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#151
12-20-2007, 11:39 AM
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Now that is truly scary!!!!!  MERRY CHRISTMAS MARK! 
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#153
12-22-2007, 12:45 AM
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New Music Express (12/01/1979), Fleetwood Mac in New York
NME, December 1, 1979 Fleetwood Mac in New York by Richard Grabel You enter the stream of bodies pouring through the portholes of Madison Square Garden. You get caught up in the tide. Into the awesome space - the impersonality of the place is scary. Why am I here? Their blockbuster records each contain a few songs I admire for the ingenuity of their construction. Fleetwood Mac are a phenomenon as much as they are a group; perhaps more an economic phenomenon than a musical one though. So I wanted to know: how do these hit-makers face up to the crucial point when performer meets audience? Not that there is likely to be much of a confrontation here. When a group reach Mac's status, their audience isn't sifting out there waiting to judge. They come to adore, to receive the blessings of a magic presence. The physical scale of the event reinforces the impression of a ritual removed from the constraints of communication. That stage is so big, so distant, the human figures are so small they could be toys, puppets on strings. But the space gives them certain grandeur as well, since they command it with amplification and volume. We can hardly see them, but we know they are there. They must be Gods. To their credit, Fleetwood Mac don't play up to this arena-deification syndrome. There is a minimum of pretension in their stagecraft: no light shows or flashy sets, and they don't come on haughty or imperious. At times, there is genuine warmth and grace in their show (particularly when Christine McVie is singing); and at other times there's a real urgency and power straining to come through. But they are trapped up there as surely as we in our seats are trapped down here. That's a pity. But they sound good, confident players kicking into their material with conviction. Often, they sounded like a rock and roll band (surprise) as opposed to a pop machine, the harder edges driven in by Buckingham's rhythm-guitar and Mick Fleetwood's powerful, propulsive drumming. The mixture of styles they present smacks heavily of an attempt to provide something for everyone. But this is probably the natural result of the three different personalities alternating as band leaders, and, much more so than on record, Fleetwood Mac in concert seem like three different bands. Behind Stevie Nicks, they are mellow, temperate, cruising on automatic.Rumours that Nicks is losing her voice seem partly true. In comparison to her earlier recordings she has lost some of her high range. That little girl sweetness is no longer there. I also expected more kinetic energy from Nicks. She should fly, or at least move a bit when singing lines from "Rhiannon" about being "taken by the sky." But everything about her delivery is strictly pedestrian. Christine McVie's voice is delicious. Live, it sounds better than on record, richer, charged with commitment and more soul. As a performer, she is sedate, hiding behind her keyboards as if playing a supporting role, even when singing lead. But she has an air of sincerity about her that makes her odes to love, won and lost, at least seem hearfelt and genuine. Her "Say You Love Me" is a perfect opener for the concert, breezy, rocking, a good opportunity for the band to display a full, confident sound. It was down to Lindsey Buckingham to move the band into anything approaching strenuous action. His first song of the set is "Not That Funny" which seems off-hand and lightweight on Tusk but here is a brash and forceful romp. On "What Makes You Think You're The One" Buckingham really comes out. He emphasises the quirky, stop-start rhythms of the song, and moves like a cross between Elvis Costello and David Byrne; not a trace of El Lay laid-backness in sight. With his well-tanned and innocent face, Buckingham looks odd carrying on like a wired-up new waver, but never mind. He's funny, a treat to watch, and he makes the band earn its supper keeping up with him. "Go Your Own Way" is a heady mix of perfect harmonies and if Fleetwood Mac were always this good, I'd listen to them all night. But the best moment was "Tusk". Tapes simulated the special effects of the record, while Mick Fleetwood churns out a powerhouse beat, rock and roll jungle drums. The song is an off-beat setting within which Buckingham can go nuts, spewing chord clusters and random vocal shrieks like freak time at the zoo. I'd never thought Buckingham would be a guitarist to watch, but he is. He's accomplished but not too flash, and knows how to cut loose. Only on "I'm So Afraid" does he fall into a plodding, heavy metal-type mush. What purpose is served depends on what purpose brings you here. If you are a fan, you'll probably be pleased. Recreations of the songs you know and love are delivered with skill and fidelity, with an occasional extra push of energy derived from the live setting. The show's not a cheat. But there is little intimacy or contact. Aside from Buckingham's surprising commitment to rocking out, there are cracks in the established images these people have painted of themselves in the media providing no new insights into who they are or why they do what they do. http://bla.fleetwoodmac.net/index.ph...v2&id=961&c=18 43 people have viewed this thread in the last 24 hours! Last edited by vivfox; 12-24-2007 at 12:14 PM.. Reason: made the review more positive.
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#154
12-23-2007, 01:13 AM
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The Aquarian (11/14/1979), For Fleetwood Mac, "Tusk" Is A Sign Of The Times
Fleetwood Mac Never Let Pressure Affect Its Task By Everyhight Charley Crespo When the economy of the music business nose-dived earlier this year, industry heads looked to a handful of albums with fall release dates for salvation. Fleetwood Mac's Tusk, the long-awaited follow-up to 1977's 12-million-selling Rumours, was thought to be among those records whose sales power could determine whether the market would rise or crash before the new decade. In a press conference held at the St. Regis Hotel's Maisonette Room on Nov. 9, Fleetwood Mac told a gathering of press and broadcasters that the group never let the pressures affect its task. "(Executives at Warner Bros. Records) didn't call us every day, and there was no pressure from the corporate side of the music industry," said Mick Fleetwood, drummer and co-founding member of the band. "The only things we were concerned with were completing the record and satisfying ourselves, although we were certainly aware of everyone panicking in the record industry. I don't think we were preoccupied with such things really." Fleetwood Mac's origins date back to the mid-1960's, but its revamped lineup in 1976 (Mick Fleetwood, co-founder John McVie on bass, Christine McVie on vocals and keyboards, and new members Lindsey Buckingham on guitars and Stevie Nicks on vocals) turned the long frustrated Mac into a supergroup. This same lineup, without Christine McVie, who was in town but incapacitated by the flu, faced the media in the group's first press conference since the release of Tusk.  Explained the tall and lanky Fleetwood: "Peter Beard, one of the three photographers who did some of the pictures on the inside (album sleeves), the artwork, happens to be someone who spent a lot of time in Africa. he came down to the studio and was there for probably about a week, taking pictures of the band. It turned out most of his work was of animals and people's feet. "He then left and during that time got very involved in the conservation of elephants and wildlife. He left and we were just thinking of an album title. We had no idea that his artwork, when it came back probably three, three and a half months later, would have elephant tusks all over it with odd pictures of us stuck in it, so it was just a coincidence. Then it was chosen as a word that we thought sounded good as a word. It wasn't really supposed to be elephantitis (sic). The title cut was released as a single prior to the album's release. "Tusk" is an adventurous number, propelled by a strident jungle-sounding drum beat, with mysterious bits of lyric coming from behind. Halfway through the song, one hears the University of Southern California's Trojan Marching Band adding a few ticks. The song sounds nothing like anything this band has ever done before. "That's the point really," said Buckingham, now clean-shaven and sporting short locks rather than the long curly hair and beard he'd worn since he first joined the group. "I don't know if we would have picked it ourselves, but we enjoyed it very much...I think when you hear it in the context of the rest of the album it's a little bit more understandable in terms of reasons for releasing it...The point is that the album is different, too, and it's gotten a lot of people's curiosity up. Warner Bros. felt very strongly about releasing "Tusk," and in a way it's good because it's gotten a lot of talk going about the fact that it is so different. There are a lot of different things on the album as well, so people are wondering what the hell we're up to." Like its predecessor, Fleetwood Mac, Rumours stayed on the national sales charts for well over a year, spending 31 weeks in the top slot. The group did extensive touring to promote the album, thus delaying work on Tusk. The group postponed the recording about two months in order to inaugurate the new state-of-the-art Village Recorder studio with Tusk. Though Tusk was released nearly three years after the release of Rumours, the group denies charges that it took an excessive amount of time to turn in the finished product. "I think what was construed as delays were in other people's minds, you know," said Fleetwood. "In actual fact, Rumours took a continuous year to pull together. This album really went very smoothly considering we were probably active in the studio for eight months." "And we did double as many songs." interjected Nicks. "And we did 20 songs," echoed Fleetwood. "And also a few others," Nicks added. The Los Angeles-based quintet has already embarked on a world tour that will keep it on the road through the summer of 1980, with area dates at Madison Square Garden Nov. 15 and 16 and at the Spectrum Nov. 21. Nicks expressed confidence that her voice will be up to par. "It's wonderful to read that your voice is disintegrating," she said, sarcastically referring to the bad press she received at one point on the last tour when her voice sounded strained. "If you care to take the time to collect the reviews from the last shows that we've done, you might notice that I am, as my mother said to me, 'singing like a little bird,'" Nicks noted in a comical tone. "I'm taking real good care of myself. My voice is not disintegrating. When I die, "disintegration' will be one of the words that pass in front of me. I think it's very cruel for people to say disintegration. It's like, well God, I might as well just give up. Does anybody have faith in me at all? My voice is fine." When queried about a "mystical awe" she supposedly radiates from the stage Nicks remarked, "Everyone will notice that I'm not wearing black anymore. I like black. Don't you like black? I mean, ladies like to wear black; it's wonderful and elegant and I'm not wearing it anymore because I'm so sick of this witch stuff. "I take ballet. I love to dance. I love all this stuff. It has nothing to do with all this. You know, I don't have candles (and) incense going in my room. It's everybody else's interpretation. I like chant-songs, but that's just my own personal preference of music. That has nothing to do with witchery. That's everybody else's trip, not mine. If they want to believe that the only thing I can say is drop by my house someday and notice there's no witching going on." Fleetwood Mac will tour the U.S. through mid-December and start the new year with concert appearances in the Far East and Europe before returning to North America. At the tour's conclusion, if Fleetwood Mac has no immediate commitments as a group, its members will be free to pursue individual projects. Though plans were not revealed at the press conference, this reporter pointed out that Nicks has a record deal with a new record company, Modern Records, and that her solo lp is scheduled to be the label's first product. The record will reportedly be a soundtrack to a film adaption of "Rhiannon." a song she wrote and sang on the Fleetwood Mac lp. "The people that I have signed this with happen to be very, very, very close friends of mine and they will not push me to do anything that I cannot do," she said. "They are totally aware that I am first and foremost a member of Fleetwood Mac, and when I have the time to go in and be crazy and do my own crazy music, (I will do it). But they understand and I understand that the only reason I was able to sign anything with anyone else was because I trusted them and they trust me enough to know that when I get around to it, I'll do it." When this reporter asked what she meant by "crazy music," Nicks said, "It's my 'Rhiannon' music and my...what can I say?" "Incense, candles," offered Buckingham, to a roomful of chuckles. While the record industry awaited the double-record Tusk, many parties were apprehensive of its unprecedented $15.98 list price, $3 more than Saturday Night Fever. Tusk has been in the Top 10 since its release a few weeks ago, but it hasn't been able to oust the Eagles' The Long Run and Led Zeppelin's In Through The Out Door from the top slots. While there is no accurate way to tell if Tusk's comparatively high price has scared off a significant number of sales. Fleetwood Mac defended the list price by pointing to it as a sign of the times. "As a band, maybe we're slightly pinned down because of the apparentness of the band," said Fleetwood, "but...if you take a look at what the record basically sells for, (and) I've seen it sell for $9.50--$10 for 20 songs in what I think is certainly a really nice package--and then compare it to a double Donna Summer album or a Bob Dylan At Budokan, it's only a matter of pennies difference. That's what records cost and that's about all I can say." "Also the escalation of price is a constant thing," said Buckingham. "This is one of the first double albums that's been in the limelight or whatever, and so it's going to be one of the first ones people are going to jump on as far as there being that high a list price." "It's not a price thing as far as the industry in general." added Fleetwood. "It's not just us." http://bla.fleetwoodmac.net/index.ph...v2&id=983&c=18 102 people have viewed this thread in the last 24 hours! Last edited by vivfox; 12-23-2007 at 01:41 AM..
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#155
12-24-2007, 01:08 AM
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The Washington Post (11/14/1979),
Fleetwood Mac Delivers But Eagles Don't Fly By Al Aronowitz Long and eagerly awaited, Fleetwood Mac's "Tusk" comes as the most spectacular event in records since Stevie Wonder's "Songs in the Key of Life." Less of an event is the release of "The Long Run" by the Eagles, who have delivered a workmanlike disc full of neither disappointments nor supprises. "Tusk" stretches the limits of the recording medium. "The Long Run" stays safely within them. Fleetwood Mac's "Rumours," released almost three years ago, sold 14 million copies, and the record industry's anticipation of "tusk" has been somewhat more intense than waiting for ketchup out of a bottle. One of the maxims of the industry is that a big hit brings people into the stores. Except for its double-disc price of $15.98, "Tusk" ought to leave "Rumours" in the dust, conferring a new regality on Fleetwood Mac. "Tusk" ought to do for Fleetwood Mac what "Sgt. Pepper" did for the Beatles, which was to wrench recognition from the adult establishment, not just for commercial success for esthetics but because the thrust of the music finally bridged the generation gap. But "Tusk" is not as tight as "Sgt. Pepper." It's more reminiscent of the Beatles' double-disc "White" album because it has more room to express the sharp musical differences between the three songwriters of the group, Lindsey Buckingham, Christine McVie and Stevie Nicks. Certainly "Tusk" ought to skyrocket Fleetwood Mac out of the strictly teeny-bopper category that last year made the Capital Centre think it could present the group so appallingly, with general-admission tickets and no seats on the floor so that you had to stand in the crush as if you were watching the correct from a cattle car. The surprises on "Tusk" are provided mainly by Buckingham, who sheds his pretty-boy image with this album to emerge as an intense John Lennon-like genius, with a studio in his house where he experiments with sounds and syncopation, and lyrics so cutting they don't even leave scars. Buckingham would record tapes at home and bring them into the studio for the other in the group to hear. They began to understand what he was trying to do and got behind it, contributing fills, rhythms and harmonies, sometimes in nonsensical whispers, that track enigmatically through both discs. The most mysterious song is the title cut, "Tusk," for which drummer manager Mike Fleetwood provided the drum track and then rented Dodger Stadium for overduds by the horns of the University of Southern California Trojan Marching Band. Released as a single with a background of unintelligible crowd noises, and acid lyrics, "Tusk" will probably be the first hit off the album. The album emerges as a personal triumph for Buckingham, with the credit on the sleeve reading, "Produced by Fleetwood Mac (Special Thanks To Lindsey Buckingham)." But there are other surprises. When Stevie Nicks sings "Sara," a tune that could easily be criticized as a construction of '50ish schlock with the same melody as Love Unlimited's "Love's There," she sings her fragile lyrics so beautifully you just might find tears running down your cheeks. "Tusk" leaves you at a loss to compare Fleetwood Mac with any other group except the Beatles, largely because of the depth on its songwriting bench. If Buckingham is Lennon, then Stevie Nicks is Paul McCartney. She knows enough about what delights the ear to end up the big moneymaker. Still there is a difference, and that difference is women. As others have already pointed out, Fleetwood Mac is the first group of the Beatles' caliber to integrate women so successfully. But the magic is in the interaction of the group, in the performances and in the feel, and especially in the psychic communication that goes on among them. Fleetwood Mac pumps you full of energy, romantic and mellow, without dulling the edge you need to cut your way through reality. The only anxiety you get from "Tusk" is wondering how much longer this cartel of talent, featuring two pairs of ex-lovers, can keep their egos, tempers and band intact. As for the Eagles, "The Long Run" is far from a disaster. It's just another Eagles album. There is experimentation throughout the disc and even at their worst, the Eagles are nothing short of great, but there are no cuts on "The Long Run" that achieve the brilliance of "Lyin' Eyes" or "Hotel California" or even "Life in the Fast Lane." Eagles fans will be well satisfied with this album, which is already No. 1 on the pop charts. "Heartache Tonight," the first single off the album, is also a hit. "I Can't Tell You Why," sung by the group's new bass player, Timothy Schmit, formerly with Poco, promises to be another. "In the City," featuring Joe Walsh, could be still one more. But whether any of these cuts will grow on us the way previous Eagles hits did is still questionable. These are all more solid than inspired. To experience the Eagles' sound is always a job. The Eagles are also storytellers, and their stories are superlatively told. In "The Long Run," the Eagles maintain their quality, but they don't reach any further. http://bla.fleetwoodmac.net/index.ph...v2&id=528&c=18 104 people have viewed this thread in the last 24 hours!
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#157
12-25-2007, 12:12 AM
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People Magazine, November 26, 1979
The Rumors About All Those Fleetwood Mac Splits Were True; And Now Their Comment is Tusk, Tusk. by Jim Jerome It's not because saving the elephant is one of their causes or that they identify with the magnificent if extinct mammoth that Fleetwood Mac called their current double LP Tusk. Explains the group's drummer/manager, Mick Fleetwood: "The title itself has no bearing on anything. We just liked the sound of the word in the abstract." But financially, Mick and Co. might as well have titled it Risk. Along with Led Zeppelin and the Eagles, Mac was the fall's Great Vinyl Hope to resurrect the lagging music industry. Yet Tusk defiantly lists at $15.98 when, as Mick admits, "records sales are taking a complete dump." Further, the group invested more than $1 million to create a jarring, audacious new sound. So why depart from the hit-cranking pop-rock formula responsible for some 20 million sales of their last two LPs? As lead guitarist Lindsey Buckingham points out invidiously, the Eagles' new work "is just more of the same of the last five years. I mean, why bother?" "Our ideas and lives progressed, moved on," seconds keyboardist Christine McVie. "Tusk is years more mature. If you're complacent, you stagnate." Complacency has never been a vice of Fleetwood Mac since the group settled into its present composition in 1974 with Mick and two other Britons, bassist John McVie and his then wife Christine, plus two Californians, Buckingham and his then lover, singer Stevie Nicks. In the two years since their provocatively autobiographical last LP, Rumours, three of them have changed partners. John has found a new wife. Christine is riding the perfect wave with Beach Boy Dennis Wilson. Fleetwood, after remarrying his divorced wife, split again and now lives a model. Nicks is now unattached since busting up with a record executive. Buckingham is still with his model. Under those circumstances, much of Tusk was put together piecemeal on what Christine says was a "non-communal rotation system;" the five members were often not in the studio together. The involvement this time was less emotional than aesthetic and to hear Lindsey, not even commercial. "If Tusk becomes an influential work over the next decade," says Buckingham (who dominates the LP with nine of the 20 tunes), "then that's the measure of success. Whether it sells three million or five million," he adds ever-so-blithely, "is neither here nor there." "People may not have expected Tusk," says Mick, "and noses may be slightly out of joint. But we did this for us. It was a healthy challenge to pull it off." Now, obviously, they have. The Tusk LP and single are both Top Ten, and as Mick reports from the road, where they are on the 22-city first leg of a nine-month worldwide tour, "the energy is really poppin'." For Fleetwood, 31, it hasn't been easy. His second split from his wife of 12 years, Jenny Boyd, now "seems permanent. But, luckily," he adds, "we get on well." She has custody of their two children and has taken them back to England. Mick, like the rest of the group lives in the L.A. area and sees the kids during vacations. "I quite miss the fact that I can't be a father," he admits. "I happen to be one of those men who adores that thing of 'alright, kids, let's go.'" Then, if his marital breakup weren't trouble enough, last year while working on Tusk Mick discovered that he was suffering from diabetes. "I had been feeling burned-out," he recalls. "My eyes were going wild, I started drinking like a fish, I'd hyperventilate while talking." One doctor suggested he see a shrink. "My ego couldn't accept the fact that I was going around the twist. Manic-depressive one minute, eating a bowl of ice cream, quite happy, the next. I thought it was a brain tumor. I was afraid I was going to die. It was 18 months of hell." But once the ailment was diagnosed (it's a mild case), Mick adjusted his habits. "Bless her," he says of Sara Recor, his companion of the past year. "She was there to hold my hand and look after me." Though he concedes, "I have overworked and overplayed," Mick says he now "feels like I did 10 years ago." Perhaps the least changed Mac member of all, says Fleetwood, is his co-founder John McVie, 34. McVie and second wife Julie Rubens live both in Beverly Hills and on his 63-foot sloop. The casual "rotation" recording system allowed McVie to leave his bass tracks behind and sail out to Maui while the group did the last month of polishing Tusk. And no less an expert than his first wife, Christine, finds John has "mellowed since marrying Julie. He's become a gentle person." The Mac member who has changed the most, according to Fleetwood, is Buckingham, 30. "He was volatile and intense in the beginning," says Mick, "and afraid he was trapped into doing things a certain way." But with almost half of Tusk under his name, he's been freed. "My contribution was not that visible before," says Lindsey. "Things that had been swimming around in my head for years finally got exorcised on Tusk." Doing some of his own cuts on his 24-track in Hancock Park, Buckingham bravely usurped some drumming parts from Mick. "We've broken down barriers that existed for five years," says Lindsey. The liberated Lindsey has even forsaken the furry curls, scraggy beard and skintight satins of his old lead guitar sex-idol image. He now displays a clean look and casually modish Gentlemen's Quarterly couture. His retreat from classic rock macho has come home too. His girlfriend of three years, Carol Harris, will be along for only half the tour dates. "I want to give Carol the chance to express herself in her modeling without tearing too much from our relationship." Meanwhile, Lindsey reports that without her on the road, "Getting crazy on a few drinks at the bar means nothing to me. I'm happier having time to myself in my room, doing my tunes, than looking for action." But if Lindsey ever needs some post-concert commiserating, he can probably call on Christine McVie. Her squeeze, Beach Boy enfant terrible Dennis Wilson, 34, will not be steady during the tour either. "It doesn't suit Dennis' personality," says Christine, "to be a guest, to have to say, 'Oh, I'm with the piano player.'" On her own, Christine is clearly less shy and more self-assured since they met a year ago. "He is a multifaceted jewel," she exults. "Dennis has awakened things in me I'd have been scared to experience and made me feel the extremes of every emotion." Specifically, says Christine, he has turned her onto speedboating and water-skiing. "Dennis has thrown me into the deep end, literally and figuratively." They commute between Dennis' 68-foot ketch in Marina del Rey and her "very English" home on Coldwater Canyon. They "definitely" plan to marry in February, but Christine has ruled out kids. "I'm 36," she says, "and my life-style is pretty much settled as far as sacrificing and accommodating myself to children." "She used to call me the Mad Songwriter," says Stevie Nicks, 31, noting that in Tusk Christine composed six tracks to her five. "Chris sits up all night and writes, she's so inspired," says Nicks. Stevie is prolific herself, in love or out, but for two years she has been mostly out. One problem: Male rockers, she finds, are "pretty chauvinistic. I strive to be taken seriously as a writer, and be as good as they are. So they resent my success. I see it in their eyes: 'How did this dingbat manage to get everything she wants?'" Another problem is her immersion in Mac's work ethic. "How many men, even the nicest, most patient, can understand that for months you will come home at 7am, dead tired and in a bad mood?" For now, she says resignedly, "the band is all there is room for in my life." Just as well. On the road, she says, security is so tight that "no man can get within 10 feet. I hardly ever meet any new men." Nicks' large Tudor home above Sunset Boulevard is now on the market because it attracted hangers-on who overstayed their welcome. "Any man I ever went out with called the place Fantasyland. I'm 31, I won't always be in a rock band, and I don't want to come out of this absolutely helpless." So she is moving into a modest beachfront condo. "Some people thrive on being a rock star. I hate it. I don't like being waited on all the time, people following me around saying, 'Let me do this, let me do that.'" Stevie has signed on with former boyfriend Paul Fishkin's Modern Records to act in and do the solo sound track LP of Rhiannon, an upcoming movie based on her 1976 Mac hit. She has also written a children's story and hopes to turn it into an animated film. "It's a love story about a goldfish and a ladybug. A friend told me it would be the Doctor Zhivago of children's cartoons." Though she is still the band's sexily whirling, wailing focus onstage, Stevie claims, "The last thing the world needs is another sex symbol." And what does Stevie need? "I don't need doctors, nurses and babysitters. I need love." But even Nicks, who seems bent on going her own way, know that this "is still the best rock band in the world." And one of the most durable. "The band's been breaking up for five years," says Fleetwood, sardonically, of all the reports. The group has two more years left on its record contract and the road stretches ahead until August. "If the members really felt suffocated," Mick says, "then there'd be an obvious danger. Things do get a little crazy at all times. But this doesn't feel like a band that's breaking up." Headshot of Mick: If Tusk had stiffed, says Fleetwood, "it'd've been awful." Headshot of John: Last year John McVie married Californian Julie Rubens. They met when she worked for the band's ex-business manager. Headshot of Christine: "It's never been so vibrant, so gratifying," says Christine, referring to her Tusk love ballads as well as to Dennis Wilson. Headshot of Stevie: Fed up with "letting the aura of a big rock band run my life," Nicks says she's "going back to the gypsy I was." Headshot of Lindsey: Buckingham admits, "It's not normal to tour with an ex-girlfriend. I don't really socialize with her but things are fine." Shot of Stevie getting a massage during rehearsal: "I'm not me when I'm rushed," says Stevie. To slow things down, Masayoshi Sasaki was hired for rubdowns on the road. Shot of Christine and Dennis Wilson in a tight and cozy embrace: Beach Boy Dennis, says Chris, is "delightfully eccentric, and people's Mother Earth image of me is wrong. I get crazy too." http://bla.fleetwoodmac.net/index.ph...v2&id=530&c=18 119 people have viewed this thread in the last 24 hours!  
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#158
12-26-2007, 12:17 AM
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The Philadelphia Daily News (11/18/1979), Album Reviews
Michele Jackson THE RECORD INDUSTRY, lately in something of a slump, is firing its big guns. Within the past few weeks, we've seen a new album from the Eagles (now No. 1 on the charts) and another by Fleetwood Mac (No. 4 and gaining despite a walloping $15.98 cover price). And, oddly enough, both have solid merit to go with their commercial punch. That's especially true of Fleetwood Mac's "Tusk" (Warner Bros.), a two-record set that had a gestation roughly paralleling that of an overdue baby elephant. The long delay between the last Fleetwood Mac effort and the new one was necessary because it looked like "Rumours" would sell forever. So far, some 14 million copies have been sold, give or take a couple of late-reporting Korvette branches in American Samoa. The fact is that "Tusk" is the record that will overcome the basic critic presumption that records that sell a ton are automatically less worthy than those that don't sell at all. Not since the Beatles have we had a group to so successfully combine outrageous success at the cash register with quality music. It will also do severe damage to that other cherished critical belief that all two-record sets should have been one excellent record instead of two less excellent ones. This one's solid all the way through. ONCE YOU GROPE your way through all the cardboard (sleeves within sleeves within sleeves), there's a lot to listen to. Lindsey Buckingham's new songs here provide a graceful kind of intensity that the band hadn't had before. The title track is perhaps the best example, with its 60ish acidic feel, its compelling drum track played against the horns of the U.S.C. marching band and some completely irrational crowd noises. It all works, as does his marvelously biting "What Makes You Think You're the One." If he hadn't captured the feel of John Lennon at his best so well, it might be tempting to say that Buckingham has shed the whole pretty rock star image as convincingly as Paul McCartney. Let's say it anyway. One of the things that has always distinguished this incarnation of Fleetwood Mac is its effective integration of women, unlike virtually every other rock band. That's a lot more likely to stay in your mind than the band's distinctive "sound," which can on occasion get monotonous. Christine McVie and Stevie Nicks provide the rest of the songs here. NICKS HAS A GIFT for the kind of song you end up humming without thinking about it. She also sings the hell out of them. Those two factors combine to make hits, of course. And despite all the gossip about her voice in the "People"-type press, she sounds just fine - better than ever. "Sara" may not be a terribly heavyweight song, but she sings it about as well as anybody could. The Eagles' "The Long Run" (Asylum) is another matter altogether. The group has generated a lot of good music since 1971 and it's really not their fault that the imitators they spawned have generally been stupefying. The new album doesn't have a "Take It Easy" or a "James Dean" or a "Lyin' Eyes" on it, at least not to my ears, but it does have a solid collection of well-constructed and played songs. It's a fine album that I probably won't listen to a lot. My problem with the Eagles here is the same one I've got with the genre of "Life on the Road Sure is Miserable Even if You're a Big Star." The Eagles have this attitude. And the new album follows "Life in the Fast Lane" to something of a conclusion. Hollywood is decadent. It is full of scary things. Life is tough. So what? Popular music has to have a link to people - actual people, not just those who have shared a few grams with a superstar. Unrelieved bleakness is also a little hard to handle. While Fleetwood Mac used to sound seamless and was criticized for it, it's clear that nothing but seams isn't it either. All that aside, they do it all well. "The Disco Strangler" is wonderfully compelling depravity. The next track, "King of Hollywood," is probably the best ever in the limited area of songs about casting couches. Nice album, a hit even. It's just not likely to wear well. http://bla.fleetwoodmac.net/index.ph...v2&id=529&c=18
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#159
12-26-2007, 07:57 PM
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Crap! Having been occupied with moving, I missed the opportunity to download this show and it has expired. Of all the tours, Tusk is my favorite! And ironically, I have only a handful of those shows. Could I appeal to you or anyone else who now has it to repost it? Thanks forward!
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#160
12-27-2007, 12:09 AM
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#161
12-27-2007, 12:11 AM
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Rolling Stone (12/1979), Tusk Review
At a cost of two years and well over a million dollars, Fleetwood Mac's _Tusk_ represents both the last word in lavish California studio pop and a brave but tentative lurch forward by the one Seventies group that can claim a musical chemistry as mysteriously right -- though not as potent -- as the Beatles'. In its fits and starts and restless changes of pace, _Tusk_ inevitably recalls the Beatles' "White Album" (1968), the quirky rock jigsaw puzzle that showed the Fab Four at their artiest and most indecisive. Like "The White Album", _Tusk_ is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers. _Tusk's_ twenty tunes -- nine by Lindsey Buckingham, six by Christine McVie, five by Stevie Nicks -- constitute a two-record "trip" that covers a lot of ground, from rock & roll basics to a shivery psychedelia reminiscent of the band's earlier _Bare Trees_ and _Future Games_ to the opulent extremes of folk-rock arcana given the full Hollywood treatment. "The White Album" was also a trip, but one that reflected the furious social banging around at the end of the Sixties. _Tusk_ is much vaguer. Semiprogrammatic and nonliterary, it ushers out the Seventies with a long, melancholy high. On a song-by-song basis, _Tusk's_ material lacks the structural concision of the finest cuts on _Fleetwood Mac_ and _Rumours_. Though there are no compositions with the streamlined homogeneity of "Dreams", "You Make Loving Fun" or "Go Your Own Way", there are many fragments as striking as the best moments in any of these numbers. If Christine McVie and Stevie Nicks were the most memorable voices on _Fleetwood Mac_ and _Rumours_, Lindsey Buckingham is _Tusk's_ artistic linchpin. The special thanks to him on the back of the LP indicates that he was more involved with _Tusk's_ production than any other group member. Buckingham's audacious addition of a gleeful and allusive slapstick rock & roll style -- practically the antithesis of Fleetwood Mack's Top Forty image -- holds this mosaic together, because it provides the crucial changes of pace without which _Tusk_ would sound bland. The basic style of _Tusk's_ "produced" cuts is a luxuriant choral folk-rock -- as spacious as it is subltle -- whose misty swirls are organized around incredibly precise yet delicate rhythm tracks. Instead of using the standard pop embellishments (strings, synthesizers, horns, etc.), the bulk of the sweetening consists of hovering instrumentation and background vocals massively layered to approximate strings. This gorgeous, hushed, etheral sound was introduced to pop with 10cc's "I'm Not in Love", and Fleetwood Mac first used in _Rumours'_ "You Make Loving Fun". On _Tusk_, it's the band's signature. Buckingham's most commercial efforts -- the chiming folk ballads, "That's All for Everyone" and "Walk a Thine Line" -- deploy a choir in great dreamy waves. In McVie's "Brown Eyes", the blending of voices, guitars and keyboards into a plaintive "sha-la-la" bridge builds a mere scrap of a song into a magnificent castle in the air. "Brown Eyes" sounds as if it were invented for the production, rather than vice versa. About the only quality that Stevie Nicks and Christine McVie share is a die-hard romanticism. On _Tusk_, Nicks sounds more than ever like a West Coast Patti Smith. Her singing is noticeably hoarser than on _Rumours_, though she makes up some of what she's lost in control with a newfound histrionic urgency: "Angel" is an especially risky flirtation with hard rock. Nicks' finest compositions here are two lovely ballads, "Beautiful Child" and "Storms". Her other contributions, "Sara" and "Sisters of the Moon", weave personal symbolism and offbeat mythology into a near-impenetrable murk. There's a fine line between the exotic and the bizarre, and this would-be hippie sorceress skirts it perilously. McVie is as dour and terse as Nicks is excitable and verbose. Her two best songs -- "Never Forget", a folk-style march, and "Never Make Me Cry", a mournful lullaby -- are lovely little gems of pure romantic ambiance. With a pure, dusky alto that's reminiscent of Sandy Denny, this woeful woman-child who's in perpetual pursuit of "daddy" evokes a timeless sadness. _Tusk_ finds Fleetwood Mac slightly tipsy from jet lag and fine wine, teetering about in the late-afternoon sun and making equisite small talk. Surely, they must all be aware of the evanescence of the golden moment that this album has captured so majestically. -- Stephen Holden, Rolling Stone, 12-13-79. http://bla.fleetwoodmac.net/index.ph...v2&id=531&c=18 121 people have viewed this thread in the last 24 hours!
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#162
12-28-2007, 11:02 AM
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Los Angeles Times
Thursday, December 6, 1979 Fleetwood Mac Puts Some Teeth in “Tusk” by Dennis Hunt Can “Tusk” captivate a tough audience? Before Fleetwood Mac’s Tuesday night Inglewood Forum show many didn’t think so. “Tusk” is the pop-rock quintet’s latest album. Its critical reception has been mixed and music fans haven’t been buying this two-record set in record numbers either. “Tusk” has sold just over 2 million but the band’s previous and best album, “Rumours,” has sold 12 million. A solid test of the new album’s concert appeal is having it work on Los Angeles audiences, which are known throughout the industry for being supercritical and somewhat jaded. Well, the “Tusk” material does work in concert. With a show centered around those songs, Fleetwood Mac not only satisfied the Forum crowd but it had it panting for more at the end of the two-hour set. To get the audience in a receptive mood for the less familiar “Tusk” material, the band opened with a string of oldies, including “Don’t Stop” and “Dreams.” The strategy worked. Had Fleetwood Mac begun with the new material the reaction might have been less positive. Most of the songs on “Tusk” sound strained. The band labored over the album and it shows. The fluidity and craftsmanship of “Rumours” just isn’t here this time. “Tusk” isn’t a bad album. It just isn’t as good as “Rumours,” which is no crime considering “Rumours” comes as close to pop-rock perfection as any ‘70s album. The “Tusk” material, though, did sound much better live. The punchier concert accompaniment added a dimension to the songs that is missing on the recorded versions. On the album the songs are softer. In concert they were extended and embellished and turned into powerhouse rock’n’roll pieces. Fleetwood Mac, a 12-year-old band that has been through numerous personnel and stylistic changes, now consists of drummer Mick Fleetwood, bassist John McVie, singer Stevie Nicks, guitarist Lindsey Buckingham and keyboards player Christine McVie. Nicks, Buckingham and Christine McVie write and sing the songs. Democracy governs Fleetwood Mac. No one performer dominates. However, since Nicks and Christine McVie sing more songs than Buckingham, the group does tend to have a feminine tone. Rock’s premier showmen are under no threat from anyone in this band. They perform with exuberance and considerable skill but without flash and flamboyance. Pretty, long-haired Nicks is by far the most intriguing of the three lead singers. Attired in flowing, layered dresses, she looked ethereal, which was in sharp contrast to her rather coarse sound. Though her unusual style, on gloomily romantic songs like “Sara” and “Rhiannon,” had its grating moments, it was quite appealing most of the time. The liveliest number in the show was “Tusk,” a noisy nonsense piece that always seemed to be one step away from chaos. The USC marching band, which played on the single, also backed the band on the concert version, which had the feel of halftime at a football game. The song has no lyrical substance but that didn’t matter. Its essence is a festive, rowdy spirit that came across vividly. Instrumentally, the show was exceptional. Through the mainstream rock accompaniment was neither complicated nor challenging, the four musicians played it superbly. While not in a league with rock’s greats, Buckingham is an underrated guitarist whose dexterous playing can be dramatically effective. The major difference in Fleetwood Mac’s albums and its shows is the dominance of Fleetwood’s drumming. On the records his playing is somewhat subdued and definitely subservient to all the other elements. In concert, however, Fleetwood takes charge. Because of his free reign, there was rhythmic thunder on almost every song. His powerful percussive support radically enhanced the impact of the material. Fleetwood Mac’s last local appearance, a three-day Forum engagement in 1977, sold out but this five-night series hasn’t. On Tuesday night, however, most of the 17,000 seats were filled. Tickets are still available for the shows tonight, Monday and Tuesday. Given that the “Tusk” album hasn’t been a sales blockbuster, a five-night engagement was apparently too ambitious. The opening act is Danny Douma and Night Eyes. http://bla.fleetwoodmac.net/index.ph...v2&id=889&c=18 156 people have viewed this thread in the last 24 hours! 
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#163
12-29-2007, 07:11 AM
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Creem, August, 1979, The Best Seat in Town
LOS ANGELES - Anybody with a living hormone or two can tell you what Stevie Nicks' true appeal is, but if you say so in public, you might get sued. A local punk outfit, The Rotters, released a single called "Sit On My Face, Stevie Nicks," which tore up the charts at KROQ and had sold over 2000 copies when who but Mick Fleetwood himself called up the station, gave them a severe "tongue lashing" (it says so right here, honest) and demanded that they stop playing it. Further verbal lickin's from F. Mac legal busybodies convinced the station to drop the tasty tune from their playlist. C'mon now, Mick. Was it REALLY that offensive to you, or is this just another case of SOUR GRAPES? http://bla.fleetwoodmac.net/index.ph...v2&id=178&c=11 110 people have viewed this thread in the last 24 hours!
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#164
12-30-2007, 12:55 AM
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Excerpts from:
Omaha Rainbow, Issue 22 Autumn 1979 The "Bombs Away" Interview John Stewart interviewed by Peter O’Brien September 21, 1979 Montcalm Hotel, London, England **** Speaking about meeting Lindsey and getting him involved in the album - "You know the story about Lindsey learning to play guitar off the Trio albums and me learning to play electric guitar off Lindsey Buckingham albums. So I met Walter Egan at the Union and asked him what it was like working with Lindsey, and he said, ‘you gotta meet him because . . .’ blah, blah, blah. So then I went over and met Lindsey when he was mixing ‘Hot Summer Nights’ and said, ‘Lindsey, I’d really like you to produce this album.’ He said, ‘I’d like to but I’m doing Fleetwood Mac.’ He came out to the house a few times and we worked on tunes and he said, ‘I really want to do this.’" **** Speaking about working with Lindsey on the album - "On my birthday last year he (Lindsey Buckingham) and Joey Carbone and Russ Kunkel came down and played for free on ‘Midnight Wind’ . . . It was the best birthday I ever had, yeah, it was great. Got drunk out of our brains. Then I started doing the rest of them - ‘Somewhere Down the Line" and Lindsey came in and did that live; ‘Spinnin’ of the World’ live; and then just overdubbed the crap out of that. . . . Lindsey would come in for 14 hours at a time and then I wouldn’t see him again for a month. . . . As far as Lindsey went, it was just the way he would point the way to things, show me the direction in which to go, make me a mix that was just mindblowing, and play some guitars or do some vocals." **** Speaking about Lindsey’s willingness to help during John’s desperate times - "Oh the pressure that Al Coury (RSO record company president) was putting me under at that time was really inhuman. I mean, to make anyone go through that and to have the likes of Lindsey Buckingham in the studio, and not say, ‘Hey, go ahead, this is going to be great,’ and to bring in songs like ‘Gold’ and ‘Midnight Wind’ and him saying they’re not hits when you know goddam well they are - or at least as close to a hit as I’m gonna come - and to have no support or encouragement from the record company, I was absolutely against the wall. It got worse . . . . At one point as I went in, I called up Lindsey. I was so off the wall I could hardly talk to him. I said, ‘Lindsey, please, you’ve got to come in and play.’ I just sounded like a madman. I was." **** Chris Whelan, bassist for John Stewart, speaking about the financial difficulties John encountered while making "Bombs Away Dream Babies," and how Lindsey helped - "It got to the point right before ‘Bombs Away’ was finished, he was way over budget, he had no more money, and the album was not finished...like, on 'Living in the Heart of a Dream,' there was still a lot of things he wanted to do with that tune, but there was no more money....he actually had let the band go right before ‘Bombs Away’ was finished. Lindsey put in about 20 grand of his own money to finish the album." **** Speaking about working with Stevie on "Gold" - "Mary Torrey is a friend of Stevie Nicks and when Stevie came down to do ‘Midnight Wind,’ we were going to mix ‘Midnight Wind’ and I really wanted her to sing on ‘Gold.’ Because when she did ‘Midnight Wind,’ she heard ‘Gold’ and said, ‘Oh, I really want to sing on that.’ And I didn’t have the money at that time to put her on. I said, ‘I can’t do it without seeing that amount of money.’ We’d all had a few drinks at that point and what you say at four in the morning half in the bag is not what you might say in the cold light of a sober day. So when she came down to do ‘Midnight Wind’ I had ‘Gold’ out prepared - I had it up ready to go and pretended I was mixing it or whatever. I could tell when she walked in by the look on her face that she was not gonna sing that night. She just had that ‘I ain’t singing’ look on her face. So I said, ‘Stevie, I’m gonna go out do the tag on this song - let’s you and Mary and I go out and sing the end.’ Well, Mary began to cry and I went, ‘Oh, my God, what did I say?’ Stevie said, ‘John, this is Mary’s dream to sing on a record.’ I said, ‘We’ve got to go out and do it.’ So we went out and did the tag and Mary was singing and crying.  I had the lyrics to ‘Gold’ written out on enormous cue cards because Stevie really can’t see too well. Mary went back in the booth and I grabbed Stevie and said, ‘Stevie, come on, let’s just do the verses on this song. It’s not gonna take long.’ I said, ‘Turn the tape on,’ so they turned the tape on and held the cue cards out and I put my hand over Stevie’s mouth when she wasn’t supposed to sing and hit her in the back when she was and she did it in one take and I got her on the song." **** Speaking about working with Mary Kay Place and Lindsey on "Over the Hill" - "She was doing an album at Village and I’ve always been a big fan of Mary Kay’s. I think she’s a great singer . . . great attitude. I went down and I said, ‘Mary Kay, I’m gonna do this song. Would you come by and sing background?’ She said, ‘Sure.’ She got to the studio that night and was absolutely petrified with fear. Said, ‘I’ve never sung background before.’ I said, ‘Mary Kay, there’s nothing different with singing background. You’re just singing lead with another melody.’ Lindsey was there and she was absolutely intimidated by Lindsey, because Lindsey’s so confident in the studio that you want to hit him. She started screaming at him, ‘You’re so confident, you’re so damn professional, I can’t do this!’ So Lindsey and I sat her down, said, ‘Mary Kay, don’t be ridiculous. Come on.’ Gave her a couple of drinks and she got it great." **** Speaking about his inspiration for the song "Comin’ Out of Nowhere" - "It was the only time I ever wrote a song about another song. That song is written about a song of Lindsey’s on the ‘Tusk’ album called, ‘That’s Enough For Me.’ When I heard it, it was absolutely devastating, and I wanted to write a song letting people know there was something coming that would knock their ears off their heads." **** Speaking about having to lie to his record company to be able to keep his own material on the album - "You want to know about that song? ‘Hard Time Town’ was a song that Buffy wrote and I doctored it up a bit to make it more commercial. Went in and told Al Coury that Lindsey wrote it and that if we didn’t do it, he’d give it to Walter Egan, and that this was the hit we were looking for. That’s how desperate I got." **** Speaking about having heard the album "Tusk" which was about to be released and the single "Tusk" which had been released to radio - "I don’t think they need any plugs, but I’ll just say it’s a terrific album and not at all like ‘Rumours.’ ‘Tusk’ is great. It’s really a good laxative for the radio constipation of the world. It’s really back to what rock’n’roll started as . . . fun. Where music should be. It is not like anything else on the album. The album sounds nothing like ‘Tusk,’ and that’s the reason they put it out - just let people have no idea what the album is like. They took a real chance with the album and I’m gonna have to hand it to them, they were very courageous. It would have been very easy to go in and do another ‘Rumours’ with the same format and have guaranteed sales. They’re the hardest working people I’ve met in my life and Stevie Nicks is one of our finest songwriters who is never given any credit for the amount of incredible songs she’s written. I think she puts most of the singer/songwriters in the toilet. She’s got a song called ‘Angel’ which is the best one she’s ever written. She’s got a song called ‘Sisters of the Moon’ which is a killer - absolute killer. Lindsey has some really bizarre good songs and Christine came through with some good things. A much different album. I can’t even tell you what it’s like, but it’s nothing like ‘Rumours’ and it’s definitely Fleetwood Mac." ************************************************************************** Excerpts from: Omaha Rainbow, Issue 22 Autumn 1979 Capitol Radio Interview John Stewart interviewed by Roger Scott September 21, 1979 London, England **** Speaking about the pressure from his record company to make a top-ten album and meeting Lindsey Buckingham - "Al (Coury) called me and said, ‘John, let me lay it to you straight. If you don’t get a top ten record you’re off the label. I said, ‘Oh, okay.’ He said, ‘I know it’s tough but I do it every day.’ I’ll never forget that. ‘I know it’s hard but I do it every day.’ He said, ‘You’ve got to tell me what you’re gonna do. You’ve got to bring me demos in.’ I said, ‘Al, I’ve got three songs and . . . at this point, to really make a long story short, I’d met Lindsey Buckingham. I said, ‘There’s no-one in the world I want to produce my album except Lindsey Buckingham. He’s the only one who has any idea of how to make records that I really like. I think he’s got the secret.’ I’d learned to play electric guitar listening to Lindsey Buckingham records and found out that Lindsey learnt to play electric guitar listening to Kingston Trio records, so we’d been talking to each other for eight years before we even met. I said, ‘Lindsey, you’ve got to produce this album. He said, ‘Okay, I’d like to do it, but Fleetwood Mac is recording now and it’s gonna be tough, but I’ll go in and do some songs with you.’ We went in and did ‘Gold,’ ‘Midnight Wind’ and ‘Runaway Fool of Love.’ I brought them in to Al and he said, ‘Nope, not hits.’ At this point Lindsey and I were pounding our heads against the wall saying, ‘What does he want?’ Went in and did three more songs - not right. I said, ‘Oh, Al, please.’ He said, ‘Alright, go in and finish the album.’ Well, at this point, Lindsey said, ‘I can’t continue. I’m just so into the Fleetwood Mac album that I’ve got to do that, but I’ll come in and play guitar whenever I can.’ So I was left alone with the control board for the first time in my life. I’d no idea what to do absolutely no clue on what it was all about - I just started learning. I started fooling with it. Lindsey would come in and make these mindboggling mixes and I’d say, ‘Lindsey, you’ve got to tell me what you’re doing with those knobs,’ because it’s so involved with EQ, with peaking and shelving, low end and DDLs and all that. ‘Lindsey, sometime teach me what you’re doing.’ He said, ‘I’m turning the knobs till it sounds good,’ and that really got me through the album. I went, ‘Right!’ So I just started turning the knobs until it sounded good. I had one engineer walk out on the album. Said, ‘I can’t take any more.’ . . . ." "Then Stevie came in and I said, ‘Stevie, this song is really your kind of song,’ so she heard the track and said, ‘Yeah, I’d like to sing on that.’ She came in and we spent twelve hours one night doing ‘Midnight Wind.’ She said, ‘John, this is a classic. It’s the best record I’ve sung on since ‘Rhiannon’.’ That’s when I started going, ‘Oh yeah? Maybe I’ve got something there.’ She said, ‘John’ - she’s got a great wisdom, she’s got a great clarity - she said, ‘John, let’s make hits. We’ve all made the other kind of record. Let’s make hits. They’re more fun to make.’ I said, ‘Right, let’s make some hits!’ She came in a couple of times and we did ‘Gold’." **** Speaking about the inspiration to the line -"people out there turning music into gold" - from the single "Gold" - " . . . going to Lindsey’s mansion in Hollywood! I said, ‘Lindsey, what does it feel like living in a place like this?’ He said, ‘Well, when I first moved in, I waited for my parents to show up and to take care of it.’ It’s just a song away. I’ve always maintained it’s just a song away. Lindsey was starving before Fleetwood Mac. Just four years earlier he and Stevie were living in a one room apartment, so I said, ‘My God, there’s people out there turning music into gold,’ and I just started playing that riff and built the song on that." ************************************************************* Excerpts from: Omaha Rainbow, Issue 20 Spring 1979 O’Bsessions with John Stewart Interview with Tom De Lisle (John Stewart’s friend and associate) by Peter O'Brien **** Speaking about the first time John met Stevie - "Well, Stevie had been raised on The Kingston Trio. In fact, she told John, ‘If you knew how many hundreds of hours Lindsey made me sit and listen to your albums!’" **** Speaking about Lindsey’s involvement with "Bombs Away Dream Babies" and recording next door to Fleetwood Mac - "Yes, without knowing it, John and Lindsey had been mutually admiring each other’s work, although they had never met. I found that Lindsey was, like many of us, an absolute Kingston Trio freak and a tremendous Stewart fan. He can tell you what guitar John played on a given song. Much of the Fleetwood Mac sound is based on the Trio. They heavy rhythm guitar up front with the lead guitar being played through the melody like a banjo. In fact, Lindsey plays lead guitar the same way you play a banjo, and he based it on John’s Trio playing. And I remember back in 1976, John was listening to Mac’s huge album and telling me he could hear banjo licks being played on a guitar all through the album. He’d say, ‘Listen to that, it’s like the Trio.’" . . . . "Oh yeah. In a sense, he (Lindsey) kind of co-produced it with John. He plays guitar on a lot of the songs and you’ll hear him singing quite a bit. Oh, I must point out that for a while Fleetwood Mac was recording next door to where John was. And one night, we went in to hear part of their new album. They put up a song of Lindsey’s called ‘Down the Road’ or something like that. Anyway, it was absolutely devastating. The first song of the ‘80s. It was like nothing John or I had ever heard. Just an ass-kicker. I felt like I did the first time I heard ‘Satisfaction’ in ’65. Just a tremendous song, something you have to hear." (note: John Stewart’s version of the same story reveals the song Tom misremembers here is actually Lindsey’s "That’s Enough For Me" off the ‘Tusk’ album). Thanks to Lesley Thode for sending this to us. http://bla.fleetwoodmac.net/index.ph...v2&id=179&c=11
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#165
12-31-2007, 11:59 AM
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Circus Weekly, April 10, 1979
"Back Pages" Column by Lou O'Neill, Jr.  SHOCKER FROM THE COAST: It's all true what they're saying about Beach Boy Dennis Wilson and Christine McVie of Fleetwood Mac. Almost overnight, the couple has become inseparable. Friends say Christine has never been happier. Our snoop tells us Dennis and Christine are living together for stretches of three and four days at a time. Basically, dashing Denny has been hanging out at Christine's plush apartment in west L.A. Close friends of the pair got a big laugh recently when Chris and Dennis were assigned separate seats for the American Music Awards. Yet after the show ended, Chris and Dennis managed to find each other very, very quickly at the private soiree following the show. Meantime, Fleetwood Mac continues to work on their double-LP. Mick took a break from the sessions to produce an album for his protege, Denny Douma. Warner's will ship Douma's effort on May 4. The new Bob Welch record has a definite Fleetwood Mac feel to it and every indication points to a runaway hit. We figure the next Fleetwood Mac album will go one of two ways: Either it will sell an incredible amount of units (15 to 25 million) or else it will sell a very "modest" amount (perhaps 3 or 4 million copies.) With fleetwood Mac, there's just no in-between. By the way, that WAS Christine McVie backstage at Gotham's Radio City Music Hall last month when the Beach Boys came to town for four nights. Christine flew all the way in from the Coast to be with Dennis for one day. Then back to El Lay. She also receives a "special thanks" credit on the new Beach Boys album. Ah, how sweet love it! http://bla.fleetwoodmac.net/index.ph...x_v2&id=10&c=2 126 people have viewed this thread in the last 24 hours!
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