Thursday, January 31, 2013

Photos: Stevie Nicks arriving for the "Sound City" Los Angeles Premiere

Red Carpet Arrivals at "Sound City" Movie Premiere
at ArcLight Cinemas Cinerama Dome in Hollywood.
January 31, 2013


Photos by Kevin Winter

Watch the movie online at www.soundcitymovie.com

DVD & CD in Stores March 12th - Amazon
CD includes Stevie's "You Can't Fix This"

STEVIE NICKS: "The truth about Rumours," she says, "is that Rumours was the truth." #Fleetwoodmac

Fleetwood Mac on 'Rumours,' Breakups and a 50th Anniversary Concert
by Chris Epting
Spinner.ca

They remain one of the world's most beloved bands, an eclectic blend of Englishmen and Americans called Fleetwood Mac. This spring they will hit the road once again, embarking on a significant North American tour that will run until late summer.



They also have just released an expanded version of their magnum opus, 1977's Rumours. The sprawling edition goes way beyond the basic album, which since its release has sold over 40 million copies worldwide.

Great interview below from Spinner.ca - 10 minutes in length.  The entire article can be read at Spinner.ca







The art of falling apart
John Robinson
The National

The only group composition on an album made by self-obsessed individuals, it is The Chain that best articulates Fleetwood Mac's situation at the time - its three discrete elements articulating the band's estrangement from one another. As you can hear over the course of this set, one part comes from a rather sleepy Nicks song called The Chain. The concluding guitar blowout comes from an outro to a McVie composition called Keep Me There. The verse comes from a reworked old song by Buckingham. It's not called The Chain because of some cosmic understanding between band members. It's called The Chain because it comprises three utterly separate elements that have been pragmatically stuck together by Lindsey Buckingham. Hence, one presumes, his exasperated swearing on the lead-in.

Time has made it an anthem, but the expedient composition of the song reveals an important truth about the pragmatism at the heart of Fleetwood Mac. Once a stalwart hard rock band, necessity had forced them to change so often that by the time they arrived at the line-up that made Rumours, the band were in their third distinct phase. Fronted by the mercurial Peter Green, at the end of the 1960s the band had enjoyed chart success with an eerie and lyrical take on the blues. When Green left, mellower songs were written to diminishing commercial returns by another guitarist, Bob Welch. When Welch departed, Mick Fleetwood (the drummer for and sergeant major of the band) doggedly searched again for new musicians.

Full Review at The National


'Rumours' – pop-rock perfection

REVOLVER: BRIAN BOYD on music
Irish Times

If you’re looking for full-on drink and drugs debauchery, celebrity psychosis, überdysfunctional inter-band relationships, lashings of money and ego, and extremities of fear and loathing, you have to look past the usual suspects (Zeppelin, Mötley Crüe et al) and steady your gaze on Fleetwood Mac. Going into the recording of Rumours – still one of the bestselling albums of all time – things weren’t pretty. Bass player John McVie and keyboardist Christine McVie had just divorced and weren’t on speaking terms. Singer Stevie Nicks and guitarist Lindsey Buckingham were in the middle of breaking up but still on speaking terms – if shouting at each other in ferocious rage counts as speaking terms. Drummer Mick Fleetwood had just got divorced, the group had just sacked their manager and their producer, and they were doing enough cocaine “to turn horses into unicorns” as the saying went. For good measure, Nicks and Mick embarked on a shortlived and very drunken affair.

These five people – all of whom had been romantically/sexually engaged with another band member at some time – had to sit in a room together and come up with 11 songs for a record companyimposed deadline. The only other time this kind of situation had occurred with a major band was with Abba – and they used the adverse circumstances to record some of their biggest hits. As did the Mac. But just to give some idea of the level of tension, suspicion, hatred, insecurity and paranoia that prevailed at the songwriting sessions, Christine McVie brought a new song to the table called You Make Loving Fun.

It was written about her new postdivorce boyfriend (who was also the band’s lighting director) and was seen as a personal attack on her erstwhile ex-husband. At around the same time, Mick Fleetwood started going out with Stevie Nicks’s best friend. The blizzard of cocaine was such that the band, seriously, wanted to give their dealer a credit on the album. The label demurred and a stand-off was only averted when said dealer was shot dead, allegedly by an organised crime gang.

Given all that went on, Rumours should have been a mess. The songs were recorded in a small, wooden, windowless studio with the band arriving at 7pm each night, getting off their collective heads until the early hours and only putting down music and vocals when they were too whacked out to keep on partying. Yet it’s as close to a near perfect pop-rock artefact as you could ever hope to hear, and its appeal lies in the fact that we are listening in to love breaking down. How did the band manage to stay together to finish the album?

Stevie Nicks now recalls it was a case of “I’m not the problem, I’m not quitting. You’re the problem, you should quit.” With no one prepared to give in, they effectively stayed together out of spite. Rumours is 35 years old now and there’s a special commemorative, expanded edition of the album just released. Pure music reality TV.

Fleetwood Mac 35th Anniversary Expanded and Super Deluxe Editions Available Now.

@CBSNews Video: Fleetwood Mac still spreading "Rumours"

Fleetwood Mac has just re-released their 1970s mega-hit album, "Rumours," with a deluxe edition. CBS News' Teresa Garcia talked to the band in Los Angeles.


Fleetwood Mac's "Landslide" being used in Super Bowl Commercial



The star of this years Budweiser Super Bowl commercial will be a newborn Clydesdale.  

The 60-second Super Bowl ad chronicles the bond a Clydesdale foal shares with his trainer. It marks the 23rd Super Bowl ad featuring the Clydesdales.

Budweiser has launched its first-ever Twitter account that went live this past Sunday, and used the occasion to tweet the first photo of the newborn and are taking name suggestions.

CBS this evening (1/30) aired a show featuring Super Bowl Ads you'll be able to see this Sunday and one of them was a short clip of this ad with "Landslide" playing in the background. I'm assuming that "Landslide" will follow in the full ad when it airs on Sunday.

Kinda cool!  Watch The Super Bowl this Sunday for the 60 sec. spot.

(Photos: Budweiser)

Thanks @N8Curlen and @MYarr for the heads-up!



Video: Super Bowl Ad Preview With Usher, Fleetwood Mac, Flaming Lips and More
Billboard

Advertisers are paying upwards of $3.7 million just to air their spot during the big game, major synchs can fetch anywhere from $100,000 to upwards of $1 million, depending on the artist, number of territories airing the ad, the length of the commercial "flight," or airtime, and whether the song has been synched previously.

One synch likely on the upper tier of that spectrum is Stevie Nicks’ “Landslide,” which was commercially licensed for the very first time for Budweiser’s "Clydesdale" spot, which debuted online early Thursday. “We knew she was very protective,” Paul Chibe, Budweiser’s VP of marketing, says of Nicks’ tentative approach to synchs, “but when she saw the script she felt it was an appropriate presentation, that it was an elevation of the music and not something that would take away from it.”



The spot, directed by Jake Scott, shows the animal growing older—until its breeder must hand it over to the folks at Budweiser. The ad then jumps ahead three years, as the breeder reads in the newspaper that the Clydesdales will be visiting his area.



Hoping for a reunion, he goes to the parade. You can guess what happens from there.



It's a poignant and well-shot commercial—in keeping with some of the better Budweiser ads through the years—made all the more evocative by the use of Fleetwood Mac's "Landslide." from the 1975 "Fleetwood Mac" album.


Ad Week

Stevie Nicks on TV... Saturday!

Photo by Katie Cook
CMT Hot 20 Countdown

Katie Cook - Host of CMT's Hot 20 Countdown show will be interviewing Stevie Nicks with Lady Antebellum this Saturday, with a repeat of the show on Sunday... Check your local listings:

Great interview w/ @ladyantebellum & Stevie Nicks! We have a pregnancy update w/ Hillary on this weekend's Hot20 @CMT

Saturday, February 2nd - 11:30 AM
Sunday, February 3rd - 11:30 AM



DATE ANNOUNCEMENT
OPRAH'S MASTER CLASS




Oprah's Master Class with Stevie Nicks will air on March 24th on OWN: Oprah Winfrey Network.


REVIEW + Q&A with Mick Fleetwood on Fleetwood Mac "Rumours" via @uncutmagazine


The game-changing ’70s AOR blockbuster turns 35 with a super deluxe boxset
by Piers Martin
Uncut

“Times were a lot crazier then – anything was possible. Budgets were not important and doing drugs was the norm. In the mid-’70s there was a sense that you could do no wrong.” So said an eyeliner’d Lindsey Buckingham, reminiscing in the 1997 Classic Albums documentary on the making of the ultimate classic album, Fleetwood Mac’s Rumours. Thirty-six years after its release – and with more than 40 million copies sold (so far) in at least 80 official international editions – you would imagine that every last drop, every demo, druggy anecdote and hazy recollection, has been squeezed out of one of the biggest records of all time, the eighth best-selling LP in history. You’d assume that anything worthwhile that could add to the enjoyment and understanding of Rumours must have surfaced by now. For a start, Mac completists and even fairweather fans will already have the 2004 2CD reissue that came with a full set of rough mixes and outtakes from those fabled album sessions at the Record Plant in Sausalito, just north of San Francisco. Worryingly, that same disc is included in this “super-deluxe” 4CD+DVD+LP boxset – a package designed to celebrate the album’s 35th anniversary but which actually turns up, as if stoned, the following year.

Like Star Wars or Snickers, there’s never really a bad time to reissue Rumours. Sooner or later everyone finds a way in to it – or looks for a way out, if your parents raised you on Rumours and Tusk in the ’80s. It’s the evergreen baby boomer blockbuster that eased Bill Clinton into the White House and now finds itself a post-ironic hipster lifestyle accessory; Florence Welch, for one, is an eternal student of Stevie Nicks’ cosmic witchcraft. Today, 45 years after they formed, Fleetwood Mac’s twilight period – commencing with 2003’s reunion for Say You Will and drifting through two further “reunions” for world tours, including one this year – has lasted far longer than the band’s vital, late-’60s incarnation.

And it’s all because Rumours is as near perfect an album as anyone will ever make, and its lurid backstory of emotional turmoil and narcotic excess, endlessly recounted in prurient detail, is never less than fascinating. Though short on wildly revelatory material, this boxset ties up a number of loose ends from 1976-’77, focusing on the period when the Mac set about recording the follow-up to ’75’s Fleetwood Mac, a surprise US No.1 and the first album made by the group’s new line-up after fate had parachuted in two young Californian dreamers, Buckingham and Nicks, in late ’74 to rescue Mick Fleetwood’s rudderless British blues outfit.

The chemistry between the five was immediately apparent. Now there were three distinctive songwriters in the group, Buckingham, Nicks and Christine McVie, who would also complement each other in harmony. Buckingham, the firebrand guitarist and craftsman, began to develop an intuitive musical partnership with McVie on piano that started with “World Turning” and led to them fleshing out McVie’s Rumours cuts such as “You Make Loving Fun”. His lover Nicks cast her spell with “Rhiannon” and “Landslide”. John McVie and Fleetwood, solid but soft, glued it all together.