MacNuggets [Archive] - Page 6

SisterNightroad

05-27-2015, 02:19 PM

What's The Biggest Selling Album of All-Time?
By Geoffrey Golden on February 12, 2012

What's the biggest selling album of all time? The list of top worldwide selling albums, according to Wikipedia, contains rock, R&B, country and movie songs. In fact, three of the albums are soundtracks to movies. Some of the top selling albums may surprise you. To gain entry into this album list, the album must have sold at minimum 20 million copies worldwide.

10. Rumours – Fleetwood Mac – 40 million copies sold

Fleetwood Mac's album Rumours is their eleventh studio album. Four of the album's songs were released as singles. Relationship breakups between Fleetwood Mac members prior to the studio sessions reflected the lyrics on the album.

9. Saturday Night Fever – Bee Gees, various artists – 40 million copies sold

Saturday Night Fever is the soundtrack to the popular movie of the same name. The album helped revive disco in the U.S. The Bee Gees wrote and recorded five original songs for the film: "Stayin' Alive," "Night Fever," "How Deep Is Your Love," "More Than A Woman" and "If I Can't Have You" as part of a regular album before they knew they were creating a soundtrack for the film.

8. Millennium – Backstreet Boys – 40 million copies sold

The Backstreet Boys pop music album Millennium broke numerous records. Millennium was nominated for five Grammy Awards and contained four Top 40 singles. The album entered the Billboard 200 at number one, remaining there for 10 non-consecutive weeks.

7. Dirty Dancing – Various artists – 42 million copies sold

Dirty Dancing is another original movie soundtrack. The album was a commercial success in the U.S., spending 18 weeks at #1 on the Billboard 200 album sales charts, going multi-platinum. Hits from the album include the songs "(I've Had) The Time of My Life," "She's Like the Wind," and "Hungry Eyes," as well as a revival of a number of pop and doo wop/R&B songs.

6. Eagles Their Greatest Hits (1971–1975) – Eagles – 42 million copies sold

The Eagles' greatest hits album is a compilation of nine best-selling singles released between 1972 and 1975 by the group. In the United States, the album tied with Michael Jackson's Thriller as the best-selling album domestically.

5. Bat Out Of Hell – Meat Loaf – 43 million copies sold

Bat Out Of Hell is Meat Loaf's second album. Rolling Stone magazine ranked the album at #343 on its list of 500 Greatest Albums of All-Time in 2003. Composer Steinman and Meat Loaf developed the idea for the album from a musical sci-fi update of Peter Pan called Neverland.

4. The Bodyguard – Whitney Houston, various artists – 44 million copies sold

The Bodyguard is the original soundtrack to the movie of the same name. The album won a Grammy for best album of the year. Houston made history by becoming the first act (solo or group, male or female) selling more than a million copies of an album within a single week. To date, this is the best-selling soundtrack of all time.

3. The Dark Side of the Moon – Pink Floyd – 45 million copies sold

The Dark Side of the Moon is the Pink Floyd's sixth studio album. The themes on the progressive rock group's album include the passage of time, greed, conflict and mental illness. The Dark Side of the Moon is Pink Floyd's most commercially successful album to date.

2. Back in Black– AC/DC – 49 million copies sold

AC/DC's Back in Black is the first album recorded after the death of their lead singer Bon Scott – the album is dedicated to him. The band hired Brian Johnson as the hard rock Australian band's new lead singer.

1. Thriller – Michael Jackson – 110 million copies sold

Thriller is the sixth studio album by Michael Jackson, a follow up to his successful album Off The Wall. The popularity of this album may be due to its varied musical styles of R&B, rock, pop, funk and soul, which are incorporated in the album.

http://www.celebritynetworth.com/articles/entertainment-articles/whats-the-biggest-selling-album-of-all-time/

FuzzyPlum

05-27-2015, 02:24 PM

SisterNightroad

05-27-2015, 02:27 PM

Bat Out Of Hell: #343 on the RS all time greatest albums list- that's criminally low!
Also this is from 2012, before the latest massive Mac tours, and I recall that since then Rumours climbed to the 8th position on the best selling albums list.

SisterNightroad

05-31-2015, 07:45 AM

Warren Haynes on His New Solo Album, Gov’t Mule’s Future and Working With B.B. King: Exclusive Interview

<iframe width="630" height="354" src="https://www.youtube.com/embed/A13tUxH09SI" frameborder="0" allowfullscreen></iframe>

Grace Potter shows up on a cover of Fleetwood Mac’s “Gold Dust Woman,” which is something the two of you have done live together in the past. How did you end up recording it for this collection?

It seemed like the right time to capture the song in the studio. Recording it this way, with the acoustic instrumentation, really casts it in a cool light.

Read More: Warren Haynes on His New Solo Album, Gov't Mule's Future and Working With B.B. King: Exclusive Interview | http://ultimateclassicrock.com/warren-haynes-interview-2015/?trackback=tsmclip

Sanne2

06-05-2015, 06:56 AM

The US trailer for the movie "Suffragette" a drama with Carey Mulligan, Meryl Streep and Helena Bonham Carter, features a nice new cover of "Landslide" from singer Robyn Sherwel: https://www.youtube.com/watch?v=hfZY8Xv1PtQ

SisterNightroad

06-05-2015, 04:29 PM

FuzzyPlum

06-06-2015, 04:43 PM

The Guardian
Why are the gender rules of rock and pop still so reactionary?

http://www.theguardian.com/commentisfree/2015/jun/05/gender-rock-pop-festival-fleetwood-mac

...Next Sunday, by contrast, a group will headline the last night of the Isle of Wight festival after nine months spent touring American and European arenas, and provide a glimpse of something different. After 17 years as an on-off quartet, Fleetwood Mac have assembled all five members of their most successful line-up and come back to remind us that they are by far the most successful mixed-gender rock band in history, though surprisingly few people have ever thought to follow their example.

The fact that their internal romantic entanglements made their most successful period such an emotional hell might serve as a cautionary tale. Then again, the incredible, fantastically honest music that came out of it all speaks for itself. Rock and pop tend to scrape perfection when they deal with love and relationships; in Fleetwood Mac’s greatest work, you hear those subjects explored with such power precisely because both male and female views are on show.

Lindsey Buckingham (a man, just to make that clear) is a kinetic stage presence and gifted guitar player, but performing alongside two women is part of what makes him very different from the standard macho guitar hero. Equally, for all that Stevie Nicks is all flowing tresses and robes and hippie ethereality, the fact that she commands the stage alongside three men confirms her sense of unimpeachable strength. Stage right is the newly returned singer and keyboard player Christine McVie, a brilliant and very understated songwriter, whose career history goes back to the time she spent as an anomalous member of the English blues-rock band Chicken Shack. (“There weren’t many women in bands then – I was always the only girl,” she recently told Mojo magazine, perhaps mistakenly using the past tense.) The two other men in the group – drummer Mick Fleetwood and the bassist, McVie’s former husband John – are at the back: give or take the former’s slightly painful nightly drum solo, a case study in the musical restraint that has always left space for the band’s front rank to work their magic.

I could listen to Rumours (1977) and the jaw-dropping Tusk (1979) all day: in fact, post-election, that’s exactly what I have been doing. The band’s average age is 67.8; there are rumblings that this tour may mark the start of the end.

“I think every band should have a girl in it, because it’s always going to make for cooler stuff going on than if it’s just a bunch of guys,” says Nicks. So, two questions: why have so few people ever seized on their example? And in the midst of a musical landscape so dominated by boring big gorillas, isn’t it time a few more modern musicians belatedly did?

SisterNightroad

06-09-2015, 08:12 AM

Darkness, ‘Last of Our Kind’: Album Review
By Dave Swanson June 2, 2015 9:48 AM

<iframe width="854" height="510" src="https://www.youtube.com/embed/Z4PF71I2Mz4" frameborder="0" allowfullscreen></iframe>

“Sarah O Sarah” is a soaring guitar escapade that sounds like a cross between Fleetwood Mac and Yes.

Read More: Darkness, 'Last of Our Kind': Album Review | http://ultimateclassicrock.com/darkness-last-of-our-kind/?trackback=tsmclip

michelej1

06-12-2015, 08:35 PM

[click to see the video of the knowledgeable basketball fan]

http://abc7chicago.com/sports/kimmel-calls-out-bandwagon-warriors-fans-in-latest-lie-witness-news/777440/

Jimmy Kimmel is once again calling out the posers in his latest installment of "Lie Witness News." He sent a crew to Oakland for the NBA Finals to quiz Warriors fans about their team and their opponents, the Cleveland Cavaliers.

One fans wearing a Warriors t-shirt and hat is asked, "Do you feel like Stevie Nicks will finally be able to take down Lindsey Buckingham?"

"It's a possibility," he replies, not making the connection that Nicks and Buckingham were members of the iconic band Fleetwood Mac.

BlueDenimLamp

06-16-2015, 03:15 PM

<blockquote class="twitter-tweet" lang="en"><p lang="en" dir="ltr">About to get Mac attacked folks. <a href="http://t.co/lNLYXU7mrN">pic.twitter.com/lNLYXU7mrN</a></p>— camera_obscura_ (@camera_obscura_) <a href="https://twitter.com/camera_obscura_/status/610884776669675520">June 16, 2015</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

http://i1361.photobucket.com/albums/r663/Nicksiannation/ddd_zpskjhgmz42.png

Retweeted by Neko Case...She must be a fan...

SisterNightroad

06-20-2015, 03:52 PM

Sex With Stevie Nicks In Hospice (The Classic Metal Show)

<iframe width="854" height="510" src="https://www.youtube.com/embed/EAySVfy_0_w" frameborder="0" allowfullscreen></iframe>

Neeley and Chris talk about ladies that were considered hot in the '60s and '70s and if they would have sex with them today. The conversation gets very wrong very fast.

The infamous part begins at 3:45 https://youtu.be/EAySVfy_0_w?t=225

michelej1

06-21-2015, 06:02 PM

[Complaints about broker Circle Tickets]

Ed Sheeran, Taylor Swift and Fleetwood Mac fans left out of pocket by ticket agency

22:49, 20 June 2015 By Stephen Hayward Mirror Co. UK

http://www.mirror.co.uk/news/uk-news/ed-sheeran-taylor-swift-fleetwood-5920954

Circle Tickets advertised tickets to popular music concerts - often priced upwards of £100 - but never sent them

Fans of stars including Taylor Swift, Fleetwood Mac and Ed Sheeran have been left hundreds of pounds out of pocket after an online ticket agency shut up shop.

Thousands of concert-goers have been robbed of their chance to see their idols after forking out for tickets which failed to turn up.

Fraud investigators have received hundreds of complaints about the agency, Circle Tickets, which appears to have stopped trading.

Angry customers yesterday voiced their frustration on social media after failing to get their tickets.

One fumed: “We ordered tickets for Paloma Faith at Hampton Court Palace a couple of months ago - and our tickets have not arrived.

“I have sent Circle Tickets numerous emails and received no response. I have tried phoning them many times and just end up on hold. I paid with credit card so I have just initiated a dispute, so hopefully I’ll get my money back.”

Circle Tickets advertised tickets for Taylor Swift’s current British tour at more than £100. Yesterday the CircleTicket.com website itself disappeared.

When the company’s advertised phone number is called it goes to hold then a message tells the caller the voicemail is full.

Alisha also tried emailing, but had no response. “I’ve luckily been able to find legitimate tickets elsewhere,” she said.

In an online message to the firm, Taylor Swift fan Jane Rigby stormed: “I would like to meet you one day with my 12-year-old daughter and then you could maybe explain why you think it is okay to have robbed her of her first concert experience.”

Jane says she had paid £229 for Taylor Swift concert tickets at London’s Hyde Park next Saturday. She then bought return Virgin Rail tickets from Manchester to London for £125 and hotel accommodation costing £276.

She added: “You are a disgrace and I have reported you to the fraud team at my bank and other necessary agencies. I am an ordinary hard-working mum and don’t have money to give away, this treat was instead if a summer holiday, now we get neither. Shame on you.”

Action Fraud, the UK’s national reporting centre for fraud and cyber crime, said it was looking into a number of complaints about Circle Tickets.

Last night a spokesman for Clyde Offices said they made the decision to withdraw their services last week.

He added: “This was a registered address for Circle Tickets but not any more. We have strict terms and conditions and can terminate the contract if we are suspicious.”

Barclaycard has launched its own investigation after the Circle Tickets website used its logo without permission.

A Barclaycard spokesman said: “Barclaycard has no affiliation with Circle Tickets and they have been using our logo without our permission.

“Both our legal and electronic crimes teams have been investigating Circle Tickets and the website is no longer in operation.

“We will be escalating this matter to the relevant law enforcement agencies.”

Robin Bowman of consumer action site A Spokesman Said said: “These situations pop up with depressing regularity online but you rarely hear of anything being done by the authorities to protect the public.

“We recommend that people only buy tickets from authorised outlets and always do a quick search online to see if other customers have had problems.”

elle

06-21-2015, 07:09 PM

Retweeted by Neko Case...She must be a fan...

yes. she's been at least a Lindsey fan for years. she tweeted about how much she loved his Seeds album when it first came out, created some extra buzz on social media for the album at the time.

michelej1

06-23-2015, 08:29 PM

By Luke Morgan Britton , June 22, 2015 13:06 NME

Council threatens pensioners with ASBO for playing Fleetwood Mac songs too loudly Fleetwood Mac Tickets

Robert and Christine Fox, 68, are accused of playing ’60s and ’70s music too loudly in their Plymouth garden

Two pensioners in Plymouth have been warned that they'll receive an anti-social behaviour order if they continue to play music so loudly.

Robert and Christine Fox, both 68, were recently threatened with an ASBO by their local council after neighbours complained that they were playing Roy Orbison and Fleetwood Mac songs too loudly.

Torquay's Herald Express reports that council officials visited the Fox household last week, delivering a letter warning the couple about the complaints.

"I was annoyed that a neighbour of mine felt the need to report me and not come to me about it," said Mr Fox, a retired lorry driver.

"Apparently, I’m unapproachable. I’m so upset by all of this. We’ve never done anything wrong all our lives and now we’ve got all this to deal with.

"We are both retired and we just enjoy spending our time out in the garden while the weather is so sunny. We’ve always made sure our music is turned off by 6.30pm every evening. I belong to the local over-’60s club and all my friends can’t believe it."

Plymouth County Council have said they won't take further action unless it the complaints continue. They have also promised to provide the Fox family with specialist equipment to monitor noise levels.

Meanwhile, Fleetwood Mac recently headlined Isle Of Wight Festival, which will be their only UK festival appearance of 2015. They are set to perform at London's O2 Arena this week, before shows in Leeds, Manchester, Glasgow and Birmingham.

Read more at http://www.nme.com/news/fleetwood-mac/86374#bC7u6MDusidmXQGf.99

michelej1

06-28-2015, 03:11 PM

[Creative Loafing Article about Charlotte band Groove 8. I wonder when percussionist Antonio Diaz was offered a position with FM]

http://clclt.com/charlotte/get-into-the-groove-8/Content?oid=3617507

Diaz, who himself was offered a backup musician spot with Fleetwood Mac, says that unpredictable schedules are the toughest part of keeping the band together. That, and staying strong in Charlotte's tough hometown market.

michelej1

06-28-2015, 03:21 PM

[From a Grazia article by Emma Spedding about the new One Direction album, June 25, 2015]

http://www.graziadaily.co.uk/2015/06/one-direction-interview-fifth-album-fragrance

Niall: "It's very different. Not totally different we're not bringing out Jason Derulo stuff. That would scare a few people if we started bringing out music like him. Not saying it's bad, if we brought out R&B pop it's not going to work. It's a lot more rocky. The phrase Fleetwood Mac has been thrown around a couple of times, which is not a bad thing."

michelej1

06-28-2015, 03:46 PM

[From an article wondering why Twitter reacted so badly to Florence and the Machine hosting Glastonbury]

By Stuart Aitken June 25, 2015, The Drum

http://www.thedrum.com/opinion/2015/06/25/why-did-twitter-react-so-badly-florence-and-machine-headlining-glastonbury

Also on Facebook we at least saw some female presence during the period 16-18 June when discussions around replacements for Foo Fighters were taking place in earnest. During this period we found that the Stone Roses received the most mentions, followed by Fleetwood Mac and the very female Taylor Swift.

A possible reason for this pattern could be that Glastonbury skews towards the female on Facebook; intriguingly, 52 per cent of the festival’s Facebook fans are female and 48 per cent male.

However, the biggest differences are seen over on female-friendly Instagram where the story is radically different.

Here we find the most popular artists for followers of @glastoofficial to be almost exclusively female. Amongst a top ten list that includes classic female brands like Asos and Topshop, the most popular artist is Jessie Ware (fourth), followed by Paloma Faith (fifth). Florence comes eighth on the list, sandwiched between Urban Outfitters and Selfridges – and beating the only male artist in the top 10, George Ezra (tenth).

So perhaps come Saturday morning Florence would be best to consult Instagram for a friendly assessment of her performance rather than trawling through the famously snarky recesses of Twitter’s darkest corners. Whatever happens, we’ll be keeping a close eye on what social media makes of the festival and will report back with our findings early next week. Stay tuned…

michelej1

06-28-2015, 04:10 PM

[More Grey discussion to which I object. Rumours was not only popular, but good. 50 Shades books may be titillating but does anyone think they're good writing??]

http://www.independent.co.uk/voices/el-jamess-book-grey-is-a-reminder-of-how-the-phenomenon-of-the-bestseller-works-10350271.html

On the other, arguments about numbers rarely take into account wider cultural resonance. Certainly, a trawl through the record sales of the 1960s will nearly always demonstrate, let us say, that The Sound of Music outsold Sgt Pepper’s Lonely Hearts Club Band, or that Engelbert Humperdinck shifted more singles than the Rolling Stones; but in terms of cultural impact Engelbert and Rodgers and Hammerstein invariably end up taking a back seat. It is the same with the late 1970s. Of course, Fleetwood Mac’s Rumours outsold all the punk bands by 10 to one. Of course all the excitement about the “New Wave” was a conspiracy got up by the music press. Of course, the nation’s youth were really grooving to disco rather than the Sex Pistols and The Jam. But who, nearly 40 years later, has the greater significance – John Lydon or Mick Fleetwood? Paul Weller or Stevie Nicks?

Naturally, it is possible to reply, with all sincerity, that Ms Nicks takes the pas or that Mr Fleetwood is a figure of titanic cultural import. As I say, we live in a relativist age and I wouldn’t dream of suggesting that a single snatch of The Jam’s “The Eton Rifles” has greater cultural value than the Mac’s entire recorded output. No, such judgements would only offend. One of the great merits of what, if it were an Agatha Christie novel, would be called The Mysterious Affair of the Popularity of E L James, is its reminder – a rather salutary reminder in many ways – that there are hundreds of thousands of people beyond the influence of the critical thought police, who don’t mind being thought dim, or culturally unattuned, or care what the pundits in the newspapers, and judge it to be worth reading; and that this, essentially, is how the phenomenon of the best-seller works.

michelej1

07-03-2015, 08:39 PM

Billboard's 50 Acts for 50 States

Music Times

http://www.musictimes.com/articles/42091/20150702/billboard-50-acts-states-taylor-swift-eminem-more-rep-home.htm

Billboard came up with a fun project for the July 4th holiday, assigning a music performer that best represents each of the 50 states. According to the site, final decisions were largely based on sales results from its charts, but a performer's deception to their home state via its lyrics also made a difference. Check out what performer made it for your state and let us know if Billboard chose well.

Arizona: Fleetwood Mac (Yeah, the band is British but Stevie Nicks is from Phoenix.)

michelej1

07-10-2015, 10:03 PM

[From an Uproxx interview with Vanessa Bayer]

By Mike Ryan 07.09.15

http://uproxx.com/movies/2015/07/vanessa-bayer-trainwreck-snl/

One of my favorite SNL sketches of the last couple years was the one where you and Paul Rudd are going through a divorce, but keep dancing to your phone ringtones that play “I Don’t Want to Know” by Fleetwood Mac.

Oh! I love that one so much. Claire Mulaney, who is John Mulaney’s little sister, wrote that scene, and that was so fun.

SisterNightroad

07-12-2015, 11:06 AM

Top 10 Christine McVie Fleetwood Mac Songs
By Michael Gallucci

http://wac.450f.edgecastcdn.net/80450F/ultimateclassicrock.com/files/2013/07/McVie_FinCostello.jpg

Christine McVie was a member of Fleetwood Mac long before Lindsey Buckingham and Stevie Nicks joined and transformed them from a lumbering ’60s British blues band into one of the ’70s’ biggest acts. She joined the group in 1970 and slowly evolved into one of its strongest songwriters. But once Buckingham and Nicks got on board in 1975, McVie stepped up even more, writing and singing some of Fleetwood Mac’s biggest hits. Even if she occasionally got lost outside of the spotlight that was increasingly aimed at the California couple, McVie often contributed standout cuts on milestone records like Rumours and Tusk. Our list of the Top 10 Christine McVie Fleetwood Mac Songs proves that Buckingham and Nicks were just part of the singer-songwriter powerhouse that fueled the band.

10
'Everywhere'
From: 'Tango in the Night' (1987)

In spite of its very '80s production, Lindsey Buckingham's last album with the band's most famous and successful lineup contains some of its most sophisticated pop songs. McVie's "Everywhere," released as the LP's fourth single, reached No. 14, their last Top 20 hit. It's a typically shimmering piece of music from the band, which was splintering beyond repair at the time.

9
'Love in Store'
From: 'Mirage' (1982)

The opening track of 1982's Mirage sets the tone for the relatively scaled-back album (following the super-ambitious Tusk), coasting along a warm and cozy McVie melody. Lindsey Buckingham and Stevie Nicks provide heavenly harmonies, but "Love in Store" is mostly McVie's song, right down to her welcoming, worn-in vocal.

8
'Songbird'
From: 'Rumours' (1977)

McVie's Rumours solo showcase features mainly just piano and vocal with very spare backing. "Songbird" is one of her loveliest compositions and one of her most personal, which explains the intimate performance she gives. Nestled between "Go Your Own Way" and "The Chain" on the multi-platinum album, the song serves as a calm before and after the storms.

7
'Little Lies'
From: 'Tango in the Night' (1987)

Like "Everywhere" (see No. 10 on our list of the Top 10 Christine McVie Fleetwood Mac Songs), "Little Lies" bears the highly polished production favored by just about everyone in the mid-'80s. But McVie's gently rocking song -- co-written with her husband at the time, Eddy Quintela -- packs a mighty hook. Released as a single, "Little Lies" made it to No. 4, which tied it as Fleetwood Mac's biggest hit since "Don't Stop," and their last Top 10.

6
'Think About Me'
From: 'Tusk' (1979)

Tusk, Fleetwood Mac's double-record follow-up to the career-defining 'Rumours,' is generally viewed as a Lindsey Buckingham project -- from the album's general epic sprawl to its intricate production. Backed by Buckingham, "Think About Me" is a tight, compact and surprisingly tough rocker by McVie, who usually countered her bandmate's biting sour notes with soft sweetness.

5
'Over My Head'
From: 'Fleetwood Mac' (1975)

Fleetwood Mac's superstar era pretty much kicked off with this Top 20 single (the band's first Top 40 hit) from their self-titled 1975 reboot. Lindsey Buckingham and Stevie Nicks gave the veteran British blues group the pop smarts it needed to hit the charts, but the band led its charge with McVie's "Over My Head," which set the template for her role in the band's storied singer-songwriter trio as the one who wrote its best soft rockers.

4
'Hold Me'
From: 'Mirage' (1982)

As on a few other cuts on our list of the Top 10 Christine McVie Fleetwood Mac Songs, she gets ample support from Lindsey Buckingham on "Hold Me," the first single from the band's first album of the '80s. But McVie co-wrote it (with British singer-songwriter Robbie Patton) and guides it through the subtle twists and turns. The song became one of the band's biggest hits, making it to No. 4.

3
'You Make Loving Fun'
From: 'Rumours' (1977)

By the time "You Make Loving Fun" was released as Rumours' third single, the album was well on its way to becoming one of the bestselling LPs ever. The song celebrates McVie's affair with a member of Fleetwood Mac's tour crew, which probably thrilled her bass-playing bandmate ex. But Rumours was built on that type of friction.

2
'Don't Stop'
From: 'Rumours' (1977)

McVie's biggest hit with Fleetwood Mac (only "Dreams," the band's sole No. 1, was bigger) is really a group song. At least in performance, where Lindsey Buckingham shares a huge chunk of lead vocals. But McVie wrote it, and it carriers her imprint, from the big piano-powered melody to the finely tuned (and super-tuneful) interplay of the verse and choruses.

1
'Say You Love Me'
From: 'Fleetwood Mac' (1975)

"Over My Head" (see No. 5 on our list of the Top 10 Christine McVie Fleetwood Mac Songs) may have launched Fleetwood Mac Mach 5 (or whatever number they were on at this stage), but "Say You Love Me" confirmed their status as pop stars. Stevie Nicks' "Rhiannon," Fleetwood Mac's second single, reached No. 11 and was the group's biggest song up until then, but McVie's cut (also a No. 11 hit) helped send the No. 1 album on its way to multi-platinum glory.

Read More: Top 10 Christine McVie Fleetwood Mac Songs | http://ultimateclassicrock.com/christine-mcvie-fleetwood-mac-songs/?trackback=tsmclip

michelej1

07-18-2015, 12:48 AM

michelej1

07-18-2015, 01:00 AM

[The Eagles are America's favorite band. Those Brits spoil everything. ]

http://www.pressofatlanticcity.com/life/are-the-eagles-america-s-best-rock-band/article_be2f29fe-2c1d-11e5-b7da-b74b2061d9e0.html

Fleetwood Mac has classic songs and albums and is currently touring with the band’s most famous lineup, but only Stevie Nicks and Lindsey Buckingham are Americans.

elle

07-19-2015, 11:41 AM

[Excerpt from Rod Stewart article]

Rod Stewart Headbangs, Tells 'Shagging' Stories and Performs with A$AP Rocky in 'Carpool Karaoke'

By Lars Brandle | July 15, 2015 5:58 AM EDT Billboard

http://www.billboard.com/articles/news/6633570/rod-stewart-headbangs-tells-shagging-stories-and-performs-with-aap-rocky-in

When asked about the most rock ‘n’ roll experience of his life, the 70-year-old’s answer was as candid as you could expect. “I don’t know, mate. There’s been so many. We were outrageous with the Faces.” In what way? “Drinking and a shagging. And a drinking and a shagging. That’s what we did. And smashing up hotel rooms.” He recalled how the Faces were banned from the Holiday Inn, so they always checked in as Fleetwood Mac.

the whole video is pretty great!

and i also love the non-diva behavior Rod displays at the very end when Corden asks him whether he'll be ok getting back and Rod goes "oh yeah i'll just call uber". love my rock stars to be self-sufficient! :thumbsup:

<iframe width="560" height="315" src="https://www.youtube.com/embed/5ndj6xn2P0c" frameborder="0" allowfullscreen></iframe>

FuzzyPlum

07-19-2015, 02:47 PM

[Excerpt from Rod Stewart article]

Rod Stewart Headbangs, Tells 'Shagging' Stories and Performs with A$AP Rocky in 'Carpool Karaoke'

By Lars Brandle | July 15, 2015 5:58 AM EDT Billboard

http://www.billboard.com/articles/news/6633570/rod-stewart-headbangs-tells-shagging-stories-and-performs-with-aap-rocky-in

When asked about the most rock ‘n’ roll experience of his life, the 70-year-old’s answer was as candid as you could expect. “I don’t know, mate. There’s been so many. We were outrageous with the Faces.” In what way? “Drinking and a shagging. And a drinking and a shagging. That’s what we did. And smashing up hotel rooms.” He recalled how the Faces were banned from the Holiday Inn, so they always checked in as Fleetwood Mac.

Oh, that's such a cool clip. I guess Fleetwood Mac have a mixed relationship with Rod Stewart- Mick and Stevie are obviously good pals with him but I'm not sure Lindsey would ever be on good-mate terms after the rumoured incident with Carol-Ann. Shame they didn't play my favourite- Baby Jane.

On another note, can I ask American Ledgies what sort of reception James Corden is having for his chat show in the US? He's a big deal in the UK but a bit of a love him or loath him character. I probably fall in the latter but for some reason I'd like to see him succeed in the States.

michelej1

07-19-2015, 05:24 PM

On another note, can I ask American Ledgies what sort of reception James Corden is having for his chat show in the US? He's a big deal in the UK but a bit of a love him or loath him character. I probably fall in the latter but for some reason I'd like to see him succeed in the States.

Of course, when I just heard his name, I didn't think I knew him, but then I saw him and realized he's the guy behind Gavin & Stacey. I was thrilled.

Michele

FuzzyPlum

07-21-2015, 02:46 AM

Of course, when I just heard his name, I didn't think I knew him, but then I saw him and realized he's the guy behind Gavin & Stacey. I was thrilled.

Michele

I never did get the popularity of Gavin and Stacey.

michelej1

07-21-2015, 02:17 PM

I never did get the popularity of Gavin and Stacey.

It's pretty funny -- and sweet. It's no Coupling, by any means.

Michele

michelej1

07-22-2015, 01:21 AM

[Excerpt From a Rolling Stone Flashback Re Bob Dylan]

By Andy Greene July 21, 2015

As quickly as the covers entered Dylan's set, they vanished when the tour picked up in Australia in February of the following year. Former Fleetwood Mac guitarist Billy Burnette replaced Charlie Sexton by that point and they did play "Brown Sugar" the first night in Canberra, but after that they were completely gone - and after just 11 shows Burnette was gone as well. Filling Lindsey Buckingham's shoes was no easy feat, but apparently it was even harder to fill Charlie Sexton's.

Read more: http://www.rollingstone.com/music/videos/flashback-bob-dylan-covers-brown-sugar-in-2002-20150721#ixzz3gbAizZaC
Follow us: @rollingstone on Twitter | RollingStone on Facebook

SisterNightroad

07-23-2015, 08:48 AM

Smashing Pumpkins and Marilyn Manson Begin Summer Tour

Smashing Pumpkins and Marilyn Manson started their End Times Tour in Concord, Calif., on Tuesday (July 7), treating fans to a night of debuts, returns and hits as well as deep cuts.

Touring behind Monuments to an Elegy, the Smashing Pumpkins took the stage with a newly revamped lineup that saw bassist Jack Bates making his live debut while drummer Jimmy Chamberlin returned for the first time since 2008. The Smashing Pumpkins’ July 7 setlist also featured some numbers fans hadn’t heard in concert for awhile, including “The Everlasting Gaze” and “Thru the Eyes of Ruby,” along with hits (including “Bullet with Butterfly Wings,” “1979″ and an acoustic “Disarm”) as well as their cover of Fleetwood Mac‘s “Landslide.”

<iframe width="854" height="510" src="https://www.youtube.com/embed/yJ6Jm-OmEQg" frameborder="0" allowfullscreen></iframe>

Read More: Smashing Pumpkins and Marilyn Manson Begin Summer Tour: Photos, Set Lists, Video | http://ultimateclassicrock.com/smashing-pumpkins-marilyn-manson-tour/?trackback=tsmclip

michelej1

07-23-2015, 10:23 PM

[From real estate piece]

http://touch.latimes.com/#section/-1/article/p2p-84052313/

$23 million — Santa Monica

In the 600 block of East Channel Road, the former marital home of author-screenwriter Victoria Foyt and film director Henry Jaglom sold for $23 million, one of the most expensive transactions historically for the Westside community.

Set behind walls and antique gates, the 3.3-acre compound known as Villa Ruchello was used as a location for the film “Beverly Hills Cop” as well as a short-term home for members of Fleetwood Mac and British singer-songwriter Lily Allen.

Some 14,000 square feet of space is divided between an eight-bedroom main house, a two-bedroom guest house and a two-bedroom gatehouse. There are 12.5 bathrooms in all.

Outdoors, park-like grounds contain mature trees, gardens and a swimming pool with a series of cabanas.

Billy Rose, Edward Fitz and Santiago Arana of The Agency were the listing agents. Myra Nourmand of Nourmand & Associates Beverly Hills represented the buyer.

bombaysaffires

07-24-2015, 12:14 AM

this is the house Mick and Christine were living in. That stairway in the foyer is where the band photos were taken. Not too shabby.

michelej1

07-27-2015, 12:00 AM

Atlanta Journal Constitution by Vicki Griffin, July 25, 2015

http://www.ajc.com/news/news/local/community-voices-roswell-offers-bounty-of-arts-opt/nm5SH/

Community Voices: Roswell offers bounty of arts options

While in Atlanta for a concert at the Phillips Arena, Mick Fleetwood, founding member and drummer of Fleetwood Mac, took time to talk a little about the other artistic passion in his life, his photography. Fleetwood was exhibiting some of his photography at the Ann Jackson Gallery in Roswell. He took time off to show and discuss some of his photography collection in an exhibit called “Reflections.” Photo courtesy of MickFleetwoodOfficial.com

The art of John Lennon and Mick Fleetwood recently rocked the Roswell private art scene, with music fans, local art patrons, and curious passersby packing the Ann Jackson Gallery to peruse the rock icons’ paintings and photos. More than a few pulled open purses to purchase the works. Tempting though the credit incentives of zero percent interest offers were, too many needs on the home front outweighed Lennon’s handwritten lyrics of “Drive My Car,” and the twisting limbs of Fleetwood’s “Medusa,” to allow me to take anything other than memories home.

The loosely organized First Friday Art Walks encourage a stroll, at your own pace, through the historic district. It’s a chance to check out the wares in the local galleries, most open later than usual, just for the occasion. Even those familiar with the area will find the maps available on the city’s website to be a helpful guide for the walks, showing the locations of the participating galleries.

And now, those of us of legal drinking age are permitted to take the walk with our complimentary wine in hand.

michelej1

07-31-2015, 12:03 AM

[From an NME article about going back again]

http://www.nme.com/blogs/nme-blogs/should-tom-delonge-rejoin-blink-182-eight-lessons-from-music-history-that-suggest-it-could-go-either

Christine McVie

Contrary to the sage advice of 'Rumours' cut 'Never Going Back Again', Christine McVie rejoined Fleetwood Mac in 2014. She had initially quit the band in 1998, which she later explained as being down to having developed a fear of flying. Fortunately, a combination of pyschotherapy and seeing her old bandmates perform convinced her to rejoin, and the shows since she got the full band back together have been a joyous vindication of her decision.
Read more at http://www.nme.com/blogs/nme-blogs/should-tom-delonge-rejoin-blink-182-eight-lessons-from-music-history-that-suggest-it-could-go-either#0vBMHIbkxcdYZF7l.99

michelej1

07-31-2015, 06:13 PM

Stuff.Co.NZ by LETITIA ROWLANDS August 1 2015

http://www.stuff.co.nz/life-style/parenting/little-kids/toddler/70740534/when-toddlers-have-strange-obsessions

Some toddlers have unexpected musical tastes, like the little girl who loves Fleetwood Mac.

"(She) knows all the band members, yells out 'guitars Lindsay' during the guitar solos and 'Mick drums'," her mum said.

"I randomly catch her singing Go Your Own Way, or 'Go Away', as she calls it."

SisterNightroad

08-05-2015, 07:58 AM

35 Years Ago: Pat Benatar Triumphs Over Turmoil With ‘Crimes of Passion’
By Jeff Giles August 5, 2015 8:30 AM

Recording Crimes of Passion, however, was far from simple. Although they’d enjoyed recording In the Heat of the Night with producer Peter Coleman, Benatar and Giraldo found themselves directed by their label, Chrysalis, into partnering up with former Fleetwood Mac producer Keith Olsen for the follow-up. As Benatar told UCR, she and Giraldo had to fight twice as hard for their vision.
“[Olsen] was a fine guy, whatever, but I mean, he was just the wrong dude,” Benatar asserted. “It was great, because [Giraldo] basically had to step in, because I was in hell and I couldn’t work with [Olsen]. I was so used to Peter and I wanted to be with him and I wanted to be with [Giraldo]. He’d learned so much from Peter Coleman while we were working with him, so it was a great thing, even though it was hellish, it really opened the door for [Giraldo] to start producing on his own. He went in there and saved the record.”
“It was really pivotal, because we had made one record and this was about to be the sophomore jinx,” added Giraldo. “None of us felt like that, but it was really difficult.”
As Giraldo remembers it, those tensions came to a head early on — in fact, he related a story from the sessions for “Hell Is for Children,” which he thinks was the first song they tracked for the LP.
“[Olsen] gave me the keys to his car. He said, ‘Here, I’m going to work on the vocal a little bit, you can take the keys and the car and go have a good time,’” recalled Giraldo. “So I took his Porsche and Patricia’s sitting on the floor crying, going, ‘I can’t deal with this guy, listen to what I just did’ and I listened and I went, ‘Uh-oh.’ That was the end of that,” he laughed. “I never got the keys again.”
Those sorts of snafus have always been common for young artists, particularly women, but neither Olsen’s imprint nor cheesecake press photos had a negative impact on Crimes of Passion‘s sales performance — by early 1981, John Lennon‘s Double Fantasy was the only thing keeping it out of the top spot, and in the summer of ’81, she was back with her third album, Precious Time, which did go to No. 1. She’d stay at or near the top of the charts for the remainder of the decade.

Read More: 35 Years Ago: Pat Benatar Triumphs Over Turmoil With 'Crimes of Passion' | http://ultimateclassicrock.com/pat-benatar-crimes-of-passion/?trackback=tsmclip

michelej1

08-05-2015, 11:57 PM

[From a Sound Selector article on David Devore

Sound Selector

Polson-based multi-platinum producer David Devore reflects on career in music industry

By Tristan Scott // Aug 4, 2015

http://flatheadbeacon.com/2015/08/04/sound-selector/

Devore’s resume spans decades and includes working with industry heavyweights Fleetwood Mac, Foreigner, Grateful Dead, REO Speedwagon, Ringo Starr, and Survivor, among others. And while the behind-the-scenes role of a producer or sound engineer doesn’t garner the glitz and glamour of a hit musician, his ability to coax studio performances out of a band is legendary, and the intimacy of the relationships he developed with them a testament to his talent.

* * *

At Sound City, Devore began working with Keith Olsen, a Grammy-winning record producer and sound engineer.

Together, they engineered Fleetwood Mac’s self-titled album, the first record to feature Stevie Nicks and Lindsey Buckingham, who joined the group after Olsen played Mick Fleetwood a song the duo had written.

Released in July 1975, the album yielded three top-20 singles and went on to sell 4 million copies. It also became Fleetwood Mac’s first number one album in the United States.

“Lindsey and Stevie were an incredible addition to the band. It was a turning point,” Devore said.

It was a turning point for Devore, too, as the list of artists he was recording grew to include Elton John, Foreigner and the Grateful Dead.

michelej1

08-06-2015, 04:11 PM

[From a Nuvo article about Jax on American Idol By Katherine Coplen]

http://www.nuvo.net/indianapolis/jax-ed-up/Content?oid=3382043

On sneaking off Idol's set:

"I saw Fleetwood [Mac] in the middle of the Idol season. That was like the one thing I actually got to do on my day off. I stepped out of the bubble and basically just casually walked up to the front row with the security guards because they knew who I was. They were like, 'Hey, let's go up to the front row.' And I was like, 'Oh my god, perks. This is insane.' I was crying. I was with my dad; I got to take him along. ... I got freaked out when they started playing 'Rhiannon' because that's I'm been singing to for such a long time. To hear it live was nuts. I was fangirling."

michelej1

08-12-2015, 12:18 AM

Stuff Co. NZ, Five Artists that Got You Hooked

http://www.stuff.co.nz/entertainment/blogs/blog-on-the-tracks/12406039/The-five-artists-that-got-you-hooked

SIMON SWEETMAN , August 12, 2015

couple of weeks back we had some friends over for Friday fish'n'chips and a few drinks. A wee end of the week party that included a "show" in Oscar's room where he picked the music and danced and performed - and then, when he was asleep, we listened to a bit of music in the background and had our drinks and chats. Pretty standard. In our world, anyway.

And one of our friends, who I'll refer to her as Bronny (since that's her name) asked me a bunch of questions about music and writing and music-writing. And though I never mind answering those sorts of questions - favourite subject/occupational hazard - she threw down a very simple, enormous challenge. Name the five artists that had mean the most to me; been the biggest influence - the reason(s) I loved music. Not just a Top Five favourites, but the five most important...

You read these sorts of Top Fives and wonder why the person has decided to try to sound cool...there's no way Cabaret Voltaire was quite that important in their life; they discovered Kraftwerk in their 20s, not in their teens and it was The Rolling Stones they remember from the age of five, not The Smiths.

I love a good list. And particularly one where any ideas around "being cool" are off in the distance. That's probably the case with any list I make. And that's also just fine. So, here's the list I rattled off on that night. Can't say I'd ever really thought about the five acts that I considered lifelong hooks; gateways and such.

***

3. Fleetwood Mac - I really do love all versions of this band. The blues band. The stadium pop act. And the "lost years" in between are, currently, the most interesting to me. A half-dozen albums there when the band was between Peter Green and Lindsey Buckingham, when the sadly underrated Bob Welch was a crucial part of the sound. The soap-opera story that clings to this band is part of the appeal, certainly. It's fascinating. But I love all of the music. And the "Fleetwood Mac at 21" documentary that first taught me about the 'other' versions of the band is a big reason I've been forever hooked on music docos, bios and biopics.

michelej1

08-13-2015, 10:57 PM

Tom SemioliBecome Huffington Post, 8/12/2015

http://www.huffingtonpost.com/tom-semioli/one-legend-leads-to-anoth_b_7972642.html

[excerpt from article about John Ashton and Robert Capowski]

One Legend Leads to Another for Capowski's Wild Animals

"I'd grown up listening to a fair amount of folk and acoustic based rock from the 1970s ...early T-Rex, Neil Young, Bob Dylan...and once Bob (Capowski) and I met we discovered we had a lot of other musical styles in common. We both share a love of all things Fleetwood Mac, especially the early stuff as well as the rare Buckingham-Nicks record that Bob actually owns on vinyl! We also share a lot of the same type of dry humor." John Ashton

michelej1

08-21-2015, 11:16 PM

[Excerpt from an article on Fred's House]

By Cambridge News | Posted: August 20, 2015

Read more: http://www.cambridge-news.co.uk/Fred-s-House-bit-folk-bit-rock-bit-country-bit/story-27637790-detail/story.html#ixzz3jVvc74HI
Follow us: @CambridgeNewsUK on Twitter | cambridgenews on Facebook

2 Describe your sound/style in a nutshell

We take a lot of our inspiration from 70s folk bands like Fleetwood Mac, The Eagles, Crosby Stills and Nash, Simon and Garfunkel, The Beatles I suppose. A lot of those sounds that were around at that time. That ends up incorporating a bit of folk, a bit of rock, a bit of country, a bit of blues, a bit of everything. We like to think we put our own twist on it and make it modern – that's the idea!

7 A dream collaboration would be?

Griff would probably say Paul McCartney. It would be amazing to write something new to duet with Stevie Nicks.

Read more: http://www.cambridge-news.co.uk/Fred-s-House-bit-folk-bit-rock-bit-country-bit/story-27637790-detail/story.html#ixzz3jVvtD8Wv
Follow us: @CambridgeNewsUK on Twitter | cambridgenews on Facebook

SisterNightroad

09-02-2015, 03:29 PM

8 Things You Didn’t Know About the Concert for the Rock and Roll Hall of Fame

This was the final concert held at Cleveland Municipal Stadium

Although the cavernous baseball and football stadium was demolished in November 1996, it was also a rock 'n' roll mecca that had previously hosted large-scale concerts by U2, the Who and the Beatles. In the '70s, it was also the site of a popular summer concert series known as the World Series of Rock, which featured nearly every major classic rock act going, including AC/DC, Aerosmith, Fleetwood Mac, Pink Floyd, the Rolling Stones and Bob Seger & the Silver Bullet Band.

Read More: 8 Things You Didn't Know About the Concert for the Rock and Roll Hall of Fame | http://ultimateclassicrock.com/rock-and-roll-hall-of-fame-concert/?trackback=tsmclip

Danielle

09-02-2015, 08:24 PM

https://40.media.tumblr.com/4bc130cd7071841e4f81b39c075dbf07/tumblr_nu2u1rHeWV1tziohao1_540.jpg

Long before MTV, Norman was filming his sessions with artists.
These seminal, never-before-seen conversations and performances will soon be available online to the public.
Fleetwood Mac in '78 seen here with Johnny his longtime cameraman.

Source (https://instagram.com/normanseeff/)

michelej1

09-10-2015, 11:51 PM

[From an article about a Crowded House song being used for Syrian refugees]

The Guardian UK by Pete Paphides, 9/10/2015

http://www.theguardian.com/music/2015/sep/11/help-is-coming-how-i-chose-a-forgotten-crowded-house-song-to-help-syrian-refugees

When Fleetwood Mac perform Silver Springs now, it takes on the form of both a karmic pasting issued by Stevie Nicks to Lindsey Buckingham and an apology from the band who elected, against her wishes, to omit it from the album Rumours. It’s hard not to feel like an intruder when you see Nicks eyeball her ex-lover and sing: “You’ll never get away from the sound of the woman that loved you.” The best songs transcend the limitations of their authors and display a wisdom often lost on the people who created them. I fear we’ve lost the Morrissey who once sang, “It takes guts to be gentle and kind”, but we still have the bands who hardwired the humanity of his early songs into their outlook: bands such as British Sea Power, whose Waving Flags exhorts new émigrés from eastern Europe to “welcome in/From across the Vistula/You’ve come so very far”.

michelej1

09-10-2015, 11:54 PM

Female First UK article on 10 Best Festival Moments, September 9, 2015

Read more: http://www.femalefirst.co.uk/music/features/top-ten-festival-moments-this-year-873819.html?f=rss#ixzz3lP1uQBzO

Making their first ever appearance at the legendary Isle of Wight Festival, the recently-reunited English-American quintet FLEETWOOD MAC stormed the Main Stage to deliver a performance that topped even BLUR's from the previous night. Christine McVie and company lapped up the acclaim in what may well be the highlight of possibly their final ever tour.

SisterNightroad

09-12-2015, 01:31 PM

This Day in Rock History: September 12
By Zach Martin September 12, 2015 7:59 AM

<iframe width="630" height="354" src="https://www.youtube.com/embed/dW-YMWJNdh8" frameborder="0" allowfullscreen></iframe>

On this day in rock history, Stevie Nicks and Christine McVie left Fleetwood Mac following the conclusion of the Behind the Mask tour. The two returned in 1997, although McVie left again shortly thereafter.

A whole slew of albums have come out on Sept. 12 over the years. In 1975, Pink Floyd released Wish You Were Here, their tribute to founding member Syd Barrett, and Thin Lizzy put out Fighting. Scary Monsters (And Super Creeps), David Bowie‘s last record for RCA, featured “Ashes to Ashes,” his sequel to “Space Oddity.” Aerosmith‘s proved their comeback was no fluke with Pump.

The Red Hot Chili Peppers followed up their smash hit Blood Sugar Sex Magik with 1995′s One Hot Minute. A four-CD boxed set by the Jimi Hendrix Experience surfaced. The compilation consisted entirely of previously unreleased studio and live takes recorded between 1966 and 1970. Paul McCartney‘s Chaos and Creation in the Backyard found him playing nearly all of the instruments himself and working with Radiohead producer Nigel Godrich. Death Metallic saw Metallica return to their thrash metal roots.

And we also wish a happy birthday to Neil Peart. The celebrated drummer and lyricist for Rush was born in 1952.

Watch an exciting recap of many of the day’s biggest rock anniversaries above, narrated by our radio host Zach Martin. And learn more about these important events by clicking the links below.

News Anniversaries:
Christine McVie and Stevie Nicks leave Fleetwood Mac (1990)

Album Anniversaries:
Pink Floyd, Wish You Were Here (1975)
Thin Lizzy, Fighting (1975)
David Bowie, Scary Monsters (and Super Creeps) (1980)
Aerosmith, Pump (1989)
Red Hot Chili Peppers, One Hot Minute (1995)
The Jimi Hendrix Experience, The Jimi Hendrix Experience (2000)
Paul McCartney, Chaos and Creation in the Backyard (2005)
Metallica, Death Magnetic (2008)

Birthdays:
Neil Peart (1952)

Read More: This Day in Rock History: September 12 | http://ultimateclassicrock.com/september-12-rock-history/?trackback=tsmclip

nicole21290

09-15-2015, 07:28 AM

A neat little cover of Dreams by The Shires for a session for BBC Radio Scotland.

<iframe width="560" height="315" src="https://www.youtube.com/embed/eGbKg0vUxFc" frameborder="0" allowfullscreen></iframe>

lilyfee

09-18-2015, 08:49 PM

13 December 2012 Guardian Interview with Frank Ocean: http://www.theguardian.com/music/2012/dec/13/frank-ocean-would-be-best?intcmp=ILCMUSTXT9386

Finally, tell me which albums you've enjoyed this year.

Hmm. Let me see what I have. I thought Norah Jones made a really good record. I thought Kendrick Lamar made a cool record. I thought John Mayer made a really good record. Speaking of new records, you know who needs to make a new album? I think Fleetwood Mac needs to make a new album. I think so. I think they do.

Without Christine McVie, though? Stevie said she won't be coming back.

That could pose a problem. I didn't know she wouldn't come back. You just educated me.

She moved back to England in the 90s and gave it all up.

That sounds like some **** I would do! No. I'm not on any retirement kick.

michelej1

09-30-2015, 08:58 PM

[excerpt from article on Baeble Music blog]

http://www.baeblemusic.com/musicblog/9-23-2015/the-baeble-next-the-baroque-rock-revivalism-of-thin-lear.html

Baeble Blog, The Baeble Next: The Baroque Rock Revivalism Of Thin Lear

WEDNESDAY, SEPTEMBER 23, 2015|Posted by: Don Saas

Classic rock revivalism is en vogue at the moment. The Black Keys, Arctic Monkeys, Alabama Shakes, Foxygen. The thing is...90% of these bands want to emulate the cocksure swagger of hard rock. Everybody wants to be Robert Plant or Pete Townsend. A trend of folks that want to channel Stevie Nicks and Lindsey Buckingham is arriving and that warms my Fleetwood Mac loving heart. But you rarely hear about artists that are inspired by The Kinks.

michelej1

09-30-2015, 09:21 PM

[Laura Whitmore designs bracelet engraved with YMLF]

by Bridie Wilkins, 9/29/2015 Look Magazine

It’s so personal! How about the engravings, what do they mean?

They’re either lyrics or quotes. One says ‘believe to achieve’ because you need to believe in yourself if you want to get anywhere. If you don’t believe in yourself how is anyone else meant to? ‘You make loving fun’ is a Fleetwood Mac lyric. It took me ages to pick the quotes because I was thinking, would a guy wear it? would your sister wear it? – there are romantic ones, friendship ones and then empowering ones that you can buy as a present for yourself. I really like ‘you’re lovely’ – you can forget to compliment people and this does that for you. Someone said it to me once and I just remember thinking it was really nice.

Read more at http://www.look.co.uk/fashion/laura-whitmore-daisy-jewellery#AqzcJhB6Rb8D0ipi.99

Danielle

10-05-2015, 08:06 PM

http://s25.postimg.org/m367xif33/tumblr_nvrudd7yxm1sivw6mo1_540_1.png

youwantyourfreedom.tumblr.com has just posted this and I'm so confused!

Take a look at their twitter page; there's also something about Chris:
https://twitter.com/wistla

nicole21290

10-05-2015, 09:32 PM

And the whole image, with uncropped Lindsey looking THRILLED. What the heck did Stevie bribe him with to get him into that!? :lol:

http://40.media.tumblr.com/97b26b3ab12436943d6792d350773dbc/tumblr_nvryylDmX21uc6mtpo1_500.jpg

Seems that Chris is on the advisory board. https://www.wistla.com/about

michelej1

10-06-2015, 01:24 AM

This is exceedingly cute. Oh you know Lindsey likes to put things on his head, for a silly look.

I love having 5 of them so much.

Michele

iamnotafraid

10-06-2015, 02:12 AM

For once I'm speechless.

michelej1

10-07-2015, 01:16 AM

It's amazing to think they were together in the seventies taking silly, playful photos and now it's 2015 and they're still doing the same thing.

You know the first time I ever saw one of these scarf/hats Khloe Kardashian was wearing it.

Michele

SisterNightroad

10-07-2015, 05:59 AM

AC/DC, ‘Night Prowler’ vs. Warren Zevon, ‘Werewolves of London': Rock’s Scariest Song Battle

http://ultimateclassicrock.com/files/2015/10/WarrenACDC-630x420.jpg

The bluesy terror of AC/DC‘s “Night Prowler” is up against a winking tale of a night-time menace in Warren Zevon‘s “Werewolves of London” in round one of our quest to find Rock’s Scariest Song.
In honor of Halloween, we’ve chosen 16 of rock’s scariest songs. The field will be sliced, diced and chopped in half every week based on your votes, until only the scariest song in rock history remains alive.

Zevon’s “Werewolves of London,” which originally appeared on 1978’s platinum-selling Excitable Boy, features the Fleetwood Mac rhythm section of John McVie and Mick Fleetwood – and together they almost helped the single sneak into the Top 20. “Werewolves” was produced by Jackson Browne and guitarist Waddy Wachtel, the latter of whom co-wrote the track with Zevon.

Read More: AC/DC, 'Night Prowler' vs. Warren Zevon, 'Werewolves of London': Rock's Scariest Song Battle | http://ultimateclassicrock.com/acdc-warren-zevon-rocks-scariest-song/?trackback=tsmclip

michelej1

10-10-2015, 11:51 PM

[Writer shares debate with his wife about whether certain bands are classic or over-rated]

St. Cloud Times

http://www.sctimes.com/story/life/2015/10/10/classic-overrated-depends-ears/73612174/

Dave DeLand, [email protected] 6 p.m. CDT October 10, 2015

Tom Petty, etc.

“Overrated: Dave Matthews Band and Tom Petty — everything they do sounds the same.” (Jen Kramer)

“Tom Petty is a genius. His stuff does not all sound the same. But Dave Matthews is weak tea for sure.” (Michael Burr)

“Overrated: Oasis. Of all the “Next Beatles” that came out of England every three months, they were the most pretentious and ridiculously overhyped.

“Runner-up: Fleetwood Mac. Two aging British blues players who kept changing band members until they finally hit the jackpot.” (Ric Studer)

SisterNightroad

10-12-2015, 04:27 AM

This Day in Rock History – October 12
By Zach Martin October 12, 2015 12:33 AM

<iframe width="630" height="354" src="https://www.youtube.com/embed/RRpdwjZ13PM" frameborder="0" allowfullscreen></iframe>

Then there was Fleetwood Mac, who released a double album that went multi-platinum, broke the Top Five, spawned multiple hit singles, and spent months in the Top 40 – yet was initially regarded as a letdown after the record-smashing success of 1977’s Rumours. A critical re-evaluation has since followed, as many have come to appreciate how the expansive 20-track Tusk explored every corner of the band’s genius.

News Anniversaries:
Sex Pistols’ Sid Vicious charged with murder (1978)
Jimmy Page and Robert Plant’s No Quarter debuts on MTV (1994)

Album Anniversaries:
Billy Joel – 52nd Street (1978)
Fleetwood Mac – Tusk (1979)

Read More: This Day in Rock History - October 12 | http://ultimateclassicrock.com/october-12-rock-history/?trackback=tsmclip

vivfox

10-12-2015, 09:30 AM

This Day in Rock History – October 12
Then there was Fleetwood Mac, who released a double album that went multi-platinum, broke the Top Five, spawned multiple hit singles, and spent months in the Top 40 –

I wish that were true but the only successful singles were Tusk and Sara.I wanted SOTM to be a smash but when it was released nobody cared. I heard it on the radio a total of one time back then.

SisterNightroad

10-12-2015, 09:45 AM

I wish that were true but the only successful singles were Tusk and Sara.I wanted SOTM to be a smash but when it was released nobody cared. I heard it on the radio a total of one time back then.
They meant Think about me that entered the top 20 for some time, it's mentioned in the video.
Not really a hit, but deserving anyway...

jbrownsjr

10-12-2015, 11:15 AM

They meant Think about me that entered the top 20 for some time, it's mentioned in the video.
Not really a hit, but deserving anyway...

It was a great song. Should have done better.

michelej1

10-14-2015, 10:32 AM

The Weekly List: Classic Coffee Shop Tunes
By Michael Bergin on October 14, 2015 The Georgetown Voice

http://georgetownvoice.com/2015/10/14/the-weekly-list-classic-coffee-shop-tunes/

Greetings and welcome to another edition of Halftime’s the Week List! We are now in a time of pumpkin spice, colorful leaves on the trees, and apparently hurricanes (all the more reason to bundle up). If we shuck all the negative stereotypes that come along with the autumn season, we are left with a time to be cozy and enjoy time with loved ones. Take a walk through Georgetown in your best sweater and stop into your favorite coffee shop. Everything is perfect: warm coffee on the table, book in hand, but the perfect soundtrack still remains a mystery to you. Well look no further, for Halftime proudly presents exactly what you need, The Weekly List: Classic Coffee Shop Tunes.

“Go Your Own Way” – Fleetwood Mac

This rocking ballad, produced for the band’s album Rumors, was written during a time of struggle for the band where the music was the only thing keeping them together. The tale of letting go of love can parallel the morose aspects of the somber fall season, while the rich music and lovely harmonies of Stevie Nicks and Lindsey Buckingham help all listeners crack a smile.

“Dreams” – Fleetwood Mac

“Dreams” is personally my favorite Fleetwood Mac track; this mellow song flaunts a catchy, steady drum beat behind Nicks’ gorgeous voice. The timeless lyrics of the track are almost impossible to forget, not only for their entertaining qualities, but also for the value of the song’s message.

“The Chain” – Fleetwood Mac

Seeing a trend here? This acoustic-vibe, bluegrassy track serves as another perfect supplement to your coffee shop soundtrack. An intense guitar solo fading the song out peaks up the energy while adding a calm, almost eerie attitude to the track.

SisterNightroad

10-19-2015, 12:16 PM

Martin Barre Talks About Jethro Tull Memories, New Music and More: Exclusive Interview
By Ryan Reed October 19, 2015 10:10 AM

Even though it’s horribly sad that Jethro Tull doesn’t exist, the silver lining is that now there are these two entities touring and bringing more of the catalog to more people.

Yeah, I think that’s the case. And I haven’t necessarily played the music exactly how it was, so I can’t be accused of being a lesser version of Jethro Tull – or Jethro Tull without the flute player. So I’ve been very careful to change it a little bit in a respectful way but put my stamp on it. But it’s sad because I see bands like Fleetwood Mac and the Eagles and Toto out there having very successful tours. They’re very special bands, and they’re enjoying a resurgence of interest from that era. But unfortunately we’re not part of that.

Read More: Martin Barre Talks About Jethro Tull Memories, New Music and More: Exclusive Interview | http://ultimateclassicrock.com/martin-barre-interview-2015/?trackback=tsmclip

SisterNightroad

10-21-2015, 10:49 AM

Neil Young Completely Emerges From the Ditch on ‘Comes a Time’
By Glen Boyd October 21, 2015 9:50 AM

Judged purely on those standards, Comes a Time was regarded as an overwhelming success at the time, with immediate sales far out-distancing less radio-friendly predecessors like On the Beach and Tonight’s the Night, which comprised two-thirds of his “Ditch Trilogy.” Comes a Time also yielded Young’s first mainstream radio hit in years with “Lotta Love,” albeit not under his name. Backing vocalist Nicolette Larson scored a surprise Top 10 hit with a slickly produced cover of the tune, which Young referred to as his “Fleetwood Mac song.”

Read More: Neil Young Completely Emerges From the Ditch on ‘Comes a Time’ | http://ultimateclassicrock.com/neil-young-comes-a-time/?trackback=tsmclip

michelej1

10-22-2015, 12:12 AM

[Nashville Scene from comedian Chris Crofton's Advice Column]

POSTED BY THE CREAM ON TUE, OCT 20, 2015 AT 9:00 AM

http://www.nashvillescene.com/nashvillecream/archives/2015/10/20/chris-crofton-advice-king-my-fiancee-is-a-sexy-witch-how-should-i-spend-my-money

Dear Advice King,

It seems the “sexy witch” look is in, and I could not be more displeased. My fiancée has taken to shopping at a certain women's clothing store in the Gulch and is always coming home with shawls, crystals, tusks on chains and tops that resemble some sort of unusual poncho. She models them for me, asking my opinion. How do I politely tell her she looks like a Stevie Nicks knockoff from the cover of Rumours? Thanks.

-Jonathan in Germantown

Is this true? I was just in Nashville. Seemed like everybody was still dressed like the cast of A Fistful of Dollars.*

Has she changed her personality to match her clothes? Is she burning incense and giving your neighbors tarot readings? She says the readings are free “for now,” because she’s “not that good at it yet”? Her friend Sally gets 12 death cards in a row and she’s like, “Don’t worry! That can just mean it’s harvest time!”**

Is she using divining rods? Some of Fleetwood Mac’s greatest hits are about dowsing. “Go Your Own Way” is about a dowsing disagreement between Lindsey Buckingham and Stevie Nicks over which direction more cocaine was.

SisterNightroad

10-24-2015, 04:36 PM

35 Years Ago: Cheap Trick Reach a Turning Point With ‘All Shook Up’
By Dave Swanson October 24, 2015 11:20 AM

Perhaps inspired by Fleetwood Mac‘s Tusk, “Who D’ King?” ends the album on a bizarre note that features nothing but several drum and percussion tracks with rousing chanting over the top. A moment for Bun to shine? Perhaps. A moment to just get weird and have fun? More likely.

Read More: 35 Years Ago: Cheap Trick Reach a Turning Point With 'All Shook Up' | http://ultimateclassicrock.com/cheap-trick-all-shook-up/?trackback=tsmclip

michelej1

10-25-2015, 09:02 PM

[Excerpt from a book review]

SDSU’S school of rock

New books capture five decades of SDSU concerts

By Karla Peterson | 7:06 p.m. Oct. 24, 2015 San Diego Union Tribune

http://www.sandiegouniontribune.com/news/2015/oct/24/sdsu-let-it-rock-books/

These and other indelible rock ‘n’ roll memories are on display in “Let It Rock!,” a new five-volume book set chronicling five decades of live music presented on the campus of San Diego State University. The set kicks off on May 6, 1960, with local folk singer Sam Hinton performing in the school’s Main Quad. It ends on Dec. 2, 2014, with Fleetwood Mac playing for nearly 10,000 fans in the sold-out Viejas Arena.

FuzzyPlum

10-26-2015, 03:04 PM

The most outragious demand a band has ever made

http://www.news.com.au/entertainment/music/the-most-outrageous-demand-a-band-has-ever-made/story-e6frfn29-1227582819786

IT’S the most ridiculous request a band has ever made on their rider in Australia.
According to promoter and writer Stuart Coupe, when Fleetwood Mac toured the country in the 1980s they requested one item in particular which they considered to be a deal breaker: if it wasn’t supplied, they wouldn’t perform.
“For their gin and tonics, Fleetwood Mac requested a specific type of lime,” said Coupe.
“But that particular type of lime was actually not allowed in Australia. So Michael Chugg, who was the promoter, actually had to clandestinely fly in from overseas these goddamn limes for Fleetwood Mac’s gin and tonics.”
After writing two books, The Promoters: Inside stories from the Australian rock industry and the recently released Gudinski: The Godfather of Australian Rock, Coupe has plenty of other amazing tales from his life in music.

Well there you have it... forget the coke, get the goddam lime right.

StreetAngel86

10-26-2015, 05:57 PM

michelej1

10-27-2015, 11:23 PM

^Nice.

http://www.heraldsun.com.au/entertainment/confidential/villa-igiea-has-become-the-place-not-to-be-seen-for-celebrities-staying-in-sydney-for-work/news-story/57b0bce06d53021a2687125385969e68

Villa Igiea has become the place not to be seen for celebrities like Stevie Nicks staying in Sydney

October 25, 2015 9:31pm Jonathan Chancellor The Sunday Telegraph

VILLA Igiea, best remembered as the long-time Vaucluse home of the late TNT transport tycoon Sir Peter Abeles, is these days Sydney’s finest short-term rental property.

Stevie Nicks, here for the Fleetwood Mac reunion tour, is the latest to take up occupancy.

Word must have spread as the magnificent European-style villa above Hermit Bay has increasingly become the must-stay Sydney base of visiting international stars.

The imposing mansion had enough space to host Angelina Jolie, Brad Pitt and their six children when Jolie was here in Australia in 2013 to shoot the World War II drama Unbroken.

Beyonce and JayZ enjoyed the picture-perfect postcard views gunbarreling across the water to the Harbour Bridge and Opera House.

Ditto Katie Perry.

michelej1

10-27-2015, 11:28 PM

[Excerpt from an article on emotional songs.]

TUESDAY, OCTOBER 27, 2015|Baeble Music, by Don Saas

The Eternal Power of Emotional Pop: The Decades Long Legacy of the Adele Success Story

http://www.baeblemusic.com/musicblog/10-27-2015/the-eternal-power-of-emotional-pop-the-decades-long-legacy-of-the-adele-success-story.html

I can remember the first three CDs my family owned when I was in elementary school once we began our transition away from cassettes: Fleetwood Mac's greatest hits, Savage Garden's 1997 self-titled debut, and the soundtrack to Grease. On the surface, those three records couldn't have less in common: classic 1970s soft rock, 90s Euro-tinged Australian dance pop, and showtunes. But if you grew up on any of those albums, you know they have something in common. They use theatricality to mask the most vulnerable and intimate emotions.

It's not hip to be an unashamedly emotional artist these days. Vampire Weekend confused the fan base they'd spent years building up by dropping the confessional and unfiltered Modern Vampires of the City only a couple years after the playful irony of Contra. The National have become our most psychologically raw rock band, but Matt Berninger is as likely today to hide his pain beneath oblique references and an almost comically deadpan swirl of post-punk noise as he is to drop all artistic pretense on something as devastating as "Mistaken For Strangers" which is nearly ten years old at this point. Even The Mountain Goats released a concept album this year about professional wrestling which is a far cry from the brutal self-excoriation of "This Year."

That's not to diminish the recent output of The National or the Mountain Goats. Trouble Will Find Me is possibly the band's strongest record yet. If you let yourself travel down the winding corridors of Matt Berninger's narratives, he reveals a level of introspection and self-analysis and self-loathing that is among the most honest and insightful in popular music since the prime days of Leonard Cohen and Tom Waits. But devoting that sort of time to not only discovering that the National exist -- cause you're never going to hear them on Top 40 radio no matter how much the thought of "Conversation 16" being a #1 Billboard hit would warm my heart -- but wandering those halls of their music is a matter of privilege. Let's be honest for one damn second about our entire fandom of music. The average music consumer doesn't have the time to dive into blogs and figure out the intricacies of why the minimalist piano chord structure on "Terrible Love" has so much meaning or why Matt Berninger's subtle drawl does as much as powerful emoting. And that's fine.

The art world exists for the art set, although the odds are that if you're a culture writer, you do it because you love diving into those intricacies. You get off on figuring out what makes it special when The War on Drugs play with the psychedelia of Pink Floyd in the Americana framework of Tom Petty with the vocal stylings of Dire Straits. But most folks just don't give a s***. And that's fine. You aren't better than them for knowing this stuff, and they aren't somehow deficient consumers of the art they do enjoy because they don't have the absurd wealth of knowledge that you've intentionally acquired over the years. And culture writers and aesthetes of all stripe have an obligation to put our own snobbery and pretensions aside when an artist does something genuinely interesting in the mainstream. And, more often than not, that requires an admission that subtlety and nuance aren't necessary qualifiers for greatness.

And that leads back to those first three CDs. I'm not going to make any grand claims that Savage Garden or Grease are great. But they do something people relate to. They deal in universal emotions in the sort of larger-than-life tones that you can't ignore. You either scoff at it or you lose yourself in the campy dramatics of "To the Moon & Back" or "Summer Nights." Look at "To the Moon & Back." If you were a teenager, you loved somebody at some point. It might not have been "love" in the sense that you think of it now as a "rational" adult, but those feelings were there and they were intense and all-consuming. It's one of the problems about growing up and "getting smarter." We lose our ability to acknowledge the intensity of younger, less self-aware emotions. We invalidate them as being "lesser." And the only thing that condescension accomplishes is further engendering the hostility and lack of understanding between the generations -- which is a tragedy in its own right since empathy is supposedly the one emotional tool you should master as an adult.

And pop music that connects with listeners -- pop music that sticks with listeners for years and years and doesn't burn out once the major label corporate push behind it fizzles out -- deals in those emotions we'd all like to think we're too cool to discuss so shamelessly. I haven't made a mixtape for a girlfriend since high school that didn't include Savage Garden's "Truly, Madly, Deeply." I still feel that twinge of desperate, romantic yearning anytime I hear John Travolta burst into "Sandy." I feel those first pangs of heart-ache when I hear Olivia Newton-John belt out "Hopelessly Devoted To You." And all intellectual pretensions of "art" and "criticism" aside, there's no definition of what music can and should do that doesn't include "stir you at your most deep emotional levels."

And of course, Fleetwood Mac...the response there is that Fleetwood Mac are titans of the medium and don't need this apologia. Mostly, I'd agree with you. Anybody who knows the first thing about songwriting and musicianship recognizes that Lindsey Buckingham, Stevie Nicks, Mick Fleetwood, John McVie, and Christine McVie were writing some of the best songs period for a good twenty year period. But they're also soft rock. And in the eyes of so many folks in the rock world, that might as well be bubblegum pop. If you aren't creating avant-garde/post-(insert genre)/dissonant/noise (insert genre here), it's impossible to get wide swaths of the music enthusiast community to take you seriously, and those folks need to grow up and get over themselves.

I was walking home from work a month or so back. It was a crisp Fall day. It was one of the first Fall days to really feel like Fall. I've got a good mile and a half walk back to my house from the office, and I walk to both stay in shape and to just enjoy music that I'm not professionally obligated to write about at the moment. And "Go Your Own Way" came on. As far as Rumours tracks go, I'd rate it just outside of my top 5. But from the first word Lindsey Buckingham sang, that particular listen was different.

Loving you
Isn't the right thing to do
How can I ever change things that I feel?

If I could
Baby I'd give you my world
How can I
When you won't take it from me?

We've all been there. We've been in a relationship that our brain knows is wrong but our heart won't let us abandon. And we've wanted to give partners love that they can never reciprocate. From the first line of the song, Lindsey Buckingham crafted a track with as much emotional insight and nuance as "God Only Knows" by the Beach Boys or "Something" by The Beatles. And the kicker...the reason that Rumours remains one of the highest selling albums of all time...is that the band paired these elegant observations with unforgettable pop melodies.

From start to finish, Rumours is a tragedy masking itself in pop excess. One of the most popular bands of the 1970s wrote a chronicle of their own tumultuous affairs and longing and sense of romantic alienation and wrapped it in the sounds of folk, rock, country, and, yes, pop. I saw Fleetwood Mac live a couple years back, and although it's my third favorite track on the album behind "Dreams" and "The Chain," I was immensely grateful that Lindsey Buckingham and Stevie Nicks didn't even attempt to do "I Don't Want To Know:" a duet sung from the point of view of two lovers who have no idea how they've managed to stay together this long. And considering the band can still sell out arenas around the world 40 odd years later, they must have been doing something right.

The issue with pop music has never been that it's popular. If that's your issue with any art, you're an elitist a***hole. The conversation begins and ends there. It isn't even necessarily that it's shallow. Of course a top 40 pop song isn't going to be some Proustian treatise on the way we live now. It's that somewhere along the line, the vast majority of radio pop music stopped even pretending that there were human emotions guiding its creation. I love a massive hook as much as the next guy, but if there's nothing...bigger behind that hook, nothing that my heart can latch onto as intensely as the portion of your brain that keeps you humming a melody or mentally reciting a chorus for weeks on end, then that track disappears as soon as the next hook arrives. Emotion and honest-to-god connection are the keys to connecting with a pop song, and considering her wealth of Grammys and the 30 million copies of 21 that she moved, there are almost no mainstream pop stars forging those connections at such a contemporarily unprecedented level as Adele.

It's impossible to discuss the rise of Adele as the modern Queen of Pop (the only other person remotely deserving of the title is Beyonce who is more likely to be characterized as R&B or soul though you could say the same thing about Adele) without looking at one key fact. Albums don't sell anymore. So far in 2015, only one album has crossed the million sales mark. That was Drake's 'mixtape,' If You're Reading This, It's Too Late. 21 was the highest-selling album for two straight years. People bought that album like it was an event because in contemporary pop it was.

Adele is an enigma in the modern pop scene. As other musicians try to capitalize on the continual encroachment of dance and EDM into pop -- which isn't a bad thing; we think performers like Robert DeLong have the chance of being the "Next Big Thing" -- she writes old fashioned, sweeping ballads using orchestral arrangements. Adele is an old-fashioned songwriter and performer, letting her powerhouse voice and arrangements speak more than any pop star antics ever would. In an era where Katy Perry brings out dancing sharks and a mecha-lion to to the Super Bowl (I say this as a closeted Katy Perry fan) and Taylor Swift blasts her "squad goals" without ever really defining what she stands for as an artist, Adele brings music back to basics with the backing of titanic vocals and emotional vulnerability.

I'm not necessarily taking a swing at "manufactured" pop stars. More often than not, there's an honest-to-god performer hiding beneath the gloss and glitz. I'm not generally a Rihanna guy, but I connect to "We Found Love" and "Take a Bow" because, for a couple minutes, we get a chance to peel away the mythos that Rihanna has created for herself. "Teenage Dream" is Katy Perry's best tune because it captures that sense of uncertainty and hope mixed together in a crazy ball of hormones that defined us all as teenagers. Lady Gaga speaks to anyone's inner drama queen, but beneath the crazy costumes and the techno/house EDM elements of her music, she speaks to our need to be larger than ourselves in the same way Madonna has for 30 years. The unfortunate truth though is that for most of these performers, they don't have an entire album's worth of singles in them, but the great tracks they do have represent such an investment to record studios/the performers that they have to dilute their output with as much if not more mediocre content than the singles we love them for. And, as is often the case here, these diluted singles are consumer goods that nobody was asking for, devoid of the humanity that we connected with in these stars in the first place.

And, so far, Adele has avoided that slump. Although 19 was an enjoyable and welcome surprise in its own right, nobody could have predicted the rise of 21 -- a top 40 smash record without a bad song on it. Not every track on the album is the barnburner that "Someone Like You" or "Rolling in the Deep" turned out to be, but 21 is the sort of record where that aggravating moment to change sides or discs on your turntable isn't an excuse to do something else. You want to listen to it all the way through. It's an autobiographical record of heart-ache (ala Rumours) dressing Adele's wounds in the sort of tracks that Diana Ross or Tina Turner or any of the last gasps of the female vocal powerhouse would have killed for in the 1970s.

And that brings us to "Hello." Last Friday, Adele returned with her first track since 2012's Skyfall and her first piece of non-James Bond music since 2011. One of my bosses wasn't crazy about it. And that's fair. The notion that Adele has found herself in a rut of releasing the same "weepy" love song isn't entirely inaccurate, but I'll argue, in all due respect to my colleague, that's sort of the point.

Writers -- particularly the good ones -- return to familiar themes. Ingmar Bergman spent his entire career battling with his relationship with God, family, love, and death. Woody Allen has fixated for nearly 50 years on the ways that men and women try and fail to interact with one another. Thomas Pynchon runs on paranoia and post-War anxiety. And Adele has found her metier -- the "dramatic, cry your eyes out" love song -- while still providing the variations on a theme that keep her interesting and dynamic as an artist.

What makes "Hello" special and more than a return to hurt she received at the hands of a lover in 21 is that "Hello" runs on self-loathing and not self-pity. It's a track about desperately trying to right things with a lover that you've jilted and you know how wrong you are. Once again, this isn't Noah Baumbach or Francois Truffaut levels of emotional insight, but it isn't supposed to be. This is the type of song that you play for anybody you know and they're like, "Oh...f***. I've definitely been that person." We have to stop hierarchizing art between what's good for the "masses" and what works for the "enlightened." You can't compare what they're trying to do so stop trying, and I don't care how "culturally enlightened" you are; if you can't recognize gut-wrenching elegance ala "Go Your Own Way" or "Rumor Has It," that's on you. It isn't on the mainstream performer. And, even in this piece on the need to break down the "gatekeeping" in music fandom, we're aware that we feel this pressure to establish our "indie" and "art" bona fides. Curing this sickness isn't going to be an overnight process.

When the new Adele track hit on Friday, a buddy was bemoaning the fact that Adele was the only star to hit from the British soul-pop scene to achieve this sort of astronomical success. Where's the same editorial love and/or sales for Lianne La Havas or any of her peers? The music business isn't a meritocracy. The "best" songs (whatever the Hell that could possibly ever mean) don't rise to the top. Adele had the right sound at the right time with the right push and investment from the media to stand at the top of musical pyramid and capture the national musical zeitgeist unlike any artist of the last ten years. But when you create emotional bonds with your listener as effortlessly and with as few gimmicks as Adele does, it seems difficult to begrudge her that success.

michelej1

11-22-2015, 08:22 PM

[A man who worked in Advertising and Promotions for a Record Company talks about his celebrity encounters]

By Tato Malay (The Philippine Star) | Updated November 23, 2015

http://www.philstar.com/entertainment/2015/11/23/1524868/my-celebrity-anecdotes

One morning a guy claiming he was John McVie of the Fleetwood Mac called me. He said he saw my name and picture in the papers. To cut it short, he came and the moment I was convinced he was John, I booked him in a TV noontime show. We brought him back to Los Baños later where he was vacationing with his brother-in-law and we were surprised to see a lot of fans wanting to meet him after seeing him in the TV show.

vivfox

11-23-2015, 01:39 AM

One morning a guy claiming he was John McVie of the Fleetwood Mac called me. He said he saw my name and picture in the papers. To cut it short, he came and the moment I was convinced he was John, I booked him in a TV noontime show. We brought him back to Los Baños later where he was vacationing with his brother-in-law and we were surprised to see a lot of fans wanting to meet him after seeing him in the TV show.

We brought him back to Los Baños translates to:We brought him back to the bathrooms.

I kid you not.

PenguinHead

11-27-2015, 09:01 PM

Stevie's Sydney house ... i haven't been invited yet. WHY!?! :laugh:

http://m.dailytelegraph.com.au/entertainment/sydney-confidential/villa-igiea-has-become-the-place-not-to-be-seen-for-celebrities-like-stevie-nicks-staying-in-sydney/story-fni0cvc9-1227582799623?sv=1e09897ead5d4ad53ff8a82e86f98152

Such a big house for one person. Perhaps she shared it with her backup singers.
It would feel kind of spooky if I was in a mansion all by myself.

PenguinHead

11-27-2015, 09:06 PM

We brought him back to Los Baños translates to:We brought him back to the bathrooms.

I kid you not.

:laugh: That's quite a vacation destination!

bombaysaffires

11-27-2015, 10:06 PM

Such a big house for one person. Perhaps she shared it with her backup singers.
It would feel kind of spooky if I was in a mansion all by myself.

Stevie's never without an entourage. I bet there was at least half a dozen people there with her, or more.

michelej1

12-02-2015, 12:35 AM

[I wonder which FM song was on Supergirl]

Den of Geek Mike Cecchini11/30/2015 at 10:46PM

http://www.denofgeek.us/tv/supergirl/250937/supergirl-red-faced-review

Supergirl: Red Faced review

Seriously. That opening with Supergirl getting involved in a road rage incident so cartoonish that I half-expected it to be a result of this week's villain being Brainiac manipulating these two hyper-masculine douchebags? That was pretty lazy. Kara working out her issues with one session at the gym and some some empty "anger behind your anger" drunken advice from her boss? That didn't help, either. Padding everything else out with some really uncomfortable and unconvincing "romantic tension," General Sam Lane, and Cat Grant's mother (who has no reason to be here)? Nope.

An insufferable slowed-down cover of a Fleetwood Mac song I already dislike intensely just fueled the misery.

This episode gets a slightly higher rating than it should, simply for the novelty of seeing Red Tornado in action, but even that is tainted by the fact that, well...he doesn't look as good in action as I'd hoped. Making

FuzzyPlum

12-09-2015, 01:09 PM

The Guardian

How bands survive the loss of a singer: 'It can't just be slotting someone in'

http://www.theguardian.com/music/2015/dec/05/how-bands-survive-losing-singer-scott-weiland-stone-temple-pilots-velvet-revolver

The magnetism of Scott Weiland, who died on Thursday, was central to the appeal of Stone Temple Pilots before he left the band. The challenge of replacing such a key figure has dogged many successful acts
Mark Guarino
Saturday 5 December 2015 14.32 GMT Last modified on Saturday 5 December 2015 15.08 GMT

The unexpected death of Scott Weiland late Thursday is now only producing an assessment of his life in music, and his insurmountable gifts as a vocalist and frontman. It also raises the inevitable question of what happens to a band’s legacy after its most recognizable leader passes away.

Weiland, 48, was in and out of Stone Temple Pilots, the California rock band that is remembered as one of the most commercially successful groups of the 1990s alternative rock heyday. As the band’s lead singer, he didn’t just possess powerful vocal skills; his good looks and chameleonic visual sense made him a compelling presence in videos and on the concert stage.

But Weiland’s reported struggles with drugs forced the band to fire him and, after lawsuits between both parties, they later brought in a replacement: Chester Bennington of Linkin Park. The matchup lasted two years and produced a single EP and a tour. Last month Bennington announced an amicable split from STP. Band members Robert DeLeo, Dean DeLeo and Eric Kretz released a statement saying Bennington’s departure offered them “a new beginning” and said they had already written and recorded new music.

“We have had the fortune of playing with some very talented singers over the last few months and will continue to do so until each of us feels and knows when the right person arrives,” they said.

Yet the struggle to find a replacement singer after a band’s most productive years is one that many bands have struggled to overcome.

Despite continuing to make new music, bands like 10,000 Maniacs (Natalie Merchant), INXS (Michael Hutchence), or Creedence Clearwater Revival (John Fogerty) are classic examples of bands that tried, but failed, to strike commercial fire after the departure of their singer. Two years following their breakout hit No Rain in 1993, the neo-psychedelic band Blind Melon had to make an exit following the overdose death of singer Shannon Hoon. The band attempted a reboot in 2006 with a new singer but it fizzled.

In cases like these, scouting a replacement for a charismatic figure such as Hoon – or Hutchence or Weiland – isn’t as simple as just slotting someone in, since their strong visual sense and distinctive vocals became ingrained with the public perception of the band.

Gia DeSantis, who worked with Blind Melon as head of video promotion at Capitol Records, says that the band knew its chapter was closed following Hoon’s death because he had become the public face of their music through their videos, particularly the one for No Rain, which aired around the clock on MTV and that VH1 included in its list of the 100 Greatest Videos of All Time.

“Shannon had a magnetism. You couldn’t take your eyes off him,” DeSantis says. “They knew to bring in a new singer to sing his lyrics would not have had the same magnetism.”

“Because the video was so huge, we now have a visual of Shannon dancing and doing his thing. It’s the same thing with Scott [Weiland], where you have something that is so deeply ingrained into the music I don’t think can be recaptured,” she adds.

Bands that have managed to move through a personnel crisis tend to be warhorses of a former era, like Fleetwood Mac, Van Halen and Genesis. Despite major shifts in sound, style, and players, the founders stayed put to steady the ship. Ted Cohen, a former executive at Warner Bros Records, worked with both Van Halen and Fleetwood Mac early in their careers and says that what kept both bands together despite the rotation of lead singers was Eddie Van Halen and brother Alex Van Halen in the former, and Mick Fleetwood and John McVie in the latter.

“They were the constant centers of their bands, and they surrounded themselves with different people over years. But they were the core,” Cohen says.

Are there genres of music where an acrimonious split or death doesn’t matter? Look to punk and heavy metal, both fundamental areas of music that are ruled less by videos and personalities and more by grooming audiences through live shows.

These bands represent ideas and cultures that are bigger than individual members, which mean the music is more apt to survive disaster. The prototype is Black Flag, a hardcore band that is still revered despite its spreadsheet of singers. Even Blink-182 didn’t blink when singer Tom DeLonge left this year, replacing him with Matt Skiba of Alkaline Trio. And after the 2002 death of singer Layne Staley, Alice in Chains waited four years before reactivating the band with a new singer. Fans mourned Staley but the music meant enough: they came back.

Death, bad blood and much more have destroyed bands as they move through the common trajectory of finding a shared purpose to create music and then, when success finally strikes, becoming embroiled in everything it can yield: drugs, alcohol, lawsuits, ego clashes and the constant pressure to produce new music and tour to keep the franchise afloat.

When bands crumble, some patch themselves together with other refugee musicians who are in the same situation. Audioslave (Rage Against the Machine, Soundgarden), Chickenfoot (Van Halen, Red Hot Chili Peppers), and even Velvet Revolver, a band featuring Weiland with members of Guns N’ Roses, are all supergroups that breathed new lives for musicians looking to stay active.

“The chemistry has to be right,” says Cohen. “It can’t just be slotting someone in.”

michelej1

12-09-2015, 06:28 PM

[Stevie may have said this as a joke, but frankly I can't even imagine her joking about maybe opening for Janis more than once. That's not like her at all. Evenly playfully, she would not suggest that she was even really doing drugs back when they opened for Janis. She remembers would joke about how much she remembers from those days -- which is why some of her song intros are so long -- not how little]

http://www.citypages.com/music/year-in-music-2015-the-32-best-quotes-7885976

"We were a good band. We opened for Jimi and Janis and CCR ... I'm told we opened for Janis more than once, but I can't remember." — Fleetwood Mac's Stevie Nicks at Xcel Energy Center in January

michelej1

12-10-2015, 06:58 PM

Album review: Fleetwood Mac, December 10, 2015

http://www.advertiser.ie/galway/article/81525/album-review-fleetwood-mac

Fleetwood Mac - Tusk Deluxe Edition (Rhino)

BY KERNAN ANDREWS

HOW DO you follow an album like Rumours? You can't. Born of heartache, recrimination, love lost, and new love with your ex looking over your shoulder, it was a cathartic, emotionally raw, confessional, and all too real work.

In 1977, "they meant it, maaann!" and it is why Rumours is still cherished today. When the sprawling double album Tusk was unleashed two years later, it was met with bewilderment, judged a failure, and not a little bizarre - particularly the idiosyncratic, oddball songs by guitarist Lindsey Buckingham. There was also a hell of a lot of cocaine going up people's noses, hence Tusk veers from gentle and mellow to manic and hyper at the drop of a hat.

Time has been kind to Tusk though and it has come to be seen as possibly the band's most experimental, left-field moment. This is borne out by the fact indie-rock weirdos Camper Van Beethoven released a note-for-note cover of the album in 2002. REM, Tame Impala, and Best Coast have also paid homage. This is significant, as Tusk's most out there songs, indeed the album as a whole, was due to the vision, drive, and determination of Buckingham.

Buckingham was impressed by the emergent punk and new wave movements, particularly with what was happening in New York and the early Talking Heads albums. Determined to keep Fleetwood Mac relevant, he unapologetically soaked up the new influences. It could have been terrible - established superstars jumping on the new trend. Instead, punk allowed Buckingham create songs that foreshadow developments in later indie music, and that today, sound startlingly contemporary. His songs also have a rougher, looser, feel to them and are noticeably less polished production-wise - deliberately so - than the other tracks.

The frantic, fuzz-rock bounce of 'The Ledge' and 'That's Enough For Me' seem to anticipate both the aforementioned Camper Van Beethoven and the country-punk stomp of the Meat Puppets; the sublime dreamy, languid, psychedelia of 'That's All For Everone' is Tame Impala 30 years before the real thing (the Aussies covered it in 2012 ); and given songs like the wonderful 'Don't Blame Me', it's easy to see why REM were impressed. The Talking Heads influence is apparent on 'Not That Funny', but it has enough individuality that it would not sound out of place in a contemporary indie clubnight.

This is why Tusk has endured. Yes Christine McVie and the great Stevie Nicks contributed some wonderful moments (Nick's magnificent, dark, 'Sisters Of The Moon' is Tusk's 'Gold Dust Woman' ) but their songs were more conventional, playing it safe.

Hipsters have latched onto 1987's 'Everywhere' as the reason to cherish Fleetwood Mac. Indeed it is a song to cherish, but if they really knew anything about indie, Tusk is the album they would venerate.

This de luxe reissue comes with copious alternative takes of the album tracks, as well as demos. The highlights though are the live tracks from London, Tucson, and St Louis, particularly the iconic 'Oh Well', from the Peter Green era, which Buckingham damn near makes his own.

michelej1

12-10-2015, 09:47 PM

[Mick comments in a piece on Eva Cassidy]

The Washington Post By Dave McKenna December 10 at 7:02 PM

https://www.washingtonpost.com/lifestyle/the-story-behind-the-gigs-that-helped-launch-the-legend-of-eva-cassidy/2015/12/10/516bc5b0-9df7-11e5-a3c5-c77f2cc5a43c_story.html

The saddest part of the mostly heartwarming story of singer Eva Cassidy is that she had to die to get the renown she deserved.

Cassidy, an eclectic cover artist who was born at Washington Hospital Center and grew up in Bowie, Md., has amassed sales of more than 12 million albums. No other native Washington-area artist who spent their recording career here ever sold more.

Musicians who played with her and a small, devout passel of fans still talk about her concerts with you-had-to-be-there reverence.

“We’re still applauding Eva Cassidy,” says Mick Fleetwood, the Fleetwood Mac co-founder and drummer, who became a devotee of Cassidy’s while listening to her sing at Fleetwood’s, the Alexandria, Va., restaurant he owned and operated in the mid-1990s. “We’re keeping the campfire burning, letting people know about her. We want people to know about her!”

Yet, for all the devotion of those left behind, it remains true that you can take away every album sold before Cassidy died of cancer at age 33 in 1996, and that wouldn’t make a dent in her overall numbers. And that there was precious little demand for her as a live performer during her career.

Throughout the year before she died, Cassidy and her tight and tight-knit band played regularly at Shootz, a billiard room in Bethesda, Md. The cover charge for her Shootz shows was $3, which bought you four sets by Cassidy and her band — a cohesive ensemble willing and able to play jazz or blues or torch songs or whatever Cassidy felt like playing that night — plus $3 in pool credit.

These days, Fleetwood (who occasionally sat in with Cassidy and her band) is one of literally millions of music fans around the world who are assured that Cassidy’s voice should never have had to fight racked billiard balls for attention. Next month marks the 20th anniversary of her first headlining gigs at Blues Alley, a pair of performances that were supposed to improve her professional lot, and which are largely responsible for the posthumous fame.

“It all goes back to Blues Alley,” says Chris Biondo, her bassist, producer, sidekick, ex-paramour, and, to this day, most devout supporter.

The shows were recorded and proved at long last that she was indeed fit for the finest music rooms. The anniversary of the gigs is being commemorated with the release of “Nightbird,” a 33-song set taken almost entirely from one of her nights at the hallowed Georgetown club.

“We always had trouble getting Eva to finish things, like a [studio] record,” Cassidy’s arranger and pianist Lenny Williams says. “Al [Dale, Cassidy’s longtime manager] wanted a recording, and Chris thought doing a live album, getting it out quickly, getting her something she could sell, something for critics to write up, was the answer. And Eva said yes.”

They aimed high when targeting a venue for the project: Blues Alley, a nightclub that despite its small size — capacity is only 124 — has since 1965 hosted jazz titans including Sarah Vaughan, Maynard Ferguson, Ella Fitzgerald, Dizzy Gillespie, Wynton Marsalis and on and on.

Cassidy had occupied the Blues Alley stage before, but as part of a duo with Chuck Brown, and everybody in her circle knew that it was the go-go godfather, and not Cassidy, that brought such a booking.

But Dale talked management into letting her headline a show with her band. He got two nights, in fact: Jan. 2 and 3, 1996.

“The club gave us the two worst nights for clubs in America,” says Williams, laughing. “Right after New Year’s, when everybody’s worn out from the holidays. Nobody goes out.”

But bad dates sometimes beat the heck out of no dates. Cassidy took the offer.

Since all expenses were coming out of pocket, the Blues Alley recording was done on the cheap. Biondo says he helped the recording engineer load in all the equipment to get a break on the regular rate. He also used a box of pre-owned digital tapes he bought at a deep discount.

As things turned out, it was a good thing they had an extended stay.

Shortly after the band left the club to huge huzzahs from the packed house after the opening show, Biondo and Williams sat down to check out the tapes. And they got crushing news: “There was a hum from beginning to end,” Biondo says. “It wasn’t something we could work around. It was a deal breaker.”

Nothing was salvageable. Biondo decided to record over everything from the first night. That left one show to nail every note. Or at least try.

“So what you got the second night was a very pissed-off band,” says Cassidy’s longtime drummer, Raice McLeod. “We all knew the first night was terrific, and we were relaxed and comfortable probably because we knew we had another night coming. But that’s all lost. Now we’ve got a one-shot deal.”

Guitarist Keith Grimes says he fretted that Cassidy’s worrying about the opening night’s sonic disaster would hinder her performance for the closing show. No need.

“Mostly I was savoring the experience of playing for an audience that appreciated us, and I knew a Blues Alley audience would,” Grimes says.

“I didn’t want Eva to fixate on wasting the first night, and just told her, ‘Everything’s going to be beautiful, they’re going to love it, let’s go do it!’ And we did.”

For all the worries, Biondo says, the tapes from the second show played back as wonderfully as he had hoped.

Cassidy, Biondo and Dale formed their own label to release the recordings and called it CBD Records after the initials of their surnames. To pay for the manufacture of CDs, Cassidy used money she had been given by an aunt. Biondo recalls Cassidy being pretty sure she had wasted the gift.

“We’d ordered a lot of a thousand CDs,” says Biondo. “I remember driving with her to Virginia to go pick them up from the CD plant. She thought we bought too many. So the whole ride she was saying she knows she’ll have boxes and boxes of them lying around forever, really concerned that for the rest of her life she’d be seeing these things in her basement. I was telling her don’t worry about that, that it would be fine. But, I thought it would be a great thing to sell the 1,000 we had.”

Biondo probably would have been content if the Blues Alley recordings improved Cassidy’s local fame enough to get her out of Shootz forever.

As things turned out, the recordings brought her international acclaim, and millions of “Live at Blues Alley” discs have been sold.

But those sales didn’t come on CBD Records. “Live at Blues Alley” was originally released in May 1996. Weeks later, while Dale and members of the band were still hand-delivering copies of the disc to area record stores in hopes they would offer it for sale, Cassidy showed up limping to a record-release party; doctors told Cassidy her hip had been destroyed by cancer, which until then she was unaware she had. She soon learned the disease had spread throughout her body, and that she didn’t have long to live. About a month before Cassidy’s death, her friend and fellow local musician Grace Griffith sent a CD of Cassidy’s recordings to Blix Street Records, a folk label based in Gig Harbor, Wash. Griffith told Blix Street boss Bill Straw that Cassidy deserved a record deal, and that she was terminally ill.

That Cassidy didn’t have a record label was part bad luck and part her own choice. The iconic jazz label Blue Note infamously passed on signing her, but others came calling. Fleetwood remembers Cassidy telling him about a trip to the offices of a New York label that went south when a record executive began telling her what she should sing. “I said, ‘You may have to be open to some of these suggestions that some of these people might have!’ ” recalled Fleetwood, who now lives in Hawaii, by phone. “And Eva said, ‘Mick, I’m not that person.’ . . . She was very adamant about not compromising.”

michelej1

12-13-2015, 01:03 AM

[From a story about Adam Reader, Professor of Rock]

Herald Extra, Court Mann Daily Herald,

http://www.heraldextra.com/entertainment/music/south-jordan-s-professor-of-rock-has-interviewed-hundreds-of/article_743d55a8-7cb7-5278-98bb-d75ee5caafa9.html

They aren’t finished, either: They’re scheduling interviews with Fleetwood Mac, Elton John and John Fogerty, among others, for 2016. Younger performers from bands like Panic! At The Disco, The 1975 and Neon Trees have also been interviewed about their biggest musical influences.

michelej1

12-23-2015, 12:27 AM

[I don't get it. Christine would be good in the backfield]

Ed Willes, The Province 12/21/2015

Willes: Wilson is 'the man' in Seattle as Seahawks roll over Browns

http://www.theprovince.com/sports/willes+wilson+seattle+seahawks+roll+over+browns/11603866/story.html

They put together six drives of 57 yards or longer, went nine for 12 on third-down conversions and ran for 182 yards with backups Bryce Brown and Christine Michael combining for 132 yards.

But, on this day, they could have had Christine McVie in the backfield and still won. Wilson, meanwhile, has 19 touchdown passes against zero interceptions during the five-game winning streak.

michelej1

12-25-2015, 02:28 AM

[From an article on the band Jake's Leg which is now 40 years old]

Seattle Today by Kevin Johnson

http://www.stltoday.com/entertainment/music/kevin-johnson/jake-s-leg-turns-with-new-year-s-eve-christmas/article_71cb078c-bdfa-5ed0-b520-fa8c645f4dea.html

Furrer says other highlights have been big shows like Fair St. Louis, opening for Bruce Hornsby and having performers such as Chuck Berry and Hootie & the Blowfish play with the band. Mick Fleetwood and Lindsey Buckingham of Fleetwood Mac sat in with the band at Mississippi Nights. “Those kind of highlights are really good for the band,” he says.

SisterNightroad

12-31-2015, 08:47 AM

AC/DC’s ‘Rock or Bust’ Tour Sold a Ton of Tickets in 2015
By Jeff Giles December 30, 2015 11:33 AM

AC/DC placed second on the Pollstar list with a $180 million gross, which the band amassed despite an average ticket price just under $78 — well below Swift’s $110 average and the $118 average recorded by U2, whose $152.2 gross was good for a fourth-place showing. U2 were followed by the Foo Fighters ($127 million) and Fleetwood Mac ($125.1 million).

Top 10 Touring Acts in 2015
Taylor Swift ($250.4 million)
AC/DC ($180.0)
One Direction ($158.8)
U2 ($152.2)
Foo Fighters ($127.0)
Fleetwood Mac ($125.1)
Ed Sheeran ($117.3)
Kenny Chesney ($116.4)
Garth Brooks ($114.9)
Rolling Stones ($109.7)

Read More: AC/DC's 'Rock or Bust' Tour Sold a Ton of Tickets in 2015 | http://ultimateclassicrock.com/top-grossing-tours-2015/?trackback=tsmclip

Read More: AC/DC's 'Rock or Bust' Tour Sold a Ton of Tickets in 2015 | http://ultimateclassicrock.com/top-grossing-tours-2015/?trackback=tsmclip

FuzzyPlum

01-03-2016, 12:03 PM

What the hell difference does it make what music she was listening to???
Alana Stephens, if you visit The Ledge- don't drink & drive- its not cool!

http://www.middevongazette.co.uk/Crediton-barmaid-crashed-car-listening-Fleetwood/story-28457539-detail/story.html

Crediton barmaid crashed car while listening to Fleetwood Mac
By Mid Devon Gazette | Posted: January 03, 2016

Crediton barmaid crashed car while listening to Fleetwood Mac

A DRUNK barmaid from Crediton lost control of her car as she played Fleetwood Mac songs including Go Your Own Way.

Her blue Toyota Yaris car crashed off the road as she went round a bend as the band played their hits which also include Don’t Stop.

Alana Stephens, aged 22, was unhurt in the single vehicle crash on the A379 at Peamore, Devon, in December.

She admitted drink driving at Exeter magistrates court on December 29 after she blew 54mg of alcohol – the legal limit is 35mg.

The court heard it was her second drink drive offence and banned her for 38 months and fined her £190.

Now unemployed, Stephens, of Threshers, Crediton, told police she was not driving fast but listening to Fleetwood Mac when she went round a corner and went off the road.

She had drunk three glasses of wine that night but had topped up from the night before but told police she ‘felt fine to drive’.

michelej1

01-03-2016, 09:19 PM

[I]What the hell difference does it make what music she was listening to???

Mac music caused the collision. If she'd been playing Stop in the Name of Love, it wouldn't have happened.

Michele

jbrownsjr

01-04-2016, 10:43 AM

Mac music caused the collision. If she'd been playing Stop in the Name of Love, it wouldn't have happened.

Michele

"I think I'm in Trouble" was playing after the crash.

James89

01-04-2016, 04:00 PM

"Stop driving my, stop driving my, stop driving my car around!" :lol:

michelej1

01-09-2016, 02:07 AM

New York Daily News BY Keri Blakinger 1/8/2016

[from an article about Elvis]

Medical records for jailhouse rocker In 2001, Elvis Presley’s medical records went up for sale at an auction organized by Fleetwood Mac’s Mick Fleetwood, according to the BBC. The King’s medical secrets weren’t quite as valuable as the auctioneers thought, though; the lot failed to meet the $29,300 asking price. - See more at: http://www.nydailynews.com/news/national/weird-pieces-elvis-memorabilia-people-article-1.2490322#sthash.86xj4nxo.dpuf

bombaysaffires

01-09-2016, 04:09 PM

I was out shopping at a street market and they had some racks of clothing for sale...found this interesting brand... "The magic of Stevie & Lindsay".

http://i1297.photobucket.com/albums/ag38/faygay/IMG_1381_zpsmpkkojv0.jpg (http://s1297.photobucket.com/user/faygay/media/IMG_1381_zpsmpkkojv0.jpg.html)

michelej1

01-23-2016, 12:13 AM

[Why! I am at home minding my own business and you're going to gratuitously insulte me on two different fronts?]

http://www.theguardian.com/tv-and-radio/2016/jan/22/the-x-files-review-revivial-new-episodes

The Guardian on The X-Files:

The best reboots need to make a case for their very existence, otherwise it’s just the members of Fleetwood Mac getting together to play Rhiannon for the millionth time as we clap along and remember the good old days. New episodes should create something new, should take a series to a different place or comment on their legacy rather than just muddling around in the past hoping it’s enough for some good ratings. So far only one of the first three episodes manages to do that.

Wdm6789

01-23-2016, 12:40 AM

jbrownsjr

01-23-2016, 05:55 AM

michelej1

01-23-2016, 01:56 PM

The Guardian is awful. I loved the X-Files in the 90s.

The Guardian did think the X-Files reboot improved and thought the third episode was great. It just made me laugh, because my two loves are FM and TXF and this review had to combine them.

Michele

michelej1

01-29-2016, 08:54 PM

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

http://www.billboard.com/articles/review/6859331/wet-bowery-ballroom-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.

michelej1

01-29-2016, 08:57 PM

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

The Guardian Radiation City Friday 29 January 2016

http://www.theguardian.com/music/2016/jan/29/new-band-of-the-week-radiation-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.

Advertisement

“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.

michelej1

02-12-2016, 02:19 AM

jbrownsjr

02-12-2016, 06:15 AM

Macfan4life

02-12-2016, 06:32 AM

[From Billboard article on couples on the charts together]

http://www.billboard.com/articles/columns/chart-beat/6867206/ask-billboard-jelena-is-back-together-in-the-hot-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).
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

jbrownsjr

02-12-2016, 09:31 AM

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.

FuzzyPlum

02-12-2016, 04:24 PM

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/formulaone/article-3444311/Formula-One-coverage-Channel-4-retain-iconic-Fleetwood-Mac-Chain-title-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.

michelej1

02-13-2016, 12:24 AM

into the Eagles.

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

michelej1

02-13-2016, 12:36 AM

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

http://www.sfstation.com/2016/02/11/maybe-the-moon-brings-sexy-back-just-in-time-for-valentines-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.

SisterNightroad

02-13-2016, 02:32 PM

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

http://s14.postimg.org/67adaxdc1/Reprise_Records1.jpg

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/reprise-records-history/?trackback=tsmclip

SisterNightroad

02-17-2016, 05:22 PM

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?

http://s10.postimg.org/63npok8ix/Rumors_jpg_w_630_h_420_zc_1_cc_000000_a_t.jpg

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/biggest-selling-rock-albums/?trackback=tsmclip

michelej1

02-21-2016, 12:56 AM

[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/the-jr-mangan-band-and-olivia-jones-rocked-out-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.

michelej1

02-26-2016, 11:47 PM

A Journal of Musical Things

http://ajournalofmusicalthings.com/interested-in-record-collecting-then-browse-through-the-discogs-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).

michelej1

03-02-2016, 12:48 AM

[Spend your Hilton Honor Rewards on Mick]

Business Wire

http://www.businesswire.com/news/home/20160229005533/en/Jason-Derulo-Hilton-Inspire-Thousands-%E2%80%98Stop-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.

michelej1

03-16-2016, 06:28 PM

[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/2016/03/what-the-f-is-with-six-packs-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.

michelej1

03-24-2016, 12:03 AM

[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/story/3809324/win-tix-to-tina-turner-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”.

jbrownsjr

03-24-2016, 09:58 AM

BlueDenimLamp

03-25-2016, 09:16 PM

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Relive <a href="https://twitter.com/KTTunstall">@KTTunstall</a> cover <a href="https://twitter.com/fleetwoodmac">@FleetwoodMac</a>'s "You Make Loving Fun" on <a href="https://twitter.com/mbeKCRW">@mbeKCRW</a> <a href="https://t.co/f5Z4J6nijx">https://t.co/f5Z4J6nijx</a> <a href="https://t.co/2JE9EJEZqh">pic.twitter.com/2JE9EJEZqh</a></p>— KCRW (@kcrw) <a href="https://twitter.com/kcrw/status/713425308054122496">March 25, 2016</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

elle

03-25-2016, 11:36 PM

http://www.latimes.com/opinion/op-ed/la-oe-0325-friedman-millennials-boomers-work-tips-20160325-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."
...............................

Richard B

03-27-2016, 09:46 AM

• 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/article-3490225/Chihuahua-rare-genetic-disorder-adopted-family-seven-month-old-girl-syndrome.html

michelej1

03-27-2016, 10:40 PM

[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.

SisterNightroad

03-31-2016, 02:40 PM

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-halen-women-and-children-first/?trackback=tsmclip

michelej1

04-14-2016, 10:20 PM

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-bands-have-plowed-through-3-or-more-frontmen-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]

michelej1

05-05-2016, 12:19 AM

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/from-studio-to-screen-making-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.

michelej1

05-11-2016, 10:32 PM

[from an article on drums]

https://pjmedia.com/lifestyle/2016/05/10/drum-programming-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.”

FuzzyPlum

05-20-2016, 01:07 PM

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/80222783/Drunk-man-punches-victim-five-times-in-head-during-Dunedin-Fleetwood-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.

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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

michelej1

05-20-2016, 08:02 PM

Harris admitted he was extremely intoxicated and had punched the victim in the head five times in quick succession.

Fleetwood Mac brings that instinct out in people. Look at The Americans. Michele

SisterNightroad

06-01-2016, 09:51 AM

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-hagar-nine-on-a-ten-scale/?trackback=tsmclip

michelej1

06-04-2016, 11:36 PM

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/2016/6/3/11853828/usc-band-jams-out-with-red-hot-chili-peppers-will-ferrell-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:

lilyfee

06-05-2016, 02:58 PM

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:

The vampires had left behind a pile of albums. He had a look through this and picked out the new Fleetwood Mac album that everyone was playing. He liked them. There was a light magical sound to the music.

FM is mentioned again in a present-day chapter, "What To Buy the Shadowhunter Who Has Everything":

"You should get him a mixed tape," said Elyaas. "Kids love mixed tapes. They're the cool 'in' thing right now."
"Was the last time you were summoned the eighties?" Magnus asked.
"It might have been," Elyaas said defensively.
"Things have changed."
"Do people still listen to Fleetwood Mac?" asked the tentacle demon. There was a plaintive note in his voice. "I love the Mac."

This book was one in a fantasy series that I really adore, so I was very excited to see that FM made it into the limited pool of pop-culture references!!:nod:

michelej1

06-10-2016, 07:55 PM

[I know that the band itself has some corporations formed for the sole purpose of merchandising, so I had never heard of Fleetwood Owed and was surprised]

Bitcoinist.net

http://bitcoinist.net/lisk-charles-hoskinson-steven-nerayoff/

Steven Nerayoff, Esq. LL.M. is a prolific serial entrepreneur, venture capitalist and attorney, having founded six companies and inventor on 20 patents. Nerayoff is currently the CEO and founder of Maple Ventures, a venture capital firm with a heavy focus on blockchain related technologies. He is also the Founder and CEO of Cloudparc, a patented next generation artificial intelligence company in the smart city and Internet of Things sectors. Previous companies founded by Nerayoff include iOffer (third largest marketplace on the Internet), Freedom Home Health Care (largest company in the sector) and Fleetwood Owed (world’s largest celebrity memorabilia company with partner Mick Fleetwood from Fleetwood Mac). Nerayoff advised and contributed to Ethereum from its earliest days, created the initial legal framework and co-drafted the crowdsale model which set the standard for all other crowdsales to follow.

SisterNightroad

06-13-2016, 05:21 PM

bombaysaffires

06-13-2016, 10:25 PM

FuzzyPlum

06-14-2016, 02:56 PM

Who exactly buys one of these drums? I'm guessing they aren't going to be cheap but I can't imagine any proper musicians wanting to buy one. Why would a drummer want to buy a drum with tacky Rumours logos all over it? More likely its the sort of thing I see for sale near the back of the magazine that comes with my Sunday newspaper. It's sort of nice- but a bit kitsch at the same time.

michelej1

06-15-2016, 11:53 PM

Nerdist Podcast POSTED BY ARISTOTLE ACEVEDO ON JUNE 14, 2016

http://nerdist.com/cashing-in-with-t-j-miller-166-the-yeti/

CASHING IN WITH T.J. MILLER #166: THE YETI

Cash and T.J. talk about Alaska, Fleetwood Mac, vibrating globes, cat ear phones, graphic design, pop-up books, poor man’s oceans, the Dizzy Dragon, the Iditarod, wrist pumping, sex toys, woodchucks, and ask the question, “How do porcupines make love?”

You’ll be “rocking and blocking” to this hot and tasty, it’s even better then white noise….

SisterNightroad

07-27-2016, 06:58 AM

30 Years Ago: Steve Hackett and Steve Howe Unite for ‘GTR’
By Matt Wardlaw July 25, 2016 12:05 PM

“I felt that the two of us would bring out brilliant spirits to bear on this,” he says. “What we were aware of was the idea that we had to make it as songwriters on this. ‘When the Heart Rules the Mind’ was the track that was the hit, which Steve Howe and I had written. Geoff Downes had written ‘The Hunter,’ the second track which was the second single, which didn’t fare as well. But I had the impression that Geoff was considered by Clive Davis to be the writer and that we were really the musicians, and in fact, of course, in the long term, what proved to be correct was that it was the track that Steve Howe and I wrote together that was the hit. … There really wasn’t a second single from that album. I think that if there had been a second single taking off then, we would have been giving Fleetwood Mac a run for their money.”

Read More: 30 Years Ago: Steve Hackett and Steve Howe Unite for 'GTR' | http://ultimateclassicrock.com/gtr-steve-hackett-steve-howe/?trackback=tsmclip

michelej1

07-30-2016, 06:57 PM

Excerpt from an article about a paramedic]

EMS PIONEERS with Mike Rubin

http://www.ems1.com/ems-heroes/articles/111958048-Paramedic-Andy-Bruch-embraces-EMS-in-the-bayou/

"Another time I was dispatched with my good friend Kevin Freeman to a cardiac arrest at a Fleetwood Mac concert. We heard CPR was in progress, so we ran out in front of the crowd and climbed up the railings to see if we could spot the patient. I remember glancing up on stage and seeing Stevie Nicks looking at me like, what in the world are you doing?

"We finally found the patient, who was not in cardiac arrest, but had heat exhaustion. However, some guy in the crowd claimed he did five chest compressions before the patient came around, so Kevin and I figured we could brag about it as a ‘save.’"

SisterNightroad

08-27-2016, 06:35 AM

September 2016 New Music Releases
By Nick DeRiso August 17, 2016 2:50 PM

The list of September 2016 New Music Releases boasts a distinct focus on the live experience. There are a couple of new studio projects of note, but more often we find ourselves vicariously experiencing a lot of cool onstage exploits this time around.
The Beatles have announced a long-awaited expanded re-release of Live at the Hollywood Bowl, featuring performances from the Los Angeles venue in 1964 and 1965. We’re also getting more from Jimi Hendrix‘s initial concerts with Band of Gypsys. Machine Gun: The Fillmore East First Show 12/31/69 includes music not earlier featured on Band of Gyspys, which focused on two shows from New Year’s Day 1970.
An expanded reissue of Led Zeppelin‘s double-platinum BBC Sessions will feature eight previously unheard songs. Neil Young‘s long out-of-print 1973 concert recording Time Fades Away finally re-emerges, along with three mid-’70s studio efforts. Peter Gabriel, Styx, Pete Townshend, ZZ Top and Journey are also returning to the concert vaults in September.
The month’s handful of new albums include Bob Weir, Meat Loaf and the Eagles‘ Timothy B. Schmit, all of whom have spent extended periods away from the studio. Elsewhere, both Kansas and Van Morrison offer fresh collaborative experiences – with a new frontman and lyricist, respectively. Bruce Springsteen is also issuing some unearthed material on his upcoming compilation.
More information on these and other classic-rock releases can be found below. And remember to look at our updated list of 2016 New Music Releases for details on music issued throughout the year.

Sept. 2

Creedence Clearwater Revival, Live in Europe (vinyl reissue)
Freddie Mercury, Messenger of the Gods: The Singles
King Crimson, Radical Action to Unseat the Hold of Monkey Mind
Styx, Live at the Orleans Arena Las Vegas (DVD/Blu-ray)

Sept. 9

Beatles, The Beatles: Live at the Hollywood Bowl (expanded reissue)
Creedence Clearwater Revival, 1969 Archive Box
Faith No More, King For a Day … Fool For a Lifetime; Album of the Year (reissues)
Free, The Vinyl Collection
Journey, Live in Manila (CD reissue)
Justin Hayward (Moody Blues), Live in Concert at the Capitol Theatre
Neil Young, Time Fades Away; On the Beach; Tonight’s the Night; Zuma (reissues)
Ramones, Ramones (40th Anniversary Deluxe Edition)
ZZ Top, Greatest Hits Live

Sept. 16

Peter Gabriel, Still Growing Up Live & Unwrapped; Growing Up Live + Still Growing Up Live & Unwrapped (expanded reissues)
Ian Hunter, Fingers Crossed
Led Zeppelin, The Complete BBC Sessions (expanded reissue)
Meat Loaf, Braver Than We Are
Pete Townshend, Face the Face
Phil Rudd, Head Job (U.S. release)
Roger McGuinn, Original Album Classics (5-disc set with Roger McGuinn, Peace on You, Roger McGuinn & Band, Cardiff Rose and Thunderbyrd)
Toto, Live at Montreux 1991 (Blu-ray)

Sept. 23

Bruce Springsteen, Chapter and Verse
David Bowie, Who Can I Be Now? (1974–1976)
Extreme, Pornograffitti Live 25
Fleetwood Mac, Mirage (Expanded Edition)
Kansas, The Prelude Implicit
Operation: Mindcrime, Resurrection
Timothy B. Schmit, Leap of Faith

Sept. 30

Bob Weir, Blue Mountain
Emerson Lake and Palmer, Trilogy; Brain Salad Surgery; Welcome Back, My Friends … (reissues)
Eric Clapton, Live in San Diego
Hawkwind, The Charisma Years 1976-1979
Jimi Hendrix, Machine Gun: The Fillmore East First Show 12/31/69
Rolling Stones, Rolling Stones in Mono
Sting, The Studio Collection; Brand New Day; Sacred Love (reissues)
Van Morrison, Keep Me Singing

October and Beyond

Green Day, Revolution Radio
Lou Reed, The RCA & Arista Album Collection (17 discs)
King Crimson, Beat; Three of a Perfect Pair (reissues)
Bon Jovi, This House Is Not For Sale
David Crosby, Lighthouse
Pantera, The Great Southern Trendkill (20th Anniversary Edition)
Pink Floyd, The Early Years 1965-1972
Sting, 57th & 9th

Read More: September 2016 New Music Releases | http://ultimateclassicrock.com/september-2016-new-music-releases/?trackback=tsmclip

michelej1

09-03-2016, 12:31 AM

Winnepeg Free Press 8/31/2016

http://www.winnipegfreepress.com/sports/captain-wheeler-a-no-brainer-shinny-season-getting-an-early-start-391936591.html

From: A conversation between sports editor Steve Lyons and columnist Paul Wiecek

And I was too drunk to drive to Portage and Main for the '90 win, but I saw Fleetwood Mac at the arena the next night and Stevie Nicks talked about the utter chaos they encountered when they tried to check into the Fairmont the night before in the middle of a Grey Cup celebration.

FuzzyPlum

09-04-2016, 02:37 PM

http://www.space.ca/wp-content/uploads/2016/08/record5.jpg

Artist reimagines classic album covers to feature 'Star Wars' characters
By Alyssa Pereira Published 4:00 am, Sunday, September 4, 2016

http://www.sfgate.com/news/article/Artist-reimagines-classic-album-covers-to-feature-9195980.php

Steven Lear, a digital artist and former record store manager living in London, found a way to blend two of his hobbies and passions together — graphic design and music — in a very cheeky way.
Going by the artist moniker WhyTheLongPlayFace?, Lear uses Photoshop — a skill he only picked up around two years ago — to mash up iconic album covers from artists like Pink Floyd, Fleetwood Mac, Prince, and Nirvana, with characters from all around pop culture. At first, he worked on his projects to help advertise new releases at the music store wherein he worked, but when the store closed down, he started working on his own pieces, and released them via his own social media accounts.
One of the best and most popular series he's worked on so far is the collection of covers that feature "Star Wars" characters, both classic and new.
As you might imagine, the results are fun and absurd. On one, Lear replaces the winged manikin of Nirvana's "In Utero" with C-3P0; on another, he swaps out the prism on the cover of Pink Floyd's "Dark Side of the Moon" with the Death Star. New characters like Rey and Kylo Ren appear throughout his account, too.
He's garnered lots of fans in the process, and recently noted the fact that he's amassed more than 20,000 followers since launching his Instagram. As for how he celebrated the occasion, well, it should be obvious:

BlueDenimLamp

09-10-2016, 09:15 AM

http://i1361.photobucket.com/albums/r663/Nicksiannation/lb1_zpsb1z5bwza.png

LB never has that many viewers...Could be a computer malfunction...

BlueDenimLamp

09-13-2016, 05:10 PM

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Tune in tomorrow night for a special performance by Stevie! <a href="https://t.co/RUAqyCkOX7">https://t.co/RUAqyCkOX7</a></p>— Stevie Nicks (@StevieNicks) <a href="https://twitter.com/StevieNicks/status/775817207729184768">September 13, 2016</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

SisterNightroad

09-25-2016, 05:06 PM

30 Most Outrageous ’80s Rock Fashions
By Nick DeRiso September 7, 2016 1:07 PM

Fashion in the ’80s was nothing if not distinctive. In the same way that ducktails defined the ’50s and bell bottoms became shorthand for the ’70s, the neon-lit sartorial choices found in our list of the 30 Most Outrageous ’80s Rock Fashions can be firmly placed in the Reagan years.

No one perhaps pushed the boundaries of couture – and taste – like David Lee Roth, especially following his 1985 departure from Van Halen. But he was far from the only superstar to rise out of the ’70s with a flamboyant makeover. Kiss, fresh from removing their familiar makeup, memorably embraced the wild rock fashion of the day. Journey took to wearing shockingly bright things; Hall and Oates, Heart, Whitesnake, Yes and Fleetwood Mac started teasing their hair; and ZZ Top famously picked up a pair of fuzzy guitars to go with their fuzzy faces.

Even ’60s-era legends like the Rolling Stones, George Harrison, Bob Dylan and Eric Clapton traded in their hippie garb for sleek New Wave threads.

Still, the groups that came into their own in the ’80s were naturals at developing a personal style based on body-clinging spandex, coifs with their own zip codes and the wild over-application of beauty products. Motley Crue, Poison and Twisted Sister boasted custom-made outfits and sky-high ‘dos that were just as capable of shocking you as the music they made.

So dig out your hairspray and shoulder pads, and click through the above gallery for our look back at the 30 Most Outrageous ’80s Rock Fashions.

Fleetwood Mac
As this list of 30 Most Outrageous '80s Rock Fashions shows, the Reagan years were nothing if not distinctive.

http://s22.postimg.org/vysc9iarl/tumblr_m9h0249_Jyz1qcaugio1_1280.jpg

Read More: 30 Most Outrageous '80s Rock Fashions | http://ultimateclassicrock.com/80s-rock-fashion/?trackback=tsmclip

And I have to say that I have always loved this photo!

michelej1

10-04-2016, 08:39 PM

Myrtle Beach Online OCTOBER 1, 2016 12:25 PM

The Hard Rock pyramid finishes its final act

Read more here: http://www.myrtlebeachonline.com/news/local/article105390921.html#storylink=cpy

#38 in the slideshow

The front pocket sag of Lindsey Buckingham's shirt is one of the mysteries in the pyramid Hard Rock Cafe at Broadway at the Beach on Thursday, Sept. 29, 2016. The shirt is in a glass case so no one really knows what's causing the sag in the pocket. The new cafe at Broadway is opening Oct. 7, 2016. Hard Rock's last night in the pyramid will be this weekend capped off with an opening of a 20-year-old time capsule at 10 p.m. Saturday. The new location seats 528 people and includes new memorabilia, a stage, several semi-private seating areas, a balcony and patio seating. A few things from the pyramid will be added to the collection at the new location - the drum set from Guns N' Roses and a Vespa scooter of Pete Townshend. Janet Blackmon Morgan [email protected]

Read more here: http://www.myrtlebeachonline.com/news/local/article105390921.html#storylink=cpy

michelej1

10-08-2016, 02:07 AM

FuzzyPlum

10-08-2016, 06:51 AM

Northumberland Today 10/5/2016

[from an article promoting a food festival]

http://www.northumberlandtoday.com/2016/10/05/around-town-enjoy-flavours-support-your-community

And organizers have been lucky enough to secure entertainment by Robert Keyes — of whom Sir John McVie of Fleetwood Mac once said, ““Finger-style guitarist Robert Keyes weaves musical tapestries. He lets his hands do the talking.”

Having looked up this quote, I keep seeing 'Sir' John McVie all over the place. When did John get knighted? (he didnt).
Anyway Robert Keyes' biog implies he has played with JM and Fleetwood Mac;
Keyes has performed with the likes of Lyle Lovett, sir john Mcvie and the iconic Fleetwood Mac.
http://outlawsbarandgrill.com/k/bio/

I dont recall Fleetwood Mac ever calling on the services of Robert Keyes (unless he joined the Time band on tstage at some point)

jenniferuk

10-08-2016, 08:47 AM

Having looked up this quote, I keep seeing 'Sir' John McVie all over the place. When did John get knighted? (he didnt).
Anyway Robert Keyes' biog implies he has played with JM and Fleetwood Mac;
Keyes has performed with the likes of Lyle Lovett, sir john Mcvie and the iconic Fleetwood Mac.
http://outlawsbarandgrill.com/k/bio/

I dont recall Fleetwood Mac ever calling on the services of Robert Keyes (unless he joined the Time band on tstage at some point)

Here's an old related post that mentions JM walking into a venue where Keyes was playing, but I don't recall anything about Keyes playing with the full FM.

http://ledge.fleetwoodmac.net/showthread.php?t=49942&highlight=Robert+keyes

Termed a Virginia fingerstyle guitarist, Keyes has been developing his solo guitar style for years with original mini-orchestrations that feature lush harmonies and independent polyrhythmic counterlines.

“It almost sounds like two people playing,” Sir John McVie (of Fleetwood Mac) remarked, after a trip to Virginia during which he happened to enter a venue were Keyes was playing.

This not only provided Keyes with the wonderful opportunity to play with the former bass player and cofounder of an iconic British band, but also was a great confidence booster.

Keyes has also had the opportunity to play with Lyle Lovett. Among the many wonderful Canadian performers that he has played with are Holly Cole and Hagood Hardy."

FuzzyPlum

10-08-2016, 09:03 AM

Here's an old related post that mentions JM walking into a venue where Keyes was playing, but I don't recall anything about Keyes playing with the full FM.

http://ledge.fleetwoodmac.net/showthread.php?t=49942&highlight=Robert+keyes

Termed a Virginia fingerstyle guitarist, Keyes has been developing his solo guitar style for years with original mini-orchestrations that feature lush harmonies and independent polyrhythmic counterlines.

“It almost sounds like two people playing,” Sir John McVie (of Fleetwood Mac) remarked, after a trip to Virginia during which he happened to enter a venue were Keyes was playing.

This not only provided Keyes with the wonderful opportunity to play with the former bass player and cofounder of an iconic British band, but also was a great confidence booster.

Keyes has also had the opportunity to play with Lyle Lovett. Among the many wonderful Canadian performers that he has played with are Holly Cole and Hagood Hardy."

If nothing else, it does make me wonder why neither Mick nor John or even Chris have received any formal honours- MBE, OBE, CBE etc. There aren't many notable British people in the enternainment industry that have never been honoured. I guess M&J would have needed to receive something before they moved to America. Also, I guess they aren't really notable charity workers (to the best of my knowledge), though I think Mick does some local Maui charity work from time to time.

jenniferuk

10-08-2016, 09:17 AM

If nothing else, it does make me wonder why neither Mick nor John or even Chris have received any formal honours- MBE, OBE, CBE etc. There aren't many notable British people in the enternainment industry that have never been honoured. I guess M&J would have needed to receive something before they moved to America. Also, I guess they aren't really notable charity workers (to the best of my knowledge), though I think Mick does some local Maui charity work from time to time.

Agreed. I've always been surprised that MF didn't strive for an honour, as that seems to me something he would want /appreciate (both for himself & for FM legacy).

michelej1

10-08-2016, 01:50 PM

Having looked up this quote, I keep seeing 'Sir' John McVie all over the place. When did John get knighted? (he didnt).

Yes, I just thought using the title was a way to show respect to John, without the Queen's permission.

Michele

BlueDenimLamp

10-20-2016, 01:42 PM

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">Just hang in there for the ball-triggers. Did he tour as Fleetwood Mac just him and the devil guy?<br> <a href="https://t.co/qTS1Xf5faV">https://t.co/qTS1Xf5faV</a> via <a href="https://twitter.com/YouTube">@YouTube</a></p>— Neko Case (@NekoCase) <a href="https://twitter.com/NekoCase/status/788952414980218881">October 20, 2016</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

<blockquote class="twitter-tweet" data-conversation="none" data-lang="en"><p lang="en" dir="ltr"><a href="https://twitter.com/NekoCase">@NekoCase</a> So you got me searching & found this Atari vid of Mick & the inventor explaining the vest. <a href="https://t.co/vkpcmoBDos">https://t.co/vkpcmoBDos</a></p>— Mike Rock (@itsmikerock) <a href="https://twitter.com/itsmikerock/status/789165124451913729">October 20, 2016</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

michelej1

10-23-2016, 05:37 PM

[Missed Connections post from police officer]

http://www.upi.com/Odd_News/2016/10/21/Maine-police-officer-recounts-texting-driver-encounter-with-Missed-Connections-post/5371477078558/[/CENTER]

UPI

"Missed Connections.
You didn't notice the light had turned green. You also did not notice that I had serendipitously been forced to stop directly beside you. I was going the opposite direction.

I was the guy in the black and white car. We were three feet apart. I was listening to Fleetwood Mac. My door sticker read, POLICE. You did not notice.

The cars in front of you had pulled away from the light and there you were, alone, vulnerable, head down. Were you sad? Nope, you were texting.

The folks behind you were patient, friendly, possibly missing out on the lunch special at Panda Garden. All because you did not look up.

I am sure the message was important. I cannot question your motive for being 25 feet back from the green traffic signal. Stopped. Focused. Self absorbed.

I don't like the song "Tusk" so I was not singing along. Who could sing along with that song? So, since I was unable to move forward from my light, I continued watching you. I felt creepy, but I was stuck there as well.

You provided the much needed entertainment that Stevie Nicks could not bring me. If it had been Supertramp, I would have been singing and might have never noticed you.

I looked down at the black siren control in my cruiser. The air horn button beckoned me. Inviting me to startle you to get you to move along. I couldn't do it. I wanted our eyes to meet organically. With no loud noise to interrupt our Chi.

When our eyes met, you were embarrassed. You knew exactly what I was thinking. You read my mind.

Yes, it is illegal to text while in traffic, even at a light. You blushed. I smiled. I mouthed the words, S-T-O-P I-T. You understood. You pulled forward and were able to get through the green light just in time for the two cars behind you to get to the red light.

We always hope for voluntary compliance. Texting while in a motor vehicle AND on the roadway is illegal. Even at a traffic light.

I hope you remember our time together.

Keep your hands to yourself, leave other people's things alone, and be kind to one another.

We will be here.

TC"

Macfan4life

10-27-2016, 05:16 PM

You guys wont believe this one.
I was eating lunch at Sonny's BBQ in Homestead, Florida today and Station Man came on.
I thought I was going crazy. So freaking cool. I have never heard this song even on the radio let alone a business.

FuzzyPlum

10-28-2016, 04:17 PM

Soundbreaking: Painting with sound
Sky Arts

I've just watched this programme on Sky Arts (first shown, July 2016). I'd recommend it to Brits & anyone else that can pick it up. It is a series about sound/music recording made by George Martin shortly before he passed away. This episode (Painting with sound) was the second episode of 8 and features Fleetwood Mac along with the likes of Beck and Radiohead. The Fleetwood Mac bit was relatively short and featured Tusk footage of Lindsey recording in his bathroom interspersed with recent recollections by Lindsey on the recording of Tusk.

imdb:
The second episode in our series chronicles a watershed event in the history of music: the moment when the recording studio itself effectively became an instrument and gave rise to sounds that could never be reproduced live. Beginning with the advent of magnetic tape and multi-tracking technology, and charting its evolution from the four or eight tracks used by The Beatles and The Beach Boys, to the sixteen- and twenty-four track productions created by Pink Floyd and Fleetwood Mac, to the digital innovations that today fuel the work of artists such as Beck, Bon Iver, and Radiohead, Painting with Sound traces the birth and development of a new art form--one wholly distinct from what throughout all prior human history had been meant and understood by the word "music."

Aside from the Fleetwood Mac contribution this was a really interesting programme. I'll have to catch up with episode 1 and the rest of the series.

SisterNightroad

11-03-2016, 07:49 AM

Taylor Swift is highest paid female in music

Taylor Swift has been named the Highest Paid Woman in Music with earnings of a staggering $170 million.

The 'Shake It Off' hitmaker's haul over the last year largely came from her '1989' world tour, which smashed the North American touring record of the Rolling Stones to pull in $250 million, and her fortune was boosted with appearances in commercials for the likes of Apple, Diet Coke and Keds.

Entertainment attorney Lori Landew told Forbes magazine: "She has been building her fan base for years, and that fan base crosses multiple market segments.

"It's this ability to appeal to younger and older audiences, and those in between, that makes Taylor such a sure bet with both concert promoters and brands who want to affiliate with her and with the community she has cultivated."

The 26-year-old singer's fortune was more than double that of second-placed Adele, whose ranking on Forbes' annual list came with earnings of $80.5 million thanks to astonishing sales of her third album '25'.

Pop veteran Madonna took third place on the list with $76.5 million. Like Taylor, much of her revenue came from performing live, with her 'Rebel Heart' world tour grossing $170 million.

Rihanna was narrowly behind in fourth place with $75 million, and Beyonce's $54 million saw her take fifth position.

Katy Perry - who took the top slot last year - was placed sixth with $41 million, just ahead of Jennifer Lopez with $39.5 million.

Britney Spears, Shania Twain and Celine Dion rounded out the top 10.

Lady Gaga, Mariah Carey, Miranda Lambert and Fleetwood Mac's Stevie Nicks and Christine McVie all made the top 10 in 2015 but dropped out this year.

Forbes' top 10 Highest-Paid Women in Music of 2016:

1. Taylor Swift ($170 million)

2. Adele ($80.5 million)

3. Madonna ($76.5 million)

4. Rihanna ($75 million)

5. BeyoncÃ© ($54 million)

6. Katy Perry ($41 million)

7. Jennifer Lopez ($39.5 million)

8. Britney Spears ($30.5 million)

9. Shania Twain ($27.5 million)

10. Celine Dion ($27 million)

http://www.orangeville.com/whatson-story/6944983-taylor-swift-is-highest-paid-female-in-music/

SisterNightroad

11-08-2016, 04:46 PM

ESSENTIAL ALBUMS: Lisa LeBlanc shows off her many musical languages

In Essential Albums, our favourite artists dig up a handful of records that they consider “essential” by any definition they choose. This week, folk rocker Lisa LeBlanc explores and explains her incredible fluency in what seem like far-flung musical languages.

Fleetwood Mac, Rumours (1977)

The story behind it and everything around that record is so crazy. I was obsessed with Stevie Nicks when I was a teenager. I wanted to be Stevie Nicks. I was such a huge fan, I went a little crazy. And I knew all the songs. She’s just such a weirdo and it’s great. (laughs) That whole mystical Stevie thing. And I love how she is onstage and she’s just this amazing songwriter.

The three of them together have just made so many great things. Lindsey Buckingham, the guitarist, was a huge influence for me for picking and my work on guitar and also on banjo. It comes a lot from Fleetwood Mac and from all the crazy fingerpicking he does. He was pretty much my idol when I was a teen.

Chart Attack: So you were learning banjo from Fleetwood Mac more than, like, bluegrass?

Actually, growing up I didn’t listen to bluegrass because that’s all that people listen to back home. There’s a pretty awesome bluegrass festival down in Rosaireville where I’m from. There’s a huge country/bluegrass scene out in the country, and people love bluegrass. And I hated bluegrass. I was listening to Metallica and classic rock and thinking I was way cooler than everybody.

It’s just like in the recent years that I really started getting into it again. And obviously when you get yourself a banjo you’re going to get there at one point. But yeah, now I’m a huge bluegrass fan. I love also listening to old-time music.

http://www.chartattack.com/features/2016/11/08/essential-albums-lisa-leblanc/

michelej1

11-08-2016, 09:23 PM

http://www.chartattack.com/features/2016/11/08/essential-albums-lisa-leblanc/

Chart Attack, Essential Albums [article on Lisa LeBlanc]

RICHARD TRAPUNSKI - NOV 8, 2016

The story behind it and everything around that record is so crazy. I was obsessed with Stevie Nicks when I was a teenager. I wanted to be Stevie Nicks. I was such a huge fan, I went a little crazy. And I knew all the songs. She’s just such a weirdo and it’s great. (laughs) That whole mystical Stevie thing. And I love how she is onstage and she’s just this amazing songwriter.

The three of them together have just made so many great things. Lindsey Buckingham, the guitarist, was a huge influence for me for picking and my work on guitar and also on banjo. It comes a lot from Fleetwood Mac and from all the crazy fingerpicking he does. He was pretty much my idol when I was a teen.

Chart Attack: So you were learning banjo from Fleetwood Mac more than, like, bluegrass?

Actually, growing up I didn’t listen to bluegrass because that’s all that people listen to back home. There’s a pretty awesome bluegrass festival down in Rosaireville where I’m from. There’s a huge country/bluegrass scene out in the country, and people love bluegrass. And I hated bluegrass. I was listening to Metallica and classic rock and thinking I was way cooler than everybody.

michelej1

11-12-2016, 01:40 AM

[From an article about a restaurant named after the Tusk album]

The Portland Mercury 11/9/ 2016

http://www.portlandmercury.com/Last-Supper/2016/11/09/18682837/how-i-stopped-worrying-and-learned-to-love-tusk

How I Stopped Worrying and Learned to Love Tusk
Super-Anticipated “Middle Eastern” Launch Comes Proper, Especially at Brunch

by Andrea Damewood

Tusk is the restaurant embodiment of several women I follow on Instagram (they mostly live in New York) who bring me simultaneous feelings of aspiration and stomach-twisting jealousy.

Tusk—named after a goddamn awesome, but kinda obscure Fleetwood Mac album—is the girl whose house is always immaculate and original, with details that never feel forced. Of course Tusk has the pink-edged variegated rubber plant I’ve coveted for months. The walls and tables are white, with pops of teal and pink accessories. Over the bar hangs a massive black-and-white print of a Speedo-wearing Keith Richards lazily floating in a pool. Tusk is that girl who loves dessert, but still looks banging in a crop top. I don’t know if I want to be her friend or punch her.

SisterNightroad

11-16-2016, 02:33 PM

michelej1

11-20-2016, 07:55 PM

A Journal of Musical Things, by Alan Cross

http://ajournalofmusicalthings.com/one-insane-musical-gift-ideas-2016-costs-150000/

GOOP Christmas Gift Ideas

One of the Most Insane Musical Gift Ideas for 2016 Costs $150,000

Leave it to Gwyneth Paltrow’s Goop to uncover this insane gift idea with its annual Christmas shopping guide. Admittedly it’s under the heading of “The Ridiculous, But Awesome” section–but still…

So what is it? A collection of 110 vinyl records once owned by the late Dennis Hopper. There’s nothing terribly unique about what’s included–records by Dylan, Van Morrison, The Beatles and Fleetwood Mac–except that all of them were owned by Hopper. Here’s the official description:

With a career spanning almost six decades as an actor, filmmaker, photographer, artist ,art collector and Hollywood enfant terrible, Dennis Hopper collected over 100 record titles during his lifetime. Including iconic artists and bands such as The Beatles, Bob Dylan, Van Morrison, Fleetwood Mac, Leonard Cohen and Miles Davis, this collection provides an incredible view into the world of one of America’s most culture-defining men. Along with handwritten notes to the actor from various artists and several unreleased records, this is a very personal biography of Dennis Hopper’s musical journey, directly from the archive of Dennis’ daughter, Marin Hopper.

The price? A mere $150,000.

Okay, so a chunk of the purchase price goes to charity–the percentage is not mentioned–but $150K is a crazy amount of money to spend on a small, very standard record collection.

If you’re interested in making a purchase, go here. Godspeed, you rich prick.

SisterNightroad

11-29-2016, 06:13 AM

Todd, did Courtney bring anything to this role that surprised you?

Oh, yes. She’s got such an enormous life force, and she brought in all of this energy, even in ways that she doesn’t know. She just, as an interpreter of someone else’s music, brings all of her color and artistry to it, so the songs had to fit themselves to her. I think it’s actually brought them to life in a way that they weren’t alive. There’s a song that takes place in the story where she and I – we play lovers who come together and go apart and come back together in a strange way – but the part where we’re splitting up is a long, slow lovely song with these long phrases that quietly unfold themselves. And Courtney’s like, ‘I just had a major impulse,’ and she showed me Fleetwood Mac live from the 1982 “Mirage” tour doing “The Chain,” where Lindsey Buckingham and Stevie Nicks are singing at each other and for the audience, and there’s a lot of history and hatred and love. And it was such an explosive performance that I went back to the drawing board and kind of rethought that song. Courtney and I sat in my living room with a guitar and we rethought that whole moment.
So there were specific moments like that where Courtney had intellectual thoughts on the piece that changed it, but also, she just has a spiritual effect on the piece that revolutionized it.

http://www.miami.com/courtney-love-miami039s-arsht-center-new-musical-not-hole-reunion-article

michelej1

12-04-2016, 12:37 AM

[Courtney Love interview] Fashion Week Daily Courtney Love’s Theater
Performance Comes to Miami By Paige Reddinger | December 2, 2016

https://fashionweekdaily.com/courtney-love-miami-musical/

We hear you based one scene on a Fleetwood Mac video from the ’80s. How so?

Love: I’m a huge Fleetwood Mac fan, and my favorite song of theirs is “The Chain.” There’s a very operatic YouTube video of Stevie [Nicks] and Lindsey [Buckingham] where they’re coked out of their minds and they hate each other’s guts. You know, this is all public information, but it’s Kabuki opera in a lot of ways. It’s a really great clip. And so I showed it to Todd, and we kind of hustled and he altered one song to kind of fit that paradigm.

michelej1

12-04-2016, 12:49 AM

[From a Nerdspan review of a comic book]

http://www.nerdspan.com/dec-7-oni-previews-coldest-winter/

HEARTTHROB VOLUME 1: NEVER GOING BACK AGAIN
(W) Christopher Sebela
(A/CA) Robert Wilson IV
(C) Nick Filardi

AGE RANGE: 15 and up
GENRE: Crime
PRICE: $9.99
136 PAGES

Callie was born with a bad heart. After it ruined her life, she went looking for a miracle: a heart transplant. Now she’s got a brand new heart, but she’s still stuck with a crappy job, crappy boyfriend, and crappy prospects.
Enter Mercer, a mystery man who gets Callie’s heart beating like crazy. As her behavior changes and their flirting deepens, Mercer reveals he’s her heart donor. Only Callie can see, speak to, and touch him—and he’s in love with her, a love she feels just as strongly.

A master thief when he died, Mercer offers to teach Callie his criminal ways and how to turn them against her old job and kick off a nationwide crime spree. Hunted by the FBI and popping heart meds to stay alive, Callie will find out that nothing’s as scary as two people in love with nothing to lose.
This volume collects the first five issues of one of 2016’s most critically acclaimed new series. This 70’s crime comic mixes romance and heists in a story about second chances, Fleetwood Mac, and a bank robbery spree fueled by love and revenge. Priced at only $9.99, it’s an easy hand-sell to fans of titles like Sex Criminals or Fight Club, making it a perfect opportunity to hook new readers prior to the continuation of the monthly series in early 2017.

SisterNightroad

12-05-2016, 06:43 AM

Today in entertainment history: Dec. 5

1975: The self-titled album “Fleetwood Mac” was certified gold in the U.S. It was the first one with Lindsey Buckingham and Stevie Nicks.

http://kpug1170.com/news/030030-030030-today-in-entertainment-history-dec-5-2/

SisterNightroad

12-11-2016, 03:46 PM

Rocker Rod Stewart welcomed back by budget hotel Holiday Inn after they lift 40-year ban for throwing ‘wild parties’
The 71-year-old was barred in the 1970s after throwing wild parties with his band Faces - inviting hundreds of girls back

Rod, 71, was barred in the 1970s after throwing wild after-show parties with his band Faces.
He told Late Late Show host James Corden that the ban meant they had to check in as Fleetwood Mac.

https://www.thesun.co.uk/tvandshowbiz/2374140/rocker-rod-stewart-welcomed-back-by-budget-hotel-holiday-inn-after-they-lift-40-year-ban-for-throwing-wild-parties/

I wonder if he checked as Stevie or Christine.

SisterNightroad

12-15-2016, 03:02 PM

Watch: Lorde and her famous friends join forces for epic Fleetwood Mac cover
Kiwi songbird Lorde, who has been keeping a low profile recently, has delivered a stunning performance in the name of charity in New York.

Lorde made a surprise appearance at Webster Hall, in aid of homeless LGBTQ young people.
Together with Jack Antonoff, she performed a cover version of Robyn's Hang With Me.
Later on, she also took to the stage with Carly Rae Jepsen and Chvrches to sing Fleetwood Mac's Go Your Own Way.
Lorde and Antonoff are working together on Lorde's second album, the long-awaited follow-up to 2013's Pure Heroine.

<iframe src='//players.brightcove.net/963482464001/HJiGOMree_default/index.html?videoId=5247182434001' allowfullscreen frameborder=0></iframe>

https://www.tvnz.co.nz/one-news/entertainment/watch-lorde-and-her-famous-friends-join-forces-epic-fleetwood-mac-cover

michelej1

12-26-2016, 02:52 PM

[The truth is, I think Prince actually did have more of a thing for FM than people know]

Billboard [The Revolution Remembers Prince] by Jem Aswad December 12, 2016, 11:53am EST

http://www.billboard.com/articles/events/year-in-music-2016/7604454/the-revolution-prince-final-moments

Z: What we call the "movie band" -- the band you’re talking to right now -- these are the people who were committed. The guys in the early days [Cymone and Dickerson] made it very clear to Prince that they had solo careers. Prince was frustrated by that, and it wasn't until Wendy joined -- until his dream of a Fleetwood Mac-style band came true -- that it really became the band he wanted it to be. That first time Wendy jammed with us at soundcheck on “Controversy” … It’s like when you’d hear the Beatles talking about when they found Ringo. You just knew that was the future, and Purple Rain is the testament to that. I think The Revolution was the last band Prince was really in -- he was the bandleader after that.

***

The Revolution evolved gradually over several years, with all of the members joining during (or shortly after) their teens. Minneapolis native Z first met Prince in 1976, a few months before the 18-year-old boy wonder signed his deal with Warner Bros. Z's friend Fink joined before the band's concert debut in January 1979. Coleman replaced keyboardist Gayle Chapman the following year; Brown took over for bassist Andre Cymone the next. Even the band's name took years to emerge, first appearing -- written backwards -- on the cover of the 1999 album. Finally, Melvoin -- Coleman's childhood friend (their fathers were L.A. session musicians) and then-girlfriend -- replaced guitarist Dez Dickerson in mid-1983. While Sly & the Family Stone seems the most obvious reference, as Z puts it, "Prince's dream of a Fleetwood Mac-style band came true."

michelej1

01-21-2017, 06:50 PM

[From a New Zealand Herald article about live shows]

Kerre McIvor: Nothing beats thrill of live action Jan 15, 2017

http://www.nzherald.co.nz/opinion/news/article.cfm?c_id=466&objectid=11781686

But there's something magical about seeing superstars in the flesh - especially when it's in an intimate environment. I saw Fleetwood Mac in Las Vegas a couple of years ago and even though the MGM Arena isn't exactly a club venue, we were five or six rows from the front in a 16,000 seat arena.

We were close enough to see the sweat on Stevie's face and it was magical. So magical that I decided from then on, I wanted to have experiences rather than things. It was the catalyst behind dragging my Irishman halfway across the world to the Slieve Donard Hotel in Northern Ireland to see Van Morrison in concert after my husband finally conceded that the one person he'd really like to see live in concert was Van the Man.

SisterNightroad

01-24-2017, 09:04 AM

I did this trivia quiz, it was fun because I actually answered everything right but the first question in which you have to complete the lyrics for Don't stop, I never truly liked that song.

WE MAKE QUIZZING FUN: Rumours of this week's Fleetwood Mac top tribute show prompts ultimate trivia test

Friday's City Hall world tour gig, celebrated here by East Coast (of UK) Black Magic Woman tribute footage, promises to feature tracks aplenty from '88 greatest hits collection, encompassing half a century's classic content from The White Album, Tusk, Rumours, Mirage and Tango In The Night, while our top 25 posers will prove if you're truly Mac-nificent!

Read more at: http://www.thestar.co.uk/whats-on/gigs-and-music/we-make-quizzing-fun-rumours-of-this-week-s-fleetwood-mac-top-tribute-show-prompts-ultimate-trivia-test-1-8348844

jbrownsjr

01-24-2017, 11:07 AM

25/25... pretty easy, however..

James89

01-24-2017, 05:41 PM

Yeah, 25. :)

FuzzyPlum

01-25-2017, 11:31 AM

Decider.com

http://decider.com/2017/01/23/netflixs-the-defenders-will-be-the-superhero-fleetwood-mac/

Netflix’s ‘The Defenders’ Won’t Work Together – But They’ll Sleep Together
By Brett White @brettwhite

Superheroes team up now. That’s what they do. We no longer live in a world where superheroes are either a solo act or a member of an ensemble; much like in the comics, members of the super-set pull double duty. The majority of the Avengers have their solo projects, and the same goes for the Justice League. Soon this will be true for another super group when Netflix‘s four headlining Marvel heroes (Daredevil, Jessica Jones, Luke Cage, and Iron Fist) come together to form Marvel’s Defenders.

But the Defenders have something different going on, something that sets them apart from their big screen counterparts. To put it quasi-delicately, they’re all boning. Seriously. The Defenders are the Fleetwood Mac of superhero teams

The classic lineup of Fleetwood Mac, a classic rock band known for singing moody songs about witches and chains, consisted of Stevie Nicks, Lindsey Buckingham, Christine McVie, John McVie, and Mick Fleetwood. When they came together in the mid-’70s, Nicks and Buckingham were in a long-term relationship and the McVies were married. After the release of the “Fleetwood Mac” album, though, everything went to hell. Christine cheated on John with the band’s lighting director, Fleetwood’s wife cheated on him with another ex-Mac guitarist, and Buckingham and Nicks separated. While recording their 1977 album Rumours, everyone in Fleetwood Mac divorced everyone — and then Mick Fleetwood started hooking up with Stevie Nicks! The band released Rumours and stayed together, because you don’t break up when you release an album that turns you into stone-cold millionaires (Rumours is the eighth best-selling album of all time). They followed it up with 1979’s Tusk and didn’t slow down until the late ’80s. After all the heartbreak and drama, the classic quintet got back together in 1997 and is still together today.

Marvel’s Defenders stars Daredevil (Charlie Cox), Jessica Jones (Krysten Ritter), Luke Cage (Mike Colter), and Iron Fist (Finn Jones). In supporting roles, the series also features Claire Temple (Rosario Dawson), Misty Knight (Simone Missick), Karen Page (Deborah Ann Woll), and Elektra (Elodie Yung). Starting with the core quartet, things get complicated. Jessica and Luke got busy on her series. Luke hooked up with Misty Knight and got all romantic with Claire Temple in his series. Claire Temple previously slept with Daredevil, and Daredevil has also slept with Elektra and dated Karen Page (who also kinda dated Daredevil’s sidekick Foggy Nelson, who is also in Defenders played by Elden Henson). Things get even more complicated when you factor in that in the comics, Iron Fist and Misty Knight have had an off-and-on thing for decades. So to sum things up, Luke Cage is on a superhero team with his ex (Jessica Jones), his current girlfriend’s ex (Daredevil), and a guy (Iron Fist) that may soon hook up with a girl he briefly had a thing for.

See? Netflix’s Defenders are the Fleetwood Mac of superhero teams — and that’s perfect. From the get-go, Marvel’s Netflix shows have presented audiences with messier, rawer heroes — ones that beat themselves up (Daredevil), wrestle with past traumas (Jones), ignore their responsibilities (Cage) and, well, whatever self-destructive habits Iron Fist will have. And all of them (well, we’re presuming with Iron Fist) have sexual lives, just like other real, messy humans.

By comparison, the big screen Avengers are more like the Traveling Wilburys; they’re a super group made up of big name individuals, but none of them are getting busy with each other (although there has to be some George Harrison/Tom Petty slash out there somewhere). Okay, Black Widow and Hulk had a bit of a thing in “Avengers: Age of Ultron,” but they just lock lips once. Otherwise, Hawkeye’s married and has kids; Thor and Captain America have kissy moments with Jane Foster and Peggy Carter, but nothing more; and Tony Stark’s a ladies man, but he’s committed to Pepper Potts for the better part of a decade. While the Avengers are dressed to the nines and partying in Stark’s swanky tower, Jessica Jones and Luke Cage are shacked up in a dark bedroom causing light property damage.

This one mature-rated difference could be key to predicting how the four Defenders will work together when they team up later this year. We already know Daredevil, Jones, and Cage aren’t team players; Jones particularly doesn’t play well with others, and you just know she’s going to give Daredevil’s unwavering morality a middle finger. But sleeping with someone, or even having an extreme crush on someone, ignites messy, totally irrational feelings. What happens when those feelings/gasoline are tossed onto a personality clash/garbage fire? Think about it: can you imagine being tasked to save the world with some combination of your ex, your current partner’s ex, and your ex’s current partner — or all of the above? This is uncharted territory for superhero team-ups, and “Defenders” is poised to go where the “Avengers” films can’t (unless they want to test their PG-13 rating with steamy material).

If Fleetwood Mac’s members could power through recording sessions where they had to sing their ex’s songs about their breakup, then the Defenders can get through whatever Sigourney Weaver’s mystery villain has in store for them. After all, Fleetwood Mac’s sexual drama resulted in a masterpiece called “Rumours.” We can only hope Marvel’s The Defenders gives us the same amount of moody atmosphere, building tension and frenetic energy as “The Chain.”

SisterNightroad

01-28-2017, 03:18 PM

‘Rockin’ the City of Angels’: Inside Douglas Harr’s Great New Book

<iframe width="854" height="480" src="https://www.youtube.com/embed/sOChKivT0s4" frameborder="0" allowfullscreen></iframe>

Rockin’ the City of Angels, my first publication, is off the presses, in the warehouse and now available for purchase. Here’s a bit about the book and how I came to write it so many years later.

When I was a teenager way back in the 1970s, I was lucky enough to be able to attend dozens of rock concerts staged in Los Angeles, the City of Angels. Rock music had become increasingly relevant to my life, and I was drawn to complex works and the challenging, sometimes fantastical elements of the genre known as “progressive rock.” My collection of records and concert ticket-book grew to include prog-rock bands like Genesis, Yes, Jethro Tull, King Crimson, Emerson Lake and Palmer, and Pink Floyd – along with the more creative and powerful of their harder-rocking contemporaries like Led Zeppelin, Fleetwood Mac and Queen, as well as bands from North America like Kansas, Styx, and Heart.

My youthful fascination grew into a lifelong passion for music in general, and for progressive or classical rock music in particular. My enthusiasm was stoked by seeing these bands live in concert, where increasingly elaborate theatrical productions dramatized the themes of many of these concept albums. These concerts were almost religion to my growing list of fellow concertgoers.

I wrote Rockin’ the City of Angels as homage to rock music of the ‘70s — in concert and on film. It tells the story of more than three-dozen key concert performances from this era, illuminating the genius of the best progressive and classical rock acts whose concerts I was lucky enough to attend. I spent two years tracking down a selection of iconic photographs from those unforgettable events. In the process, I’ve been fortunate to meet many of the talented photojournalists of the era – including Neal Preston, Armando Gallo, Jorgen Angel, Neil Zlozower, Lisa Tanner, Jim Summaria and many others. Many thanks go out to these artists, who captured these consummate rock musicians in their prime, frozen in time in arresting images.

In addition, I’ve combed through more than 100 rock films from the decade, all part of my private collection. TV appearances, professionally filmed 35mm movies — even celluloid left in the can for years, sometimes decades after light hit the film — are finally getting home video or streaming media release. I remember going to see many of these films at the local cinema that featured Led Zeppelin, Yes, AC/DC, Alice Cooper, Paul McCartney and Wings, and so many others. Now, just about every major band of the era can be seen performing live in one format or another, thanks to the dedicated teams at Eagle Rock Entertainment, Warner Home Video, and others who are helping to keep their legacies alive and to introduce the power and majesty of this adventurous music to new generations.

Although some of these bands are still touring, their time is waning, and soon these films will be the only way to recapture their extraordinary live performances. I believe these films are important documents of rock music performance in our life times. Those of us who were there found more than just good times at these concerts. Those shows brought us together to share profound, even life-changing experiences that bonded us forever.

http://somethingelsereviews.com/2017/01/27/rockin-the-city-of-angels-douglas-harr-book/

Macfan4life

01-30-2017, 07:47 AM

I was watching Mork and Mindy on Antenna TV this morning. Season 1 episode 8 from 1978. Remember that Mindy's dad owns the music store. A customer comes in and is looking at albums. Mindy picks up the Rumours album and says "if you really like Fleetwood Mac, this record is for you because it has all the music you like" or something like that. She flips the album once so you see the back cover and then the front cover. The name of the episode is "To tell the truth."

michelej1

01-31-2017, 07:55 PM

jbrownsjr

01-31-2017, 09:26 PM

[From an article about ticket scalping]

TCBmag.com by Tad Simons January 30, 2017

High concert prices get all the headlines, but it’s also true that there are plenty of deals available on the secondary ticket market—for example, when Stevie Nicks performed solo at Xcel Energy Center on December 6 (see infographic). Ticket King’s Nowakowski lost some money that night. “It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,” he says. “But that’s the way it goes sometimes.”

http://tcbmag.com/Industries/Sports-Entertainment/The-New-Age-Of-Ticket-Scalping

I just threw all my chiffon out!! Just when I thought it was all about money!!

Fmac Sold out The Forum 6 times and probably another 6 had they kept playing here. The scalper seats were 10K up front. No comparison.

I hope LB and CM tour in small halls.. I really would love to see an intimate show.

Macfan4life

02-01-2017, 05:21 AM

I just threw all my chiffon out!! Just when I thought it was all about money!!

Fmac Sold out The Forum 6 times and probably another 6 had they kept playing here. The scalper seats were 10K up front. No comparison.

I hope LB and CM tour in small halls.. I really would love to see an intimate show.
Right now scalpers are asking $1k for front row Stevie in Pittsburgh.
Time to put your chiffon back on :eek:

jbrownsjr

02-01-2017, 09:09 AM

Right now scalpers are asking $1k for front row Stevie in Pittsburgh.
Time to put your chiffon back on :eek:

You know I look good in chiffon. :) But that's still one tenth.

Macfan4life

02-01-2017, 01:49 PM

You know I look good in chiffon. :) But that's still one tenth.
True dat
But Stevie is grossing similar revenue in some cities. She is on par with the Mac here and there.

jbrownsjr

02-01-2017, 01:57 PM

Sure maybe in some cities. But they were third for the entire year. And they didn't have the Pretenders. (which I love)

elle

02-02-2017, 06:59 PM

[From an article about ticket scalping]

TCBmag.com by Tad Simons January 30, 2017

High concert prices get all the headlines, but it’s also true that there are plenty of deals available on the secondary ticket market—for example, when Stevie Nicks performed solo at Xcel Energy Center on December 6 (see infographic). Ticket King’s Nowakowski lost some money that night. “It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,” he says. “But that’s the way it goes sometimes.”

http://tcbmag.com/Industries/Sports-Entertainment/The-New-Age-Of-Ticket-Scalping
impossible!! Stevie IS Fleetwood Mac, no?!?!?! so how can that be?

HomerMcvie

02-03-2017, 12:48 AM

“It turns out that when Stevie Nicks isn’t playing with Fleetwood Mac, her tickets are worthless,”

I feel a new "signature" coming on....:angel::rolleyes::cool:

NotonRodeo

02-04-2017, 01:29 PM

I feel a new "signature" coming on....:angel::rolleyes::cool:

Can I have permission to use it? :blob2::blob1:

Steviegirl

02-05-2017, 10:41 AM

Yesterday on "All Things Considered" on NPR, there was a caller named, "Rhiannon," and Peter Sagal asked her if she was named after the FM song, and she said, 'yes.' He then asked her if she wore, 'gauzy, flowy outfits like Stevie Nicks.'

SisterNightroad

02-06-2017, 03:53 PM

Car Share, Rumours, And Greatest Hits

John: ‘What?! Rumours! It’s one of the best albums int’ whole wide world.’

Kayleigh: “Never even heard of it.”

John: “Excuse me! You’ve never heard of Rumours? Ohhh, you’ll love it, I’ll burn you a copy...tonight! Ahhh, one of me all time favourite albums.”

Kayleigh: “Mine’s Now 48.”

John: “No, no I’m sorry you can’t have a Now album as your favourite album.”

Kayleigh: “Why not?”

John: “Cause... ‘cause... ‘cause you can’t have a compilation.”

Kayleigh: “I love it, it reminds me of the summer I worked in River Island.”

I won’t waste any more than just one sentence to recommend watching Peter Kay’s Car Share: it’s brilliant, it’s absolutely hilarious. This scene always makes me laugh; John makes a statement a lot of music fans might agree with, especially people of his age (my mum happens to love the album and the band - it’s why I do), and Kayleigh’s response is something he just can’t cope with. Rumours (1977) is a well-loved album, grammy-winning, it marks the most successful release the band ever made, and one of the most successful albums ever.

As far as Rumours is concerned, I’m on John’s side here because it is in fact one of the best albums int’ whole wide world. I need to talk about the music itself though. I mean, it’s cracking: every single song is fantastic. But why? It probably has a lot to do with the conflict, romantic and otherwise, that Fleetwood Mac were experiencing during the making of the album, and during a significant part of their time as a band. The songs are charged with emotion, and the music is relentlessly passionate. ‘Go Your Own Way’ is maybe the best example of this feature of the album. However, the album also achieves a wonderfully ambient edge, which isn’t as obvious as the emotional songs would let you think. ‘Dreams’, the song that sparks the car share conversation, and my personal favourite from Fleetwood Mac, is a calm and accepting song. I’ve maybe listened to it a couple of times a day for the last week or so. It has some fantastic harmonies and Stevie Nicks chooses every word carefully and perfectly. The lyrics blend together with the instrumental section and become inseparable from it. It just fits. Both the first and second side of the record somehow strike a great balance, drifting in and out of moods and emotions, creating conflict and underlining tension.

If Rumours is as wholesome as I make it sound, then Fleetwood Mac, Greatest Hits (1988) is just a compilation, patched together from their best songs. Compilations are, in this way, apparently the Frankenstein’s monsters of the album world. Liking Now albums is a bit different though, I don’t really want to make a case for defending them; they’re probably like the result of Frankenstein’s monster having a baby with another patched together human/monster? But back on topic, this is the point where I disagree with John as I probably like the greatest hits album as much, if not more than Rumours. Although the project of Rumours - an expression of romantic and emotional conflict spanning multiple relationships - is incomparable, people have always liked albums because they tell stories, and there’s no reason why any best/greatest hits album can’t do this too.

I’m fully aware there’s no, ‘making of the album’ here, but for me, Greatest Hits indirectly reworks and refigures the complicated emotion in Rumours, using songs from Tango in the Night like, ‘Everywhere’ and, ‘Little Lies’ to stress the point that the emotions in their relationships don’t stop being complicated. It might seem like a lot of the tension and anger would be resolved by moving on - ‘Don’t stop’ seems to suggest this - but how do you move on? In light of this question, the sentiment of ‘Little lies’ is particularly poignant in showing resignation to the complication, preferring to deny an unhappy reality, whereas ‘Everywhere’, though it seems hopeful, might underline how difficult it is to resolve the tension in a relationship when you want to be with the other person everywhere and always. The energy of these two songs, and the manic energy of ‘Tusk’ from the album Tusk (1979), oppose the more measured features on the album like ‘As Long As You Follow’ and ‘No Questions Asked’ - both previously unreleased, and give the album an interesting pace which seems like it is desperately trying and failing to resolve the conflict reflected in the complicated relationships. ‘Tusk’ demonstrates this quite well: ‘Don’t say that you love me! Just tell me that you want me!’.

I’m willing to admit that Fleetwood Mac, Greatest Hits, is actually a collection of their best songs; it’s a window into the most successful period of the band’s career. This compilation and all compilations are reconstructed. They aren’t the same as the albums or songs from which they are created, but if music is about interpretation then it is about reinterpretation too. Books and screenplays are constantly adapted, and although the-book-was-better people might try and tell you otherwise, you can think that the reinvention of whatever the original thing was is better, and it has a new message of its own. I also don’t care if no message was intended for the album, because I know I’m the one giving it one. Greatest Hits (1988) might not seem as wholesome as any other Fleetwood Mac album, but it’s a fantastic achievement all the same.

http://www.huffingtonpost.co.uk/joshua-clark/car-share-rumours-and-gre_b_14572124.html

FuzzyPlum

02-06-2017, 04:06 PM

SisterNightroad

02-06-2017, 04:27 PM

What a complete load of bull***t.

By the way, Peter Kay is a very, very funny man. I'm not sure he'd translate all that well outside the UK though. He very much relies upon the nuances and mundanety of working class language and northern English stereotypes. Very clever at what he does.
I would agree with you but I remembered that one of my favourite albums is Elton John's 1974 Greatest Hits so I have to shut up.

FuzzyPlum

02-06-2017, 04:38 PM

I would agree with you but I remembered that one of my favourite albums is Elton John's 1974 Greatest Hits so I have to shut up.

Don't get me wrong, there's nothing wrong at all with greatest hits albums. In fact, I've unfortunately reached an age whereby very few of the albums I buy are studio albums... I'm much more likely to buy compilations these days. I just find the whole article rather pretentious.

SisterNightroad

02-06-2017, 04:44 PM

Don't get me wrong, there's nothing wrong at all with greatest hits albums. In fact, I've unfortunately reached an age whereby very few of the albums I buy are studio albums... I'm much more likely to buy compilations these days. I just find the whole article rather pretentious.
Oh that's true, he sounds like some kind of hipster.
And now that I've checked his writer profile it says: "First year UCL student in French and German" and there's a picture of him with a ****ty long hairstyle so there you go.

SisterNightroad

02-11-2017, 09:44 AM

This week’s best radio: Freddie Flintoff's banter, Fleetwood Mac and politics pods
The former cricketer leads a laddy new sports podcast and Jo Wood explores the recording of Rumours, plus the latest must-listen current affairs roundups

In a sign-of-the-times move, 5 Live this week launches a series of sport shows that will be podcast before broadcast. The first, called Flintoff, Savage And The Ping Pong Guy, features former cricketer Andrew Flintoff, former footballer Robbie Savage and former table tennis champion Matthew Syed talking about whatever sporting matters grab their attention. Syed promises “raw honesty”. Flintoff says: “I’m looking forward to an intelligent conversation with Matthew. Robbie will be there, too.” This cocktail of banter and insight is available on Monday 13 February.

The British love nothing more than an heroic failure, as our pride in Dunkirk suggests. And as Joe Queenan discovers in A Brief History Of Failure (Saturday 11 February, 8pm, Radio 4), we’re not alone. In the footsteps of hundreds of tourists, Queenan huffs and puffs his way to the top of the Château de Montségur, where the Cathars failed to hold off an encircling army in the 13th century. He winds up in Virginia, where thousands regularly re-enact a war their ancestors lost. In between, we hear from Armando Iannucci, journalist John Sergeant and classics professor Edith Hall.

The recording of Fleetwood Mac’s Rumours was a slow business. It was made even slower by the fact that none of the songwriters wanted to share their lyrics with the other members because the songs were mostly about the other members. Rumours is the main subject of the second part of Jo Wood’s Musical Muses (Wednesday 15 February, 10pm, Radio 2). It also covers the musical romans à clef of Leonard Cohen, Lionel Richie and Chris De Burgh. In Private Passions (Sunday 12 February, noon, Radio 3), crime writer Peter Robinson talks to Michael Berkeley about the music favoured by his famous creations and why Yorkshire is the best place to hide a body.

The White House has been producing so much news, tittle-tattle and black comedy recently you have to feel sorry for podcasts stuck with slow-moving beats like football. It’s particularly interesting to hear from the former White House staffers who make Pod Save America, which calls itself “a no-bull**** conversation about politics”. These speechwriters and advisers know no more than anybody else what’s actually going on but they’re good on what usually goes on, which is a useful benchmark against which to judge the present madness.

Every edition of the NPR Politics Podcast at the moment begins by telling you exactly what time of the day it was recorded and warns that things may have changed by the time you get to hear it. No kidding. Of all the podcasts offering a flavour of what reporters discuss with each other in the newsroom, this is the best. All the contributors have good voices, but I particularly like senior correspondent Ron Elving, who sounds as if he may have served under gnarly 70s US TV journalist Lou Grant.

https://www.theguardian.com/tv-and-radio/2017/feb/11/david-hepworth-radio-preview

SisterNightroad

02-12-2017, 08:07 AM

America's Favorite Vinyl Records By State

From hipsters to former hippies, music fans spent the past decade trying to resurrect the vinyl record. According to the Nielsen Music Year-End Report U.S. 2016, 13.1 million vinyl albums were sold in 2016 (up from 11.88 million in 2015), representing 6.5% of total album sales. This is an all-time high in the Nielsen Music era. 38.9 million physical albums (CDs, cassettes, vinyl LPs) were sold online, via mail-order or at concert venues.

So who buys vinyl these days? What kind of music do they listen to?

With a big assist from the fine folks at eBay, I've put together a list of each U.S. state's favorite vinyl albums in 2016.

Here's the methodology:

"Favorite" means the album a state buys at the highest rate compared to that state's total share of the volume of records purchased.

So let's say California is responsible for 20% of all record sales nationally. Let's also say that California is responsible for 40% of Nirvana's Nevermind sales. If that 20% difference is the largest in for the state, then Nevermind is California's favorite album.

We used this method (as opposed to just top-selling albums) in an attempt to create a more diverse snapshot of the country and highlight states' unique tastes.

To rule out outliers, the data is limited to the top 100 selling albums. For example, let's say an album only sold 10 copies, and eight of them were in California. Though California purchased 80% of the albums, it's only 10 albums.

The top 100 limit gives us a floor for the data set.

Got it? Cool. Let's start with a point of reference...

Here are eBay's Top-Selling Albums U.S.

Think you know your state's favorite albums? Scroll on down to see if you're right.

(Alaska and Wyoming excluded due to lack of data. States are listed alphabetically)

Alabama:

1. Lateralus – Tool

2. Blurryface – Twenty One Pilots

3. Journey’s Greatest Hits – Journey

Arizona:

1. Sgt. Peppers Lonely Hearts Club Band – The Beatles

2. Endless River – Pink Floyd

3. Goats Head Soup – Rolling Stones

Arkansas:

1. Sgt. Peppers Lonely Hearts Club Band – The Beatles

2. 21 – Adele

3. Opiate – Tool

California:

1. Nevermind – Nirvana

2. All Eyez on Me – 2Pac

3. Al Green's Greatest Hits – Al Green

Colorado:

1. Lateralus – Tool

2. Revolver – The Beatles

3. Goats Head Soup – Rolling Stones

Connecticut:

1. AM – Article Monkeys

2. By The Way – Red Hot Chili Peppers

3. Merry Christmas – Mariah Carey

Delaware:

1. What's Going On – Marvin Gaye

2. Black Sabbath – Black Sabbath

3. Band of Gypsys – Jimi Hendrix

District of Columbia:

1. Midnight Marauders – A Tribe Called Quest

2. Lemonade – Beyonce

3. Al Green’s Greatest Hits – Al Green

Florida:

1. A Night at the Opera – Queen

2. Queen – Queen

3. Parachutes – Coldplay

Georgia:

1. Goats Head Soup – Rolling Stone

2. Sheer Heart Attack – Queen

3. Al Green’s Greatest Hits – Al Green

Hawaii:

1. Legend – Bob Marley

2. Come Away With Me – Norah Jones

3. My Dark Twisted Fantasy – Kanye West

Idaho:

1. Back in Black – AD/DC

2. Is This It? – The Strokes

3. Endless River – Pink Floyd

Illinois:

1. Paranoid – Black Sabbath

2. Endless River – Pink Floyd

3. College Dropout – Kanye West

Indiana:

1. Lazaretto – Jack White

2. White Album – The Beatles

3. Dirt – Alice in Chains

Iowa:

1. Jagged Little Pill – Alanis Morissette

2. Random Access Memories – Daft Punk

3. Endless River – Pink Floyd

Kansas:

1. Goats Head Soup – Rolling Stones

2. Thriller – Michael Jackson

3. Jagged Little Pill – Alanis Morissette

Kentucky:

1. Goats Head Soup – Rolling Stones

2. Blue and Lonesome – Rolling Stones

3. Birth of The Cool Round About Midnight – Miles Davis

Louisiana:

1. Lazaretto – Jack White

2. Journey’s Greatest Hits – Journey

3. Bleach – Nirvana

Maine:

1. Jagged Little Pill – Alanis Morissette

2. Blue and Lonesome – Rolling Stones

3. Anti – Rihanna

Maryland:

1. College Dropout – Kanye West

2. Illmatic – NAS

3. Goats Head Soup – Rolling Stones

Massachusetts:

1. Goats Head Soup – Rolling Stones

2. Violent Femmes – Violent Femmes

3. Midnight Marauders – A Tribe Called Quest

Michigan:

1. Stadium Arcadium – Red Hot Chili Peppers

2. Sgt. Peppers Lonely Hearts Club Band – The Beatles

3. The White Album – The Beatles

Minnesota:

1. Purple Rain – Prince

2. AM – Artic Monkeys

3. Random Access Memories – Daft Punk

Mississippi:

1. AM – Artic Monkeys

2. Chronicle – Creedence Clearwater Revival

3. Sgt. Peppers Lonely Hearts Club Band – The Beatles

Missouri:

1. Random Access Memories – Daft Punk

2. Death of a Bachelor – Panic at the Disco

3. Dirt – Alice in Chains

Montana:

1. AM – Artic Monkeys

2. Your Illusion – Guns n Roses

3. Come Away With Me – Norah Jones

Nebraska:

1. Goats Head Soup – Rolling Stones

2. Random Access Memories – Daft Punk

3. College Dropout – Kanye West

Nevada:

1. Dirt – Alice in Chains

2. Channel Orange – Frank Ocean

3. Journey’s Greatest Hits – Journey

New Hampshire:

1. Goats Head Soup – Rolling Stones

2. AM – Artic Monkeys

3. Kill ‘em All – Metallica

New Jersey:

1. Ride the Lightning – Metallica

2. The Works – Queen

3. Kill 'em All – Metallica

New Mexico:

1. Random Access Memories – Daft Punk

2. Violent Femmes – Violent Femmes

3. Kind of Blue – Miles Davis

New York:

1. Revolver – The Beatles

2. A Love Supreme – John Coltrane

3. Illmatic – NAS

North Carolina:

1. Rumours – Fleetwood Mac

2. Chronicle – Creedence Clearwater Revival

3. Come Away with Me – Norah Jones

North Dakota:

1. Band of Gypsys – Jimi Hendrix

2. Ten – Pearl Jam

3. Hotel California – Eagles

Ohio:

1. Black Sabbath – Black Sabbath

2. Vessel – Twenty One Pilots

3. Fas -- Ite, Maledicti, In Ignem Aeternum – Deathspell Omega

Oklahoma:

1. Fleetwood Mac Greatest Hits -- Fleetwood Mac

2. Jagged Little Pill – Alanis Morissette

3. Dirt – Alice in Chains

Oregon:

1. Innerspeaker – Tame Impala

2. Paranoid – Black Sabbath

3. Enter the Wu-Tang – Wu-Tang Clan

Pennsylvania:

1. Parachutes – Coldplay

2. Sgt. Peppers Lonely Hearts Club Band – The Beatles

3. The White Album – The Beatles

Rhode Island:

1. Rumours – Fleetwood Mac

2. Fas -- Ite, Maledicti, In Ignem Aeternum – Deathspell Omega

3. College Dropout – Kanye West

South Carolina:

1. AM – Artic Monkeys

2. Innerspeaker – Tame Impala

3. Legend – Bob Marley

South Dakota:

1. Goats Head Soup – Rolling Stones

2. Band of Gypsys – Jimi Hendrix

3. Birth of Cool – Miles Davis

Tennessee:

1. Fas – Ite, Maledicti, In Ignem Aeternum – Deathspell Omega

2. Journey’s Greatest Hits – Journey

3. Blue & Lonesome – Rolling Stones

Texas:

1. Parachutes – Coldplay

2. Anti – Rihanna

3. Come Away With Me – Norah Jones

Utah:

1. Thriller – Michael Jackson

2. Chronicle – Creedence Clearwater Revival

3. Revolver – The Beatles

Vermont:

1. Dirt – Alice in Chains

2. My Dark Twisted Fantasy – Kanye West

3. Anti – Rihanna

Virginia:

1. Red Hot Chili Peppers – By the Way

2. A Love Supreme – John Coltrane

3. A Night at the Opera – Queen

Washington:

1. Dirt – Alice in Chains

2. The White Album – The Beatles

3. The Low End Theory – A Tribe Called Quest

West Virginia:

1. Fas -- Ite, Maledicti, In Ignem Aeternum – Deathspell Omega

2. Merry Christmas – Mariah Carey

3. Electric Ladyland – Jimi Hendrix

Wisconsin:

1. Fas -- Ite, Maledicti, In Ignem Aeternum – Deathspell Omega

2. Back in Black – AC/DC

3. Jagged Little Pill – Alanis Morissette

http://www.forbes.com/sites/baileybrautigan/2017/02/12/americas-favorite-vinyl-records-by-state/#756db89f568f

SisterNightroad

02-14-2017, 09:14 AM

Valentine’s Day playlist: 25 love songs with a little something for everyone

3. “Say You Love Me”
Fleetwood MacSimple, sweet and soft. Sung by keyboardist Christine McVie, this is one of Fleetwood Mac’s best love songs.

Read more here: http://www.star-telegram.com/news/nation-world/national/article132577039.html#storylink=cpy

The 10 messiest couples in the history of rock ‘n’ roll

Eric Clapton, George Harrison & Pattie Boyd.
There’s nothing more rock ‘n’ roll than stealing your best mate’s wife is there? Beatle George Harrison met model Pattie Boyd on the set of A Hard Day’s Night, marrying her shortly afterwards and writing the Beatles ballad ‘Something’ about her. All was fine and dandy until their marriage failed and she started seeing Ronnie Wood of the Faces, who was about to join the Rolling Stones.
In the meantime Eric Clapton – George’s best mate, mind you – had a massive crush on her but was dating her 17-year-old sister Paula. Paula dumped Eric after he wrote ‘Layla’ and she could blatantly see it was about her sister Pattie, while in the meantime Pattie’s other sister Jenny was dating Mick Fleetwood of Fleetwood Mac – you following?
Mick Jagger unsuccessfully tried to get her in the sack before she finally relented and married Eric, putting up with his alcoholism, heroin addiction and affairs until they finally divorced in 1989. Amazingly he, George and Pattie all remained friends.
Great tune, better story.

Fleetwood Mac
Oh boy, did Fleetwood Mac know how to have a messy love life – and anyone will tell you not to have two couples in a band. No, they didn’t listen, so the classic lineup of the Mac featured two couples in John & Christine McVie, and Lindsay Buckingham and Stevie Nicks. Throw in half the cocaine in Colombia, unlimited booze and being one of the biggest bands in the world, and things will get messy.
The 20 million selling Rumours was comprised of songs written to each other about each other’s infidelities. Ouch. You can understand why the lineup kept leaving and rejoining – it’s not much fun having your ex sing the band’s biggest hit about you cheating on him onstage every night, is it?
They weren’t really ‘rumours’ in the end.

http://www.tonedeaf.com.au/497888/messiest-couples-history-rock-n-roll.htm

SisterNightroad

02-17-2017, 03:30 PM

Eleven Songs You Have To See Live

Fleetwood Mac, “I’m So Afraid”

Like most bands or artists on this list, Fleetwood Mac have multiple songs that could make this list, but this dark horse candidate is an essential one for Lindsey Buckingham’s stunning virtuoso guitar work. His extended solo on this, which has been a staple in the show for decades, rivals any in rock music. And as he showed on the band’s 2015 “On With The Show” tour, his prowess has only grown, making this one of the finest live moments in rock.

http://www.forbes.com/sites/stevebaltin/2017/02/17/eleven-songs-you-have-to-see-live-before-you-die/#4c91f480344d

SisterNightroad

02-24-2017, 12:17 PM

YouTube sensation from Shrewsbury Dan Owen in headline UK tour

Owen has been in the ascendancy for four years, after fans tuned into a YouTube video.

Mick Fleetwood, from Fleetwood Mac, was among those who became fans.

At the time, Dan said: “Mick sort of found me via YouTube then came to a record industry showcase in London.

“We went for dinner and just had a chat. I mean, his stuff, Fleetwood Mac, is pretty amazing really.

“He’s been there and done it, so it’s amazing to have someone like that on board. I’ve always liked Fleetwood Mac. He’s been really, really good with me.”

Mick said: “Dan’s music is from the heart. It is genuine blues and Dan is at the forefront of the new wave in British singer-songwriter talent.”

Read more at http://www.shropshirestar.com/entertainment/2017/02/24/youtube-sensation-from-shrewsbury-dan-owen-in-headline-uk-tour/#GyBi82BIRmTfkLUm.99

SisterNightroad

02-28-2017, 02:37 PM

Little Big Town Are Country Music’s Wiliest Stars

There are days you can convince yourself that Tango in the Night is Fleetwood Mac’s best album. Sure, Rumours is way bigger, and Tusk way cooler. But there’s something about transplanting all that Southern Californian decadence, that incestuous personal intrigue, that gilded folk-pop sumptuousness to the Reagan era — 1987, to be exact. The age of lush synthesizers, percolating drum machines, Cinemaximal spandex prurience, giant shoulder pads, and elegant aerosol splendor. (Also: cocaine. Even more cocaine.) Get a load of this tropical-fever-dream album cover. Get a load of “Big Love,” and “Seven Wonders,” and “Little Lies.” In late March, you can buy a triple-disc Tango in the Night reissue for $75 and cloak yourself in all that gauzy DayGlo-sunset radiance anew. Or you could just listen to Little Big Town now.
Little Big Town are a coed country quartet — one married couple, one lady with majestic and leonine hair, and one other guy — who’ve inspired Fleetwood Mac comparisons for years, and somehow lived up to them. (They even did a genuinely incendiary cover of “The Chain” back in 2013 at the CMT Music Awards, with bonus righteous Keith Urban shredding and awkward Taylor Swift headbanging.) They specialize in exquisite four-part harmonies and luxurious soft-rock cheese, but, like, fancy cheese. Brie, or whatever the Southern equivalent of brie is. They’re great and just a little volatile, inclined to go their own way while still somehow giving you exactly what you want. Their new album, The Breaker, came out Friday; it might not be their best, but it’s their fullest, their most opulent and humid, their most flagrantly Reaganomical.

https://theringer.com/little-big-town-are-country-musics-wiliest-stars-db48ec654006#.7tu1rimsq

SisterNightroad

03-07-2017, 08:21 AM

Bon Jovi helps Phoenix stroke survivor

PHOENIX (3TV/CBS 5) -
Joe Dorosz of Phoenix spends much of his time in rehab and therapy programs, but for decades he was on the road, touring with big name acts.

Through his career, he focused on percussion equipment, but also toured as a stage manager and tech "guru" for Bon Jovi, Fleetwood Mac, the Dixie Chicks, Prince, Poison, the Backstreet Boys, Barbra Streisand, Britney Spears, Whitney Houston and others.

After 35 years in the music business, Dorosz developed spinal stenosis and opted for a spinal fusion at St. Joseph's Hospital last Thanksgiving.

The family received a call from a nurse in the Intensive Care Unit on Thanksgiving morning, informing them Joe had suffered a hemorrhagic stroke.

He spent the next two months in the hospital and has a long road to recovery.

His fiance, Diane Scappaticci, is struggling with unexpected bills and challenges.

"It's changed our lives one hundred percent because he needs 24-7 care," Scappaticci said.

Saturday night in Phoenix, Dorosz was able to reunite with Bon Jovi before a performance at Talking Stick Resort Arena.

"It was emotional for him, the crew and the band," she said.

Members of the band pledged to match the amount raised on Joe's GoFundMe page.

Stevie Nicks and Fleetwood Mac have also donated.

"Their generosity and support means everything to us," Scappaticci said.

Dorosz hopes to get back on tour with the band if his recovery progresses. His mind remains sharp, but he lost his mobility and his speech, at least for now.

http://www.azfamily.com/story/34680794/bon-jovi-helps-phoenix-stroke-survivor

FuzzyPlum

03-10-2017, 01:38 PM

Bill Walton Was Full of Fleetwood Mac References Last Night; Gifted Dave Pasch Signed Copy of ‘Tusk’

https://www.relix.com/blogs/detail/bill_walton_was_full_of_fleetwood_mac_references_last_night_gifted_dave_pasch_signed_copy_of_tusk

Bill Walton's war with Dave Pasch has been well-documented on this site and last night may have been a step closer to a resolution as the madness of March brought these two soulmates together once again for the Pac-12 tournament.

Walton and Pasch were on hand to call the USC/UCLA game last night, won by Walton's Bruins, and the highlight came when Walton presented Pasch with a very special gift--a copy of Fleetwood Mac's iconic Tusk record signed by Mick Fleetwood himself. And, in classic Walton fashion, the record was wrapped in what was probably yesterday morning's Los Angeles Times.

The Fleetwood theme continued at the end of the game as Walton referenced the band's Then Play On album as USC's chances to win the game evaporated.

jbrownsjr

03-10-2017, 02:15 PM

^^^ I was visiting a friend for a drink, last night. And, I saw this on one of the tv's. The tv didn't have sound. So I was wondering why he was holding TUSK.

SisterNightroad

04-07-2017, 12:36 PM

SisterNightroad

04-07-2017, 02:05 PM

SisterNightroad

04-08-2017, 03:34 PM

SisterNightroad

04-09-2017, 04:01 PM

SisterNightroad

04-11-2017, 08:20 AM

FuzzyPlum

04-12-2017, 02:19 PM

Fleetwood Mac Bassist Buys Los Angeles Home for Nearly $7 Million
John McVie has spent the past several years living in Hawaii
BY BECKIE STRUM ORIGINALLY PUBLISHED ON APRIL 10th 2017

http://www.mansionglobal.com/articles/59700-fleetwood-mac-bassist-buys-los-angeles-home-for-nearly-7-million

https://dwtd9qkskt5ds.cloudfront.net/blog/wp-content/uploads/2017/04/John-McVie-Buys-House-Los-Angeles-front-door-768x512.jpg

Fleetwood Mac bassist John McVie has shelled out $6.775 million for a four-bedroom, Los Angeles-area home, Mansion Global has learned.

The Brentwood, California, home was on the market for less than four months before the long-term owners sealed the deal last week with the musician who put the “Mac” in Fleetwood Mac, according to property records, which Trulia first reported.

The sellers bought the home in 1986, so long ago that the price tag isn’t listed in online records—though it was appraised at the time for around $800,000, usually a snapshot of the market price and an indication they made a tidy profit three decades later.

The purchase indicates Mr. McVie, 71, might be making a move back to the California. He’s spent the past three years living in Hawaii with his family, according to Fleetwood Mac’s official website.

His new digs, designed by renowned architect Gus Duffy, were built in 1940. The four-bedroom, five-bathroom home was among a number of French country estates the architect built in the Los Angeles suburbs.

Architectural details include intricately carved doors, imported wood, limestone fireplace mantels and bedrooms with Venetian plaster walls, according to the listing with agent Aram Afshar of Quintessentially Estates at Coldwell Banker.

“The house was meticulously detailed, and the level of interior design made it irreplaceable in regards to the antique finishes,” in addition to superb landscaping, Mr. Afshar said.

Outside, French doors lead to a private garden with brooks, a saltwater pool, a spa and a terrace fit for entertaining, according to the listing.

An agent for Mr. McVie could not immediately be reached for comment.

https://dwtd9qkskt5ds.cloudfront.net/blog/wp-content/uploads/2017/04/John-McVie-Buys-House-Los-Angeles-Foyer-768x512.jpg
https://dwtd9qkskt5ds.cloudfront.net/blog/wp-content/uploads/2017/04/John-McVie-Buys-House-Los-Angeles-Living-768x512.jpg
https://dwtd9qkskt5ds.cloudfront.net/blog/wp-content/uploads/2017/04/John-McVie-Buys-House-Los-Angeles-Bedroom-768x512.jpg

Thats a nice looking house. :cool:

TrueFaith77

04-12-2017, 03:30 PM

Thats a nice looking house. :cool:

I'll say :eek:

Who knew Buckingham McVie's session bassist gets paid so well!

bombaysaffires

04-12-2017, 03:46 PM

Seems like John has been living in Hawaii a lot longer than 3 years (maybe not year round, but still....)

Seems like fancy digs. Not what I would have picked as his style.

Nice investment though, Brentwood. Near the Buckinghams and Stevie's Tara house.

Now's the time to get the mortgage, with the next cash grab tour still ahead.

Wonder if they know any interior decorators who can help them out....

Ok, more pics here: https://www.trulia.com/blog/celebrity-homes/john-mcvie-buys-new-los-angeles-real-estate/

and they mention Lindsey lives nearby; and John has a few other properties in and around LA as well.

lilyfee

04-14-2017, 04:48 PM

Seems like fancy digs. Not what I would have picked as his style.

Definitely not!:laugh:

SisterNightroad

04-15-2017, 05:21 AM

A Q&A and Video Premiere from Local Natives

I noticed you have a cover of Fleetwood Mac’s Tusk so I’m guessing Lindsey Buckingham must be an influence. Tell us about the cover. The way Lindsey uses the guitar (and the recording studio) is similar to how some of your songs are constructed.

Fleetwood Mac is a huge influence for us. Covering Tusk in the studio that they built to record that album was pretty amazing. There was the piano they recorded “Sara” on, and the stained glass window Stevie Nicks had put into her vocal room. Lindsey is an amazing songwriter, and you can hear the influence of his guitar style on our song “Dark Days.”

https://americansongwriter.com/2017/04/qa-video-premiere-local-natives/

Macfan4life

04-18-2017, 12:53 PM

Sheryl Crow was on Stern today and talked Fleetwood Mac and Nicks. Howard directly asked her about being asked to join the band. Sheryl said she wanted to so bad and still wants to join the band today. But she was afraid of bad blood between her and Lindsey right away. Robin and Howard were joking and saying that bad blood and fights in the band always led to great music.
She also spoke lots about Prince and rehashed Stevie's Stand Back story. Prince called Sheryl about her song Every Day is a winding road and covered the song. they became friends until Sheryl's Central Park concert where she invited all her friends to perform for a free concert for children with AIDS. Prince chewed her out and did not perform because American Express was promoting the concert. That was the last time they spoke.
She mentioned Prince playing basketball at Sunset Sound with high heel boots on during the recording of Stand Back (according to Stevie).

michelej1

04-18-2017, 02:00 PM

Macfan4life

04-18-2017, 03:24 PM

There would definitely have been bad blood. I think FM dodged a bullet, actually.

Michele
It was an excellent interview. Howard asked her direct questions about Fleetwood Mac. I think Lindsey was the only group member that made it not happen. Thank goodness it did not happen.

SisterNightroad

04-20-2017, 07:39 AM

Landslide Of Fleetwood Mac Coming To TV

Fleetwood Mac fans set your DVRs as AXS TV have announce special marathon night called "Sunday Night Rocks: Mac Attack" that will be taking place on April 30th.

The special night of Fleetwood Mac focused programming will include the premiere of a rare 1986 concert film entitled "Steve Nicks: Rock A Little" that features Mick Fleetwood and Peter Frampton at 9pE/6pP.

The marathon will be kicking off with a Lindsey Buckingham episode of The Big Interview at 4:30PM E/ 1:30 P. that will be followed by drummer Mick Fleetwood taking a look back at some of the band's music videos in Video Killed The Radio Star: The Artist View Fleetwood Mac at 5:30E.

Mick will also be featured in an episode of Rock And Roll Road Trip With Sammy Hagar where the former Van Halen singer talks with and even jams with the iconic drummer at Fleetwood's On Front St.

The concert film "Fleetwood Mac, Live In Boston" from their Say You Will Tour and the 2012 special Lindsey Buckingham With Special Guest Stevie Nicks will also be broadcast as part of the special.

http://www.antimusic.com/news/17/April/20Landslide_Of_Fleetwood_Mac_Coming_To_TV.shtml

FuzzyPlum

04-28-2017, 02:01 PM

Well I'm quite pleased to know I'm not yet in the middle aged bracket (as far as the Independent is concerned).

MIDDLE-AGED PEOPLE WATCH GREASE, LISTEN TO DAVID BOWIE AND WANT TO SEE NORTHERN LIGHTS, STUDY SUGGESTS

http://www.independent.co.uk/life-style/middle-aged-people-grease-david-bowie-see-northern-lights-culture-interest-travel-music-film-a7704921.html

OLIVIA BLAIR
@livblair

Is seeing the Northern Lights or learning a new language on your bucket list? Do you like Fleetwood Mac, the film Grease and drive a Ford Fiesta? If so, new research suggests you are in the middle-age bracket.

A recent survey by Nationwide building society looked into the finances, lifestyle habits, concerns and aspirations of 2,000 50 to 59 year olds.

According to the results, one in five average 50-something wants to travel the world and one in eight (12 per cent) wishes to learn a new language. Other travel-based adventures feature high on the bucket list including a third vying to see the Northern Lights (39 per cent), 13 per cent wishing to swim with dolphins and five per cent wanting to travel out of space.

The average 50-something also has a number of regrets mainly tied to finance and adventure. More than a third (34 per cent) wish they had saved more money while 31 per cent wish they had travelled more. More than a quarter (26 per cent) wish they had saved more money into their pension, a quarter regretted not doing enough exercise and just under a fifth (19 per cent) wished they hadn’t lost touch with family and friends.

A quarter of those surveyed were divorced or single but almost three quarters were in relationships, the average length being 24 years.

The nine things 50-59 year olds are partial to are divided into music, film and TV. Favourite music of those in the age range is Fleetwood Mac, Queen and David Bowie while the favourite films are the John Travolta and Olivia Newton-John featuring musical Grease, ET and Indiana Jones. Iconic British comedies like Blackadder, Only Fools and Horses and Fawlty Towers top the list of favourite programmes to watch on television.

The survey found that health fears top the list of worries for people in the age range with more than half (58 per cent) saying their health is a concern and more than a third (38 per cent) worried about their partner’s health.

The next line of worries largely revolves around financial concerns including 46 per cent concerned about money saving and more than a third (35 per cent) worried about the strength of their pension.

The average annual income for a 50-something in the UK is £19,165 and amount of debt is £4,641 with an overdraft of £330. They tend to have savings of £4,511 and a monthly disposable income of £297.

24karatstevie

04-28-2017, 04:12 PM

SisterNightroad

04-30-2017, 02:54 PM

SisterNightroad

04-30-2017, 02:58 PM

Well I'm a 19 year old American but this sounds about right! Grease is my favorite movie, I do have financial concerns, and Fleetwood Mac is of course my favorite band. Who knew haha :lol:
Well, I'm 25, not American but I already regret not doing enough exercise and my favourite bands are Fleetwood Mac followed by Queen.

button-lip

04-30-2017, 04:08 PM

Well, I'm 25, not American but I already regret not doing enough exercise and my favourite bands are Fleetwood Mac followed by Queen.

Who knew we could have that in common? I spent a small fortune on both bands.

SisterNightroad

04-30-2017, 04:14 PM

Who knew we could have that in common? I spent a small fortune on both bands.
Yes, it's mainly my mother's doing, she's a huge Freddie Mercury fan still to this day, seconded by the fact that Highlander is one of my favourite movies.

FuzzyPlum

04-30-2017, 04:15 PM

Who knew we could have that in common? I spent a small fortune on both bands.

I think Queen are/were really big in South America, weren't they?

button-lip

04-30-2017, 05:00 PM

I think Queen are/were really big in South America, weren't they?

Yes! They still are! And they still tour here, which is fantastic for me! :blob1:

button-lip

04-30-2017, 05:02 PM

Yes, it's mainly my mother's doing, she's a huge Freddie Mercury fan still to this day, seconded by the fact that Highlander is one of my favourite movies.

In my case, it's my sister's doing. I'm more of a Brian's fan, but clearly I adore the whole band. No drama there.

SisterNightroad

05-01-2017, 05:12 AM

WATCH: Róisín O and Danny O'Reilly belt out Fleetwood Mac hit in barbershop

Róisín O and Danny O'Reilly definitely come from one of the most talented families in Ireland.

As the children of Irish folk singer Mary Black, solo artist Róisín and The Coronas frontman Danny have seriously impressed in the industry.

And as talented singing siblings, Róisín and Danny are no strangers to teaming up for a duet - and their latest a performance is a must-see.

Surprising fans inside Abner Brown's Barbershop in Rathmines, the siblings belted out a cover of Fleetwood Mac's The Chain - and it's seriously cool.

Video here: https://www.goss.ie/featured/watch-roisin-o-danny-oreilly-belt-fleetwood-mac-hit-barbershop-103107

SisterNightroad

05-06-2017, 02:20 PM

Wenner reflects on Rolling Stone at 50

NEW YORK – Fifty years after he launched an underground newspaper that changed music journalism and a great deal more, Jann S. Wenner finds Rolling Stone being showcased in a once-unthinkable forum: a museum.

“At least it’s a museum I own,” Wenner said with a laugh during a recent telephone interview as he anticipated an anniversary exhibition at the Rock and Roll Hall of Fame and Museum in Cleveland, an institution that Wenner helped found in the 1980s. The three-floor “Rolling Stone/50 years” exhibit opened Friday and runs through late November.

There might not have been a Rock Hall or museum without Rolling Stone, which as much as anybody moved rock and the lifestyle around it from the fringes to the mainstream. Rolling Stone not only chronicled music, politics and culture, but it also helped change it, whether through Wenner’s revelatory 1970 interview with John Lennon, the photography of Annie Leibovitz or the “gonzo” reporting of Hunter S. Thompson. Among those getting early starts at Rolling Stone were Leibovitz, Thompson, the music critics Greil Marcus and Lester Bangs, screenwriter Joe Eszterhas and filmmaker Cameron Crowe.

The common thread among the best Rolling Stone contributors has been “extraordinary talent,” Wenner says, along with a “sense of purpose” and a distinctive way of “seeing our times.”

The exhibit and accompanying coffee-table book capture some of the highlights: Thompson’s scathing coverage of the 1972 presidential campaign, the serialization of Tom Wolfe’s “The Bonfire of the Vanities” and Michael Hastings’ scandalously candid 2010 profile of Gen. Stanley McChrystal, leading to his departure as commander of U.S. troops in Afghanistan. Many of the photographs are indelible to at least one generation: Meryl Streep in greasepaint, tugging at her cheek; Bette Midler in a bed of roses; the men and women of Fleetwood Mac laid out on a single mattress; and most painfully, a naked Lennon clinging to a fully clothed Yoko Ono, a Leibovitz portrait taken just hours before Lennon was shot dead in 1980.

Wenner was only 21 when he and his friend and mentor Ralph J. Gleason started Rolling Stone from a San Francisco warehouse in 1967, the first issue dating from November of that year. Youth tycoons are common now, but 50 years ago it was rare for someone Wenner’s age to be running any business, at least one that hoped to make money. His hope then was to bring attention to the music he loved and how it was changing the culture, changes he believed were ignored or belittled by the mainstream media.

“The Beatles and Stones and Dylan are all working at the same time and all (are) bouncing off each other,” he says, calling it an “extraordinary alignment of the stars.”

Rolling Stone wasn’t the first serious rock music publication: Crawdaddy, led by Swarthmore College student Paul Williams, began in 1966. But none have a comparable legacy. By the 1970s, Rolling Stone was so much a part of the music business and its cover such a symbol of success that it inspired Dr. Hook’s hit single “The Cover of ‘Rolling Stone.’ ” Rolling Stone became so synonymous with hip, alternative journalism that several movies have featured Rolling Stone reporters, including the 1981 release “Rich and Famous” and, from 2015, “The End of the Tour,” starring Jesse Eisenberg as a Rolling Stone reporter and Jason Segel as David Foster Wallace. Crowe made a whole film about his days with the magazine: “Almost Famous.”

Rolling Stone continues to make news – some unwanted (its discredited report on an alleged rape at the University of Virginia) and some in the tradition Wenner prefers to uphold, like the political coverage of Matt Taibbi, perhaps best known for likening Goldman Sachs to a “vampire squid.”

Wenner says he has no current goals beyond what he’s long wanted to do – cover what’s going on in the country and what excites him, whether the latest band or trend in politics.

The hot topic right now comes down to two words, President Trump.

“Is there any other news?” he says.

http://www.spokesman.com/stories/2017/may/05/wenner-reflects-on-rolling-stone-at-50/

SisterNightroad

05-08-2017, 03:34 PM

SisterNightroad

05-12-2017, 07:42 AM

Desert Trip 2017 won't happen, promoter says

There won't be a Desert Trip festival in 2017, the festival's promoter told Billboard.

Goldenvoice President and CEO Paul Tollett was quoted in the music trade publication as saying, “We're not doing Desert Trip this year. We loved 2016 Desert Trip -- that was a special moment in time. Maybe someday in the future we'll do something similar."

Tollett didn’t immediately return telephone, text and e-mail inquiries from The Desert Sun. His chief operating officer, Skip Paige, posted a sad face on the Desert Trip Facebook page with the comment, "Awwwww."

Tollett's promotion partner for the Stagecoach country music festival, Louie Messina Sr., added in a comment to Paige's post, "Paul T is the smartest person in the business... unless it right he's not doing anything... not just for $$$."

Desert Trip last year was the highest grossing concert of 2016, yielding a record $160 million over two weekends for a bill headlined by the Rolling Stones, Paul McCartney and Roger Waters. The three-day lineup, presented twice in October, also featured Bob Dylan, Neil Young and The Who.

Desert Trip also beat out the Coachella Valley Music and Arts Festival to rank as the number one major music festival of the year by the industry watchdog, Pollstar. Coachella also was founded by Tollett, who retained a managing ownership of Coachella, Desert Trip and the Stagecoach country music festival even though Goldenvoice operated under the auspices of the Los Angeles-based AEG Live.

Tollett last year called it “a miracle” that all of those artists were available to play at the Empire Polo Club in Indio during a period before the polo season began and after the peak of the summer heat.

In an interview about Coachella in late March, Tollett said he did not want to talk about any other festivals.

The city of Indio had long sought a major fall festival at the Empire Polo Club to generate more revenue for city coffers. The economist Michael Bracken of the Development Management Group said in March of last year that the two weekends of Coachella, followed by the three-day Stagecoach festival, was responsible for at least $106 million in business in Indio. It generated more than $403 million throughout the Coachella Valley and $704 million for the global economy.

The city of Indio received $3.18 million in ticket taxes just from those two festivals, representing about 5 percent of its total general fund.

Indio Mayor Glenn Miller was unavailable for comment, but Mayor Pro Tem Mike Wilson said the city council did not have advance notice that the music event was not going to happen. He didn't cite any official sources as informing him either way.

"I was told probably three weeks ago there was a 60 percent chance of it happening," Wilson said. "Then, about a week ago I was having a conversation with somebody and they said it's probably better than that. So, that's the last information I had, that it was better than 50-50 that it was going to happen."

He said the city had hoped for a follow-up festival, but hadn't planned on more Desert Trip revenue.

"Obviously, it would be a disappointment to us," he said. "We had wanted Goldenvoice to host the fall festival and make it an annual event. It means an additional million dollars-plus for city revenues. Obviously not knowing if it was going to happen again or not, we haven't planned on any of those revenues in the city budget, but it's nice when we do have it. We put all of it into roads and road repairs last year. So it helped tremendously."

Classic rock stars, including members of Led Zeppelin, Mick Fleetwood of Fleetwood Mac and Yusuf “Cat Stevens” Islam were reportedly seen at last year’s Desert Trip, leading to speculation that they might be invited to perform at a follow-up Desert Trip in 2017.

Fleetwood, however, was instrumental in launching a new bi-coastal summer festival called The Classic East and The Classic West festivals. The Classic West takes place July 15-16 at Dodger Stadium featuring The Eagles in their first public performance since the death of Glenn Frey, Steely Dan and the Doobie Brothers on the first night. Fleetwood Mac, Journey and Earth, Wind & Fire will play the second night. The same lineup will appear at The Classic East festival July 29 and 30 at Citi Field in New York.

Fleetwood was quoted as saying he was in the stands at Desert Trip and “It was emotionally charged.” Most of the acts in the two classic festivals are represented by Irving Azoff, who has a home at the Madison Club in Indio, not far from Tollett’s.

One of the biggest differences between The Classic festivals and Desert Trip is the vibe of the music venue. Tollett has always credited Empire Polo Club owner Alex Haagan III's care of the polo field landscaping for creating a vibe for Tollett and his art curator, Paul Clemente, to enhance.

But the music industry also has been abuzz about the disastrous Fyre Festival in the Bahamas, which was marketed on Instagram as "the next Coachella." It was planned for late April and early May as a high end music event with celebrity chef catering, luxury cabanas and ticket prices over $1,000. But the luxury accoutrements didn't materialize, bands and employees didn't get paid and the promoters have been hit with numerous law suits. It created a taint on the festival market and one of the benefits Indio felt from its three Goldenvoice festivals was the positive media impressions.

"Last year's (Desert Trip) was an incredible event," said Wilson. "It certainly exceeded my expectations. I don't think I talked to anybody that was there that didn't think they hit it out of the ballpark."

This story will be updated. Check back for more details.

http://www.desertsun.com/story/life/entertainment/music/desert-trip/2017/05/12/desert-trip-2017-festival-not-happening/319080001/

SisterNightroad

05-13-2017, 05:21 AM

SisterNightroad

05-16-2017, 05:42 AM

Showbiz Analysis: Catching Up With Fleetwood Mac Legend Mick Fleetwood

It is going to be a non-stop, music-filled spring and summer for Rock and Roll Hall of Fame and Fleetwood Mac legend Mick Fleetwood. While it’s been decades since the 1977 release of Fleetwood Mac’s multi-Grammy winning album Rumours, the amazing impact of the band and Mick Fleetwood continues. I caught up with Fleetwood as he prepared to leave Maui for Malibu to headline the Malibu Guitar Festival with Mick Fleetwood Blues Band, to discuss his fascinating journey and the power of great music. (I also asked to be put on his substitute tambourine player list for The Classic East and The Classic West concerts, but that’s for another story.)

Listen to the conversation with Mick Fleetwood on Nancy’s podcast (https://itunes.apple.com/us/podcast/whine-at-9/id381334225?mt=2).

You could say that Fleetwood is a team player. And a Renaissance man. The drummer, author, photographer, restauranteur and wine entrepreneur has followed his musical passion while taking the opportunity to embrace his other creative interests and the talent of others. There’s sometimes a blending of projects. A Mick Fleetwood Blues Band moment in his restaurant. An autobiography about his journey before, during and after Fleetwood Mac. It’s what creative forces do so well. That and recognizing the underlying beauty and magic of their craft.

Fleetwood is looking forward to his return to Malibu this month, bringing his band and their guitar power to the Malibu Guitar Festival, and enjoying the spontaneous cross-collaboration that can often happen during these musical experiences.

“Apart from the actual bands that are playing, I know that there’s a lot of jamming around quite often. And no one ever quite knows how and what that’s gonna be,” says Fleetwood, whose band rocks its own great musicians.

“The band features Rick Vito on guitar, who had a short tenure with Fleetwood Mac many years ago, and is a hugely talented blues guitar player and very, very well-known for his slide playing. He’s just a brilliant guitar player….and so we’re going to have a lot of fun.”

Shortly after the Malibu Guitar Festival moment, Fleetwood will shift gears a bit as Fleetwood Mac prepares to headline The Classic East and The Classic West concerts. After decades of performances, has he noticed any shift in the feelings he experiences when he’s onstage doing what he loves? Fleetwood believes little has changed in that department.

“I would have to fall down heavily on just becoming—not to be corny—becoming a child that is loving what he’s doing and being in the moment. And yes, of course you know, working out there with Fleetwood Mac…what one might say, ‘the high-powered version’…you’re very often on the road for over a year…For me, the end result is that I’m totally driven just by emotionally being connected to what I do. In fact, if I didn’t have that, I think I’d be in a whole load of trouble…My requisite is I have to, at all costs, feel something and hopefully a lot while I’m playing. So getting in the zone is what is a requisite and a hope always for me. So whether you’re in front of 300,000 people or 20 people in my restaurant…or 300 people in my restaurant, or whatever happens to be, when I’m playing I’m pretty much the same little animal that started doing this when he was 15 years old.”

When talking with fans, Fleetwood is often reminded of the reason he’s continuously willing to take the stage.

“It’s been quite a journey…With all the great things and some of the sad things that have happened along the way…then the music chimes up and you get people, such as yourself, who quite frankly have made no bones about it that they’ve enjoyed the ride and they’ve loved the music. And then you turn round and quietly say to yourself, ‘Hey, no matter what, all of this has been worth a damn.’” Indeed it has.

https://parade.com/570610/nancyberk/showbiz-analysis-catching-up-with-fleetwood-mac-legend-mick-fleetwood/

SisterNightroad

05-17-2017, 12:47 PM

bombaysaffires

05-18-2017, 02:32 PM

https://www.youtube.com/watch?v=XcQPznwLewM

sue

05-19-2017, 03:33 AM

Sheryl Crowe live on Chris Evans Radio show this morning, and her last number....

"Go your own way"......acoustic guitar accompaniment and she sounded really good....hitting all the higher notes

SisterNightroad

05-21-2017, 06:06 AM

Carter Alan’s Rock N’ Roll Diary: May 21 in Classic Rock History

Paul McCartney released his second solo album “Ram” on this day in 1971. It got to #2, but would have reached the top if it wasn’t for another artist who held the #1 slot for seven weeks. Who was that?

What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for May 21st, from the College of Classic Rock Knowledge – 100.7 WZLX!
1971: Paul McCartney released his 2nd solo album, Ram.
1976: Aerosmith put out Rocks. The album went gold on the same day due to advanced orders.
1977: Fleetwood Mac’s Rumors hit #1 on the charts knocking The Eagles “Hotel California” out of the top spot.
1979: Elton John became the first western act to perform behind the Iron Curtain when he played a show in Leningrad. Over 4,000 people packed the Leningrad concert hall to see the 2 ½ hour show, some paying100 rubles (at the time $150) for black market tickets. Elton closed the show with the Beatles “Back in the U.S.S.R.”
1992: The last “Tonight Show” with Johnny Carson aired. His final guests were Robin Williams and Bette Midler.
2008: ZZ Top performed with “American Idol” winner David Cook on the season finale of the Fox reality show.
Checking the WZLX ticket stash: ZZ Top was at the Music Hall in 1975…And the Joe Perry Project played Scotch n’ Sounds in Brockton back in 1983.

http://wzlx.cbslocal.com/2017/05/21/carter-alans-rock-n-roll-diary-may-21-in-classic-rock-history-3/

SisterNightroad

05-22-2017, 01:54 PM

The Guy Who Made Concert Tees Cool Looks Back on 40 Years of Retail Hits

"Go talk to Dell.” Those four words, uttered by legendary promoter Bill Graham, changed the course of Epic Rights founder and *merchandising pioneer Dell Furano’s career. It was the early 1970s, and Furano was taking a year off to learn the concert business before heading to law school. He was employed at Graham’s renowned 5,500-seat Winterland Ballroom in San Francisco, where he had worked part time during his *undergrad years at Stanford University. The then-wife of Grateful Dead drummer Bill Kreutzmann asked Graham whom she should see about selling T-shirts during a show, and Graham sent her to Furano.

“That simple ‘Go talk to Dell’ changed my life,” recalls Furano, who permanently shelved law school to go into business with Graham. Along with Furano’s brother, Dave, they debuted Winterland Productions in 1974, a *groundbreaking merchandise company with clients *including Fleetwood Mac, The Rolling Stones, Madonna, Bruce Springsteen and, of course, the Dead. But it wasn’t easy in the beginning. “In the ’70s, it was not cool selling merchandise, so we had to be careful,” says Furano. “Groups would say, ‘OK, you can sell, but don’t *embarrass us. Stand in a corner.’”

Licensing now annually generates $12 billion in *revenue, according to the Licensing Industry Merchandisers’ Association, which will induct Furano into its hall of fame on May 23. Past inductees include Walt Disney, Jim Henson, George Lucas and Charles M. Schulz. Though concert tees will always be a staple of the business, Furano has helped usher in a new era of *merchandising during the last 40 years. Following Winterland, the Nevada native founded and was CEO of Sony Signatures, later renamed Signatures Network, and became CEO of Live Nation Merchandise.

Furano’s latest endeavor, Epic Rights, which launched in 2013, builds *celebrity brands through a global network of *retailers and licensees, as well as tackles social media, VIP ticketing, fan *experiences and trademark consultation for clients such as AC/DC, Kiss, Billy Joel, Aerosmith, Def Leppard, Sting, Barbra Streisand, Zac Brown Band, Lionel Richie and the estates of John Lennon and David Bowie. During the last three years, Epic Rights has *executed more than 500 license deals, including Madonna’s skincare line, Celine Dion’s handbag *collection, an apparel deal featuring the lyrics of Lennon & McCartney and even Kiss waffle makers.

Furano, 65, and his wife, Kym (a *partner and executive vp at Epic Rights), live in the Hollywood Hills near their West Hollywood office, where he spoke to Billboard about his 40-year-plus career.

Has it reached the point yet where artists can make more from their merchandise and licensing than from touring and record sales?

For touring artists, their main revenue still comes from touring. But they make very substantial merchandise money. It’ll range from 10 to 35 percent of their revenue. Also, artists realize it’s important to have fans wearing your merch. Billy Idol did a radio show with Miley Cyrus last September. She wore a jacket with an airbrushed classic Billy Idol design on the jacket. It blew up all these merchandise sales. Why? Miley Cyrus is wearing it.

How has the average per cap for concert merch grown?

In the beginning, we were very excited if we grossed $1 per head. Today, many artists routinely do $10-plus per head, and many top pop, rock, country and hip-hop artists gross $15 to $20 per head. Kanye West, Taylor Swift and Justin Bieber shows gross $300,000 to $400,000 in merchandise. That’s quite an *accomplishment when you realize that these sales are done over a three-hour *selling window.

When did the move into retail happen?

Up into the mid-’70s, it was all tour *merchandise. The first artist we started selling at retail was Grateful Dead with tie-dye [apparel] and posters. We sold them to Tower Records, Sam Goody’s, Licorice Pizza and the Berkeley [Calif.] head shops. In 1981, Spencer’s Gifts started buying merchandise. Our first retail hit was Madonna. She had the movie, [1987’s] Who’s That Girl, and she wore thrift-shop rubber bracelets, the hair ribbon. That was our first big retail breakout. We sold a lot of those at teen retailers.

Which act really broke the retail *market wide open?

New Kids on the Block in 1987 and 1988, with a massive tour and the first huge blowout by a boy band at retail. It was dolls, action figures, breakfast cereals, a McDonald’s promotion, sneakers -- all kinds of apparel. We made a big deal with JCPenney, and we took their family members on tour to different stores to host events. New Kids was a watershed artist.

You work closely with artists’ *management. Do they ever veto designs?

We did the Justin Timberlake [FutureSex/LoveShow] tour in 2006 and 2007. We did great business, but he did not want to sell any merchandise that said “SexyBack.” Same thing with Bruce Springsteen in 1984 and 1985 for the Born in the U.S.A. Tour, which set a record for the time in total merch sales. [Springsteen’s manager] Jon Landau said, “You can’t sell any red caps. Bruce didn’t put the cap in his pocket [on the album cover] so he could sell red caps.”

How did the *Internet shift things?

The first really huge digital breakout year was 1999. I always felt it was *important to bring more value to the *artists than just *selling *merchandise at their *concerts, so that’s when we expanded into e-commerce, branding and licensing. In 2000 and 2001, we did our first websites. We were an early pioneer in developing websites for Madonna, Britney Spears, Tim McGraw, U2, Fleetwood Mac, Kiss. Probably 2001 was the first time the *scalpers started *putting their tickets online. [To counter], we did huge VIP ticketing.

What trends are you seeing now?

Well-designed apps. We’re doing apps now for Zac Brown, Kiss and Celine Dion. It is the best real estate, and the artist can communicate directly with the fan with no filter. Fan apps and digital print-on-demand e-commerce will be game-changers. The other big trend is international. We do great business in South America, Japan and South Korea. We just did a whole series of deals in Turkey. It has become a global business for merchandising, not just for touring.

Your clients include the estates of David Bowie and John Lennon. What is the first step when an artist dies?

We wait. If an artist dies while you have the rights, you have that initial rush -- everyone buys out of memory. Then, lots of times you pull all the merch back and let the market rest. Then you go back and redesign your products, brand guides and lookbook to reflect an artist’s career.

In February, Celine Dion launched a handbag line. With so many stores closing, is it still a good time for *artists to create lines for retail?

To build a new brand from scratch costs millions of dollars. So, if you can make the right *celebrity endorsement, *retailers all *recognize that a well-executed, celebrity brand can be hugely *successful. There’s no fast bucks in the market because everyone’s got too much at stake, and the business has just become more sophisticated, but the answer is yes, it’s a good time for top artists that have huge followings and a sense of style. The most challenging area is fashion, which you have to change every season. That’s remarkably difficult for the best marketers out there, let alone a celebrity-driven line.

Even with the variety of items *available at concerts and retail, fans still love their basic concert T-shirt above all else. Why?

They loved it in the beginning and love it as much today. They love a name of a tour; they like the year of a tour. They like to see the itinerary because they think, “I saw Justin Timberlake on the 2007 SexyBack Tour,” or “I saw The Rolling Stones on the Tattoo You Tour of 1981 or ’82,” or “I saw Kanye West on his Graduation Tour.” The black *concert tee has reigned as king for over 40 years. It has become not only a fashion *statement, but also a *collector’s item and a *multigenerational shared experience.

http://www.billboard.com/articles/news/magazine-feature/7800218/dell-furano-concert-tees-40-years

SisterNightroad

05-25-2017, 08:10 AM

The Music in My Head – 5/24/17 -“Ron’s Top 10 Live Performances” – #3

5/24/17: Fleetwood Mac. “Rhiannon “

I’m doing something different this week to celebrate the awesome School of Rock Chapel Hill Grand Opening event that took place on Saturday (photo gallery here!) I’m talking about my 10 favorite live performances, and today we arrive at #3!

I’M GETTING CLOSE TO THE TOP OF MY LIST FOR “TOP 10 FAVORITE LIVE PERFORMANCES OF ALL TIME.” If you know me at all, you know I’m a big fan of Fleetwood Mac, and especially Stevie Nicks. Just pretend for a minute that it’s June 11th, 1976. You’re watching that great old, late-night, weekend music show, called “The Midnight Special.” One of the musical guests is Fleetwood Mac, a band that’s been around for a long time, but now with couple of new people in front. It’s Lindsey Buckingham and Stevie Nicks….and at that point, hardly anyone in the audience that night knew anything about that duo.

They had probably heard “Rhiannon” on the radio, but they were about to see it performed live…..and it would be an incredibly passionate performance! Stevie stepped up to the microphone and said, “This is a song about an old Welsh witch,” and it was on from there. About 6 minutes later, the crowd had been treated to a dynamic performance from Nicks, Buckingham, and the rest of the band.

Some people said she was the new “Queen of Rock and Roll.” Not long after, Fleetwood Mac released the legendary album, “Rumours,” and things were never the same. You’ve got to see the way Stevie Nicks pours herself into the last couple of minutes of this song. She leaves everything she has on stage! So here is #3 on my personal list of live performances. It’s “The Music In My Head” on 97-9 The Hill…WCHL!

http://chapelboro.com/uncategorized/the-music-in-my-head/music-head-52417-rons-top-10-live-performances-3

SisterNightroad

05-31-2017, 02:39 PM

The Top 10 Musical Moments on The Americans
From Fleetwood Mac to Queen to Yazoo, the Cold War never sounded cooler

The bond between Philip (Matthew Rhys) and Elizabeth Jennings (Keri Russell) isn’t the only strong marriage in FX’s The Americans. The show’s sacred matrimony of sound and screen has also been quite enviable, and that’s due to the exceptional work of P.J. Bloom. For five straight seasons, the veteran music supervisor of past hits like The Shield and Nip/Tuck has layered Joe Weisberg and Joel Fields’ outstanding and underrated cold war drama with some of the greatest pop music of all time.

“The thing about The Americans and what Joe and Joel have managed to create is that it’s this incredible time capsule,” Bloom told The A.V. Club in 2016. “All aspects of the show are so completely rooted in our early 1980s time period. It’s in the music and the sets. It’s in the wardrobe and the props. You could really be watching a television show in 1982 or 1983, or be walking down the street during that time, and be seeing and experiencing the same thing our audience is experiencing.”

Much like Michael Mann’s iconic ’80s cop drama Miami Vice, which this show subtly pays homage to with the inclusion of Phil Collins’ “In the Air Tonight” at the end of its stellar pilot, music adds an essential depth to the scenes and embellishes so many of the characters’ motives, conflicts, and feelings. Over the years, this has led to some incredibly vivid and elaborate sequences, many of which are memorable solely for its musical inclusions, from the likes of Fleetwood Mac to Peter Gabriel to Yazoo.

Now that the fifth season has come and gone, opening the door for next year’s sixth and final go-around, we’ve decided to reminisce on the show’s greatest musical moments. Because there were so many to choose from, and since there are only 10 slots available, we opted to only include one song per artist, which may (rightfully) drum up some controversy amongst you fans. And since not every scene is on YouTube, you’ll have to use your imagination for some entries, or seek out the scenes yourself via Amazon.

Oh, it also goes without saying: There will be spoilers.

10. ROXY MUSIC – “SUNSET”
“GREGORY”, SEASON 1, EPISODE 3

t’s never a good thing when the Feds are on your ass. Such is the case for Joyce Ramirez (Audrey Esparza), the wife of a deceased spy who’s also been tailed by Elizabeth’s side piece and co-conspirator Gregory Thomas (Derek Luke). Although Gregory does a fine job getting her stowed away at a Russian safe house, her good fortune ends there, especially when she freaks out after discovering Gregory, Philip, and Elizabeth are spies. Promised by the motherly Claudia (Margo Martindale) of a future in Cuba, she’s instead iced and left for dead in a car, making it seem like she overdosed on heroin. Meanwhile, her baby’s shipped off to live with his father’s parents in Russia. Bleak, right? Leave it to Roxy Music to bring the rain with their dismal ballad, “Sunset”, which finds Bryan Ferry singing: “How we’ve wasted our time/ Sunset, end of my day, my decline.”

09. ELTON JOHN – “GOODBYE YELLOW BRICK ROAD”
“THE SOVIET DIVISION”, SEASON 5, EPISODE 13

Some might argue this one’s a tad on the nose — and also a little too soon, seeing as it’s been less than 24 hours since it first aired — but Elton John’s “Goodbye Yellow Brick Road” perfectly closed a season that had so much to do with change. As Randall Colburn predicted months ago, the fifth season of The Americans belongs to Paige Jennings (Holly Taylor), whose coming-of-age story became less about cute boys across the street and more about other teenage stuff like learning key self-defense tactics that will aid in future Soviet espionage. But she wasn’t the only one going through the motions, as we learn that Philip is also having a change of heart about his lot in life, and that he’s even entertaining the idea of a future that may find Elizabeth donning wigs by her lonesome. So, yes, John’s piano-fueled poetry parallels the story quite well, covering both Paige’s quest (“Oh I’ve finally decided my future lies/ Beyond the yellow brick road”) and Philip’s tumultuous indecision (“Maybe you’ll get a replacement/ There’s plenty like me to be found”). Goodbye Soviet Brick Road?

08. SOFT CELL – “TAINTED LOVE”
“PASTOR TIM”, SEASON 4, EPISODE 2

Juxtaposition can be a wonderful thing, and that’s exactly what Tainted Love’s signature hit offers for one of the series’ diciest moments. When Philip meets with a commercial pilot in an airport shuttle midway through “Pastor Tim”, things don’t exactly go as planned. The two are exchanging the world’s scariest chemical weapon and the pilot is (rightfully) terrified at the idea of traveling with it. This wouldn’t be so much of a problem, though, if he weren’t so goddamn panicky, but he is, and much to Philip’s chagrin, he draws the attention of a nearby security officer. Despite his attempts to placate the officer, Philip must resort to strangling the poor son of a bitch, all to the sounds of “Tainted Love”, which is what’s playing in an unsuspecting passenger’s pair of headphones. Again, this one’s more about aesthetic over substance and watching Philip tactfully bring this big guy down to the bubbly New Wave sounds is all at once hilarious, tense, and super cool.

07. GOLDEN EARRING – “THE TWILIGHT ZONE”
“ECHO”, SEASON 2, EPISODE 13

Out of all the moments in The Americans that truly feel akin to Miami Vice, there’s very little competition than the cold open for “Echo”. Given that it’s the second season finale, everything’s rightfully out of control: Russian insider Fred (John Carroll Lynch) has been shot up and is dying with the police on his tail, Philip and Elizabeth have to frantically race to a drop zone amid all the heat, and Paige watches Pastor Tim (Kelly AuCoin) get manhandled by a storm of cops at a riot that’s gone south. In other words, it’s a perfect time to slap on an old stunner like Golden Earring’s “Twilight Zone”, and while the pseudo sci-fi rocker doesn’t exactly seem like a perfect lyrical fit for the scene in question, the repetition of “when the bullet hits the bone” enhances the stakes at hand. It also mirrors Paige’s point of view and how she witnesses the frightening brutality of a militaristic police force, stuff she’s only seen in the news at home. To be honest, though, it’s also just a really cool track for a really cool scene, and sometimes that’s all you need.

06. YAZOO – “ONLY YOU”
“DIMEBAG”, SEASON 3, EPISODE 4

“This is my favorite song,” Kimberly Breland (Julia Garner) tells Philip after she pushes play on her boombox, which just so happens to have Yazoo’s debut album, Upstairs at Eric’s, on deck. The two are alone in a park late at night — Philip’s rolling a joint, Kimmie’s regaling him with stories — and it’s a genuine moment. But that’s a problem for Philip, as it’s the beginning of his unraveling from cold-blooded assassin to warm-hearted human being. You see, he likes Kimmie, and unlike his past associates, he actually cares about her well-being, and Rhys subtly sells that budding realization as he soberly takes a drag from the joint to the sounds of “Only You”. It’s a testament to the song’s power, and perhaps the assured finesse of the writing staff, that none of this registers as ultra creepy, especially since we’re watching a grown man cuddle a young girl in public. Instead, this is a charming slice of life that continues to speak volumes as Philip’s story evolves.

05. PETER GABRIEL – “HERE COMES THE FLOOD”
“THE WALK IN”, SEASON 2, EPISODE 3

The best montages traditionally offer lucrative portraits that move the narrative without being too ostentatious or unwieldy. (Think about the way Christopher Nolan closes out the majority of his films, especially The Dark Knight.) Weisberg and Fields know this power all too well and they’ve littered their series with outstanding montages pretty much from the get-go. One of the better examples arrived fairly early into the second season with “The Walk In”, which finds the Jennings family on the precipice of some major arcs. Though most of the drama here stems from Elizabeth burning a vital letter from the recently departed Leanne Connors (Natalie Gold), one she’s been carrying for 15 years and one that holds a significance for Leanne’s still-kicking-it bastard son, Jared (Owen Campbell), the scene also captures the rest of the Jennings and reveals how splintered their lives really are when they’re placed side by side. Things are okay, sure, but for how long? Peter Gabriel’s “Here Comes the Flood” rides on that uncertainty and adds a somber wash to the proceedings, while also making a small fire look ridiculously epic.

04. PETER SCHILLING – “MAJOR TOM (COMING HOME)”
“THE DAY AFTER”, SEASON 4, EPISODE 9

Of the two spies, Elizabeth is usually the least likely to shy away from a task, but her iron-clad constitution starts to tear when she’s working the Seongs. Much like the aforementioned relationship Philip forges with Kimmie, Elizabeth appreciates Don (Rob Yang) and Young-hee’s (Ruthie Ann Miles) companionship and sees them for what they truly are: a hard-working American family with zero marks to their name. That makes her assignment all the more difficult when the Center insists she press on and corrupt the warm, comforting homestead the Seongs have built for themselves. Even so, she stays on course, staging a scandalous afternoon delight with Don, a harrowing affair that involves some drugs, some fake lubrication, and some Peter Schilling. Now, what makes the use of “Major Tom” so affecting is how the song so accurately mirrors both the “what if” and the reality of the situation. On the surface, the song is a sleek and sexy pop song, much like the sleek and sexy tryst that Elizabeth attempts to portray, but when you actually listen to the song — and this might explain why the show opted for the English version — it’s really about an unstable mission that could go awry any second. That this whole scene crosscuts with Paige’s not-so-slick attempt to drive Philip’s very sexy Camaro Z-28 only cements that dichotomy even further.

03. ROBERTA FLACK – “TO LOVE SOMEBODY”
“ONLY YOU”, SEASON 1, EPISODE 10

This one’s another juxtaposition, but Roberta Flack’s words weigh heavily on Gregory’s fate. After the FBI discover the former civil rights activist has been working with the KGB, the heat gets really, really hot for Gregory, enough that he’s been asked to flee the country and head over to Russia. But he can’t. His heart doesn’t belong to the country, but to Elizabeth, who also has strong feelings for him. Of course, these feelings aren’t nearly enough to sway Elizabeth from her own life’s work, and so Gregory is left with two options: head to Russia or be executed (either by the Russians or the Americans). He chooses neither, opting instead to commit suicide by going mano y mano with the local police, who notice him the minute he sets foot in public. Flack’s “To Love Somebody” delicately plays over the ensuing chaos as she spiritually aligns with Gregory, singing: “I live and I breathe for you/ But what good does it do/ If I ain’t got you, ain’t got?” It’s a beautiful moment that brilliantly captures the ethos of a beautiful character.

02. QUEEN AND DAVID BOWIE – “UNDER PRESSURE”
“CLARK’S PLACE”, SEASON 4, EPISODE 5

According to IMDb, Queen and David Bowie’s “Under Pressure” is credited for being used in something like 41 films and TV shows. In reality, that number feels like it should be doubled, seeing how it continues to pop up in various mediums, and used under the guise that nobody has ever heard of the song. As such, the power of the go-to jukebox anthem has waned over time, which is why its inclusion in The Americans deserves such magnanimous praise. Like the very song itself, which lathers hope on a hopeless situation, the series’ greatest montage doubles for a portrait of sorrow and happiness. We watch the all-too-tragic Martha Hanson (Alison Wright) swallow her pills and sleep alone in the dark, while her former would-be husband Philip has incredible sex with his “real” wife Elizabeth. It’s all very wrong, but it’s also all very right, and the sweeping way it’s presented captures both the tragedy and majesty of the situation at hand. It’s as if you feel connected to everyone, all at once, and it’s very overwhelming, which is precisely what Freddie Mercury and Bowie likely had in mind when they penned their iconic duet.

01. FLEETWOOD MAC – “THE CHAIN”
“WALTER TAFFET”, SEASON THREE, EPISODE 7

Fleetwood Mac and The Americans go together like shchi and porridge. When “Tusk” cracked open the pilot, it was as if Weisberg and Fields were attempting to parallel the identities of Philip and Elizabeth with, say, Lindsey Buckingham and Stevie Nicks — two torrential lovers united by their work. But here’s the thing: While “Tusk” is certainly an iconic moment for the show — and most of you will likely comment on the lack of its inclusion — the song doesn’t hold a candle to the show’s use of “The Chain” late into the third season. In fact, this writer would go so far as to say “The Chain” has never been used to such outstanding effect than it appears in the closing moments of “Walter Taffet”. For three solid minutes, the climbing rock ‘n’ roll duet turns a complicated standoff at a diner into a modern Western with a touch of Scorsese. Even better, not a single moment of the song is wasted on the scene, from the twangy verses to the stomping bridge to the bass line breakdown to the orgasmic release. Everything’s accounted for and the way Buckingham and Nicks harmonize appear to be right in sync with Philip and Elizabeth’s close-call execution. It’s brilliant filmmaking — yes, filmmaking — and it’s hands down the coolest closing scene this show has put to the screen yet. Sorry, Guardians.

https://consequenceofsound.net/2017/05/the-top-10-musical-moments-on-the-americans/11/

HomerMcvie

05-31-2017, 03:19 PM

Fleetwood Mac and The Americans go together like shchi and porridge.

WTF is SHCHI???

I get the feeling this writer probably drives on the wrong side of the road!!!:mad:

:lol::lol::lol:

SisterNightroad

05-31-2017, 03:39 PM

Ah ah, I was wondering the same thing but then googling I discovered that "shchi" actually is a traditional russian cabbage soup.

HomerMcvie

05-31-2017, 03:40 PM

Ah ah, I was wondering the same thing but then googling I discovered that "shchi" actually is a traditional russian cabbage soup.

Thank you for being less lazy than I.:lol:

LB Freakazoid

06-27-2017, 10:53 PM

http://www.billboard.com/articles/columns/rock/7849099/queen-adam-lambert-live-concert-frontman

The Queen + Adam Lambert experiment -- which began tentatively in 2012, three years after the legendary U.K. band joined the*American Idol*finalist on stage during the show’s season finale, and has been touring the globe for much of the half-decade since -- has now been fine-tuned, to the point where it should really be a permanent partnership.
This isn't to say Lambert doesn't deserve his own career. But fronting Queen should probably be the pop star's full-time gig:

Perhaps not since Mick Fleetwood stumbled upon the Buckingham Nicks duo at Sound City 43 years ago -- leading to a lineup change that would turn Fleetwood Mac into one of the biggest bands of all time -- has there been a more serendipitous fusion of two established recording acts.

The story is not just that Queen, the ‘70s and ‘80s prog-rockers with one of the most unique catalogs in pop and rock, appear to have finally settled in with Lambert; in a way that carries the franchise forward, decades after the tragic 1991 death of frontman Freddie Mercury. It’s that their new world tour, which launched in Arizona last week and arrived at the Hollywood Bowl for capacity shows*on Monday*and*Tuesday (June 26 and 27), is a seamlessly executed Vegas assault -- a just-right balance of kitsch, classic rock and ‘70s excess. It's all there; the bombast, melodrama, the drum solos, the glitter, the great songs, a crazy light show, big power chords. Even Brian May’s power cape.*
But most important is the tone. None of it takes itself too seriously -- crucial when a group is replacing a legendary member. If concert promoters need a primer on how to keep a band going after the unthinkable, Queen + Adam Lambert is a pretty good case study.

“These two gentlemen are legends of rock n roll,” Lambert said on stage*Monday*night while introducing Queen’s founding members, drummer Roger Taylor, 67, and guitarist May, who will turn 70 next month. “Every time I take the stage with them, it blows my mind at what an honor this is -- to be singing the music of Queen.”
This came about five songs in, after Lambert, 35 had ridden in on a 3-D skull (modeled after the sci-fi album cover of Queen’s '77 set*News Of The World), singing a glorious “Killer Queen,” decked in a shiny pink suit and high-heels. The song was a showcase for his theatrically trained vocals, one of several during which he put his stamp on things in a way that was faithful to the band’s past, but kept it all in the now.

“I know what some of you might be thinking -- he's no Freddie Mercury,” Lambert said, acknowledging the obvious. “I know guys, I know. Of course I’m not Freddie. I’m a fan, just like you.”
Lambert’s devotion to the catalog shows, not just on big numbers like “I Want It All,” "We Will Rock You" and “Radio Ga Ga,” but on trifles like “Bicycle Race,” during which the saucy former reality star whipped out some perfect light-opera and a couple of cute sight gags.*
For his part May remains a marvel on guitar, racing around the multilevel stage, infusing the band’s genre-busting catalog with every possible six string flourish, and veering off into crunchy mini-jams as in*“Fat Bottomed Girls,” during which Lambert dashed off for the first of five costume changes.* May took a couple of acoustic moments center stage, notably on “Love of My Life.” He seemed to become emotional when a video of Mercury appeared. The duo finished the song in unison and then Taylor joined in on drums down stage with Lambert, to continue the acoustic segment with a buoyant rendition of 1980 Billboard Hot 100-topper “Crazy Little Thing Called Love.”

The all-ages crowd appeared particularly reverential during “Under Pressure” (featuring bassist Neil Fairclough) -- the Queen & David Bowie collaboration which re-charted on the Hot 100 after Bowie’s 2016 death. And of course there was “Bohemian Rhapsody,” in all its strange and spectacular glory, synched to the 1975 music video splashed across five giant screens.
When it was over Lambert and May embraced, walking arm in arm toward the other band-members (including Spike Edney on keyboards and Tyler Warren on percussion) for their final bows. The moment was one of many during which the two men appeared happy and very connected on stage. A classic guitarist and his muse, carrying on.

button-lip

06-27-2017, 11:11 PM

SisterNightroad

07-11-2017, 08:26 AM

Rock’s Most Dysfunctional Bands
By Eduardo Rivadavia

Music groups are a lot like families and, as the above gallery of Rock’s Most Dysfunctional Bands illustrates, they have many of the same issues as your average family.
Oh sure, it’s all fun and games at first: Musicians come together, unified by a shared love of performance. Outsized dreams put a rosy tint on any early disagreements that may crop up inside their still-developing personal relationships. (They do call it “playing” music, after all.) Once that initial rush of excitement subsides, however, underlying issues tend to bubble up.
It’s not a matter of if so much as how dysfunctional a band will become as they deal with the fame (or lack thereof) that inevitably surrounds rock and roll. What’s amazing is how the same internal issues that derail so many groups actually fuel a precious, special few. For the lucky ones, emotional tension between members actually sparks their creativity, to the point that their career actually thrives from all this drama.
Some of rock’s best-known acts have weathered and even prospered amidst the most outlandish internal dysfunction, while others have gone down the tubes. Sometimes, ironically enough, that process can contribute to their legend – thanks to all the gossip generated as they crashed to Earth. In this way, dysfunction appears to be as vital an ingredient in rock and roll as sex and drugs – oh yeah, and great music.
Click through as we celebrate all of the dizzying heights and the just as precipitous lows of rock’s most dysfunctional bands.

http://ultimateclassicrock.com/files/2014/12/Fleetwood-Mac-Lineups-630x420.jpg

Fleetwood Mac

While most bands deny or try to gloss over any public talk of internal dysfunction, Fleetwood Mac turned it to their advantage: first tapping into it for inspiration while recording their career best seller 'Rumours,' and then owning up to all the dirty details so that their fans felt even closer to the men and women behind the music. All of this late-‘70s drama followed the group’s early trials with founder Peter Green (who suffered a nervous breakdown), and a series of personnel shifts in the ensuring Bob Welch era. That alone might have qualified Fleetwood Mac as one of rock’s most dysfunctional bands.

Read More: Rock's Most Dysfunctional Bands | http://ultimateclassicrock.com/dysfunctional-bands/?trackback=tsmclip

SisterNightroad

07-11-2017, 08:28 AM

Vinyl makes a comeback at Leeds’s Kirkgate Market

A RECORD collectors’ fair made its debut appearance at Kirkgate Market this weekend, in a move which could see the event held there permanently. Vinyl lovers from across the country attended the Premier Music Fair on Saturday, with dealers and collectors swapping stories about new finds. The event is usually held in the Corn Exchange on the last Sunday of every month but fair organiser Adrian Melling said it may now run at both venues. He said: “It was interesting moving the event to a multi-function venue, as you can pick up a bit of extra interest with different people shopping.” Collectors were also invited to bring in their records and memorabilia to be valued. Mr Melling, who has been a record dealer for 40 years, said recent items brought in included a signed Beatles album. “People bring in records all the time. “We had the Beatles’ album A Hard Days Night come in with three autographs,” he said. “Many of the autographs on their albums were signed by their roadies but this one was real, although it was missing John Lennon’s autograph. “She didn’t want to sell it but it was valued at around £3,000.” With the recent vinyl revolution still increasing in popularity, Mr Melling said the most sought after records are by The Stone Roses and Joy Division. He said: “Rumours by Fleetwood Mac has been sold by the truck load and it still flies off the shelves.” The record collectors’ fair returns to its usual location of the Corn Exchange on July 30.

Read more at: http://www.yorkshireeveningpost.co.uk/news/vinyl-makes-a-comeback-at-leeds-s-kirkgate-market-1-8642603

SisterNightroad

07-26-2017, 07:11 AM

Power pop guru Matthew Sweet hits the road after 14th studio album

JACKSON, Miss. — Back in the early '90s when grunge was king and flannel was cool, Matthew Sweet blasted out of radio speakers and into the Top 10 with Girlfriend, a walloping chunk of guitar fuzz ear candy from his 1991 album of the same name.

Although that wasn't Sweet's first record, it was the one that pronounced him the king of jangly guitar power pop.

It's been more than a quarter century since then and Sweet just released his 14th studio album last month, Tomorrow Forever. The new one was funded by Sweet's fans via Kickstarter.

Sweet, a multi-instrumentalist who has worshiped Todd Rundgren and Lindsey Buckingham since his teen years, has been writing, recording and touring since his 1991 commercial breakthrough.

Sweet’s latest tour kicked off May 15 at the City Vineyard at Pier 26 in New York City and goes through Sept. 15 with a final stop in South Orange, N.J.

After a show in Jackson, Miss., on Tuesday, Sweet and his band play two nights in Atlanta on Wednesday and Thursday at the City Winery and then he moves on to the City Winery in Nashville on Friday.

5 things to know about Matthew Sweet

1. Sweet recorded three cover albums, each titled Under the Covers, with The Bangles' Susanna Hoffs. The first volume covered songs from the 1960s, the second featured tunes from the 1970s and the third highlighted songs from the 1980s. The second volume — featuring covers of Yes, Bread and Todd Rundgren — is the best of the trio.

2. Sweet, ever the Fleetwood Mac fan, got Richard Dashut to produce his 1993 record, Altered Beast. Dashut is best known for co-producing Fleetwood Mac's Rumours, Tusk and Mirage. Drummer Mick Fleetwood even makes an appearance on the album.

3. Both Debbie Peterson of The Bangles and The Zombies' founder/keyboardist, Rod Argent, play on Sweet's newest release.

4. Sweet and his wife moved from their longtime Hollywood Hills home to Nebraska in 2014. Sweet grew up in Lincoln, Neb. The couple bought an 80-year-old house spacious enough to house a home recording studio, dubbed Black Squirrel Submarine.

5. Although it's not on his '70s covers album, Sweet recorded Walter Egan's 1978 yacht rock classic Magnet and Steel in 1998. The song appeared on a soundtrack for Sabrina The Teenage Witch. It's his sweetest cover.

https://www.usatoday.com/story/life/nation-now/2017/07/25/matthew-sweet-tour/510775001/

SisterNightroad

07-27-2017, 07:39 AM

Potent Pairings: How to Sound Like Fleetwood Mac

<iframe width="936" height="527" src="https://www.youtube.com/embed/ilhu9vPy7Ls" frameborder="0" allowfullscreen></iframe>

Disclaimer: Our Potent Pairing series aims to get you in the ballpark of the sounds on your favorite recordings using affordable, accessible pedals. The pedals featured are not the exact pieces of gear used on the recordings.

Since their original formation in the late-'60s and through various personnel changes and iterations, British–American band Fleetwood Mac has remained a hugely influential mainstay in rock music.

Their 1977 release Rumours has sold over 40 million copies to date, placing it eighth on the list of the highest–selling albums of all time behind the likes of Michael Jackson, Pink Floyd, and the Bee Gees.

Today, we're paying homage to Fleetwood Mac with another installment of our Potent Pedal Pairings series. Watch the video above for our overview of how to nail the band's seminal sounds with common guitar effects, and be sure to take a look at our library of other Potent Pairings videos here.

Click on any of the pedal graphics below for more on each of these pedals.

"Oh Well"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_oh-well.jpg

"Albatross"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_albatross.jpg

"Rhiannon"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_rhiannon.jpg

"Dreams"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_dreams.jpg

"Go Your Own Way"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_go-your-own-way.jpg

"Silver Springs"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_silver-springs.jpg

"Big Love"

http://www.image-maps.com/m/private/0/isj88phsujb242299skh40kjq6_big-love.jpg

https://reverb.com/news/potent-pairings-how-to-sound-like-fleetwood-mac

SisterNightroad

07-28-2017, 05:46 AM

Randy Erickson: Musical canon lists blow me away

Just in case anybody was thinking I’m some kind of expert in all things music, I have a confession to make: I’m not. I have been an avid consumer and lover of music my whole life but not an overall expert, and I feel like something less of an expert this week after National Public Radio offered “Turning the Tables: The 150 Greatest Albums Made by Women.”
The list covers albums released in popular music genres since 1964, and the intent was to create a “canon” for music created by women, providing a guide to the best, a standard of excellence. The effort was prompted in part by the long-noted under-representation of women in best albums lists, especially lists that establish the canon for rock music.

There’s no denying that female musical artists have had a less than prominent place on broad “best” lists. No women were in the top 20 on Rolling Stone magazine’s 500 Greatest Albums of All Time, and they are vastly outnumbered by male artists on the rest of the expansive list.

The music I’ve purchased and listened to most over the years shows a similar bent, and I have to think a big part of that is because I generally gravitate toward rock music. (There’s a shocker, right?) There aren’t nearly as many women in rock as there are men, but this NPR list got me thinking about whether I’ve given women rockers a fair shake in my listening choices.

I decided to have a look at the NPR album roster and see how many albums on the list I’ve actually purchased. I’ve heard a lot of the albums on the list, of course, but I just wanted ones that I spent money on as an indication of how that list and my listening priorities mesh.

I have bought only 15 of the 150. What kind of a music “expert” has a collection with only 10 percent of the classics?

Part of it has something to do with my prime music-buying years. Maybe I’d have a greater percentage of the list if we only looked at the albums that came out from the mid-1970s to the early 1990s, when I had to shift more of the dwindling music budget to Raffi, Barney, Hans Mayer and Disney hits for the kids.

The classic albums by female artists I’ve invested in include (in order of their appearance on the NPR list) Fleetwood Mac, Lucinda Williams, Sade, Gillian Welch, Heart, Rickie Lee Jones, Linda Ronstadt, The Go-Go’s, Pretenders, Dixie Chicks, k.d. lang, Eurythmics, Joan Jett, The Bangles and Norah Jones. This does not include albums on the list I bought strictly for my daughters (Dixie Chicks, Spice Girls, Britney Spears and Taylor Swift).

I don’t think I have anything against music made by women. The last band I played in had a fantastic female singer who handled at least half our songs, and I had a lot of fun listening to and learning the cover songs we did that she sang.

Just for grins, I decided to look at the top 150 songs on another greatest albums of the rock era list and see how many of those are in my collection, again counting only ones I’ve bought. I was surprised I only had 18 of the 150, and two of those albums — Fleetwood Mac and Gillian Welch — were on the NPR list, too.

Artists from that other list in my collection include, in order of appearance on the list, Television, The Beatles, The Clash, The Rolling Stones, R.E.M., Led Zeppelin, Sex Pistols, The Who, U2, Bruce Springsteen, The Specials, Nirvana, Elvis Costello, The Byrds and AC/DC.

I’ve decided I’m not going to feel too bad about having so many great female artists missing from my collection, and I don’t regret not owning so many other classics of the rock music canon by the guys, and nobody else should feel bad either. I know these lists are somewhat subjective — especially the order of the rankings — and making people feel dumb because they aren’t up on what experts consider the classics or superior because they are isn’t the point of these lists. In a way, they are bucket lists to me, albums I should listen to while the ears are still working and the mind is still open.

I will keep that new NPR albums list handy, and when I am at a loss for what to listen to, I’ll check these albums out on Spotify. Even if I can can fit in one album on the list each week, I can get caught up on all that great music, a lot of it in genres I’ve left largely unexplored, in less than three years.

And that should still leave time for me to listen to female artists on my Spotify listening list that I would hope could one day be make the canon, including Courtney Barnett, Charly Bliss, Haim and Kristin Diable, who is coming soon to the Cavalier Theater.

So much music, so little time.

Rock on …

http://lacrossetribune.com/entertainment/randy-erickson-musical-canon-lists-blow-me-away/article_fac94fa4-0861-52c3-9350-dbc7a8495155.html

SisterNightroad

08-04-2017, 04:26 AM

US crushes nearly two tons of ivory in NY Central Park

NEW YORK—US officials destroyed nearly two tons of carved illegal ivory worth $8-10 million in New York’s Central Park on Thursday to denounce poaching that kills nearly 100 elephants a day in Africa.

On a brilliant summer’s day with Manhattan’s skyscrapers visible above the trees, decorative objects were placed on a conveyor belt and sent into a crusher, sending plumes of dust into the air to cheers.

The haul, which was the result of three years of hard investigative work in New York state, represents ivory from around 100 elephants.

John Calvelli, a senior official from the Wildlife Conservation Society, which helped organize the event, said 96 elephants are killed in Africa on average each day or around 35,000 a year.

The event was the third time authorities have staged a public ivory crushing in the United States since 2013.

“We’re sending a message to the rest of the world. Stop buying ivory and let’s save these elephants,” Calvelli told Agence France-Presse (AFP).

US federal officials, Manhattan District Attorney Cyrus Vance and New York Republican Congressman Dan Donovan were among the hundreds of supporters who attended the event.

“It’s not ok to be selling these goods anymore and perpetuating and prolonging the agony of the situation,” said British rocker Mick Fleetwood of Fleetwood Mac fame, who turned out to lend his support.

Speaking to AFP, he denounced the rate of elephant killing as “beyond imagination.”

“If you’re dealing in the proceeds of wildlife crime, if you are trading ivory, you’re going to get prosecuted and it’s not going to be pretty,” Vance told supporters at the event.

The New York State Department of Environmental Conservation carried out the crushing of tusks, trinkets, statues and jewelry.

The international trade in ivory was outlawed in 1989. China remains the largest market, with the United States in second place.

Beijing has said it will ban all ivory trade and processing by the end of 2017, a move that conservationists have hailed a “game changer.”

Calvelli said the three largest markets in the United States — California, Hawaii and New York — have fundamentally closed in recent years.

Elephant tusks are highly prized, particularly in Asia, where they are carved into ivory statuettes and jewelry.

The WWF estimates that in the early 20th century, there may have been as many as three to five million African elephants, but says there are now around 415,000.

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bombaysaffires

08-04-2017, 02:37 PM

except, technically, Mick is and has been for some time an American rocker, no? :eek:

SisterNightroad

08-05-2017, 07:32 AM

Classic Album Sundays is coming to Birmingham - the ultimate experience for vinyl lovers
A chance to really listen to Fleetwood Mac's Rumours

Classic Album Sundays is coming to Birmingham, offering vinyl lovers the chance to really listen to a record.

The event involves hearing the story behind a cultural milestone, then sharing an “immersive listening experience” by hearing the record being played on a high quality hi-fi system.

The launch event, at Cherry Reds on John Bright Street, sees Fleetwood Mac’s Rumours played on September 24.

It’s to celebrate the album’s 40th anniversary of the group which includes Christine McVie who used to live in Bearwood.

Rumours is their bestseller and also one of the bestselling albums of all time with more than 40 million copies sold.

It boasts favourites like Dreams, Go Your Own Way, Don’t Stop and The Chain.

Chris Watkiss and Raj Jassal are bringing CAS to Birmingham and say: “Listeners will hear the album in a way few ever get to, getting as close as possible to the artist’s original intent. It reminds people what they love about music.”

The event takes place between 2pm and 4.30pm, with a uninterrupted full vinyl playback of the album followed by the chance to talk about the experience.

Tickets cost £7 and are available here.

Classic Album Sundays currently takes place in venues including London and Cambridge, where music lovers listen to vinyl like Michael Jackson’s Off The Wall, Pink Floyd’s Dark Side of the Moon and Rolling Stones’ Exile on Main St.

http://www.birminghammail.co.uk/whats-on/music-nightlife-news/classic-album-sundays-coming-birmingham-13432014

SisterNightroad

08-07-2017, 05:27 AM

Carter Alan’s Rock N’ Roll Diary: August 7 in Classic Rock History

Tom Petty played the Boston Garden on this night in 1981. He did 3 encores that night! The first one began with an old Isley Brothers tune – which one?

ANSWER: “Shout” (you may also know the Otis Day & the Nights version)
What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for August 7th, from the College of Classic Rock Knowledge – 100.7 WZLX!

1970: Fleetwood Mac welcomed its first female member: Christine McVie, wife of Mac bassist, John McVie. Prior to joining the group she recorded solo under her maiden name, Christine Perfect.
1974: Peter Wolf married Faye Dunaway. The two later divorced.
1979: A crazed Marshall Tucker Band fan in California stole a car from the parking lot outside the Long Beach Arena and drove right into the building, smashing down two banks of metal doors and one concrete wall in the process.
1987: A Fleetwood Mac band meeting turned ugly when guitarist Lindsey Buckingham announced plans to strike out on his own and then resigned from the band.
2002: Ozzy Osbourne rejoined Ozz-Fest in Clarkston, Michigan after taking a few weeks off from the tour to be by wife Sharon’s side as she began chemotherapy treatment for colon cancer. That therapy was successful in forcing Sharon’s cancer into remission.
In the WZLX ticket stash…

1981: Tom Petty played the Boston Garden.

http://wzlx.cbslocal.com/2017/08/07/carter-alans-rock-n-roll-diary-august-7-in-classic-rock-history-3/

SisterNightroad

08-13-2017, 02:50 PM

Niall Horan Teases Songs From His Upcoming Album!

The other track Niall detailed is called “On the Loose,” a which came later in the *recording process and reportedly reinvents Fleetwood Mac’s song “Dreams” with a tropical-pop vibe!

http://www.justjaredjr.com/2017/08/13/niall-horan-teases-songs-from-his-upcoming-album/

SisterNightroad

08-18-2017, 08:39 AM

#ThrowbackThursday: “Landslide” by Fleetwood Mac

By Sean Smith

Fleetwood Mac will go down in history as one of the most renowned rock bands of all time. The British-American band made their debut on August 13, 1967, 50 years ago this past weekend.

The band played their first gig at the National Jazz and Blues Festival in the United Kingdom. The group was at the time made up of Mick Fleetwood, Peter Green, Jeremy Spencer and Bob Brunning. A few weeks after Fleetwood Mac’s debut, Brunning was replaced by John McVie. Mick Fleetwood actually named the band Fleetwood Mac as a way to try and recruit McVie into the group.
The debut self-titled album was released in early 1968, and was a bluesy rock style of record. While the album did not have any songs initially released as singles, it contain a track that would be a big hit on the charts about two years later. The album cut “Black Magic Woman” was covered by Santana in 1970, and when released as a single reached as high as the #4 spot on the Billboard Hot 100.

When most of us think of Fleetwood Mac we think of the updated lineup of the band that came in the mid-1970s. The new makeup of the group included original member Mick Fleetwood, early addition John McVie, as well as newcomers Christine McVie, Lindsey Buckingham and Stevie Nicks. The newly revised Fleetwood Mac released their second self-titled album, referred to by many fans as the “White Album,” in 1975.
The 1975 Fleetwood Mac album was a huge success for the band. It reached the top of the Billboard album chart in the United States, much of which can be attributed to the promotional singles. Three of the five official singles from the record were Top 20 hits including “Rhiannon,” “Say You Love Me” and “Over My Head.” However, this week we want to remember a track from that album which was not originally released as a single, but would eventually become the biggest hit from the record.
The eighth track of the album was a song that Stevie Nicks had written prior to joining Fleetwood Mac. She wrote “Landslide” while staying with friends in Aspen, Colorado. As she looked out over the mountains surrounding her she thought about how all the snow could just fall down around her. At that time she was emotionally dealing with a lot. She was considering giving up on music and going back to school, and her father was about to have surgery.

The Stevie Nicks penned “Landslide” was first a hit on the charts when the Smashing Pumpkins covered the track and released it as the B-side for their 1994 single “Disarm.”The acoustic cover received mainstream success, breaking into the Top 40 and hit #3 on the Alternative Songs chart.
Four years after the Smashing Pumpkins found success with “Landslide,” Nicks and Fleetwood Mac finally released their own version of the track as an official single in 1998. The live version of the song was released off of their 1997 album The Dance. The Fleetwood Mac original track would finally be certified Gold in 2009, marking 500,000 copies sold.

The most commercially successful release of “Landslide” came from neither Fleetwood Mac, nor the cover done by Billy Corgan and the Smashing Pumpkins. Rather it came in the form of a cover done by the country trio of the Dixie Chicks in 2002. Released as the second single from their album Home, it reached the second spot on the Hot Country Songs chart, and #7 on the Hot 100.
So in honor of the 50th anniversary of the debut performance by Fleetwood Mac, this week we take a moment to remember their 1975 Stevie Nicks penned hit “Landslide”. Enjoy.

Fleetwood Mac

“Landslide”

Represe Records

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http://clizbeats.com/throwbackthursday-landslide-by-fleetwood-mac-1343/