tour,” he says, “because Stevie had some trust issues in terms of her perception of how things ended up at the end of the last tour, my comment was, ‘Stevie, if nothing else, you and I have known each other since high school, and we need to have this thing end up in a way that dignifies how it started.’ And you wouldn’t think that, at this point in our lives, it would be a work in progress. You’d think that things would be fine. But there is still an evolution going on.”

If he shares a similar degree of regret with Nicks about what they lost, rather than gained, by joining the band, he hides it well. His answers are startlingly impersonal. “When we made the decision to join, we both gave up something that had been more essentially ourselves. And it wasn’t just giving up the synthesis between the two of us in terms of how we wrote together, sang together. It was Stevie losing herself to having been singled out as Stevie Nicks, in capital letters. This is one of the things I think has been hardest for her over the years, having sort of been asked to be this person who’s out front, the pressure of that. And what I gave up was a great deal of my style as a guitarist. I mean, I had to adapt to an existing situation — something as fundamental as changing the guitar I used because it didn’t fit into the pre-existing sound.”

Watching Nicks apparently goading Buckingham during the rehearsal later, complaining about the loudness of his guitar and asking for further ear protection, you rewind to that answer — about his “style as a guitarist”, for God’s sake — and begin to see why she might feel the need to poke him for a reaction. Buckingham cuts a moody, needy figure, the human equivalent of a Just Married car, with others forced to bang and clatter along the road behind him. From his drum stool, Fleetwood observes the scene impassively, a weather eye on the sort of playground scrap he has doubtless witnessed many times before. Then the band strike up the opening chords of Dreams, Nicks purrs “Now here you go again”, and you think, that’s why we still bother. And why they do, too. Heaven knows, though, they don’t make it easy.

The Very Best of Fleetwood Mac is released tomorrow on Warners. The British tour opens in Glasgow on Thursday


HOT TICKET: On Page 16 of the "Review Magazine" inside the October 17th edition of The Daily Telegraph in the UK Fleetwood Mac are reviewed by Bernadette McNulty (click photo to enlarge)

Friday, October 16, 2009


Smooth Radio 105.2
is giving you the chance to win a pair of tickets
to Fleetwood Mac's Unleashed Tour Glasgow concert at the SECC on Thursday 22 October.
The band will be playing their greatest hits on the Unleashed Tour.

For your chance to win a pair of tickets
answer the question and fill in your full details.

To coincide with the British leg of the tour a 2CD re-mastered album The Very Best Of Fleetwood Mac is being released on 19 October.



This full article was posted earlier, but I thought I'd post what the page looks like in the October 16th edition of The Daily Mail (P.54).

If you missed the article, it's here.


Dust off your black chiffon
Stevie Nicks is back
Will Fleetwood Mac’s return prompt a neo-gothic revival?
By Hilary Alexander, Fashion Director

Stevie Nicks performs in her trade-mark look. A gothic outfit by John Galliano Photo: EPA

The news of Fleetwood Mac’s most recent comeback will have sent Stevie Nicks fans scurrying to wipe the dust off their ‘Rumours’ LP and to scour attics and garages for a trace of still-wearable black chiffon.

Nicks was the ultimate flower-child/rock-fairy. She wafted like some Gothic ‘witch-ling’, wreathed in wisps of black chiffon; all handkerchief hems ,‘angel wings’, Victoriana, smokey eyes and tousled blonde hair. Her fey, ‘bad fairy’ image was matched by a drugs habit, and a love life that would send Relate into a frenzy . But this has only enhanced her appeal as one of rock ‘n’ roll’s more enduring style icons.

Fleetwood Mac’s latest return, for the first time in six years, coincides with this season’s fresh take on black. From punk to goth, from studded leather to diaphanous chiffon, all the rock chick’s favourite bits of gear are available at every price level from designer to high street.

Designers such as John Galliano, and Riccardo Tisci, at Givenchy, both included sheer, black chiffon in their autumn/winter collections, variously draped with medieval silver belts or netting. Other brands, such as Future Classics, Stella McCartney and Erin Fetherstone, have worked the theme as a glam-goth vibe, in lace, tulle and silk, while the new, young designer Qasimi has created a spooky-chic version of Cruella de Vil, in black satin and beaded net. Kate Moss - a Stevie Nicks’ lookalike, in many respects - has included several rock-fairy pieces in her latest collection for Topshop, including a triangle-studded, black chiffon kaftan, and a forest-green, ‘butterfly’ dress, with asymmetric hem and flared sleeves.

Miss Selfridge, River Island, Wallis and Dorothy Perkins, as well as, are also great hunting grounds for the Stevie Nicks’ look. at prices which compare favourably with the first time the singer first registered as a blip on fashion’s radar nearly four decades ago.


(english translation)
FLEETWOOD MAC ATTACK EVER (original article)

1977: death of Elvis, the apogee of punks. And release of the album "Rumors" by Fleetwood Mac. Within the group, John McVie, founding bassist, was in the process of divorce from Christine McVie, one of the blonde singers. Stevie Nicks, the other blonde's big Mac, separated by guitarist Lindsey Buckingham. And Mick Fleetwood, drummer, could not stand his wife, Jenny Boyd. So he had an affair with the beautiful Stevie, who slept with Eagles. Christine, she flirts with a Beach Boy alcoholic ... A game of musical fuck where everyone railed at himself for breakfast, especially since they ingesting massive quantities of alcohol and cocaine. Small SexPistols could sew their t-shirts, it was their most excessive.

From this chaos is released sentimental "Rumors", the perfect pop Californian, crammed with tubes on these disappointments: "Go Your Own Way" "Dreams," "Do not Stop" which has sold nearly 40 million 'copies. It's a funny group Fleetwood Mac. For they are English by birth and origin of blues, from the stable of John Mayall, who was discovered Clapton and the Stones. From 1967 to 1975, training has varied according to the delusions of each. The original guitarist, Peter Green, an acid eats through it hand in 1970. Another joins a cult, the Children of God. Still another, Bob Welch, drops Mac in 1974. Then landed a couple of Californians fan of The Mamas and the Papas: Stevie Nicks and Lindsey Buckingham. These two have changed the music of the band.


No more blues british, Mac begins to produce an FM rock public, near the Eagles, ideal for spending time on the highway. They sound so American that Bill Clinton chose in 1992 the song "Do not Stop ..." to enter the stage of its meetings. It was he who had convinced Fleetwood to reunite at a party in the White House. They are all well slashed in the 80s. In their defense, it seems difficult for ex-lovers stoned to climb on stage every night, recording discs (including the brilliant "Tusk"). They could not survive the withdrawal of Lindsey in 1987, which dealt so of Stevie Nicks' schizophrenic bitch ". At each withdrawal, the holders of the name, Mick Fleetwood and John McVie, finding substitutes more or less inspired.

For ten years all have rabibochés. Clean and sixties, members of the Rock and Roll Hall of Fame, the Fleetwood Mac had filled stadiums in 2003 during a world tour accompanied by an album not bad, "Say You Will," vowing that money motivated them no more than that. This year, turned again, without hard to promote. Good. The public will not suffer a new group which he wants to hear that wonderful junk. Director: Mick Fleetwood, John McVie, Stevie Nicks and Lindsey Buckingham. Lack Christine McVie, tired of rock and roll. A rumor Sheryl Crow announced in his place. Denied. In the old buddies we made the best soups.
In concert October 17 in Paris (Zenith).


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Thursday, October 15, 2009


On the eve of Fleetwood Mac's reunion, Stevie Nicks tells how their wild past still inspires them


When they open their Unleashed tour in Glasgow next Thursday, Fleetwood Mac will be putting the emphasis on a set of superb tunes that have truly stood the test of time.

Drawing heavily on 1977's Rumours, a record that has sold more than 40 million copies around the world, the Anglo-American rockers will surely delight thousands as they breathe fresh life into standards like Go Your Own Way and Dreams.

But that will be only part of the story.

With a career riddled by cocaine-addled excess and the pitfalls of superstardom, Fleetwood Mac have often resembled a celebrity soap opera. Their biggest hits pulled few punches in laying bare their tangled love lives.

Even now, guitarist Lindsey Buckingham regularly peppers the group's stage show with wry asides about their 'fairly convoluted emotional history' - a contender for understatement of the century.

And singer Stevie Nicks, Buckingham's former lover, agrees that their turbulent past can only add to the intrigue as Mac get ready to roll back the years once more.

'If you think you know the truth about this band, you can think again,' says Nicks, 61. 'Other than the people involved, nobody knows what really went on.

'One day, when I'm an old lady, I'm going to tell the whole tale and people will be amazed. The truth will blow your mind.

'The story is deep, dark and heavy. But it's also beautiful, sexy and more romantic than you could ever imagine. Now's not the time, though. You'll have to wait ten years for that one.'

Despite her reticence to reveal all, Nicks is refreshingly chatty and candid as she looks forward to the iconic band's latest get together. She is keen, too, to dispel a few of the myths that have built up around Rumours, an LP that topped the U.S. chart for seven months.

As the year-long album sessions got underway in 1976, she and Buckingham were breaking up, while the marriage of keyboardist Christine and bassist John McVie was also on the rocks.

Meanwhile, drummer Mick Fleetwood (who went on to have a twoyear affair with Nicks) was in the throes of a divorce from his first wife, Jenny Boyd. Are you keeping up at the back?

For all the turmoil and paranoia, though, the band were not constantly at each other's throats in the studio. 'The reality of Rumours was different to the mythology,' says Stevie.

'Of course, there were days when none of us were speaking to each other. There were angry moments and sarcastic ones, too, but it wasn't always like that. If we came up with a great piece of music, we'd all be friends.'

Rather than fight openly, the warring band washed their dirty linen in song. Buckingham's Go Your Own Way was a bitter parting shot at Nicks, who responded with the more philosophical Dreams.

Christine McVie then took aim at erstwhile hubby John with Don't Stop, prompting the aggrieved bassist to suggest that the album they were making should be called Rumours because they were all writing songs about one another without actually admitting it.

Stevie continues: 'I remember the night I wrote Dreams. I walked in and handed a cassette of the song to Lindsey. It was a rough take, just me singing solo and playing piano. Even though he was mad with me at the time, Lindsey played it and then looked up at me and smiled.

'What was going on between us was sad. We were couples who couldn't make it through. But, as musicians, we still respected each other - and we got some brilliant songs out of it.'

The current incarnation of Fleetwood Mac - which features Nicks, Buckingham, Fleetwood and John McVie - is, according to Stevie, 'very different' from the band of the late Seventies.

With drugs no longer part of the equation, the group are considerably more stable off stage, though Christine McVie, who announced her sudden departure after the group had played at the Grammy Awards in 1998, is sorely missed.

'Christine had been having panic attacks before gigs and was developing a fear of flying, but she kept everything bottled up inside,' Stevie says. 'Then, on the night of the Grammys, she told me she simply couldn't go on any more.

'When you love someone as much as I love Christine, you know instantly when they are serious. Her big green eyes filled with tears as she spoke, and I started welling up, too.

'I told her she needed to go home immediately, and she did. She flew home to England and she hasn't been back to the States since.

'Without Christine, the band is more of a boys' club. When there were two women, we had a certain feminine power. Christine was brilliant at standing up to the boys - she'd march across the floor and tell them when she was unhappy with their playing.

'I'm more of a mediator. I'll sometimes go along with things to keep the peace. But I still think we're a great group. I'm proud to walk out every night and sing those songs.'Having moved to LA from Arizona as a schoolgirl, Nicks joined the band with Buckingham at the start of 1975.

The couple had been bit-part players on the vibrant West Coast rock scene, and their inspired songwriting added a radio-friendly Californian sheen to an outfit whose roots lay in the British blues boom.

Stevie's mystical image - billowing skirts, riding jackets, suede platform boots and a Victorian top hat - gave the band an exciting visual dimension. This 'uniform', she explains, was inspired by her teenage years as a Californian hippy chick.

'Before we joined Fleetwood Mac, Lindsey and I played gigs all along the West Coast,' she says.

'On our first tour, I wore my street clothes and it was a nightmare. Then, one day in Santa Monica, I saw this beautiful girl in a flowing pink outfit and high suede boots. Apart from the pink, I knew I wanted to look exactly like her. So I turned myself into this little Dickensian wharf rat in a raggedy skirt.

'I later found a top hat in an antiques store in Buffalo. And that was my uniform - the jacket, skirt, boots and hat. The hat changed everything.'

That trademark costume will, of course, be dusted down before next week's first night in Scotland.

But beyond the current tour, Nicks is uncertain as to what the future holds for the band. She also has a thriving solo career and a recent DVD, Live In Chicago, featured an elaborately staged gig from her last U.S. tour.

Despite her solo plans, though, she refuses to rule out the prospect of another Mac studio album.

'When we're on the road, we barely have time to go and have a meal, let alone write new material,' she says. 'But in January we'll have a meeting and decide what to do.

'Fleetwood Mac still presents some amazing opportunities. Thirty years ago, we were all so self-absorbed that we couldn't see out of our own corner. Things are a lot more fun now.'

• The Unleashed Tour opens at the SECC in Glasgow on Thursday. The Very Best Of Fleetwood Mac is out on Rhino on Monday.

Mick Brown charts the remarkable history of Fleetwood Mac

Fleetwood Mac: sex, drugs, fear and loathing
Ahead of a new tour, Mick Brown charts the remarkable history of Fleetwood Mac.

There is probably no group in the history of pop music that would provide such a diverting evening’s worth of pub quiz questions – and not one of them to do with the groups’s musical output.

No points for identifying Rumours as Fleetwood Mac’s biggest-selling album. But how much money did the drummer Mick Fleetwood fritter away on cocaine? Name the guitarist who in the middle of a tour walked out of a hotel one day to “buy some groceries” and instead vanished into a religious cult? Which prescription drug was the singer Stevie Nicks addicted to for eight years after she’d freed herself of her addiction to cocaine. And which male members of the group did Nicks not have an affair with – or at least, not as far we know?

The Rolling Stones might have been more dangerous, Led Zeppelin more debauched, but, when it comes to grand guignol drama, soap-opera bathos and sheer flagrant excess, it is Fleetwood Mac who take the biscuit – or, in their case, make that a crate of the Dom Perignon ’66, and be quick about it.

Fleetwood Mac are back on the road again for the first time in six years. It is the latest chapter in a saga that has lasted for 37 years, featured a cast of dozens and often resembled nothing so much as a kind of soft-rock version of the misery memoirs of Dave Peltzer.

In the beginning, they were a blues band, their name a cannibalisation of those of two of the founder members, the drummer, Mick Fleetwood and bass guitarist John McVie. The third founder was Peter Green, the most brilliant guitarist of his generation.

In 1969, the group had their first number one single, Albatross, and for a while their albums were matching the Beatles and the Rolling Stones in sales. Then the soap opera began. In 1970, Green took LSD for the first time, beginning a catalogue of events that would lead to him attempting to give away all his money and culminating in him being diagnosed as schizophrenic. On an American tour, the guitarist Jeremy Spencer walked out of his Hollywood hotel one morning “to buy some groceries” and didn’t come back – claimed by the Children of God cult. A third guitarist, Danny Kirwan, ended up in psychiatric hospital. A fourth, Bob Weston, was fired after conducting an affair with Mick Fleetwood’s wife.

By the early Seventies, Fleetwood and McVie were marooned in Los Angeles, seemingly on their uppers. They joined forces with a young couple Lindsey Buckingham and Stevie Nicks, to form what would become the classic version of Fleetwood Mac, built on an improbable chemistry of opposites: the reliable old stagers Fleetwood and McVie; Nicks, the unreconstructed fantasy flower-child; Buckingham, the Byronic, brooding musical genius; and John McVie’s wife Christine, a sensible English girl who sang like an angel and, like her husband, was fond of a drink.

An eponymous album went to number one in America. The follow-up, Rumours, released in 1977, was the apoethosis of the California soft-rock sound, but what added immeasurably to its appeal was the tangled and incestuous mess that the album chronicled. Buckingham and Nicks were breaking up after five years together. The McVies’ seven-year marriage was coming to end, Fleetwood was conducting an on-off affair with Nicks while divorcing his own wife, Jenny Boyd.

Heartache, loathing and recrimination had never sounded so beguiling. Rumours, as Lindsay Buckingham put it, “brought out the voyeur in everyone”, and went on to sell more than 40 million copies, propelling the group into the realms of bacchanalian self-indulgence.

Christine McVie bought two Mercedes, with licence plates bearing the names of her dogs, to park outside her Beverly Hills mansion, and went on to have affairs with the band’s lighting director and Beach Boy Dennis Wilson. Buckingham took up residence in the swanky Four Seasons Hotel – for two years.

Nicks went on to have affairs with both Joe Walsh and Don Henley of the Eagles.John McVie, meanwhile, bought an ocean-going yacht, suffered an alcohol-induced seizure and was arrested for possession of firearms.

“We decided to be comfortable and lost control,” Fleetwood would later reflect in his autobiography. He somehow managed to go bankrupt after a series of disastrous property ventures, while at the same time remarrying Jenny Boyd, only to divorce her again.

In the years since then, the group have broken up and and reunited with a regularity that has bewildered even their most devoted followers. Buckingham departed in 1988, following a particularly heated meeting. “It got physically ugly,” John McVie would later recall. “I just said, 'Lindsay, why don’t you just leave?’ He left. But what I meant was, 'Why don’t you leave the room?’” He was gone for nine years. In 1998, apparently exhausted by it all, Christine McVie retired altogether and now leads a quiet life in Kent.

But it is Nicks who has remained the most intriguing member of the group. With her improbable black-chiffon confections, her songs about Celtic witches and gipsies, her enthusiasm for Tiffany lamps and illegal substances, Nicks embodied the idea of rock music as a sort of romper room for grown-ups to act out their fantasies.

During the Seventies and Eighties, her addiction to cocaine became the subject of myth. She finally kicked her cocaine habit in the Betty Ford Clinic, but then became addicted to tranquillisers.

When the group toured in 2003, relations between them were said to be difficult. But, like so many groups of their era, they have discovered that the cachet of the brand name is far greater than the sum of its individual parts, and that no matter how painful it may be, habit, financial imperatives or the simple want of a better idea will inevitably bring them together again. Psychotherapists call it co-dependence. Nobody would call it love.
Reports from the current tour suggest the group are getting along famously. It would be the most unbelievable chapter in the saga yet.

Wednesday, October 14, 2009


Tekst: Guido de Greef

Voor het eerst in vijftien jaar speelt Fleedwood Mac in Nederland. In tussentijd is er niet eens zo gek veel veranderd, zeker gezien de woelige jaren zeventig en tachtig die eraan voorafgingen.

Vooral de anekdotes rond de totstandkoming van de albums Rumours en Tusk zijn legendarisch. Eind jaren zeventig belichaamde geen enkele andere band het adagium van 'seks & drugs & rock 'n roll' in nog grotere mate. Terwijl de muziek van het vijftal indertijd tamelijk onschuldig klonk, zat het venijn in de teksten die handelen over het vreemdgaan van alle bandleden en de drugsverslavingen van bijna alle bandleden. Als Rumours wordt opgenomen liggen de bergen coke onder het mengpaneel van de studio. Mick Fleetwood schat jaren later dat hij voor zo'n acht miljoen dollar heeft opgesnoven. Dat hij in 1984 bankroet gaat is een bijzonder knappe prestatie, als je je realiseert dat Rumours één van de best verkochte albums aller tijden is en 31 weken bovenaan de Amerikaanse albumlijsten stond. Naast deze financiële instabiliteit zijn ook de relaties tussen Lindsey Buckingham en Stevie Nicks aan de ene kant en Christine Perfect-McVie en John McVie niet bestand tegen alle 'rumoer'.

Full article

[In english, this article is basically a rundown of the bands history from Rumours through to today]


Lindsey Buckingham and his wife Kristen were spotted today in Antwerp, Belgium.

Friday, October 09, 2009


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.

Wednesday, October 07, 2009



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.

'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.


(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)

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.