Check out Lindsey's collaboration with Empire of the Sun 'To Her Door'

Empire of the Sun, 'To Her Door'
NPR
by Megan Buerger

When Fleetwood Mac released Rumours in 1977, the band's lush instrumentals and melancholic harmonies reignited an obsession with bright, shining California pop. Decades later, modern folk bands like Mumford and Sons, Best Coast and Haim are still channeling the same bittersweet chords and joyful choruses.

Empire of the Sun is the latest group to pay tribute to Fleetwood Mac's lush legacy, but the Australian synth duo is far from folksy. It's better known for playing dance-music festivals in exotic Space Age costumes that feel, from a distance, almost like Cirque du Soleil. And yet, its forthcoming album, Two Vines, features a glistening collaboration with longtime Fleetwood Mac guitarist Lindsey Buckingham called "To Her Door."

"When you've got the undeniable, magical aura of Doctor Buckingham, things blossom," Luke Steele — one half of Empire of the Sun — tells NPR. Both he and bandmate Nick Littlemore consider Buckingham one of their heroes. "We jammed like we were in high school and it came together almost instantly."

The song captures a couple's dialogue the day after a big argument. One partner wakes up surprised and anxious, Steele says, eager for reconnection. "He says, 'Hey, good morning, what happened, can I come around and talk?'" The lyrics convey that desire: "I feel better when we're together / I know it's simple but I don't care / I try to say the things to make up for the mess I've caused."

Sonically, "To Her Door" reflects Fleetwood Mac's warmest records — such as "Hold Me" or "Gypsy," which overflow with richness. Steele says that when he and Littlemore conceptualized a direction for this album, they were drawn to an image of vines that grew out of the ground and into cities, wrapping around buildings and cars until they overtook the urban world. He couldn't get the image out of his head. When they traveled to Hawaii to record at Honolulu's Island Sound Studios, where Kanye West recorded My Beautiful Dark Twisted Fantasy, the tropical, breezy setting cemented the return-to-nature concept.

Genesis Publications announce a signed limited edition book by Mick Fleetwood

Genesis Publications announces a new, signed, limited edition book by Mick Fleetwood.

Genesis Publications are delighted to announce a signed limited edition book by Mick Fleetwood that will chronicle the formation and rise of Fleetwood Mac. Genesis are looking for anyone who has photographs of the band during the years 1967 – ’75 for possible inclusion in the book.

For your photo to be considered, and to sign up for more information, please visit: www.mickfleetwoodbook.com

Source: MickFleetwood.com

Review Fleetwood Mac's Mirage Deluxe Reissue

Mirage nixed any suggestion that intra-band drama was their sole animating force, and flourished in the emotional void they occupied: heartbroken, strung out, and alone at the top.

by Laura Snapes

Pitchfork

After two records about cheating on each other, it was inevitable that Stevie Nicks, Lindsey Buckingham, Christine and John McVie, and Mick Fleetwood would begin to cheat on Fleetwood Mac. They were traveling in separate limos by the end of the bad-tempered Tusk tour, where Buckingham had kicked Nicks onstage, and they’d circled Europe on Hitler’s old train. “Looks like the end of the line,” the New York Post warned in March 1981, as solo careers started to proliferate. Fleetwood released The Visitor in June. Where Tusk had taken a year to record, Nicks’ debut album, Bella Donna, was nailed in a few days, released in July, and certified Platinum by October—just as Buckingham’s Law and Order limped to No. 32. Her blousy mystique was the antithesis of his uptight theme, and to dent his fragile ego further, it had been validated by serious men: collaborators Tom Petty, Don Henley, and producer Jimmy Iovine, who she was now dating. According to Buckingham’s then-girlfriend, Carol Ann Harris, he liked to refer to “Stop Draggin’ My Heart Around” as “Stop Draggin’ My Career Around.”

Having accepted that the band weren’t interested in “shaking people’s preconceptions of pop,” as he sniffed to any reporter who would listen, Buckingham resolved that Fleetwood Mac’s next album should be a proper group effort. Mostly minus Nicks, they mingled their ghosts with those of the haunted Château d’Hérouville, just outside Paris, a destination chosen to accommodate Monaco resident Fleetwood’s tax affairs. Harris observed communal meals eaten in silence. The drug intake exceeded even that of Tusk, according to co-producer Ken Caillat. It’s hard to find any comment about why they chose to name their thirteenth record (and fifth under this lineup) Mirage, though the resonance is obvious in hindsight: It’s the illusion of the band, rather than the full-blooded beast. Buckingham tossed off his songs in under two months. “What can I say this time/Which card shall I play?” Nicks sings on “Straight Back,” sounding like a woman in search of an idea. She pulls out her well-worn tarot deck—wolf, dream, wind, sun—and whips up an unconvincing sandstorm about how “the dream was never over, the dream has just begun,” while Fleetwood Mac increasingly resembled an inescapable nightmare.

Full Review at Pitchfork

Review Fleetwood Mac - Mirage (Deluxe Edition)

Album Review: Fleetwood Mac - Mirage (Deluxe Edition)
September 26, 2016
By Jeff Burger
The Morton Report

If ever there was a case of the media building up and then knocking down a band, it was the one involving Fleetwood Mac in the late-'70s and early-'80s. The critics cheered when the group—newly energized by the addition of Lindsey Buckingham and Stevie Nicks—delivered its chart-topping eponymous album in 1975 and the even better Rumours a year later. But many of those same critics spoke less kindly of the follow-up to Rumours, 1979’s Tusk. According to them, it eschewed commercialism in favor of self-indulgent experimentation, though major experimentation was in fact largely limited to the excellent title cut. Then, when the group reverted to fully accessible form on its next studio album, 1982’s Mirage, reviewers griped that the band was going backwards; never mind that this radio-friendly LP delivered exactly what the critics claimed was missing in its predecessor.

Well, as I noted last year, Tusk ranks among the most underrated albums of the rock era. But Mirage—which Fleetwood Mac’s members recorded in France after pursuing solo projects—is arguably even more underrated. Rolling Stone, for example, allowed that it found the group returning to “simple pleasures” but awarded it only three stars and said “the band seems to have lost its spirit.”

Continue to the full review

STEVIE NICKS returns to the Ellen Show Oct 3rd to perform her classic hit, "Edge of Seventeen."

October 3rd: Rock Goddess and rocker of shawls, STEVIE NICKS makes her return to the Ellen stage to perform her classic hit, "Edge of Seventeen." She's also here to tell us about her upcoming tour with The Pretenders. 

Ellen

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Stevie Nicks adds Dec 17th in Las Vegas to 24 Karat Gold Tour

NEW DATE: Stevie Nicks Live in Las Vegas at Park Theater at Monte Carlo Resort and Casino, Sat, Dec 17, 2016 Amex Pre-sale September 29th - General Public tickets on sale October 3rd.

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