Sunday, February 26, 2017

Reviews - Stevie Nicks with The Pretenders Salt Lake City, Utah Feb 25, 2017

'Talk to Me': Stevie Nicks chats up Vivint Arena in memorable SLC return
Doug Fox Daily Herald

Photo by: Sammy Jo Hester, Daily Herald - VIEW MORE

Stevie Nicks was in a chatty mood Saturday night at Vivint Smart Home Arena.

Maybe it was because the rock icon was back in her onetime hometown of Salt Lake City. Maybe it was because she was excited to return to the road for the bonus round of her "24 Karat Gold Tour," with this show being just the second in a 20-date tour extension that kicked off Thursday in Reno following a two-month break. Maybe it was a side effect of the Gold Dust Woman's desire to sprinkle intimate insight and detail into the background of nearly every tune in her 18-song set.

Whatever the reason, Nicks split her two hours and 15 minutes on stage between singing and sharing stories from behind the music of her illustrious 44-year recording career. And you know what? Give us more shows like this -- ones where it's as if the artist is standing in your living room and carrying on a musical conversation at their own relaxed pace rather than punching some imaginary time clock monitoring exactly when they need to be off stage.

Nicks even joked about her gift of gab late in the performance.

"There's too many stories in my life," she said, before laughingly considering what her concerts might morph into another five or six years down the road. "Pretty soon, there won't be any music. It'll just be me sitting in a chair talking. It will be the cheapest show ever. I won't even need a band."

As bands do go, Nicks has always managed to surround herself with some amazing musicians, whether on stage or in the studio, a fact that was never more evident than it was Saturday night -- both in terms of live performance and with her revelations into each song's background. This has been true since she broke into music as a duo with partner/guitarist Lindsey Buckingham, continued on with that pair's tenure in Fleetwood Mac, and been a constant throughout her solo career as well. Some of her best stories revolved impromptu recording sessions with Tom Petty's Heartbreakers and Prince, among others.

Both Prince and Tom Petty had notable influences in Saturday's set. Nicks told of how she wrote one of her biggest hits, "Stand Back," on her lone wedding day, literally working through her honeymoon night on it, after hearing Prince's "Little Red Corvette" on the radio for the first time. Recognizing Prince's influence on the song, she later rang him up from Sunset Sound studios in Los Angeles to seek his permission to finish the track. He happened to be in town and showed up at the studio 15 minutes later, as Nicks said, "Dressed to the 9's in purple," to hear what they'd recorded.

"If you hate this, it's over, we will throw it in the trash right now,' " Nicks said she told Prince. "(But) he loved it. I said, 'Would you like to play on it?' And he said yes."

In true rock star fashion, Prince had brought a guitar with him in his car. He added some guitar and keyboards to the final track.

"He, like, finished in an hour," Nicks said. "(He said), 'I love it. Be seeing you.'

"Now when I sing it, he's right here," Nicks said, motioning just to her side on stage.

Nicks' collaboration with Tom Petty and the Heartbreakers is more obvious, since the band literally helped catapult her solo career with the duet "Stop Draggin' My Heart Around" in 1981. Short of T.P. and the Heartbreakers personally showing up, it's hard to imagine a more spirited version of the tune being performed live than this tour's rendition. As she has been doing all tour, Chrissie Hynde, frontwoman of opening act The Pretenders, walked into the "Stop Draggin' " party like she was walking onto a yacht, strolling confidently out to thunderous applause during the first verse. There was so much genuine interaction between Nicks and Hynde, as well as guitarist Waddy Wachtel, that it was blatantly obvious how much fun everyone was having.

In the grand tradition of concert "walk-ons" -- where artists from other bands on the bill make a guest appearance in another's set -- the best ones tiptoe the tightrope between rehearsal and spontaneity. In this, "Stop Draggin' " was a huge early-set success. Although planned, it seemed to catch most of the crowd by surprise. Additionally, whether true or not, it appeared as if Nicks and Hynde almost decided on the fly who would take some of the lead vocal lines.

Nicks alluded to that after the song, saying that with so many singers -- five in this song, counting Wachtel and full-time backup singers Sharon Celani and Marilyn Martin -- it is hard to keep track of who, exactly, is supposed to sing what.

"You tried your hardest just to smooth it over," Nicks laughingly said to Wachtel after the song, "but you just couldn't do it."

Wachtel, who in addition to lead guitar duties is also the band's musical director, has been with Nicks from the start. He literally performed as a session musician on the "Buckingham Nicks" album in 1973 that led to duo's destined decision to join Fleetwood Mac the following year. Wachtel has played on every one of Nicks' solo albums and tours, and his performance -- not to mention his wild frizzy hair -- also figures prominently in the band's live show.

Nicks' latest album, "24 Karat Gold: Songs From the Vault," provided the perfect template for her strong storytime approach. The album features a collection of songs that Nicks wrote and recorded over the years that for some reason never quite fit musically or timing wise into any of her other projects. Over time she metaphorically placed them in her "gothic trunk of lost songs."

She played three songs from that album -- "Belle Fleur," "If You Were My Love" and "Starshine." The latter song, which Nicks co-wrote and recorded with Petty and the Heartbreakers (she thinks around 1979), certainly sounded like it could have been a vintage single for either of them, and helped drive home the sometimes fickle nature of the music industry.

"I wasn't doing a record (at the time) and he wasn't doing a record," Nicks said. "If either of us had been doing a record, it would have been on it. So it went into the gothic trunk of lost songs."

Nicks' set was extremely well paced in terms of song selection and running order. She could have filled the entire show with hit singles -- but to her credit, she didn't. She only played four Fleetwood Mac songs, and branched out into much of her lesser-known solo material as well. In less-capable hands this might have been a bit of a gamble, but it was no threat to a Rock and Roll Hall of Famer of Nicks' stature.

To be sure, Nicks did scatter hits occasionally throughout the show, before backloading it with four songs guaranteed to garner a great reaction. An especially intense 10-minute version of "Gold Dust Woman" set the beginning of the end in motion. That was followed by the main set-closing "Edge of Seventeen." The encore featured "Rhiannon" and "Landslide," two songs from her Fleetwood Mac debut. Nicks noted that she has sang both those songs every single performance since they were written.

"I wrote this song in Aspen," she said of "Landslide." "I wish I'd written it here."

Nicks owned the crowd from the moment she walked on stage in her trademark platform heel boots, flowing black dress, black fingerless gloves and an ever-changing array of scarves, shawls, jackets and capes.

One such cape, by the way, was the silk chiffon one she wore on the "Bella Donna" album cover. The cape, she said, cost her $2,000 in 1981 and remains in perfect condition today. She laughed considering what her mother would have said at paying that initial exorbitant price tag.

"(But) $2,000 over 35 years is a very good price," Nicks noted.

That's very likely the sentiment anyone in attendance Saturday night will have years from now when they look at the price on their ticket stub. Seeing someone of Nicks' legend, caliber and overall talent, still performing at a very high level, is not an opportunity to be missed. You simply can't put a cost on gathering memories like that -- or missing out on them.

Adding to the value of the night's entertainment, The Pretenders, also a R&R Hall of Fame act, performed a tight 15-song, one-hour set. The band showcased both new and old material along with well-known hits "Back on the Chain Gang," "My City Was Gone," "Middle of the Road" and "Brass in Pocket."

Pretenders frontwoman Hynde runs the show, naturally, along with the animated efforts of lead guitarist James Walbourne, original drummer Martin Chambers, and the more laid-back efforts of bassist Nick Wilkinson and keyboardist Ricky Peterson. Peterson deserves special notice for pulling double duty, as he also is a member of Nicks' touring band.

In one sense, Nicks and Hynde are polar opposites. Hynde, rocking her signature fringe mop hairdo, hit the stage in skinny jeans, a T-shirt and a short-waisted pink tuxedo jacket, which she removed six songs in. But in another sense, Nicks and Hynde are kindred spirits who can rock with the best of them. As unlikely as it sounds, there are fewer sights more pure rock and roll than seeing the statuesque Hynde, bent at a three-quarters side angle, jamming on a harmonica with her Fender Telecaster slung behind her back during the end of "Middle of the Road." Perhaps you had to be there.

On any other night, The Pretenders would have been the talk of the town. In this tour, however, Nicks gets the final word.

Concert review: Stevie Nicks’ “gothic trunk of lost songs” filled with magic moments
By Eric Walden, 

"She was magical. Make sure you put that in your write-up," my wife insisted upon leaving Saturday's Stevie Nicks concert at Vivint SmartHome Arena in Salt Lake City.

She had a point. How else to explain an artist I had no particular affinity for prior to entering the building delivering two and a quarter hours of the best concert-going experience of my adulthood?

Magic seems as good an explanation as any.

OK, so you could argue that many of the live performances — bolstered by two guitarists, a bassist, drummer, Hammond organist, grand pianist, two female backing vocalists, and the occasional Nicks-shaken tambourine — were infused with a depth and energy that isn't always apparent (to me, anyway) on her recordings.

Still …

That hardly tells the whole story, though Nicks proved quite adept at just that, often preceding or following the tunes that comprised the night's setlist — many pulled from her "gothic trunk of lost songs" — with meandering, colorful and humorous tales.

Among her topics of conversation:

• Her two-plus years growing up in Utah: "My parents threatened to send me to that Catholic [high] school downtown if I didn't get a B-plus average [at Wasatch Junior High]. … That place turned out to be a lot fun! It was coed! I didn't brag about it 'cause I knew they'd whip me out of that school and put me in a convent."

• Her humble pre-Fleetwood Mac career: "I was still a waitress and a cleaning lady, and I had a Toyota Corolla with no reverse. And all of a sudden I'm flying first class and riding in a limousine — something I never thought I'd do unless I was the one driving it."

• Her expensive-yet-theoretically-practical fashion proclivities: "This is the original 'Bella Donna' cape. My mother, if she were standing here, would fall over if she knew how much it cost. It was $2,000! It's made of silk chiffon! … But look at it — not even a loose thread anywhere. So, you take $2,000 and spread it over 30-something years … now, all of a sudden, if my mother was standing here today, she would say, 'That was a very good choice of fabric!' "

Nicks also spun yarns of having to promise not to break up Fleetwood Mac in order to make her first solo record (but giving her label a panic attack by quasi-joking that what she really wanted to do was join Tom Petty and the Heartbreakers), having nothing to do one night in Brisbane, Australia, and winding up "thoroughly and completely in love with the love story of Bella and Edward" after getting sucked into the first two "Twilight" films, and meeting a young Prince sometime between 1975-77 "when hardly anyone knew who he was" and remarking to him, "You don't say much do you? You need to talk a little more."

Of course, Nicks also has a way with words in her songs, and she proved equally enchanting there over the course of her 18-tune setlist, which included four selections apiece from Fleetwood, 1981's "Bella Donna" and 1983's "The Wild Heart," three from the 2014 rarities collection "24 Karat Gold," two from 2011's "In Your Dreams," and even one from her original "Buckingham Nicks" album from 1973.

She got the crowd rolling early by having The Pretenders' Chrissie Hynde trade lines with her on her Petty duet "Stop Draggin' My Heart Around" (with guitarist Waddy Wachtel taking on Petty's parts). Other highlights included the ethereal, "Twilight"-inspired "Moonlight (A Vampire's Dream)," the unexpected electro rave-up "Stand Back" (an offshoot of Prince's "Little Red Corvette"), and the main-set closer "Edge of Seventeen," which had the audience dancing and singing along on all those "Whooooo! Whooooo! Whooooo!"s.

Really, though, just about everyone's favorite moments came in her Fleetwood performances. "Gypsy" got the crowd swaying, and the encore included "Rhiannon" and a sparse acoustic guitar and piano arrangement of "Landslide," but perhaps the singular moment of the entire evening was the hypnotic-and-transfixing-yet-swaggering run through "Gold Dust Woman."

Hynde and The Pretenders opened the night with a no-frills hour of straight-ahead rock, starting off a bit flat before settling in and catching a groove around their fourth song in. Her mid-set trifecta of "Back on the Chain Gang," "I'll Stand By You" and "Don't Get Me Wrong" would've been her inarguable highlight if not for her rousing, set-closing edition of "Brass in Pocket."

When The Pretenders wrapped up, Hynde told those assembled, "Stevie will be on in about 20 minutes. Don't go anywhere!"

Great advice — unless, of course, you'd simply already had too many magical moments in your life.

Tuesday, February 07, 2017

New Book: Love that Burns - A Chronicle of Fleetwood Mac by Mick Fleetwood - will speak at SXSW

Fleetwood Mac drummer Mick Fleetwood is among a large group of speakers announced today for this year’s South by Southwest daytime conference lineup.

Fleetwood’s appearance is related to his upcoming book “Love That Burns: A Chronicle of Fleetwood Mac” via Genesis Publications.

Fleetwood Mac, a band that boasts some of the highest-selling records of all time, has weathered countless trials and tribulations on the road to success. Mick Fleetwood, legendary drummer and founding member speaks with Rolling Stone magazine's David Fricke, unravelling the dramatic history of a band that emerged from the British Blues Boom. The discussion will be illustrated with rare images selected from the forthcoming collaboration with Genesis Publications, the limited edition Love that Burns - A Chronicle of Fleetwood Mac.

Love that Burns - A Chronicle of Fleetwood Mac is Mick Fleetwood's account of the early blues era of Fleetwood Mac and the musical legacy of the uniquely talented Peter Green. Beautifully produced in the Genesis tradition, each handcrafted book, limited to 2,000 numbered copies worldwide, will be signed by the artist.

To celebrate the announcement of this collaboration, Genesis Publications are offering an exclusive SXSW VIP package to a small group of early book buyers. Join us at the official SXSW event, be among the first to secure your number in the edition, enjoy an invitation to a VIP 'meet & greet' and have your copy personally dedicated by Mick Fleetwood through a commemorative bookplate.

Mick will speak from 5-6PM on March 15 in Room 16AB of the Austin Convention Center. 

Signed limited edition book
Meet & greet with Mick Fleetwood
Event Attendance: Mick Fleetwood in conversation with David Fricke
One day festival pass
Price: £455 / $555

For more information on the book visit:

Saturday, February 04, 2017

Fleetwood Mac's 'Rumours': 10 Things You Didn't Know

Why "Silver Springs" was left off the LP, how the band's Rolling Stone cover shoot fueled Steve Nicks and Mick Fleetwood's affair, and more
By Jordan Runtagh

Every Song on Fleetwood Mac's 'Rumours' Ranked
by Andrew Unterberger

Why Fleetwood Mac's 'Rumours' Hits Home Right Now
Band confronted their own romantic chaos on 1977 masterpiece, asking tough questions that still resonate
By Rob Sheffield

Wednesday, February 01, 2017

Stevie Nicks, Lindsey Buckingham, Mick Fleetwood Reveal Secrets Behind Fleetwood Mac Rumours

Longest Running Rumor In Music Turns 40

Fleetwood Mac released 'Rumours' 40 years ago on February 4, 1977
Dallas, TX - February 1, 2017.  North American syndicated Rock radio show and website InTheStudio with Redbeard: The Stories Behind History’s Greatest Rock Bands  uncovers the stories behind the longest-running rumor in music history, 1977’s Grammy Award-winning album by Fleetwood Mac, Rumours.  

In the mid-‘70s there was no other band more professionally and personally linked together than the five members of Fleetwood Mac. Barely three years earlier California duo and couple Stevie Nicks and Lindsey Buckingham had joined the British blues-rock band Fleetwood Mac collaborating on its breakout 1975 “White Album”, cementing the Mac’s long overdue commercial success while at the same time raising eye brows and ears around the world as to what could possibly come next.  

Truth be told, the members of Fleetwood Mac were literally living secret and separate lives. One as band members and the other as lovers falling apart. It was this tension filled environment that produced some of the most genuine emotion filled music of the decade. Fueled by their talent and ambition what would normally break bands apart, somehow kept them together and produced one of the biggest selling albums of all-time. 

Stevie Nicks, Lindsey Buckingham, and Mick Fleetwood share their story to In The Studio host Redbeard, warts and all. 

“The album was really a catharsis of human emotions, if you like. And never at any one point, that I can remember, was it ever discussed by any one person that they wanted out, or that they couldnt’ handle it.” - Mick Fleetwood

“I mean “Go Your Own Way”, “The Chain”, “Dreams”, “Never Going Back Again”, “Don’t Stop” thinking about tomorrow, “Second Hand News”, “I Don’t Want to Know”, “Gold Dust Woman”… they were all about trying to make it through that particular period of time.”  - Stevie Nicks

“You’re talking about a situation during the making of Rumours which was very painful for me, working with someone I was still in love with, who didn’t want to be with me.”   - Lindsey Buckingham

FLEETWOOD MAC ‘Rumours’ /InTheStudio interview 
is available now to STREAM at:

Direct Link to InTheStudio broadcast affiliate radio station list: InTheStudio-RadioStations

Link to FLEETWOOD MAC website
Link to InTheStudio website

Friday, January 27, 2017

Updated Tour Stats - Stevie Nicks 24 Karat Gold Tour

Nine shows reporting so far to Billboard Boxscore.

New to the list - The Forum in Los Angeles - Dec 18th

Stevie Nicks, The Pretenders 
Toyota Center - Houston, Texas - Oct. 29, 2016
Gross: $970,641
Attendance / Available Seats: 8,440 / 9,306

Stevie Nicks, The Pretenders
American Airlines Center - Dallas, Texas - Oct. 30, 2016
Gross: $930,988
Attendance / Available Seats: 9,409 / 10,299

Stevie Nicks, The Pretenders 
Amalie Arena - Tampa, Fla. - Nov. 2, 2016
Gross: $823,927
Attendance: 7,930 / 9,379

Stevie Nicks, The Pretenders
Verizon Center - Washington, D.C. - Nov 14, 2016
Gross: 836,038
Attendance / Available Seats: 7,678 / 11,872

Stevie Nicks, The Pretenders
Bridgestone Arena - Nashville, TN - Nov 17, 2016
Gross: $939,129
Attendance / Available Seats: 12,300 (12,300)

Stevie Nicks, The Pretenders
Van Andel Arena - Grand Rapids, Mich. - Nov 23, 2016
Gross: 772,272
Attendance / Available Seats: 7,863 / 9,982

Stevie Nicks, The Pretenders
Mohegan Sun Arena - Uncasville, Conn - Nov 25, 2016
Gross: 627,559
Attendance / Available Seats: 7,431 / 7,431

Stevie Nicks, The Pretenders
Madison Square Garden - New York, N.Y. - Dec. 1, 2016
Gross: $1,575,376
Attendance / Available Seats: 15,167 / 15,167

Stevie Nicks, The Pretenders
The Forum - Inglewood, Calif. - Dec. 18, 2016
Gross: $1,379,531
Attendance / Available Seats: 14,210 / 14,210

Wednesday, January 25, 2017

Update: Fleetwood Mac To Release 3CD/1DVD/1LP Deluxe Edition of Tango In The Night March 10th

Release Date
Fri, 03/10/2017


3CD/DVD/LP Deluxe Edition Includes Newly Remastered Sound, 
Unreleased Recordings, Rare Tracks, Music Videos And More 

Three Versions Available March 10 From Warner Bros. Records

LOS ANGELES – Fleetwood Mac released the second-best selling record of its career in 1987 with Tango in the Night, an album that’s sold more than 15 million copies worldwide. It topped the album charts in Britain, peaked at #7 in America, and scored major hits everywhere with “Big Love” and “Little Lies.”

Following the recent deluxe edition of Mirage, Fleetwood Mac continues to reissue its classic albums with the new TANGO IN THE NIGHT: DELUXE EDITION. The collection, timed to coincide with the album’s 30th anniversary, expands on the original with a selection of rare and unreleased recordings, newly remastered sound, plus several music videos. Available on March 10 from Warner Bros. Records in three formats:

-    Deluxe: Three CDs, DVD and LP. Original album with remastered sound on CD and 180-gram LP, rare and unreleased recordings, 12” remixes, plus a DVD with music videos and a high-resolution version of the album. $99.98 SRP
-    Expanded: Two CDs. Original album with remastered sound, plus rare and unreleased recordings. $19.98 SRP
-    Remastered: One CD. Original album with remastered sound. $11.98 SRP
-    Also available digitally

After topping the U.S. charts in 1982 with Mirage, Fleetwood Mac returned five years later with Tango In The Night. It currently stands as the final studio album released by the quintet of Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie and Stevie Nicks. The album sent four singles into the Billboard Top 20: “Little Lies” (#4), “Big Love” (#5), “Everywhere” (#14), and “Seven Wonders” (#19). 

The deluxe and expanded editions of Tango In The Night both include a disc of rare recordings. Among those 13 tracks are unreleased gems like the alternate version of “Mystified,” a demo for the album’s title song, plus the rare b-sides: “Down Endless Street” and “Ricky.”

TANGO IN THE NIGHT: DELUXE EDITION includes a third disc that compiles more than a dozen 12” mixes. Dub versions of “Seven Wonders” and “Everywhere” are featured along with an extended version “Little Lies” remixed by John “Jellybean” Benitez. The collection also comes with a DVD that contains videos for five singles: “Big Love,” “Seven Wonders,” “Little Lies,” “Family Man,” and “Everywhere.” Also included in the deluxe edition is Tango in the Night as a 180-gram vinyl LP.

David Wild (on Twitter) recently eluded to writing new liner notes for Fleetwood Mac like previous reissues and he confirmed it on Twitter he's written the liner notes for Tango In The Night.

Links to pre-order are at the bottom. Release date: March 10th

Tango In The Night 

Disc One: Original Album - 2017 Remaster
1.    “Big Love”
2.    “Seven Wonders”
3.    “Everywhere”
4.    “Caroline”
5.    “Tango In The Night”
6.    “Mystified”
7.    “Little Lies”
8.    “Family Man”
9.    “Welcome To The Room… Sara”
10.    “Isn’t It Midnight”
11.    “When I See You Again”
12.    “You And I, Part II”

Disc Two: B-Sides, Outtakes, Sessions
1.    “Down Endless Street”
2.    “Special Kind Of Love” (Demo)*
3.    “Seven Wonders” (Early Version)*
4.    “Tango In The Night” (Demo)*
5.    “Mystified” (Alternate Version)*
6.    “Book Of Miracles” (Instrumental)
7.    “Where We Belong” (Demo)*
8.    “Ricky”
9.    “Juliet” (Run-Through)*
10.    “Isn’t It Midnight” (Alternate Mix)*
11.    “Ooh My Love” (Demo)*
12.    “Mystified” (Instrumental Demo)*
13.    “You And I, Part I & II” (Full Version)*

*Previously Unissued

Disc Three: The 12” Mixes
1.    “Big Love” (Extended Remix)
2.    “Big Love” (House On The Hill Dub)
3.    “Big Love” (Piano Dub)
4.    “Big Love” (Remix/Edit)
5.    “Seven Wonders” (Extended Version)
6.    “Seven Wonders” (Dub)
7.    “Little Lies” (Extended Version)
8.    “Little Lies” (Dub)
9.    “Family Man” (Extended Vocal Remix)
10.    “Family Man” (I’m A Jazz Man Dub)
11.    “Family Man” (Extended Guitar Version)
12.    “Family Party” (Bonus Beats)
13.    “Everywhere” (12” Version)
14.    “Everywhere” (Dub)

Disc Four: The Videos (DVD)
1.    “Big Love”
2.    “Seven Wonders”
3.    “Little Lies”
4.    “Family Man”
5.    “Everywhere”
Plus a High-Resolution Stereo Mix of the Original Album

Tango In The Night (Vinyl)
Side One
1.    “Big Love”
2.    “Seven Wonders”
3.    “Everywhere”
4.    “Caroline”
5.    “Tango In The Night”
6.    “Mystified”

Side Two
1.    “Little Lies”
2.    “Family Man”
3.    “Welcome To The Room… Sara”
4.    “Isn’t It Midnight”
5.    “When I See You Again”
6.    “You And I, Part II”


•    Deluxe (3CD/1DVD/1LP)
•    Expanded (2CD)
•    Remaster (1CD)
•    Deluxe 

Saturday, January 21, 2017

Interview Stevie Nicks: ‘I was so sick — I couldn’t shower. I almost died’

Saturday's edition of The Times UK has a four page interview spread with Stevie. Check out the full interview at

The Fleetwood Mac singer talks about her past lovers, drugs hell — and why, at 68, she’s not too old to get married

Thursday, January 19, 2017

Fleetwood Mac / Stevie Nicks Manager Howard Kaufman has passed away

Irving Azoff
Azoff Issues Statement Regarding Kaufman's Passing

Irving Azoff has released a short but moving statement about the passing of his former partner, Howard Kaufman. 

Howard was a giant among men. He never sought the spotlight, but was the best in the business.
We worked together for more than 45 years. He was a great influence on me and taught me a lot.
Despite his major health issues, he always wanted to work till the end and I’m glad he got his wish.
It’s a tragic loss for our industry. He will be missed by me as well as scores of others he touched.

Pollstar confirmed Thursday that Kaufman had passed away. No further details were available at press time. 

Kaufman was one of the most powerful managers in the industry despite keeping a low profile. At the time of his death his company, H.K. Management, shepherded acts like Stevie Nicks, Aerosmith, Jimmy Buffett, Jeff Lynne’s ELO, Lenny Kravitz, Chicago, and Def Leppard, along with co-managing Fleetwood Mac.

Kaufman and Irving Azoff ran Front Line Management from 1974 to the early '80s until Azoff was named prexy of MCA Records. The two merged their companies in 2005 and resurrected the moniker.

Kaufman became a special adviser to Azoff when Ticketmaster bought the company in 2008 and Azoff was named CEO of Ticketmaster Entertainment. He is also credited, during his days at IFA, with encouraging Fred Bohlander and Dan Weiner to step out on their own and form Monterey Peninsula Artists.


Howard Kaufman
by Bob Lefsetz
Subscribe to his email newsletter - great insight on the music industry

He famously told a household name band he'd make them more money in two years than they had in the previous twenty.

And then he did.

Most people don't know who he was. Because unlike those that followed him into the business, Howard was not about fame, he was about protecting the interests of his artists, and money.

And everybody cares about the money. Knock around this business long enough and you'll hear the famous cliche... "It's not about the money, it's about the money."

And Howard started off as an accountant. He worked with James William Guercio. And then he went on to partner with Irving Azoff and steer the careers of Jimmy Buffett and Stevie Nicks and Aerosmith and Def Leppard and... You want someone in your corner, and that was Howard. He could be funny and he could be stern, but one thing's for sure, you could not pull the wool over his eyes.

The first time I met him was on a plane down to Chula Vista, to see Jimmy Buffett, and he told me Fleetwood Mac was gonna reform and I asked him about new material and he told me he'd be happy if they never made another record. This was 2003, he already knew where the bucks were buried, on the road. You see old does not mean dumb, does not mean over the hill, oftentimes it means wisdom and foresight and Howard had it.

And now he's dead.

Click the "Read More" to continue reading

Tuesday, January 17, 2017

Stevie Nicks says another Fleetwood Mac album is unlikely but is happy for Christine and Lindsey

Stevie Nicks says another Fleetwood Mac album is unlikely: ‘We’re not 40 anymore’
The music icon says the band are more keen to focus on touring

Evening Standard

Stevie Nicks says she does not think Fleetwood Mac will make another album together — because they are “not 40” any more.

The singer, 68, believes the band  are more likely to focus on touring and doubts they will ever record a  follow-up to 2003’s Say You Will.

She said: “If the five of us were to get together to make a record it would take a year, which is what it always takes us.

"It would be a whole year of recording, then press, then rehearsal, and by the time we got back onto the road, it would be heading towards the second year, and I don’t know whether at this time it’s better for us just to do a big tour.”

The band has sold more than 100 million records and reformed with the classic line-up of Nicks, Lindsey Buckingham, John and Christine McVie and Mick Fleetwood for a world tour, which ended in 2015.

Nicks said: “It’s every single penny we make divided by five, so the expense of making a record, which is huge, and then to get back on tour ... we are not 40.

"We have to take that into consideration — how long can we do tours that are three-hour shows? Would you rather spend a year in the studio or get back on the road? I think that the band would choose to tour.”

Nicks, who is focusing on her solo career, is also reluctant to make new music.

She said: “I don’t write as many songs any more because with the internet, the way that kids listen to music, all the streaming, and the fact that if they’re very savvy, if they want to get it and not pay for it, they can.

"It goes against the grain of our whole belief in, ‘You write a song, you record it, and you put it out there and people should buy it’.

"We realise it’s not our world any more and the younger kids don’t look at it like they’re taking from us... we don’t have the impetus to write 20 songs because we know that unless you’re under 20 you’re not going to sell many records.”

She is not involved with the new album by McVie and Buckingham, which is not a Fleetwood Mac record.

She said: “I’m sure it’s going to  be great, because Christine is super-inspired. I’m really happy for them.”

On July 9, Nicks will support her old friend Tom Petty with his band The Heartbreakers at Barclaycard Presents British Summer Time in Hyde Park.

She said: “I’m the girl who always wanted to be in his band and he’s always the one who said, ‘No, no girls allowed.’ There’s just no one else I’d rather be on stage with than Tom.”

Friday, January 13, 2017

Buckingham McVie Duet Album Tentatively Scheduled For May Release

Fleetwood Mac's Christine McVie and Lindsey Buckingham talk about making their first duet album
By Randall Roberts

Longtime devotees of the rock band Fleetwood Mac might be forgiven for letting out a gleeful yelp when registering the news that singer-keyboardist Christine McVie shared with The Times in December while sitting next to her band mate -- guitarist, singer and producer Lindsey Buckingham.

“I've been sending Lindsey demos in their very raw form,” she says, sitting in the Village Studio’s storied Studio D in West Los Angeles, “and he's been doing his Lindsey magic on them, which I love.”

The product of that magic is tentatively scheduled to come out in May, and the two are at the Village to work on vocals. Working with them are two familiar names: Mick Fleetwood, whose towering drum kit is in the next room, and bassist John McVie.

The album coming out of these sessions, however, won’t bear the Fleetwood Mac imprimatur.

Rather, the release with the working title “Buckingham McVie” will arrive as the first full-length collaboration between the pair.

For hard-core fans, it’s not news that, save band mate Stevie Nicks, Fleetwood Mac’s members have been holed up at the Village. At various intervals over the past few years, the band has acknowledged working on an unspecified project thought to be a new Fleetwood Mac album. 

In fact, during a studio visit in 2014, The Times’ Randy Lewis sat down with Christine McVie and Buckingham to discuss her return to touring after 16 years away from the band.  

“I thought, I'm really missing out on something — something that's mine, that I’ve just given up,” she said to Lewis. “I'm not paying respect to my own gift."

Nearly three years later, sharing a couch in the same suite where decades earlier Fleetwood Mac recorded its epic album “Tusk,” Buckingham says that after her return, he and McVie generated an entire album’s worth of material during the sessions.

“We got in here, and it made sense to me with what she had given me and what I done with it. But we still didn't know how it was going to play out in the studio,” Buckingham says. 

He quickly realized that he’d had a pent-up enthusiasm for this kind of collaboration. “I loved doing it, because it's something that I haven't had a chance to do for Stevie as much as I did in the past,” he says, stressing that he continues to compose for solo projects.

“Those are a little more esoteric and off to the side,” he says, “but that's not the same as doing it for somebody else.”

McVie says she reconnected with Mick Fleetwood prior to joining the 2014 Fleetwood Mac “On With the Show” tour. She’d been living a solitary life in rural England when the drummer traveled to London in order to escort her to Hawaii, the destination she chose to help her overcome her fear of flying.

“I'd been virtually doing nothing in the country in 16 years of being a retired lady. Being busy walking my dogs — actually not doing anything very constructive,” she says. “I made one little solo album in my garage.” (2004’s “In the Meantime.”)

Buckingham remembers Fleetwood calling him soon thereafter. “He said, Christine's been over here and, you know, she would like to maybe rejoin the band." For Buckingham, it was a no-brainer.

McVie lets out a big laugh. “It’s unprecedented!”

“Yeah, but a lot of things about Fleetwood Mac are unprecedented,” says Buckingham. “I left for a long time and you guys got two guitar players and went ahead and did that for a while. Then I came back.”

“Weird times,” McVie says.

“Yeah,” Buckingham agrees. “I mean it's a band like no other.”

McVie, who is best known for writing and singing Mac gems including “Don’t Stop,” “Over My Head” and “Think About Me,” acknowledges that, early on in the Buckingham-McVie project, she doubted her ability to reconnect with her muse.

“I suppose I wondered if I believed in myself,” she says. “But I was like, 'Go for it, Chris. Go for it.' And, you know, a better thing's never happened to me. I've reconnected with the band and found a fantastic person to write with.” 

Looking at Buckingham, she adds, “We've always written well together, Lindsey and I, and this has just spiraled into something really amazing that we've done between us.”

For his part, Buckingham’s initial songwriting contributions were the product of sessions with Fleetwood and John McVie, which Buckingham invited Christine McVie to augment. 

“It was just pieces with no wording,” she says. “ so I put melody and lyrics on some of his material.”

“That was a first,” says Buckingham. “She would write lyrics and maybe paraphrase the melody — and come up with something far better than what I would have done if I'd taken it down the road myself.”

Those up on the history of Fleetwood Mac might note in the Buckingham McVie moniker the echo of an earlier duet album, “Buckingham Nicks.” Released in 1973 by the two future Fleetwood Mac members when they were a romantic and musical partnership, the Nicks and Buckingham release led Fleetwood a year later to invite the couple to join his band. 

Nicks hasn’t contributed to the forthcoming Buckingham McVie project. She’s been on her own trip. In 2016, Nicks embarked on her “Rockin’ 24 Karat Gold Tour” with the Pretenders as openers. That tour will continue with a few dozen more dates across early 2017.

Her schedule, however, had little bearing on what Buckingham and McVie were creating, says Buckingham.

“All these years we've had this rapport, but we'd never really thought about doing a duet album before,” Buckingham says. “There is that album that I did with Stevie back before we joined the band, but other than that, it's all been Fleetwood Mac or solo.”

Interrupting with a tone of bafflement, McVie says, “And why on Earth? It seems absurd after 45 years.”

“Sometimes,” Buckingham says, “it takes, oh, about 40 years of perspective to figure it out.”

Friday, January 06, 2017

Fleetwood Mac help UK reach 25 year high in vinyl sales

Vinyl sales have been climbing steadily over the world but in the UK, it has reached a 25-year high with 3.2 million albums purchased on vinyl in 2016.  Fleetwood Mac's Rumours was the 5th best selling vinyl in the country for 2016.  Below is the Top 10.

OFFICIAL VINYL ARTIST ALBUMS CHART 2016 – © Official Charts Company

Pos.         Artist & Title  

1.  David Bowie / Blackstar
2.  Amy Winehouse / Back To Black
3.  Various Artists OST / Guardians Of The Galaxy - Mix 1
4.  Radiohead / A Moon Shaped Pool
5.  Fleetwood Mac / Rumours
6.  The Stone Roses / The Stone Roses
7.  Bob Marley And The Wailers / Legend
8.  The Beatles / Sgt. Pepper’s Lonely Hearts Club Band
9.  Prince & The Revolution / Purple Rain OST
10. Nirvana / Nevermind

All about the lights... Stevie Nicks 24 Karat Gold Tour

Stevie Nicks has gone solo for the 24 Karat Gold tour playing more than two dozen arena dates in North America before the end of the year. Production designer Paul Guthrie of Toss Film & Design in Minneapolis chose 88 ClayPaky Mythos fixtures for the lighting rig.

He previously deployed Mythos on tours for Miranda Lambert and Macklemore. Nicks’ latest tour, in support of her album, 24 Karat Gold – Songs from the Vault, launched in Phoenix and will wrap in Los Angeles. While the iconic singer/songwriter appears as a solo artist, she tapped the Pretenders to open for her – delivering a powerhouse show for ticket holders.

A veteran of Nicks’ tours, Guthrie endeavoured to: “create something new and a bit more modern” for her new show. “Stevie enjoys using video content so the tour features a lot of video on an LED videowall backdrop and L-shaped scenic pieces,” he explained. “Our overwhelming lighting edict is always no smoke. So we defer to lighting the band and adding in layers of light to create new looks.” The versatility of Mythos offers myriad options to Guthrie. “It’s fun to have one light that can produce a multitude of different effects in the same head,” he said. “Mythos is basically the workhorse light in the rig.” He notes that the tour’s complement of 100-120 moving lights is now considered a medium- size rig for an arena tour adding: “It used to be that 16 were considered to be a lot! We’ve come a long way.” PRG’s Las Vegas office supplied the fixtures.

Eighty Mythos are mounted in the overhead lighting trusses where they form solid lines of fixtures. Guthrie reported: “On the downstage and mid-stage trusses they provide stage wash and beam effects. Those on the most upstage of the trusses, upstage of the videowall, create layers to add depth.” Eight more Mythos are positioned on the floor upstage of the band to illuminate their dynamic performance.

Tom Wagstaff, the lighting director for the Pretenders deploys about 60 Mythos, on the downstage and mid-stage trusses, and repositions the complement on the floor, says Guthrie. For the 24 Karat Gold Tour Thomas Mayer is the lighting crew chief and Cecil Nelson, Matt Schiller and Scott Naef are the lighting crew. A.C.T Lighting is the exclusive North American distributor for Clay Paky. Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “Mr. Guthrie always does great work and is trusted to work with great artists. It’s always a please to collaborate with him.”