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#1366
03-24-2016, 12:03 AM
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[Mick comments on a Tina Turner tribute artist. Why didn't Lindsey throw in his two cents. I mean, not that he ever saw Tina's act when he opened for her, I'm sure, but nevertheless ...]
Hawkesbury Gazette, By Justine Doherty March 23, 2016, 2:44 p.m. http://www.hawkesburygazette.com.au/...urner-tribute/ But it’s not just Tina who’s seen her – Mick Fleetwood from Fleetwood Mac said “this show is way beyond a tribute act. Rebecca is an amazing performer and vocalist. A night you’ll never forget”. 
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#1367
03-24-2016, 09:58 AM
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Quote:
__________________
 I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!"
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#1368
03-25-2016, 09:16 PM
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#1369
03-25-2016, 11:36 PM
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http://www.latimes.com/opinion/op-ed...325-story.html
Op-Ed How millennials should deal with baby boomers at work ............................... "It's also important to signal to your boomer colleagues that you're aware of American history prior to 1990, without threatening their conviction that lived experience is invaluable. Of course you've listened to Fleetwood Mac, know who Richard Nixon is, and have heard that dad-joke about how “This must be the local!” when the elevator stops at every floor. Instead of insisting that you're already quite familiar with these cultural touchstones, however, just chuckle gently or ask a follow-up question about Lindsey Buckingham." ...............................
__________________
 "kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#1370
03-27-2016, 09:46 AM
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• Fleetwood Mac, an 8-year-old chihuahua, has Ectrodactyly, which causes limbs to be deformed or cleft
• Grace, a 7-month-old baby in Indiana, also has Ectrodactyly • On March 8 Grace's family adopted Fleetwood Mac from an animal shelter in San Francisco, California http://www.dailymail.co.uk/news/arti...-syndrome.html
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#1371
03-27-2016, 10:40 PM
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[from an article on Glen Oak Amphitheatre. There's a picture of Christine]
By Phil Luciano The Peoria Journal Star http://www.pjstar.com/article/20160326/NEWS/160329482 Posted Mar. 26, 2016 From Fleetwood Mac to The Beach Boys, Glen Oak Amphitheatre rocked Peoria in the 1970s Forty years ago, the heart of rock and roll found a home in the heart of Peoria. In the latter half of the 1970s, the Glen Oak Amphitheatre enjoyed brief, meteoric renown as a festive, bustling concert venue. Thousands upon thousands of music fans flocked to see some of the biggest touring acts of the time — Fleetwood Mac, Nazareth, The Beach Boys — with attendance often flirting with the 10,000 mark. The events thrived — maybe too much so. After City Hall kept getting pelted with noise complaints from the surrounding neighborhood, the promoter finally pulled the plug. “We had huge crowds for all of them, in the 7,000 range,” says Jay Goldberg, 65, who still promotes shows in Peoria and elsewhere. “The only issue we have was the nervousness of the neighborhood.” Earlier, at the onset of the 1970s, Goldberg often brought up-and-coming acts — Allman Brothers, Uriah Heep, REO Speedwagon — to The Barn, north of Peoria. But capacity was just 3,000 spectators, and Goldberg’s vision was growing. At the time, bigger names typically appeared at the Robertson Memorial Fieldhouse on the Bradley University campus. But the place got hotter than an oven in the winter, let alone during the dog days of summer. So Goldberg eyed the Glen Oak Amphitheatre. From the 1896 construction of the original bandshell, the park long had hosted concerts. However, even after a replacement bandshell was built in 1960, acts traditionally tended toward docile and local. The summer of 1974 saw perhaps the most rollicking acts there to date in Charlie Rich and Andy Williams. Goldberg thought the site could support rock shows, but only with a lot of elbow grease. Then as now, the amphitheater allows little access for load-in, meaning heavy equipment would have to be trundled in by dolly. Plywood was laid atop grass to prevent the little tires from sinking into the lawn. Portable toilets and vendors had to be brought in. Makeshift dressing rooms and office space was created in the park’s administration building. And the bandshell’s brief roof had to be temporarily augmented with a longer overhang so rain would not damage the electronics — or electrocute the musicians. “The production of the shows was especially hard,” Goldberg says. “It took an army.” Why would a big act take a detour to Peoria to play such a small venue? The visitors’ tour buses were accustomed to parking at big-city sports stadiums and outdoor arenas. For example, during a 1976 tour that included Peoria, Fleetwood Mac played the likes of Three Rivers Stadium in Pittsburgh and Busch Stadium in St. Louis. So, in talking contract, Goldberg never tried to oversell Glen Oak Park. “We let them know what they were getting into,” he says. “There were no surprises.” Further, back then, bands were eager to hit the road as a promotional vehicle to sell albums. Tickets were relatively cheap, as way to lure in new fans who might buy tapes and records. Back then, an act like Fleetwood Mac would be paid a flat fee of $5,000 to $7,500 to play Glen Oak Amphitheater. Adjusted for inflation, the high end of that range would be $31,000 today. However, today — in an era driven not by album sales but ticket sales — Fleetwood Mac likely could command about $300,000 to play the Civic Center Arena and $500,000 to appear at Summer Camp, plus a potential for gross receipts, Goldberg says. “The bands were more hungry for playing than today,” he says. Plus, it didn’t hurt that in the ’70s Goldberg co-owned a record chain — Budget Tapes & Records, later Co-Op Tapes & Records — that sold those bands’ albums. Moreover, Goldberg knew how to treat his guests right: As soon as the bands rolled into Peoria, Goldberg rolled out the red carpet. The acts stayed at the Hotel Pere Marquette, and he always tried to cater to their food tastes. Goldberg says, “We were really good at making them feel great about playing there.” Well, except once. When Goldberg inked Fleetwood Mac, he was especially tickled about the opener, British guitar whiz Jeff Beck. “I mean, Jeff Beck,” Goldberg gushes. “He was one of my heroes.” In his contract rider, Beck specified that he wanted a fish dinner before performing. Seeking to impress, Goldberg sent a go-fer to King’s Restaurant, north of Peoria on Galena Road and renown for its deep-fried catfish. “I was so proud that I took it to Beck myself, into the dressing room,” Goldberg says. “He looked down at it, then looked up at me, then looked down at it again — then threw it across the room.” Goldberg scrammed, but later asked Beck’s manager about the catfish reaction. Huffy, the manager explained that Britons view catfish as beneath them: “Jeff was insulted. We don’t eat catfish in England.” Laughing now, Goldberg said the experience taught him to be more specific with contract riders. “I learned my lesson on that one,” he says. But otherwise, business went smoothly regarding the shows. One of the first — and one of Goldberg’s favorites — happened in August 1975. Peoria-born Dan Fogelberg, whose “Souvenir’s album the previous year had spawned the hit “Part of the Plan,” appeared before 5,000 fans. “It’s good to be back in the old home town again,” Fogelberg told the crowd. The high point came when Goldberg came out to tell Fogelberg and fans that the backstage crew had been watching the Rock Music Awards, a fledgling Grammy alternative being broadcast nationwide. Goldberg handed Fogelberg a congratulatory bottle of Heineken, then revealed the singer had just been named Best New Artist. The crowd, including Fogelberg’s parents, roared in approval, and the pumped-up artist played two more hours. The next summer, Goldberg expanded the Glen Oak season to several shows, dubbed River Jam. The first, Nazareth, sparked multiple noise complaints. So when Fleetwood Mac arrived for a show June 25, the Peoria Park District was nervous. The Journal Star showed more interest in coming out to check for trouble than in reviewing the show; as such, the next-day’s account foremost noted the good behavior. “It was orderly,” a park district official said with relief. “A very good concert.” As far as the show, the crowd mostly ignored opener Beck, who was playing with the Jan Hammer Group. John Goldsmith of Mapleton recalls moving up close to watch Beck’s fast fingers. “Beck played for what seemed like only 20 to 25 minutes, and then evidently noticing the lack of crowd enthusiasm made the comment that he wouldn’t keep the audience any longer from seeing Fleetwood Mac,” Goldsmith says. “At the time I remember feeling a little ripped off, but I could understand Beck’s point. Most everyone was there to see Fleetwood Mac.” Indeed, the Journal Star said the crowd received Fleetwood Mac favorably. Included in the setlist was the band’s current single, “Rhiannon,” which that month peaked at No. 11 nationwide. “Vocalist Stephanie (Stevie) Nicks kept the members of the audience spellbound with her powerful growl of a voice,” according to the paper. The story didn’t note an attendance figure. But, like many of the shows there, the amphitheater filled up, prompting an overspill to stand outside the surrounding chain-link fence. Tim Osborn of Washington recalls his appreciation for what ended up as free events for many. “Eight friends and I jumped in my Volkswagen Beetle and headed for the Glen Oak Amphitheater, but didn’t have money to get in,” he says. “There were probably more people partying outside the gates then actually went in. We could clearly hear the music, just couldn’t see anything.” The same scenario greeted what likely was the biggest show ever at Glen Oak: an Aug. 9 appearance by The Beach Boys. By the time the band opened with “California Girls,” 8,200 fans had jammed into the venue, with another 2,500 on the other side of the fence. Despite the docile nature of the music, that show prompted the highest number of complaints, Goldberg said. A bigger crowd was expected the next summer, when Bob Seger & The Silver Bullet Band came to play the amphitheater. But, because of impending rain storms, the show was moved to the Fieldhouse. Over the next two years, Goldberg promoted just a smattering of shows, including a Charlie Daniels Band performance in July 1979 that drew 9,000 fans. But not long after that, Goldberg grew weary with noise complaints and set-up challenges. With the Peoria Civic Center already under construction and set to open in 1982, he pulled the plug on rock shows at the Glen Oak Amphitheatre. The venue still hosts performances (such as the Peoria Municipal Band) and events (like kiddie movies). And every July 3, it holds an impressive fireworks display. But as far as rock, Glen Oak Amphitheater rolls on only as a memory. “It was cool,” Goldberg says.
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#1372
03-31-2016, 02:40 PM
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Eddy and Dave sound butthurt
How Van Halen Jumped Over the Edge With Their Third Album, ‘Women and Children First’
By Jeff Giles March 26, 2016 2:17 PM “We finished the music in six days, and the whole album took eight,” Eddie Van Halen told Guitar Player. “I don’t understand how people can take any longer.” Added singer David Lee Roth in an interview with Hit Parader, “I don’t think we’ll ever be confused with Fleetwood Mac or Steely Dan, who spend jillions of dollars and years in the studio just to make one record. How boring can you get, man? I like to think that all we’re really trying to do is capture some of our youthful enthusiasm.” [...] “I just really go for feeling,” Eddie told Jas Obrecht. “All our albums have mistakes. Big deal! We’re human. It reeks of feeling, you know, and to me that’s what music is all about. Like Fleetwood Mac spent so much money and so much time [in the studio], and my thing is, if something is too perfect, it won’t faze you. It goes in one ear and out the other, because it’s so perfect. Our stuff, to me, keeps you on the edge of your seat. It builds tension. Whether you like it or not, it slaps you in the face.” Read More: How Van Halen Jumped Over the Edge With Their Third Album, 'Women and Children First' | http://ultimateclassicrock.com/van-h...ckback=tsmclip Last edited by SisterNightroad; 04-10-2016 at 07:51 AM..
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04-13-2016, 07:10 AM
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This message has been deleted by SisterNightroad.
Reason: time error
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#1373
04-14-2016, 10:20 PM
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19 bands that have plowed through 3 or more frontmen without a name change
By David Anthony, Dan Caffrey, Jason Heller, Noel Murray, Ignatiy Vishnevetsky, and Annie Zaleski Apr 13, 2016 12:00 AM AV Club http://www.avclub.com/article/19-ban...tmen-wi-234703 16. Fleetwood Mac (Peter Green, Jeremy Spencer, Danny Kirwan, Bob Welch, Christine McVie, Lindsey Buckingham, Stevie Nicks, Rick Vito, Billy Burnette, Bekka Bramlett) Named after its only two more-or-less consistent members, Fleetwood Mac is legendary for its internal drama. It began as an English blues band and, after enough lineup changes to warrant a separate Wikipedia entry, ended up as a hit-making, sonically ambitious Anglo-American soft-rock group with three singer-songwriters and a messy relationship history. The band’s original iteration was fronted by the gifted blues-rock guitarist Peter Green, with slide guitarist Jeremy Spencer contributing songs and vocals. For the next few years, Fleetwood Mac seemed to have a revolving door policy with singer-guitarists, and it wasn’t until 1975’s hugely successful Fleetwood Mac that it settled on its famous five-piece lineup of singer-guitarist Lindsey Buckingham, singer Stevie Nicks, singer-keyboardist Christine McVie, drummer Mick Fleetwood, and bassist John McVie. That lineup would hold for five hit albums (until 1987’s Tango In The Night), and since then, the band has cycled through departures, reunions, hiatuses, and long-forgotten replacement vocalists. [Ignatiy Vishnevetsky]
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#1374
05-05-2016, 12:19 AM
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From Studio To Screen: What Goes Into Making A Soundtrack?
May 5, 2016 Ruby-Rose Pivet-Marsh, Howl and Echoes http://howlandechoes.com/2016/05/fro...ng-soundtrack/ For starters: every song has two parts to it, and you need a licence for each. The publishing (or synchronising) rights make up the written composition and the master rights pertain to the particular sound recording a filmmaker going to use. In some instances, there may be a number of parties with publishing rights. Say you want The Chain by Fleetwood Mac for your movie: you need all five songwriters to give you the legal go ahead, along with their label and whoever owns the rights to the particular recording you want to use. Typically, pulling together a soundtrack is a post-production effort. Even when a song is referenced in the screenplay, it might not always make it into the film. For instance, there may not the budget left for music when the time for music does come. Songs that play during the opening and closing credits in particular, can come at some pretty hefty prices, as they set the overall tone for the production. When there isn’t money left for music, filmmakers may look to relatively unknown artists in hopes that they will provide their songs under a gratis licences – that is, for free, but still legally contracted to the filmmaker. Or, they may find something in the Public Domain that has all the components of the composition arranged so that it does not require further licensing. Often, a song that may have fit the screenplay doesn’t work for the actual film. In the case of the 2012 film The Perks of Being A Wallflower, David Bowie‘s Heroes replaced Fleetwood Mac‘s Landslide, which had been heavily referenced in the original book. Heroes ended up in the film because, according to writer-director Stephen Chbosky, Landslide was too soft a ballad to fit with the footage.
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#1375
05-11-2016, 10:32 PM
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[from an article on drums]
https://pjmedia.com/lifestyle/2016/0...ming-handbook/ PJ Media BY ED DRISCOLL MAY 10, 2016 When recording began in 1977 on Fleetwood Mac’s zillion-selling album Rumours, Mick Fleetwood watched with frustration as his engineer-producer struggled to obtain a decent recorded version of his drum playing. During the process (which obviously worked itself out in time), he quipped, “God knows, if the drums aren’t right, then the song is not survivable.”
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#1376
05-20-2016, 01:07 PM
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Stuff.co.nz
Drunk man punches victim five times in head during Dunedin Fleetwood Mac concert HAMISH MCNEILLY Last updated 16:48, May 20 2016 Naughty man... http://www.stuff.co.nz/national/8022...od-Mac-concert A man has admitted punching a concert-goer in the head during Fleetwood Mac's Dunedin gig at Forsyth Barr Stadium. HAMISH MCNEILLY/FAIRFAX NZ A man has admitted punching a concert-goer in the head during Fleetwood Mac's Dunedin gig at Forsyth Barr Stadium. Ads by Google The smart trading apptrading212.com Start now with a free £10K Demo! Your capital is at risk. A man has admitted punching a stranger five times during Fleetwood Mac's Dunedin concert after an argument over spilled beer. Phillip James Harris, 29, of Mosgiel, appeared for sentencing before Judge Dominic Flatley in the Dunedin District Court on Friday. "I don't understand this behaviour and offending," the judge said. Fleetwood Mac performed in Dunedin on November 18 last year. According to the summary of facts, Harris was at the concert at Forsyth Barr Stadium on November 18 when he climbed over chairs belonging to the victim's group, causing him to spill his beer. A verbal altercation ensued and the pair needed to be pulled apart. Harris then went to the victim and punched him in the head. As he fell to the ground Harris stood over him and punched him on the head and body before the pair were pulled apart. The victim suffered concussion, numerous small cuts and bruising to his left eye and right arm. Harris admitted he was extremely intoxicated and had punched the victim in the head five times in quick succession. Judge Flatley said Harris ruined the occasion of the concert for his victim and "became aggressive and violent for no reason". Harris was sentenced to four months' community detention, 250 hours of community work and ordered to pay reparations of $1500
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#1377
05-20-2016, 08:02 PM
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Quote:
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#1378
06-01-2016, 09:51 AM
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40 Years Ago: Sammy Hagar Begins His Solo Career With ‘Nine on a Ten Scale’
By Eduardo Rivadavia May 28, 2016 2:03 PM But the remaining tracks, all covers, showed that Sammy’s musical direction was still quite unclear. “China” was a rather funky little number composed by former Fleetwood Mac guitarist Bob Welch, “Young Girl Blues” was a sultry, seven-minute odyssey through a Donovan track, and “Flamingos Fly” was a full-blown Caribbean cruise, complete with steel drums by Steely Dan’s Jimmy Hodder, that Hagar personally extracted from one of his all time heroes, Van Morrison. Read More: 40 Years Ago: Sammy Hagar Begins His Solo Career With 'Nine on a Ten Scale' | http://ultimateclassicrock.com/sammy...ckback=tsmclip
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#1379
06-04-2016, 11:36 PM
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USC band jams out with Red Hot Chili Peppers, Will Ferrell, Fleetwood Mac for charity
By nickdempsey on Jun 3, 2016, 12:47p + Conquest Chronicles http://www.conquestchronicles.com/20...-fleetwood-mac A while back the internet took notice of the fact that comedy legend and famous USC alum, Will Ferrell looked remarkably similar to Red Hot Chili Peppers Drummer Chad Smith. The two decided to turn it into a mock feud culminating with a drum-off on the Tonight Show with Jimmy Fallon. The two eventually took it one step forward and hosted a charity event on April 29 to raise money for various causes and brought a few musicians like the Red Hot Chili Peppers, Tommy Lee of Motley Crue, Devo, Mick Fleetwood of Fleetwood Mac and more. Ferrell brought several of his friends in the comedy business as well including Ron Swanson himself Nick Offerman, and standup comic Jim Gaffigan. The Event was held in the Shrine Auditorium at the USC Campus. Smith and Ferrell once again engaged in a drum-off with Ferrell bringing in Mick Fleetwood to help him win the battle with Smith. Will Ferrell and Fleetwood Mac putting on a show at USC? Oh yeah, you know who made an appearance. The Spirit of Troy once again joined Fleetwood Mac on stage for another fantastic rendition of "Tusk" You can watch the full battle below:
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#1380
06-05-2016, 02:58 PM
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The band is mentioned twice in Cassandra Clare's The Bane Chronicles, which are about an immortal warlock called Magnus Bane...
First, in the chapter, "The Fall of the Hotel Dumort," set in July, 1977: Quote:
FM is mentioned again in a present-day chapter, "What To Buy the Shadowhunter Who Has Everything": Quote:
__________________
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I Got News for You - Audio CD By Bekka Bramlett - VERY GOOD
$249.52
RITA COOLIDGE CD THINKIN' ABOUT YOU BEKKA BRAMLETT LETTING YOU GO WITH LOVE 1998
$12.00
The Zoo Shakin' the Cage CD Mick Fleetwood Bekka Bramlett Billy Thorpe
$10.19
It Won't Be Christmas Without You by Brooks & Dunn (CD, Oct-2002, Arista)
$5.23
Bekka (Bramlett) & Billy (Burnette) - Bekka & Billy - 1997 Almo Sounds - Used CD
$9.00
Linear Mode
