REVIEW: FLEETWOOD MAC - GLOBEN STOCKHOLM

(translated)
FLEETWOOD MAC
Otrendigt tunggung
SVD.SE
DAN BACKMAN
Photos by: Adrian Pehrson

Fleetwood Mac has expanded its audience since the last visit, 19 years ago. The Anglo-American group's chill 70's production has been incorporated with other archaeological findings in the ever-changing club music scene, which made them even an old name to drop for young hipsters.

Something trendy Balearic lapping it will unfortunately not for the varied group of people who filled the Globe this Saturday night. On the contrary, it is a mostly stab Tunggung that is coming out. But not the Blue Rock Tunggung that marked the group's first edition in the 60s, when guitarist Peter Green was still a healthy man. Rather, it is an inability to reproduce the elegant and successful Californian groove as the group honed in Los Angeles studios in the 70s. In fine songs like Dreams and Sara - where the band is located immediately west coast rock - will find it almost to the evasive groove as enchanted as well as hipsters Swedish studio musicians, but there are just two of the 23 songs in a nearly two and half hour long concert.

Fleetwood Mac has a long and turbulent history with many member changes and stops. Set at the Globe - Mick Fleetwood, John McVie, Stevie Nicks and Lindsay Buckingham - reflects the commercially successful 70's, with the exception of Christine McVie. It was originally supposed to Sherryl Crow was replaced McVie of the current world tour. It had probably been a stroke of genius, but unfortunately it was not so.

With two help musicians and three körkvinnor is the total of nine people on stage (ten if you're going to count drum technician who sits hidden behind Mick Fleetwood and sometimes helps with the percussion). Clowns, Lindsay Buckingham takes the greatest place. He is a capable guitarist, but the last line has custom-built guitars and get it right pompous in his lengthy between snack. Ii'M so afraid he goes completely bananas and sets off in an eternity-long guitar solo that ends in pure abuse of the semi-acoustic Guran. Together with Mick Fleetwood involuntarily comical drum solo during the extra numbers are the bottom of this evening's talk.

Stevie Nicks is a much lower profile. She certainly change clothes three times, but it is about the same frayed romantic rock outfit every time, in black or red.

She has a hazy look and turns to it when she'll tell you about bands in the 60s San Francisco. When she probably believes Jefferson Airplane "she says Velvet Underground, which is quite fun when Lou Reed hated the flower children in California. Though she has a nice MIXED-style - she miss an entrance - and the little effect his voice is remarkably intact.

REVIEW: Fleetwood Mac Took Off in The Globe

(translated)
REVIEW:
Fleetwood Mac took off in the Globe - Live in Stockholm, Sweden
UNT.SE

A band who had their greatest success for over 30 years ago, and now reunited for a world tour as most are based on the older songs, it might be so interesting?

Yes indeed, the band called Fleetwood Mac, or rather 70-talsinkarnationen of this from the start the British blues band.

In the lead is still Lindsey Buckingham and Stevie Nicks was once a couple, both private and on stage, but whose divorce formed the basis for many of the supposed sad, bittersweet pop melodies are the mega-seller Rumors. The strange when they are on stage together again is that the songs from that time portrayed as a still ongoing drama about love, hope and desolation, in dialogue with the listener. Often the songs omknådade and have been rearranged, and a nerve that was not the original.

Stevie Nicks has become quite scarred voice, but also an undeniable theatrical presence in its häxliknande outfit. Moment is very much also Lindsey Buckingham that balances on the brink of total INCONTINENCE in several rock numbers, and showing its totally brilliant guitarist, he is in solo and duosånger as Big love and Landslide. And perhaps that is where, in the more intimate songs that Nicks and Buckingham makes the biggest impression. As with Stevie Nicks beautiful Sara, a look back at lawsuits from the U.S. west coast, culminating in that they give each other a hug on stage. It may be directed, but the impression is still as naked.

And at the same time, they have one of rock's most rhythmic and rhyming sections of Mick Fleetwood and John McVie, it used to be fun grandfather in äppelknyckarbyxor who have a sustained frenzy of drum game and also makes a fun solo interjections.

Who said that the coat must end at 60?

By: Ulf Gustavsson

[One fan response]

Fleetwood Mac

Thank you for your review, UNT. Have read the two evening newspapers, reviews, and I wonder if they were at the concert. Rather negative preconceived opinions about the group. I myself was at the concert and felt the heavy two hours went quickly. There is evidence that a concert is a good thing.

Missing, however, a couple of favorite sounds, "Tango in the Night," "Black Magic Woman". Drum Solo has never spoken to me - not even Mick Fleetwood.

PHOTOS: Fleetwood Mac Live in Stockholm - Stevie hauled out the boots!

By the look of these pics, Stevie hauled out the boots for at least one song in Stockholm last night.
Photos by: New York For Now (view gallery)

REVIEW: Fleetwood Mac - Stockholm, Sweden October 10, 2009

(translated version)
Konsertrecension: Fleetwood Mac
Globen, 10 oktober.
DN.SE

It is not just an old tape that is at issue here, there is also a true old-fashioned show they do. Since last spring, the Fleetwood Mac has been out on his world tour, and every night repeating the exact same thing.

They play the same songs, in the same order, and says the same things, in the same clothes. It reflects an approach to concerts derived from rock professionalism during the 70s. That was when Big band went on tours and large expected to be held at-established concept. It was also when Fleetwood Mac had a great time, it was between -75 and -79 they did their best records, the self-titled "Fleetwood Mac", "Rumors" and "Tusk." With few exceptions, it is on these albums on this tour track list built. Tonight's last written track is from -87.

So it is no exaggeration to say that they live on the old track record. They know their place. The audience, who paid almost a thousand per person, has twenty years of waiting for the right to request original faithful versions of favorite songs. And with the reasonable expectation it will be a pretty good evening. Fleetwood Mac've really made it difficult for themselves this time. The scene is simply decorated with a few bright screens above and behind the band. In addition to the band glimpsed three background vocalists and two backing musicians in the gloom of the scene posterior regions.

They start swaying with "Monday Morning" and "The Chain" but may be up the car on the road just in time for "Dreams". This is, one of my absolute favorites, and even if it sounds good at the Globe, illustrates the problem with the Fleetwood Mac reunited and playing live. To some extent this show would detract from the magical feeling of luxurious 70th century which has shaped the memory of them. I've had the headphones on the treadmill and seriously seen myself run into the sunset along Venice Beach in a couple of narrow contemporary Adidas shorts. From now on, I think of popcorn and coffee aroma of the Globe right lighter.

It's Lindsey Buckingham, which takes most space. Stevie Nicks is certainly the most charisma with his blond hair, their big dresses and fringed shawls, but Buckingham is acting as the band's most ambitious member. He provokes me slightly with his smugness and his range of hand built guitars. He seems to have a little too easy to get high on himself. I find it difficult to regard Buckingham as anything other than a pop musician, but it is painfully obvious that he has more thoughts about himself. John McVie plays bass in half shade, Mick Fleetwood sits parked behind his drum kit. He lives up when he gets to play "Oh Well", the evening's only song from Fleetwood Mac's first incarnation as a British blues band. Then he looked full in the hell out.

They make the key songs from the 70s: "Second Hand News", "Do not Stop" and "Gold Dust Woman". But since Christine McVie is no longer with the lack of a gem like "Think About Me". The level is high and consistent, but much of the charge that existed around these songs have tjatats away. There is, understandably, not much emotion left, so to put life into the songs pouring Buckingham on the guitar solos and the extra numbers, Mick Fleetwood plays a drum solo, which - with its Mora Swamp-manners - becomes a bit too unworthy to rounding in the evening.

For it is surely something specific with Fleetwood Mac låtkatalog. When they were at their best, they managed to combine the epic of the British folk rock with the same ease melancholy in the American West Coast rock. I still can finally say that I prefer the songs on the disc, and that it actually was not quite make sense to destroy their own images of the band and the music in this way.

Po Tidholm

(PHOTO) FLEETWOOD MAC - STOCKHOLM

FLEETWOOD MAC ROCKIN' STOCKHOLM ONLY MOMENTS AGO,
ALL ANGLES COVERED

PHOTO by: copytobbe

PHOTO by: soft side

PHOTO by:nicopunktse

PHOTO by: F_Esaiasson

(PHOTO) CONNIE SZERSZEN (CHICAGO DISC JOCKEY) WITH STEVIE NICKS

Connie Szerszen was a pioneer female disc jockey in Chicago, and has just written a book called "Top Rock Girly Jock"

[excerpt from interview] The parties were always a surprise – so thrilling to be one of the special guests! Of course, I had my camera with me, as always, and snapped many good pics of my own (one very unusual shot of Elton is in the book -- that I doubt you’ll see anywhere else – Hah!) Fleetwood Mac was there at one party – Stevie Nicks was very sweet and posed for pictures.  Read the full interview with Connie at Chicagoradiospotlight

FLEETWOOD MAC DAY OCTOBER 10, 1979 - AWARDED STAR

30 Years Ago Today

It was declared Fleetwood Mac Day in Los Angeles, CA

Fleetwood Mac were awarded a star on Hollywood Walk of Fame.

REVIEW: FLEETWOOD MAC Live in Copenhagen October 8, 2009

(Translated Review)

Purely criminal sleepy Fleetwood Mac
Parken, Copenhagen
Attendance: 18,000 (40 000).

Av Per Hägred
KVP.SE

BEST: Tomorrow Danish head à la Zlatan here.

WORST: For a long time since the sound was so bad in the park.

One, two, three, Zzzzzzzz ...

Grandfather Fleetwood count in the band.

Goes like that.

Nobody will ever accuse this dinosaur to steal Ramones bang on rödbetan concept outright.

In short, the European premiere of "Unleashed" - the tour starts very sleepy. Disturbing sleepy. If not purely criminal sleepily. As if the whole concert is on the way to a couch near an afternoon nap. An impression is reinforced by the whole of the presentation where it is sent tracklist in advance with additional numbers and everything.

Fleetwood Mac is the way, like a bedroom farce. A piece like that where they open and close the doors of the party and the minute. Doors have been wide open in Fleetwood Mac, and members have been able to come and go and styles of music has slipped in and out a bit anyway. It has even been flattened between two continents. Only Mick Fleetwood is the original band that played British blues (better than anyone else), but now it's mostly about sun-ripened pop that never leave California.

The Fleetwood Mac that I love most are represented by a song: "Oh well". And - well, well - I do not think super guitarist Peter Green really like the slaughter of his masterpieces.

This is the group's first tour in five years, but they have not managed to scrape together enough songs to fill a new plate without digging into greatest-hits-sac.

Naturally, I dig out the old scratched LPs that really lies buried under layers of dust. Stevie Nicks dig out "Landslide" from the self-titled disc from 1975. As the beginnings of an acoustic party. Then it will be good. Unusual "Storm" is also deleted. On the whole, this is Stevie Nicks show now that Christine McVie with the right age have retired.

But there are bounties on the Megan Buckinhamns solo in "I'm so afraid."

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.