[From a review of Wet's album] Billboard 1/29/2016 by Elias Leight

http://www.billboard.com/articles/re...om-live-review

In Wet’s debut, Don’t You, the telltale signs can be found in the guitar tone -- lissome and pin-prick light, like something from a Frankie Beverly record -- and the curvature and breathy multi-tracking of the hooks. These tropes are spruced up with great care using all the tools of modern production. Listen to the drum programming on “It’s All In Vain” on high volume in headphones -- it flutters differently in each ear. In the back of “Don’t Wanna Be Your Girl,” a male voice sneaks in a fleeting high harmony, something Lindsey Buckingham might have done on Fleetwood Mac’s Tusk. On the EP version of the track, there’s a sound like keys rustling in the left ear around the 1:50 mark.

[Excerpt from a review of a piece on Radiation City]

The Guardian Radiation City Friday 29 January 2016

http://www.theguardian.com/music/201...ion-city-no-88

Fleetwood who? This US four-piece comprise two couples who have used their broken relationships to create an album of lush, synthed-up melodrama

Hometown: Portland, Oregon.

The lineup: Cameron Spies (guitar, vocals), Elisabeth Ellison (vocals, keyboards), Matt Rafferty (bass, vocals), Patti King (vocals, keyboards, bass), Dasha Shleyeva (drums).

The background: Radiation City have been around for a little while, operating in America and largely ignored in the UK. They’re so good they start making you believe something’s not quite right: are this group simply the victims of bad luck, poor distribution or some such music industry inconsequentiality that can, in fact, end up stymieing an artist’s career?

One of the possible problems – but one that they may have turned to their advantage – is that the band contain one or more couples, and one or more of those couples has fallen apart. Now, this could become grist to their mill. It worked pretty well for Fleetwood Mac, not just in terms of sales (40m and counting for Rumours alone) but in the melancholy grain of the unimpeachable melodies and the players’ determination to use the album as a document of their unravelling.

Their latest album, Synesthetica, certainly sounds as though they have channelled their inner Lindsey Buckingham, Stevie Nicks, Mick Fleetwood, Christine and John McVie, tune-wise if not in terms of therapeutic confession, because it is an absolute stormer. We’ve only just received it, and hardly had a chance to absorb it all and go into the lyrical detail, so it is too early to tell whether they have just been galvanised into action by the behind-scenes turmoil or whether they actually spill the beans in the songs. Are there any Don’t Stops or Go Your Own Ways? We shall see. Meanwhile, Radiation City’s knack – already demonstrated on their previous album, Animals in the Median (2013) – for creating shiny, hummable, lavish space-age bachelor pad retro-futurist indie exotica has, if anything, improved here.

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“It was honest and unafraid,” Cameron Spies and Elisabeth Ellison, the Buckingham-Nicks of the piece, have said of the conditions during the sessions for Synesthetica, so-called because of Ellison’s tendency to see specific colours when she hears different musical sounds. It certainly doesn’t lack for swirl. Members of Unknown Mortal Orchestra and producer John Vanderslice (Spoon, Death Cab For Cutie) were employed, but really, you could have told us John Barry and Smokey Robinson were involved, such is the sense of heightened drama and atmospheric grandeur. There’s a song called Butter which, inauspicious title notwithstanding, really is the James Bond theme of your dreams.

We’d already been impressed by their older material. Foreign Bodies made us think of Stereolab if they were more into Motown than Marxism, and Stutter recalled the Human League in MOR tear-jerker mode. But the songs on Synesthetica make them sound like demos for the real thing. Radiation City are clearly super-smart (we’re talking about a band who drop phrases like “cultural constructs” without blinking), and they have evidently mastered numerous pop idioms, but they never stint when it comes to investing their music with real emotion. A track from the album called Fancy Cherries, such is Ellison’s rarefied coo and the arrangement’s itchy glowbo blow, sounds like Liz Fraser of Cocteau Twins auditioning for the role of the protagonist in a Ronnie Spector biopic. The colour purple, in case you wondered.

[From Billboard article on couples on the charts together]

http://www.billboard.com/articles/co...ot-100s-top-10

Ask Billboard: Jelena Is Back Together … In the Hot 100's Top 10
2/7/2016 by Gary Trust

On the Dec. 26, 1981 Hot 100, Stevie Nicks ranked at No. 8 with "Leather and Lace," which had reached the top 10 the week before. On the Dec. 26, chart, Lindsey Buckingham rose to No. 10 with "Trouble," joining her in the bracket. The latter would spend three total weeks at No. 10 before climbing to its No. 9 peak for two weeks, all while "Leather and Lace" remained in the top 10, lifting to its No. 6 peak in the former's final week in the region.

So, for five weeks in 1981-82, Nicks and Buckingham each placed in the Hot 100's top 10 simultaneously with their own songs. (Like Bieber and Gomez this week, they avoided back-to-back chart contact throughout that stretch.) Making things potentially more awkward, Nicks had moved on to another … as her hit is a duet, of course, with Don Henley (whom she did date).

They had already moved on, by then. He was deep into Carol relationship and she was into the Eagles.

That's a really fun fact to remember. In February 1984 Christine McVie's Got A Hold On Me collided with Stevie Nick's Nightbird on American Top 40. As Nightbird struggled and was at #33, Got A Hold on Me entered the countdown with momentum at #32. The songs were side by side on the chart.

I remember purposely listening to hear Chris enter the charts. Casey Kasem mentioned that solo artists from groups have charted together before but this was very rare to have it done twice with different artists.

Edit: Here is a link I found with the chart from February 4, 1984
http://americantop40.wikia.com/wiki/February_4,_1984

I remember being so angry that Nightbird didn't do better as a single. And there wasn't a video. I loved that song.

I hadn't even realised Formula 1 coverage in the UK was moving to Channel 4.
It's pretty cool they included a low-down on the history of The Chain in this article.

Formula One coverage on Channel 4 to retain iconic Fleetwood Mac 'The Chain' title music
Channel 4 set to keep Fleetwood Mac's 'The Chain' as intro music on their Formula One coverage starting this season

http://www.dailymail.co.uk/sport/for...tle-music.html


The BBC had used the track as its Formula One title music since 1978
Fleetwood Mac recorded the song for their Rumours album in 1976
Channel 4 will screen 10 live races and show highlights of the other 11
By PHILIP DUNCAN, PRESS ASSOCIATION
PUBLISHED: 15:43, 12 February 2016 | UPDATED: 15:56, 12 February 2016

Channel 4, the new terrestrial home of Formula One, will use Fleetwood Mac's The Chain as its title music.
The song has become synonymous with the sport on the BBC since it was first adopted by the corporation in 1978.
Channel 4 tweeted on Friday: 'F1 has a new home but some things just have to remain: we're chuffed to announce that The Chain by Fleetwood Mac will be our title music.'

Former McLaren driver David Coulthard has already made the switch from the BBC to Channel 4, but Suzi Perry, the presenter of the BBC's F1 coverage following the departure of Jake Humphrey to BT Sport in 2013, last week ruled out joining him.
Channel 4 will show 10 races live - without commercial breaks - and screen extensive highlights of the remaining 11 races scheduled for the upcoming season which gets under way in Melbourne on March 20.

'The Chain' was the seventh track on Fleetwood Mac's February 1977 album 'Rumours' having been created the previous year.
It was created by combining segments from previously rejected songs and therefore is the only song on the album to be credited to all five band members of the time - Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie and Stevie Nicks.
The bass section at the end of 'The Chain' was created by Fleetwood and John McVie, then combined with lyrics written separately by Nicks. She and Christine McVie then reworked the first part of the song.
To complete the song, Buckingham recycled the intro from an earlier duet with Nicks called 'Lola (My Love)' from their self-titled 1973 album.
The song became highly recognisable in the United Kingdom when the BBC adopted it for their Formula One coverage in 1978 until 1997. It returned when the BBC regained the broadcast rights in 2011.
At that time, as a result of a campaign to get 'The Chain' to No 1 in the UK chart, it peaked at No 81.
A 1997 re-release of the track on a live album 'The Dance' topped at No 30 in the American charts.

That's kind of funny to picture. Like just mass eagles all over the place. Eagled. Michele

[excerpt from SFStation interview with Maybe the Moon’s Karmen Kimball and Alex Lasner]

http://www.sfstation.com/2016/02/11/...alentines-day/

SFStation BY ANTHONY PRESTI ON FEB 11, 2016

I think they call it “Single’s Awareness Day.” So which musician couples have influenced you the most?

A: For us again, going back to that first date with Fleetwood Mac, Lindsay Buckingham and Stevie Nicks was one we really dug. Funny enough our favorite music from them came from their post breakup days. We really dug Buckingham-Nix, which was what they were doing before Fleetwood Mac. It’s beautiful.

To Play and Play Again: How Frank Sinatra’s Thirst for Creative Freedom Led to Some of Classic Rock’s Greatest Records
By Jeff Giles February 13, 2016 11:00 AM


In the short term, the Reprise philosophy worked incredibly well. While championing a music-first philosophy, the label released some of the most influential records of the era — and while some artists, like Ry Cooder, Gram Parsons, and Van Dyke Parks, never transcended cult commercial status, their critically revered efforts were subsidized by hits from the bigger acts on the roster. Reprise also worked as a sort of de facto farm system for Warners, incubating early efforts from future stars like Michael Franks, Al Jarreau, and Fleetwood Mac, and distributed an assortment of smaller imprints such as Bearsville (home to Todd Rundgren and NRBQ) and the Beach Boys‘ Brother Records.


Read More: To Play and Play Again: How Frank Sinatra's Thirst for Creative Freedom Led to Some of Classic Rock's Greatest Records | http://ultimateclassicrock.com/repri...ckback=tsmclip

Classic Rock’s 25 Best Selling Albums
By Matthew Wilkening

We look at the classic rock albums that have racked up the most platinum awards according to the Recording Industry Association of America.

It has now been more than 40 years since the Recording Industry Association of America started handing out awards for million-selling LPs. Which makes this a good time to count down the biggest selling classic rock albums of all time.

The Eagles‘ compilation Their Greatest Hits (1971-1975) became the first album to be certified platinum back in February 1976. As you’ll see in the gallery above, it’s maintained a very high spot in this countdown. In fact, the classic rock genre pretty much dominates the RIAA’s best-selling albums charts, with acts like Billy Joel, Led Zeppelin, Pink Floyd and AC/DC taking eight of the top 10 spots and 13 of the top 20 overall.

If you’re dreaming of earning a place in this hallowed ground for yourself, our research quickly uncovered two simple “shortcuts” to long-term sales success. First, make a greatest hits album. Eight of the 25 best-selling rock albums on this list are best-of albums. Second, consider a double- or multi-disc album, because the RIAA counts each disc individually. That’s a big part of how seven of these albums earned their place in line.

If you really want to stack the deck, put out a double-disc greatest hits album – Billy Joel and the Beatles both used this “double dip” method to get themselves high perches on this list. The tricky part is writing and recording enough great songs to warrant your own greatest hits album. But hey, we’ve done our part just by pointing you on the path to success, right?


6. Fleetwood Mac, 'Rumours' (1977)
Even if 'Rumours' didn't earn its amazing sales totals (reportedly more than 40 million copies worldwide) based solely on merit – which it does – the band members probably deserved the reward for all the damage they inflected on their bodies and souls via romantic dramas and drug abuse during the album's recording.



Read More: Classic Rock's 25 Best Selling Albums | http://ultimateclassicrock.com/bigge...ckback=tsmclip

[Ok. I know this was a crowd full of students, but GYOW was one of the least recognized songs?? It has come to this? I have been alive too long]

https://onwardstate.com/2016/02/20/t...ut-at-the-bjc/

The JR Mangan Band And Olivia Jones Rocked Out At The Bryce Jordan Center

By Katie Klodowskion February 20, 2016 at 6:21 pm Thonward State

Following this, the band belted out, “Go Your Own Way” by Fleetwood Mac. This one was certainly less recognized by the crowd, but the 70’s fans in the audience certainly enjoyed it.

The band ended their performance with “Before He Cheats” by Carrie Underwood. Jones was inspired to sing this one because Carrie Underwood was, “the first performance I saw at the BJC.” All in all, the band did a great job performing a wide range of songs that would be sure to please everyone. Whether it was classic rock or country, everyone was singing along.

A Journal of Musical Things

http://ajournalofmusicalthings.com/i...iscogs-survey/

Published on February 26th, 2016 | by Alan Cross

Interested in Record Collecting? Then Browse Through the Discogs Survey

So what are vinyl collectors buying and selling through Discogs? The number one album is Rumours by Fleetwood Mac with 3,680 transactions in 2015. That’s followed by Michael Jackson’s Thriller (3,610) and Random Access Memories by Daft Punk (2,876).

[Spend your Hilton Honor Rewards on Mick]

Business Wire

http://www.businesswire.com/news/hom...8Stop-Clicking

A year ago, Hilton partnered with Live Nation to bring one-of-a-kind experiences to Hilton HHonors members and music fans, inspiring them to see the world and seek out the unfamiliar. Throughout 2015, Hilton engaged thousands of music fans, who redeemed more than 35 million HHonors points – offering them unforgettable moments, from intimate hotel concerts with UK fan-favorite GRAMMY-winner Jess Glynne at Hilton London Bankside to a private drum lesson with the legendary Fleetwood Mac drummer Mick Fleetwood.

[Top 6 Music Picks for Each Letter of the Alphabet. FM is #6 in the "F" category. behind Aretha Franklin and Foo Fighters]

http://www.chicagonow.com/six-pack/2...-top-f-groups/

Chicago Now By Timothy Ahrens, March 16, 2016

3) Fleetwood Mac — The group existed before Stevie Nicks and Lindsey Buckingham joined in the mid 1970s, but flourished after their arrival, making Fleetwood Mac a classic rock giant. Six Pack picked up a two-disc best of CD and almost cried when one of the discs was lost. Luckily, it slipped under a car seat and Six Pack's less-than-perfect background vocals on "Hold Me," "Don't Stop," and "Little Lies" live on. Hey, Stevie Nicks had a great career sounding like she was singing into a fan; Six Pack can't be all that bad.