MacNuggets

[SisterNightroad]

'90s Icon Kim Gordon on Making Art Inspired By Fleetwood Mac and Sharing Clothes with Daughter Coco Moore

What was your starting point when it came to designing?

They sent me an image of something I’d done for a small boutique in downtown New York. It was a portfolio book of word paintings from a Fleetwood Mac song. It was the word ”She," so that was a starting point: thinking of other pronouns. And then as I was painting. I decided to expand on that and do some other words and abstract paintings. I used metallic inks and watercolors. When I first made paintings of Names of Noise bands I saw the large canvases as similar to T-shirts, the way people buy T-shirts to places they I‘ve never been as souvenirs. They already had different shapes of hoodies, sweat-shirts and T-shirts to choose from. I suggested we add scarves.


https://www.wmagazine.com/story/kim-gordon-coco-gordon-moore-and-other-stories

[SisterNightroad]

Today in rock history; Stones and Ministry release live records, Buckingham & Nicks' Fleetwood Mac goes no. 1, more

Today in rock history: on this date in 1976, the self-titled Fleetwood Mac album that boasted the band’s brand new lineup eased its way into the no. 1 spot on Billboard’s sales charts in the U.S. After a slow and steady climb towards the top spot after more than a year, the record — which was Mac’s first to feature brand new band members Lindsey Buckingham and Stevie Nicks — hit the coveted no. 1 spot and became the first of three consecutive chart-toppers this formation of the band would enjoy. The album features the massive Fleetwood Mac singles “Over My Head,” “Say You Love Me” and “Rhiannon.” and it ushered in a whole new era for the former blues band who would from this point going forward would become one of the best-selling and popular rock bands all around the world.


http://www.cltampa.com/music/music-news/article/20974467/today-in-rock-history-stones-and-ministry-release-live-records-buckingham-nicks-fleetwood-mac-goes-no-1-and-more

[SisterNightroad]

Carter Alan’s Rock ‘n’ Roll Diary: September 17 in Classic Rock History

1997: Fleetwood Mac began its reunion tour prompted by the success of its CD “The Dance” with a show in Hartford.

http://wzlx.cbslocal.com/2017/09/17/carter-alans-rock-n-roll-diary-september-17-in-classic-rock-history-3/

[bombaysaffires]

Carter Alan’s Rock ‘n’ Roll Diary: September 17 in Classic Rock History

1997: Fleetwood Mac began its reunion tour prompted by the success of its CD “The Dance” with a show in Hartford.

http://wzlx.cbslocal.com/2017/09/17/carter-alans-rock-n-roll-diary-september-17-in-classic-rock-history-3/

oh,, Carter Alan.... there's a blast from the past.... used to listen to him in my youth on WBCN.

[SisterNightroad]

Discover the harmonies and studio wizardry in our Sunday Telegraph Spotify Headphone Epics playlist
QUEEN, The Eagles, Daft Punk and Fleetwood Mac all have hits that sound better with headphones. Here are 10 of the best songs to listen to like a DJ.

AUDIOPHILES often have a go-to list of songs to test the quality of their speakers or headphones.
And while most experts suggest the best way to test the listening experience is by playing your favourite songs because of your familiarity with them, some artists pride themselves of their technical wizardry in the studio.
As recording technology came of age in the 1970s, many of that decade’s greatest records experimented in the studio with shifting between speakers, pumping up the bass and injecting other sonic tricks to thrill the listener.
This week’s Sunday Spotify playlist presents 10 HeadphoneEpics for music fans who want to explore all the nuances of a great studio recordings.

9. The Chain, Fleetwood Mac. One of the greatest pleasures of the headphone listen is hearing not only multi-layered voices and harmonies but the subtleties of the snare and a plucked guitar. This has got it all.


http://www.news.com.au/national/nsw-act/discover-the-harmonies-and-studio-wizardry-in-our-sunday-telegraph-spotify-headphone-epics-playlist/news-story/f40f5cc56c722fe7b93a567e374fd951

[SisterNightroad]

The 30 must-read music books of Fall 2017
From memoirs to rankings, here are the best titles on rock, rap and country hitting the market this season

"Goodnight L.A.: The Rise and Fall of Classic Rock — The Untold Story from inside the Legendary Recording Studios," by Kent Hartman
If recording studio walls could talk, they'd tell the best, juiciest stories. That's the premise of this book, which reveals tantalizing secrets behind blockbusters from Foreigner, Fleetwood Mac and Tom Petty & The Heartbreakers, to name a few. Buy it here (https://www.amazon.com/Goodnight-L-Classic-Legendary-Recording/dp/030682437X/?tag=saloncom08-20).


http://www.salon.com/2017/09/23/music-books-fall-2017/

[SisterNightroad]

Letter: Music and songs with meaning

To the editor:

If you know me, my love of Fleetwood Mac has been more than established. I grew up with a mother who listened to a lot of music and some of those songs included hits such as, "Don't Stop," "Rhiannon," "Gypsy," "Little Lies," among others. A lot of what she loved and still loves, has rubbed off on me. Thanks, mom.

My family, peers and team members at work tease me over my great love of Fleetwood Mac. Of course, I do love the music, but more importantly, the words they sing mean something to me. There is not one song written by Stevie Nicks, Christine McVie, Lindsey Buckingham (and a few others) that wasn't written based on life experiences.

"Don't Stop" was written by Christine McVie for her then-husband John McVie, who suffered from alcoholism. Stevie wrote "Sara" in part over her aborted child." She also sings "Landslide" in a nod to her relationship with Buckingham. In turn, "Go Your Own Way" is his way of telling Nicks to get lost, after they broke up. One of the signature songs that they are all a part of is, "The Chain" — "I can still hear you saying, you would never break the chain."

While they loved and soared, all of them fell victim to cocaine and alcohol. Christine, Stevie, and Lindsey all left Fleetwood Mac at different times; McVie was gone for 16 years! But over time all five rejoined and they have weathered personal storms in their lives.

This 27-year-old was beyond blessed to see Stevie Nicks at the State Fair last week, and he'll be in the third row in October, in Minneapolis, to see Christine McVie and Lindsey Buckingham.

They represent traits all of us should strive for: love, resilience, friendship, and a sense of a bond that will never break.

Steve Hensley

Alexandria, MN


http://www.echopress.com/opinion/letters/4333285-letter-music-and-songs-meaning

[JohnL]

Letter: Music and songs with meaning

To the editor:

If you know me, my love of Fleetwood Mac has been more than established. I grew up with a mother who listened to a lot of music and some of those songs included hits such as, "Don't Stop," "Rhiannon," "Gypsy," "Little Lies," among others. A lot of what she loved and still loves, has rubbed off on me. Thanks, mom.

My family, peers and team members at work tease me over my great love of Fleetwood Mac. Of course, I do love the music, but more importantly, the words they sing mean something to me. There is not one song written by Stevie Nicks, Christine McVie, Lindsey Buckingham (and a few others) that wasn't written based on life experiences.

"Don't Stop" was written by Christine McVie for her then-husband John McVie, who suffered from alcoholism. Stevie wrote "Sara" in part over her aborted child." She also sings "Landslide" in a nod to her relationship with Buckingham. In turn, "Go Your Own Way" is his way of telling Nicks to get lost, after they broke up. One of the signature songs that they are all a part of is, "The Chain" — "I can still hear you saying, you would never break the chain."

While they loved and soared, all of them fell victim to cocaine and alcohol. Christine, Stevie, and Lindsey all left Fleetwood Mac at different times; McVie was gone for 16 years! But over time all five rejoined and they have weathered personal storms in their lives.

This 27-year-old was beyond blessed to see Stevie Nicks at the State Fair last week, and he'll be in the third row in October, in Minneapolis, to see Christine McVie and Lindsey Buckingham.

They represent traits all of us should strive for: love, resilience, friendship, and a sense of a bond that will never break.

Steve Hensley

Alexandria, MN


http://www.echopress.com/opinion/letters/4333285-letter-music-and-songs-meaning

That last line is something I think all of us here on The Ledge should remember a bit more. Our love of FM has brought us all here...and we should cherish that instead of picking each other's preferences apart. Their music has and will continue to withstand the test of time. Not many bands can say that. I think we should just all be thankful for what they have given us as a whole. Myself included...

[SisterNightroad]

Pretty cover of Dreams right at the end of this video:

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[SisterNightroad]

<iframe src="https://www.npr.org/player/embed/554487690/554494992" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"></iframe>

[SisterNightroad]

Great British Bake Off: "Pastry can smell fear"

Steven's Musical Pies were created with two separate batches of shortcrust - one for the pie and one for the decoration. The theme was Fleetwood Mac and each pie was decorated to represent a song; Big Love, Storms, Angel and Song Bird.


https://www.rte.ie/lifestyle/food/2017/1004/909589-great-british-bake-off-pastry/

[SisterNightroad]

Alan Webber: Classic rock is just getting old

No, that does not mean I am giving up on the greatest music ever made. What is meant by the title of this column, other than a blatant attempt to get your attention, is that our rock icons are aging and disappearing at a rather alarming rate.

For some peculiar reason, I keep track in my blog a list of the rockers who have passed away. Coming off the heels of some of the giants in rock music who passed away in 2016, such as David Bowie, Glenn Frey and Prince, 2017 seems to have not gotten any better. Passing this year have been Butch Trucks and Gregg Allman of the Allman Brothers Band, as well as Paul O'Neil, the founder of the Trans-Siberian Orchestra, Glenn Campbell and, most recently, Tom Petty. Allman's passing was somewhat of a punch in the gut to me.

The fact is, these rockers are getting to an age that the ailments that are taking everyone else we know and love are finally catching up to them as well. Some are just getting plain old! This was really brought home to me when I read that Ian Hunter, founder of Mott the Hoople ("Cleveland Rocks"), recently put out a new album with a new band. It also mentioned Mr. Hunter is 78 years old. And he is still putting out new rock and roll? That means touring and late nights. I can't hardly stay out past 10 o'clock anymore and he's out touring!

That got me thinking of some other musicians still rockin' on. Consider the ages of some of these folks:

James Taylor and Robert Plant (Led Zeppelin) are both 69. Looks to me like Robert might be 169! Even Ozzy Osbourne is now 69 – how is he even still alive? All are still on tour.

Also, still on the road are Carlos Santana (who recently married his drummer), Bob Weir of Grateful Dead, Mick Fleetwood of Fleetwood Mac, Elton John and Joe Walsh of the Eagles. They are all 70 years of age. So is Ian Anderson of Jethro Tull. Evidently, he isn't too old to rock and rock nor too young to die.

David Gilmour of Pink Floyd, who I saw last year in concert, is 71, too, same age of Barry Gibb from the Bee Gees.

Bob Seger recently went back on tour at 72, same age as Eric Clapton, Neil Young and Carly Simon. I went to a Seger concert recently and believe he put more energy into the first song that night than I did the whole weekend.

Carole King of "Tapestry" fame is 74. Bob Dylan mumbled he is 76 … I think. Grace Slick of Jefferson Airplane will be 78 shortly – go to the website and see what the rock lifestyle did to her.

You talk about a group of folks run hard and put away wet! The Rolling Stones' Mick Jagger is 74; Keith Richards will be 74 in December; Ronnie Wood just turned 70; and drummer Charlie Watts is 76. They are still rocking and one of the top revenue acts in the world. Original bass player, Bill Wyman, who retired, is now 81. The man that took Bill's place, Daryl Jones, is a relative baby at 55. That brings up a great quote – "there are only two things on Earth that can survive a nuclear holocaust – cockroaches and Keith Richards."

Surviving Beatles Paul McCartney is 75 and Ringo Starr is 77. Are you like me and wondered if they ever put a microphone on Ringo's drumming? When John Lennon was asked if Ringo was one of rock's best drummers, he replied that Ringo wasn't even the best drummer in the Beatles.

John Mayall of the Blues Breakers fame (with Eric Clapton) will be 84 in November and still recording. How?

Are you getting the point? No wonder they seem to be leaving us at an alarming rate. They are getting to an age when people start developing illnesses that can bring about their demise. And these guys lived a life that made ours look like choirboys and nuns.

And if all that has not made you feel really old, consider this — The song "Free Bird" was released 44 years ago and "Stairway to Heaven" 46 years ago. And the next time you are singing "Hey Jude," remember that song is now 49 years old.

But, don't ever stop rocking on to the greatest music ever made. Those songs sound as good today as they did all those decades ago.



http://www.daily-journal.com/opinion/columnists/local/alan-webber-classic-rock-is-just-getting-old/article_e1adad58-a13f-5ec3-bcc5-df1389151ba3.html

[SisterNightroad]

Green Rabbit

When I was 4, my favorite band was Fleetwood Mac. I didn’t know it was called that, but I could recognize it anywhere — at the first strains of Stevie Nicks, I left whatever I was doing and ran into the living room, bunches of Beanie Babies squeezed in my fists. My mom says I shouted “moosic, moosic” as I ran in dizzying circles around the edge of the carpet.

She would stand at the edge of the room, arms crossed, bemused smile settled on her lips, and watch my little legs stumble around in tempoless joy. My dad would hover by the stereo, flipping through his collection of discs.

I fidgeted in the middle of the carpet while he cued up the next tune. Sometimes I would wander over and watch his precise search for the one he wanted. I tilted my head back and looked up at the rows and rows of rainbowy saucers boxed neatly in translucent Tupperware.

My dad liked music in a surface way. Outside of my favorite Fleetwood Mac songs, things played once or twice, never again; it was a point of pride. He had collected more music than he could ever listen to, so he only listened to what he wanted to hear.

Sometimes, other people’s love of the music you’re playing is only a side effect of the feeling you get from playing that music for yourself.

As I grew up, the stereo collected dust. My dad moved his collection to an iTunes catalog of thousands that he funneled into his ears with expensive headphones — he didn’t play his music out loud anymore. I told him I missed it, so when I was 9, he gave me my first iPod: a second-generation shuffle, lime-colored, named “Green Rabbit.”

From his desktop computer, he downloaded a gigabyte of his music collection onto it, dropping the small, shiny block into my palm — “Here you go, I hope you enjoy it.”

Like the multitude of sounds I had heard coming from the stereo speakers, “Green Rabbit” was enormous and directionless.

Finding a song I loved was unusual in the unordered, unlabeled mass of hundreds that I now, all of a sudden, owned. All of the music in “Green Rabbit” was mine — I played it for myself, through my earbuds, only when I wanted to hear it — but I had no control over it.

I remember finding a song I particularly loved one day — I restarted the song over and over again, listening to it in a loop. When I switched on my iPod the next day, it played me a different song. I listened to “I Love Rock ‘n’ Roll” and “Octopus’s Garden,” waiting for the song I loved to come back, but I couldn’t find it.

At first, I was sad; I tried to remember what it sounded like, but I could only hum myself a few bars of the melody. Then I gave up, and I got used to it.

I played “Edge of Seventeen” for a week and left it behind, swapping it for another, then another, letting my favorite song switch every day, enjoying it fleetingly.

When I was 13, my mom and dad bought me a new iPod. It was as big as my hand, with a touch screen, and an iTunes gift card taped to the top of the box. I created my own music library from scratch, filling it with odds and ends, probably no more than 40 songs in all. I loved scrolling through the list of music I had decided to buy, however short it was. I could select any song by name and listen to over and over again — today, tomorrow, it was always there.

I brought my songs with me everywhere. The day I left my iPod behind in a rental car, I cried.

Now I use Spotify. I still do the same thing — I find a song I love and I listen to it over and over again, letting my favorite parts of it sink into me, hours at a time for days

My friends are often annoyed or at the very least bewildered by me. But I know exactly why I do it. I love the process of getting comfortable with a song. I love the way listening to something 30 times all at once familiarizes you with it — you figure out what your favorite lyric is; you learn the bassline in the bridge so well you can tap it out with your foot while you’re thinking about something else entirely; you begin to associate the song with a certain week of your life.

I don’t think there’s anything wrong with listening to music the way my dad did — that’s the way he liked it. When you’re playing music for yourself, you get to decide that.

And this is the way I like it.



http://www.dailycal.org/2017/10/12/olivia-jerram-mind-the-gap-green-rabbit/

[SisterNightroad]

Carter Alan’s Rock ‘n’ Roll Diary: October 18 in Classic Rock History

The Traveling Wilburys first album was released on this day in 1988. Each member of the band had a fake ‘showbiz’ name – what was Tom Petty’s?

ANSWER: Charlie T. Wilbury Jr.

What else happened on this day in rock n’ roll history? Here’s the Rock N’ Roll Diary for October 18, from the College of Classic Rock Knowledge – 100.7 WZLX!
On this day in 1968, John Lennon and Yoko Ono were busted in Ringo Starr’s London Apartment for possession of cannabis resin – John pled guilty so police wouldn’t press charges against Yoko, though he swore the drugs were planted by the police.
Also in ’68, Led Zeppelin played London’s Marquee Club, only its 2nd show in England – the band’s manager had trouble booking the show since the group was still unknown, so he booked it under the name “Jimmy Page & The New Yardbirds.”
In 1969, Paul Kantner of the Jefferson Airplane was charged with possession in Honolulu after police caught him crawling through the bushes outside his home smoking a joint.
In 1975, Fleetwood Mac warmed up for Jefferson Starship at the Boston Garden.
In 1988, the Traveling Wilbury’s album “Volume One” was released featuring Tom Petty, Bob Dylan, Roy Orbison, George Harrison, and Jeff Lynne of ELO.
And in 2005, Queen guitarist Brian May was made a commander of the British Empire while Jimmy Page received an order of the British Empire Award from the Queen during a ceremony at Buckingham Palace.
Checking the WZLX ticket stash Jefferson Starship played the garden with Fleetwood Mac in 1975.


http://wzlx.cbslocal.com/2017/10/18/carter-alans-rock-n-roll-diary-october-18-in-classic-rock-history-3/

[sue]

Today on BBC Radio 2 Ken Bruce played.....
Isn’t it Midnight...from Tango In The Night Album

Can’t ever remember hearing this on radio before.
It’s usually Big Love or Little Lies
Well done Ken !!!

[jbrownsjr]

Today on BBC Radio 2 Ken Bruce played.....
Isn’t it Midnight...from Tango In The Night Album

Can’t ever remember hearing this on radio before.
It’s usually Big Love or Little Lies
Well done Ken !!!

I love her vocal on that song. It's so pure.

[SisterNightroad]

Fleetwood Mac star drops in to meet budding musicians

https://i.imgur.com/iheTkPL.jpg
SUPRISE GUEST: B Sharp’s music leader Jacques Verhaeren and creative director Fran Williams with Mick Fleetwood Picture by B Sharp

THERE were no rumours about it - a pop legend really did pop in to meet a group of young musicians in a chance visit.

Youngsters at Lyme Regis-based charity B Sharp welcomed Mick Fleetwood, of Fleetwood Mac, to have a look around along with Matt Griffiths, the chief executive of the National Foundation of Youth Music

Mr Fleetwood was visiting family in the area and called in to observe one of B Sharp’s music projects at The Hub.

B Sharp’s music leader, Jacques Verhaeren, and creative director, Fran Williams, spoke with Mr Fleetwood after the session.

They said: “Mick said that he wished there had been something like B Sharp around for him when he was young and that every town needed it.

“Mick added there’s nothing like learning through playing together and that he was lucky when he was young because his parents let him make music at home.”

Following on from Mr Fleetwood's visit, Mr Griffiths spent the day with B Sharp during his tour of the South West, where he is visiting projects and organisations the foundation supports.

The foundation is known for investing in music-making projects for children and young people, particularly those facing challenging circumstances, and it has supported B Sharp's for many years.

Mr Griffiths observed one of B Sharp's sessions with early years children, which are part-funded by a grant from the foundation.

He said: “I heard very personal accounts of how B Sharp provides a welcome, supporting environment. This powerful combination of helping young people progress and social action is at the heart of what B Sharp does.”

B Sharp’s Mr Verhaeren added: “Wow; having two such amazing visits from inspirational people in the music industry in one week is so great for B Sharp. We build the skills, creativity and confidence of young people through music and it’s inspiring for me and the team to see the importance of this being recognised by Mick and Matt”

B Sharp offers all young people from all walks of life the opportunity to make music.

If you are aged between eight and 19 you can sign up to one of the charity's regular music projects in Lyme or Bridport, or go along for a free taster.

For more information, visit www.bsharp.org.uk or call 07968 177663.

B Sharp's next event is in Lyme Regis on Saturday, December 2 from 7pm.



http://www.bridportnews.co.uk/news/lymenews/15604204.Rumours_all_true___this_music_legend_dropped_in_to_meet_musical_teens/

[SisterNightroad]

MAKING IT IN COMICS WITH A TV ADAPTION OF HEARTHROB: A NYCC INTERVIEW WITH CHRIS SEBELA AND ROBERT WILSON IV
On Hollywood, Fleetwood Mac, and Robert Wilsons I-III.

Tim: What's so dang good about Fleetwood Mac anyway?

Robert: The songwriting, first and foremost.

Chris: I've definitely been obsessed with Fleetwood Mac for several years now, but it's not just the fact that Rumors was the biggest album when it came out. That was the initial inspiration. I liked the idea that we signified the real world by having Rumors be sort of everywhere. That was a thing that became much deeper. One of the things I love about Fleetwood Mac is there's so much interpersonal dynamics behind the scenes. People are sleeping with each other and cheating on each other. People doing drugs. It's like a very weird family. That's what we kind of put together with Heartthrob is giving Callie this very odd family and seeing what happens. People will betray each other.

Robert: There's a lot of repeating themes between the real life Fleetwood Mac story and Heartthrob.

Chris: For sure. I don't know. I just like Fleetwood Mac.

Tim: Did you listen to a lot of Fleetwood Mac when you were drawing?

Robert: Definitely. I tried to soak myself in Rumors specifically, but also stuff from that era. Kind of the stuff that Callie would be listening to. I had Bowie's Low and Heroes both in pretty heavy rotation because they both came out in 1977. A lot of period stuff and a lot of stuff with similar mood.


http://www.theouthousers.com/index.php/news/139469-making-it-in-comics-with-a-tv-adaption-of-hearthrob-a-nycc-interview-with-chris-sebela-and-robert-wilson-iv.html

[lilyfee]

MAKING IT IN COMICS WITH A TV ADAPTION OF HEARTHROB: A NYCC INTERVIEW WITH CHRIS SEBELA AND ROBERT WILSON IV
On Hollywood, Fleetwood Mac, and Robert Wilsons I-III.

Tim: What's so dang good about Fleetwood Mac anyway?

Robert: The songwriting, first and foremost.

Chris: I've definitely been obsessed with Fleetwood Mac for several years now, but it's not just the fact that Rumors was the biggest album when it came out. That was the initial inspiration. I liked the idea that we signified the real world by having Rumors be sort of everywhere. That was a thing that became much deeper. One of the things I love about Fleetwood Mac is there's so much interpersonal dynamics behind the scenes. People are sleeping with each other and cheating on each other. People doing drugs. It's like a very weird family. That's what we kind of put together with Heartthrob is giving Callie this very odd family and seeing what happens. People will betray each other.

Robert: There's a lot of repeating themes between the real life Fleetwood Mac story and Heartthrob.

Chris: For sure. I don't know. I just like Fleetwood Mac.

Tim: Did you listen to a lot of Fleetwood Mac when you were drawing?

Robert: Definitely. I tried to soak myself in Rumors specifically, but also stuff from that era. Kind of the stuff that Callie would be listening to. I had Bowie's Low and Heroes both in pretty heavy rotation because they both came out in 1977. A lot of period stuff and a lot of stuff with similar mood.


http://www.theouthousers.com/index.php/news/139469-making-it-in-comics-with-a-tv-adaption-of-hearthrob-a-nycc-interview-with-chris-sebela-and-robert-wilson-iv.html

Thank you for posting! Just fell down a rabbit hole of articles about this comic series. I think I am going to check it out.

[SisterNightroad]

SONGS TO BRING AN ALTERNATIVE SPOOK TO YOUR HALLOWEEN PLAYLIST

Other oldies “Gold Dust Woman” and “Tusk” are also fantastic additions, both straight from Fleetwood Mac. Where “Rhiannon” is an overtly witch-themed song (that would be an ideal selection for this grouping, if only it weren’t oddly uplifting), “Gold Dust Woman” is about an ordinary gal in a bad relationship, but the song itself feels in some way witchy; the twangs of the guitar make the sound reminiscent of the deadly and desolate nature of a Western, whereas the ominous lyrics of the chorus and Stevie Nicks’ wails later make way for the instrumentals to devour each other over various cries. “Tusk” counterbalances the heavy focus on witchery with a percussion-driven beat that sets the stage for what can only be described as the soundtrack for a tribal sacrifice (made truer by the primal vocals of the chorus). The result, a bit unsettling, is a great fit for the season.

https://studybreaks.com/2017/10/23/songs-bring-alternative-spook-halloween-playlist/

[Newzchspy]

What I want to know is, other than gracing them with his presence, did Mick leave a check for $$$. Nah, he probably offered to sell them MacWine or something!!

[SisterNightroad]

I can go for that: how soft rock finally got cool

t’s not so much that the crowds at his live shows are getting younger, says Michael McDonald, more that the younger audience members’ reasons for being there appear to have changed. “People who come and meet you afterwards by the bus, it’s usually the younger, more energetic ones, who don’t have to be home to let the babysitter go,” he chuckles. “Typically, they used to say: ‘Oh, my parents played your music all the time,’ like they had been tortured with it in their youth, but somehow came to like it. But now, because of working with Thundercat and Grizzly Bear, and being sampled by hip-hop artists, it’s opened the door a little wider to a different kind of audience.”

McDonald has a typically unassuming explanation for why a boundary-pushing funk auteur and some hip Brooklyn alt-rockers might be keen to work with him, aged 65, having weathered years in which “people thought having to listen to my music was like having to swallow dish detergent”: “If you live long enough, you get further away from the period of time you might be identified with – the 1970s in my case,” he says. “People tend to cut you a lot of slack.”

But it’s more than that: at some point during the 17 years that separate McDonald’s last album of original material from his latest, Wide Open, the wider world learned to stop worrying and love yacht rock, or soft rock, or whatever you want to call the super-smooth, R&B- and jazz-inflected music that he performed, first as a backing vocalist with Steely Dan, then as frontman of the Doobie Brothers, then as a solo artist.

Michael McDonald is quietly delighted with his oeuvre being reassessed.
It is music that is bigger now than at any time since its heyday, which by common consent stretched between 1976, when McDonald joined – and transformed the sound of – the Doobie Brothers, and 1983, when the faceless-but-virtuosic session musicians in Toto swept the board at the Grammys with the 3m-selling Toto IV.

There was a small resurgence in the ecstasy-fuelled Balearic scene of late-80s Ibiza, keen on overturning what DJ and soft rock fan Matthew Hamilton calls “that kind of post-punk stranglehold on taste and what was credible”. But in recent years, its influence has appeared everywhere from dance music to teen pop to rock. After years in which Fleetwood Mac were huge-selling but “incredibly unhip”, as guitarist and vocalist Lindsey Buckingham put it, the sound of their eponymous 1975 album and its 40m-selling follow-up Rumours has become one of latterday pop’s touchstones, its influence audible in the work of everyone from Taylor Swift to Haim, Hot Chip and Phoenix. The Doobie Brothers, Daryl Hall and John Oates, Steely Dan and others are sufficiently reconstructed that they can play London’s cavernous O2 Arena for Bluesfest this weekend.

There are communities online where arguments rage about what does and doesn’t constitute yacht rock – are Steely Dan too acerbic, too New York, too perennially acclaimed to qualify? Are Fleetwood Mac sufficiently smooth and soulful? And there is an entire US radio station dedicated to “smooth-sailing soft rock from the late 70s and early 80s – the kind of rock that doesn’t rock the boat!” There are new bands dedicated to painstakingly recreating the sound – London duo Young Gun Silver Fox, whose 2016 debut album West End Coast offers a succession of lushly beautiful homages – and old artists who have found their careers unexpectedly reactivated. Ned Doheny, a singer-songwriter who released a trio of albums in the 1970s to negligible sales everywhere except Japan, found himself touring the UK and Europe for the first time in 2015 after his albums were reissued, an experience he described as “a life-changer”.

It has also become a growth area for DJs and record collectors. German DJ Marcus Liesenfeld’s Too Slow To Disco compilation is currently on its fourth volume, while Numero Group’s recent Seafaring Strangers: Private Yacht digs even deeper, unearthing tracks from privately-pressed albums by artists so obscure, they make Doheny look like a hopelessly over-exposed household name: “local yokels and underdog guys, yacht rockers who were on less costly vessels”, as compiler Jon Kirby puts it. And there is the AOR Disco website, where the aforementioned Hamilton has spent the last eight years posting an apparently inexhaustible supply of soft rock DJ mixes and re-edits, not all of which have been met with untrammelled delight by the genre’s diehard fans. “There was one remix of I Keep Forgettin’ by Michael McDonald where the remixer had taken off the original drum track by Jeff Porcaro of Toto and put a house beat on it instead,” he says. “That turned out to be the ultimate sacrilege. You don’t mess with Jeff Porcaro’s drumming.”

It’s all very different from the early noughties, when the first artists to start publicly displaying their love of this kind of music were met with a degree of bafflement. Hall And Oates-indebted trio Zoot Woman ploughed a lonely musical furrow; reviews of Phoenix’s 2000 debut seemed unsure whether the French quartet were actually serious or not.

And, initially at least, the resurgence of interest in soft rock did seem to come with a side order of irony. The man who invented the term “yacht rock”, US writer and actor JD Ryznar, is clearly a fan of the music – the podcast he currently co-presents runs a feature called “yacht or nyacht”, which determines the suitability of records for inclusion within the genre – but the Yacht Rock web series he helped devise in 2005 was a parody, lampooning John Oates, McDonald and Kenny Loggins, among others, as preposterous figures.

Still, something about the rebranding of the music that inspired it as yacht rock – an evocative name that posited the music as a soundtrack to a mythic life of sunkissed luxury – seemed to chime with people, bringing it to a new audience. “I think Yacht Rock [the web series] was the beginning of this whole Hall & Oates resurrection,” Oates later remarked. “They were the first ones to start to parody us, and put us out there again.”

Inspiring DJs and collectors to dig in the crates is one thing, but exerting an influence on the sound of mainstream pop is another entirely. On the most prosaic level, soft rock appeals to latterday producers because it is, as Daft Punk’s Thomas Bangalter has said, “the pinnacle of audio fidelity”. There’s also a feeling that the sound acts as a kind of shorthand for musical sophistication: if you’re a former boyband member like One Direction’s Niall Horan, one way of signifying that you have grown is to break out the soft rock influences. As McDonald points out, Steely Dan set a new standard for music that could happily function as pop – they were “all over the radio for years” – without sacrificing its jazz-inspired complexity. “They cast a spell over American pop culture that’s very enigmatic to me, because the music is so sophisticated that I didn’t think it met the criteria of what people thought pop music should be.”

Kirby, meanwhile, has a theory that yacht rock was the sound of rock music entering its 30s. “What I found when researching the artists on Seafaring Strangers was that this was not their first foray into recorded music,” he says. “They had started out playing folk or studying jazz; they had been in R&B bands or soul groups. They forged their songs with a certain maturity, saying: I haven’t made it yet, and I’m still playing music and I’ve got a family and I’m a more mature, potentially complicated person. What music can I create that reflects where I am in my journey?”

And perhaps there’s another reason for its resurgence, that has something to do with the era that we’re currently living through. For Hamilton the music allows for aspirational escapism, to a fantasy past “that could only ever be in your imagination”. The world in 2017 seems a dark place, whereas the mythic, pristine Los Angeles of the 70s and early 80s that yacht rock conjures feels like “a simpler, sunnier time … a break from politics”.

McDonald thinks that might be right, and moreover thinks there’s a parallel with the music’s original intention. “When we came out of the 60s, when pop music had got to be such a revolutionary force, we kind of got nostalgic for the era before that, enamoured of old R&B records. For us, that music was a kind of panacea to thinking: well, has much actually changed, socially, after all that effort in the 60s? In the 70s, we kind of got lulled into an escapism of sorts. Our songs had more chord changes, they were harking back to a more romantic kind of musical experience. Steely Dan wanted to be Duke Ellington’s band, you know?”

Whatever the reason, McDonald is clearly quietly delighted with his oeuvre being reassessed, hailed as an influence by younger artists, and lauded in a way it never was, even during the Doobie Brothers’ heyday. “I still have to remember that I’m the guy driving down the freeway in the passing lane, going 55 with my blinkers stuck on. I’m every bit the 65-year-old guy. But I’ve been given the opportunity to keep rocking and rolling a little longer.”

Bluesfest is at the O2 Arena, London, 27-29 October. Wide Open by Michael McDonald is out now on BMG Records



https://www.theguardian.com/music/2017/oct/27/michael-mcdonald-doobie-brothers-hall-oates-toto-soft-rock-got-cool

[SisterNightroad]

Sainsbury’s launches vinyl record label tailored to its Fleetwood Mac-loving shoppers

Vinyl is back, and everyone is looking to capitalise. The latest giant to dip a toe in the market is Sainsbury’s. But they’re going further than just selling classics – or even new releases. The supermarket chain has announced that it will launch its own record label to “ride the wave” of the vinyl revival. Not only that, but the music is curated specifically for customers at the shop, where Fleetwood Mac’s Rumours remains the biggest seller. Its first two records are decidedly retro offerings: Hi Fidelity – A Taste of Stereo Sound will open with Mike Oldfield’s Tubular Bells and run through a range of 1970s classics from Cat Stevens, Sir Elton John, Moody Blues and more.

California road trips

Coming Into Los Angeles – A Taste of West Coast, meanwhile, will conjure up California road trips with artists including the Mamas and the Papas, The Byrds and the Monkees – along with a cameo from Fleetwood Mac. The Own Label imprint is a collaboration with Universal and Warner Music – of course Sainsbury’s hasn’t signed up Elton John and Fleetwood Mac by itself – and will be available in more than 160 Sainsbury’s superstores. The ’60s and ’70s compilations have been curated by Bob Stanley of indie group Saint Etienne and will cater “specifically to the tastes of Sainsbury’s shoppers”, the supermarket said. While sales of physical music products have deteriorated sharply with the advent of online streaming, there remains a niche market in the UK for vinyl. The so-called UK vinyl revival has seen sales of the format jump 37.6% in the first half of 2017 to £37.3 million.

Vinyl revival

Sainsbury’s began stocking vinyl in March 2016 for the first time since the 1980s and claims to account for almost 70% of the total grocery vinyl market. Sainsbury’s head of music and books Pete Selby said: “Our customers’ love of vinyl shows no sign of abating so, alongside the classics albums, we want to offer our shoppers something they won’t find anywhere else. “Our exclusive Own Label records have been carefully tailored towards the inquisitive, cultured tastes of our customers so we’re confident that they’ll love the sound of our new releases and our ever-increasing vinyl range.” Sainsbury’s has sold almost 300,000 vinyl albums to date, with almost 5% of those going to Fleetwood Mac’s Rumours alone.

Sainsbury’s records: The full tracklistings

Coming Into Los Angeles – A Taste of West Coast

1. The Mamas & The Papas – Dedicated To The One I Love
2. Love – Andmoreagain
3. The Monkees – As We Go Along
4. Buffalo Springfield – The Hour Of Not Quite Rain
5. Tim Buckley – Song To The Siren
6. Judee Sill – The Kiss
7. The Byrds – Full Circle
8. Flying Burrito Brothers – Wild Horses
9. Arlo Guthrie – Coming Into Los Angeles
10. Linda Perhacs – Chimacum Rain
11. Fleetwood Mac – You Make Loving Fun
12. America – Ventura Highway
13. Little Feat – Long Distance Love
14. Linda Ronstadt – Desperado
15. Michelle Phillips – The Aching Kind
16. Rickie Lee Jones – Chuck Es In Love
17. Doobie Brothers – What A Fool Believes
18. Nicolette Larson – Lotta Love
19. JD Souther – Faithless Love
20. Gene Clark – Lady Of The North

Hi Fidelity – A Taste of Stereo Sound

1. Mike Oldfield – Tubular Bells
2. Yes – Wonderous Stories
3. Moody Blues – Question
4. Roxy Music – Avalon
5. Tangerine Dream – Sequence C
6. Cat Stevens – Morning Has Broken
7. Al Stewart – Year Of The Cat
8. Andrew Gold – Lonely Boy
9. John Martyn – Solid Air
10. Elton John – Song For Guy
11. Van Der Graaf – Generator Theme 1
12. Bryan Ferry – This Is Tomorrow
13. Joe Walsh – Life’s Been Good
14. Mike Deville – Spanish Stroll
15. Todd Rundgren – I Saw The Light
16. 10CC – I’m Not In Love
17. Commodores – Easy
18. Gallagher and Lyle – Showdown
19. Giorgio Moroder – Chase
20. Brian Eno – Another Green World


Read more at: https://inews.co.uk/essentials/news/business/sainsburys-launches-vinyl-record-label-tailored-directly-to-its-shoppers/

[bombaysaffires]

Interesting. The only Mac song is Christine's.... didn't we have this convo before where, since she sold her publishing catalog, she no longer has control over how her songs are used (in commercials and whatever) ? So then chances are good whoever she sold the catalog to (Warner's?? does anyone know?) made the decision to include it. And since Stevie and Lindsey still retain at least some control over their publishing, doubtful we will see theirs on here unless Sainsbury's wants to pay a lot of moola.

[SisterNightroad]

ASDA Says it's Christmas So Here's a Roald Dahl Rip-off Advert

It's a terrible and expensive mess and gets a C- on the Christmas advert acceptability scale. And it only uses a song that sounds like Christmas without actually being Christmas; Don't Stop by Fleetwood Mac, a song that seems to be about wanting something to stop hurting. A feeling we can all associate with at Christmas time, even in November.


http://www.gizmodo.co.uk/2017/11/asda-says-its-christmas-so-heres-a-roald-dahl-rip-off-advert/

[sue]

ASDA Says it's Christmas So Here's a Roald Dahl Rip-off Advert

It's a terrible and expensive mess and gets a C- on the Christmas advert acceptability scale. And it only uses a song that sounds like Christmas without actually being Christmas; Don't Stop by Fleetwood Mac, a song that seems to be about wanting something to stop hurting. A feeling we can all associate with at Christmas time, even in November.


http://www.gizmodo.co.uk/2017/11/asda-says-its-christmas-so-heres-a-roald-dahl-rip-off-advert/

Asda Supermarket using Don’t Stop for their Christmas advert.
At first I thought ...no,no,no,no..
But what the heck, we get to here Don’t Stop about four times everyday.
And the advert isn’t THAT bad ...it’s a bit Charlie and the Choc. Factory..

[Dr.Brown]

Stopped by the skating rink at Rockefeller Center in NYC this afternoon and they played Christine's Remember Me from the Penguin album! So cool! :nod:

[SisterNightroad]

ARIA Awards announce final list of performers, Mick Fleetwood among presenters

Organisers of the 2017 ARIA Awards have announced the final lineup of Australian performers for this year’s event, along with some of the presenters that will be part of the show at The Star Event Centre, Sydney on Tuesday November 28.

The final round of Australian performers include Apple Music Album Of The Year nominee Paul Kelly, Breakthrough Artist nominee Amy Shark and Best Male Artist nominee Dan Sultan.

Audiences will also be treated to a very special Hall Of Fame performance by the legendary Daryl Braithwaite.

These acts will be joining A.B. Original, Gang Of Youths, Jessica Mauboy, Peking Duk and Pnau on stage this year. Previously announced performers also include Harry Styles and Lorde.

Presenters this year will include world renowned British musician, drummer and co-founder of Fleetwood Mac, Mick Fleetwood, star of 80s super group Culture Club and one of the music scene’s most iconic artists and coach on TV show, The Voice Australia & UK, Boy George, Australian Grammy Award-winner and 12-time ARIA Award-winner Flume, and #1 best selling author for his memoir “Working Class Boy”, Jimmy Barnes. Also presenting are US double-platinum artist and songwriter Julia Michaels and singer-songwriter and two-time 2017 ARIA Award-nominee Vance Joy.


http://www.mediaweek.com.au/aria-awards-2017-performers/

[SisterNightroad]

They Built LA on Rock and Roll and Now There's a Book About It

Rockin’ the City of Angels: Celebrating the Great Rock Shows of the 1970s In Concert, On Record, and On Film
By Douglas Harr
396 pp.
Diego Spade Publications
$79.95

http://www.gonzomultimedia.co.uk/images/product_images/web_quality/9780997771107.jpg

This is a book of visual delights, and they are abundant. There’s Alice Cooper in his gory prime dancing with a line of skeletons. Elton John in his sequined L.A. Dodgers uniform. Rick Wakeman of Yes in all his caped glory, surrounded by a circle of keyboards. Jethro Tull’s wildman Ian Anderson fluting away in his signature stork pose while wearing leg tights. And Queen’s Freddie Mercury bare-chested and sporting leather and his own harlequin tights (what was it with tights on lead singers in the ‘70s?)?

In this sizable tome, Harr – who by his own estimate has attended more than 400 live rocks shows – pays tribute to the decade and the city where he saw so many of them.

Combining music journalism, band biography, personal remembrances, and a multi-media guide for further immersion, the book covers a wide variety of acts who graced stage in LA. Scores of them including Rock Gods (Who, Stones, Queen, Zep); Shamans & Storytellers (Genesis, Eagles, Fleetwood Mac…and Ambrosia??); and the Virtuosos of Harr’s beloved Prog Rockers (ELP, Rush, King Crimson, Gentle Giant).

Some of rock’s greatest photographers have their full color work on display here, including Armando Gallo, Neal Preston, Jim Summaria, and Neil Zlozower. And while not budget-priced by any means, this hefty volume would look nice on any coffee table. Rocks Off spoke with Harr from England via email about the book and his particular classic rock journey of the ‘70s.

Rocks Off: What made you decide to do the book?
Harr: I decided to take on the book project after years writing articles for Gonzo Weekly magazine in Britain, covering many of the bands I’d first seen during my formative years in Los Angeles. The chance to focus a book specifically on the fantastic live concerts of the ‘70s backed by the amazing photography of the era inspired me.

Rocks Off: Most images are not from the exact concert you are writing about, but from the era. How did you work with the photographers to find just the right images to convey in pictures what you were trying to do in text?
Harr: I worked with the photographers, sometimes in person, sometimes at a distance, to find the most spectacular shots they captured of each band performing in support of what I see as their best album and tour.

In most cases, I was able to recall the staging, wardrobe and other elements of stagecraft to ensure we had shots from the right concert – in a few cases some extra research was needed to jog my memory! While some are not from the band’s actual date in Los Angeles, they are primarily from the same tour in order to inform and match the text.

Rocks Off: You have a particular affinity for Prog Rock. What about that genre lent itself to the more lavish stage presentations like the Crab Nebula from Yes or Genesis' "Lamb" tour?
Harr: Progressive rock music often incorporates storytelling into its lyrics and imagery. This lends itself to live staging, arguably best realized by Genesis on the Lamb Lies Down on Broadway tour. Often this staging was literal, with films, costumes and other visuals taken literally from the verse. More frequently, it was primarily lighting effects that highlighted the dynamics in the music and the performance, making the whole more exciting and impactful.

Rocks Off: What do you think audiences today miss out on in terms of seeing these acts — many of which still tour today — in their '70s prime?
Harr: Most of the bands in the book still tour, and I’ve seen them again with my wife and friends over the last decade. Most bands are best seen directly after they record their seminal works, and the ‘70s were a special time for the development of rock music, and corresponding elaborate concerts.

Of course, many bands improve over the years. Sometimes one or more of the original musicians are no longer in the band, or remain but are not at peak form, but generally the shows have continued to be amazing. As technology has evolved, some of these artists have actually improved their sound and elements of staging. Roger Water’s more recent performances of The Wall come to mind.

Rocks Off: I you could go back in time and see one concert featured in the book again tonight, which one would it be?
Harr:That’s a tough question! There were so many that stand out for different reasons, but if I had to pick one it would be Jethro Tull’s A Passion Play.

Rocks Off: Finally, do you think that California/L.A. shows have any different vibe - for audience for performers - than, say, any other city?
Harr: L.A. has its own vibe – as much of the recording industry is centered there - I think many bands were particularly focused on giving it their best shot – it was also a popular stop – we were lucky that almost every band that toured in the era booked our town.



http://www.houstonpress.com/music/seventies-rock-stars-who-soared-to-success-in-los-angeles-9673008

[SisterNightroad]

Ballet Idaho's presents New Fleetwood Mac Collection

Ballet Idaho announced their February repertory will include a new ballet to the music of Fleetwood Mac and choreography by company dancer Daniel Ojeda. The new work will have its world premiere as part of the three-ballet program, Fleetwood Mac Collection, at the Velma V. Morrison Center for the Performing Arts on Friday, February 9 and Saturday, February 10, 2018.

The currently untitled Fleetwood Mac ballet joins two other ballets on the program. Agon, a collaboration between the composer Igor Stravinsky and the choreographer George Balanchine was new 60 years ago on December 1 of this year. The New York Times has said of this ballet, "The combination of formality and intimacy has a charge both erotic and strenuous."

Also on the Fleetwood Mac Collection program is Raymonda's Wedding, with choreography by Ballet Idaho artistic director Peter Anastos, after Petipa and Nureyev.

Individual performance tickets for Fleetwood Mac Collection are on sale November 29, 2017 through www.BalletIdaho.org or at the Morrison Center Box Office for $38.00 - $58.00 plus ticketing fees.

Since 1972, Ballet Idaho has enriched lives through classical ballet and served as a dynamic reflection of the Boise community. Led by Artistic Director Peter Anastos, Ballet Idaho is the only professional ballet company and academy in the state of Idaho, bringing together the highest level of dance excellence with a commitment to education and training. For more information, visit www.BalletIdaho.org.


https://www.broadwayworld.com/boise/article/Ballet-Idahos-presents-New-Fleetwood-Mac-Collection-20171120

[SisterNightroad]

Rewind to the future: cassettes could be the new vinyl

Any music fan will be aware of how vinyl records have become strangely fashionable again, with the retro format enjoying a resurgence as an alternative mp3 downloads and streaming. But now it seems that its counterpart, the cassette, may been enjoying a similar resurgence. According to Official Charts Company data, the humble tape is the fastest-growing format in the UK at the moment. Sales of cassette albums have doubled in the space of a year - up 112% compared to 2016, thanks in part to big name acts like Jay Z , Royal Blood and Lana Del Rey releasing limited runs as a collector’s item for fans. The biggest seller so far has been the soundtrack to Guardians of the Galaxy - ‘Awesone Mix vol. 1’ - the retro collection featuring tracks such as ELO’s ‘Mr. Blue Sky’ and Fleetwood Mac’s ‘The Chain’. It has also sold more than 70,000 copies on vinyl. More than 80 albums have been released on cassette already this year, leading to over 20,000 sales to date. That's the highest annual total since 2006, bucking a trend which saw an all-time low (of less than 4,000 units sold) in 2012. The best-selling non-compilation cassette so far this year is Kasabian’s album For Crying Out Loud, with 1,026 sales to date. It’s a small but not insignificant figure, given its limited run and exclusive availability on the band’s official website. "That's the best thing I've ever heard," Serge Pizzorno told OfficialCharts.com, adding: "It's about fan loyalty, I think. It's about having a physical object. One of your favourite bands has put out an album and you want it on a different format that you can hold in your hands. It's nice to see the sleeve and the artwork in a different way as well." Other releases whose cassette versions re selling well include albums by Enter Shikari, Paul Heaton & Jacqui Abbott, Arcade Fire, Gary Numan and Blondie. However, cassettes will have some way to go before they get back to their status as top-selling format, 27 years ago - long before CDs, and the internet, had taken hold. Still, with vinyl's rebirth, and with Christmas coming up, who knows?


Read more at: https://www.blackpoolgazette.co.uk/news/offbeat/rewind-to-the-future-cassettes-could-be-the-new-vinyl-1-8875373

[SisterNightroad]

All Killer, No Filler: CBC listeners let us know which albums are solid all the way through
Hundreds of requests were made — here's what made the cut

In an age of iPods, Spotify and hit singles, CBC's On the Coast spent the last three weeks celebrating full albums.

Due to hundreds of album requests from listeners, the On the Coast music feature All Killer, No Filler was extended beyond the normal one-week stint and became one of the longest running music features in the radio show's history.

The request was put out by host Stephen Quinn for listeners to recommend albums that didn't contain a single track worth skipping. In other words, the album had to be made of all killer songs, and no filler songs.

Hundreds of suggested albums had to be boiled down. Records chosen were selected because they had received multiple recommendations.

Here are the albums that had songs played on the show:

R.E.M.'s Automatic for the People.
George Michael's Faith.
Neil Young's After the Goldrush.
The Flaming Lips' Yoshimi Battles the Pink Robots.
Alanis Morrissette's Jagged Little Pill.
Radiohead's The Bends.
Paul Simon's Graceland.
Carole King's Tapestry.
Fleetwood Mac's Rumours.
Meat Loaf and Jim Steinman's Bat out of Hell.
AC/DC's Back in Black.
Lauryn Hill's The Miseducation of Lauryn Hill.
David Bowie's Hunky Dory.
The Tragically Hip's Day for Night.
Amy Winehouse's Back to Black.
"It was so great to celebrate these groups' musicianship," said CBC music reporter and former Polaris Music Prize judge Lisa Christiansen. "I loved the opportunity to revisit these albums."

Stay tuned for On the Coast's music feature next week.

The show is aired in B.C.'s Lower Mainland on 88.1 FM, 690 AM Radio One every weekday from 3 p.m. to 6 p.m. PT.

With files from On the Coast



http://www.cbc.ca/news/canada/british-columbia/all-killer-no-filler-1.4416960

[SisterNightroad]

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[SisterNightroad]

'Guardians Of The Galaxy Vol. 2' Soundtrack Nominated For A Grammy

The soundtrack for James Gunn's Marvel Studios film Guardians of the Galaxy vol. 2 has been nominated for a Grammy Award.

The album, which includes classic tunes from Electric Light Orchestra, Fleetwood Mac, George Harrison, and more, also includes a sole original recording, "Guardians Inferno," featuring David Hasselhoff.

While the soundtrack album as a whole earned a nomination, "Guardians Inferno" missed out on a best original song nod.

Guardians of the Galaxy Awesome Mix vol. 2 is in competition with the soundtracks for Baby Driver, Hidden Figures, La La Land, and Moana for the trophy.

The first Awesome Mix soundtrack, for the original Guardians of the Galaxy, was nominated for the same Grammy but lost out to the soundtrack for Frozen.

The 60th Grammy Awards will air live from New York’s Madison Square Garden Jan. 28 on CBS.

You can see Guardians of the Galaxy vol. 2 on Blu-ray, DVD, or digital now. The movie comes to Netflix in December.



http://comicbook.com/marvel/2017/11/30/guardians-of-the-galaxy-vol-2-soundtrack-nominated-for-a-grammy/

[SisterNightroad]

Fantasy Firefly '18: Fans choose Eminem, Fleetwood Mac

Can we do it again?

After readers wrote to The News Journal last year with their most-wanted acts for Firefly Music Festival -- with Muse topping the list -- fans got a surprise when the English rockers were named a headliner two months later.

This time around for our annual Fantasy Firefly poll, nearly 130 fans responded to our call for the top three acts they'd want to see this summer in The Woodlands near Dover International Speedway.

And for the first time, we have a tie. (See the breakdown below.)

While the lineup is not expected to be released until later this winter, that doesn't mean that Firefly die-hards can't have a little fun in the meantime, fantasizing about which of their musical heroes will come to little ol' Delaware June 15-18.

The pressure is on for Firefly to deliver this year, perhaps more than others.

Last year's sixth annual fest boasted five headliners for the first time --The Weeknd, Muse, Twenty One Pilots, Chance the Rapper and Bob Dylan -- but attendance was noticeably down. (Festival officials dutifully reported that the festival had one again drawn 90,000 fans, but multiple on-site vendors put the number closer to 60,000.)

It was the first year that Firefly re-launched itself as a "fan-curated festival," allowing fans to vote online for everything from acts and food.

In the past, the festival's biggest moments have come from its biggest names, such as Paul McCartney's dazzling headlining set in 2015 and the Foo Fighters' thunderous romp on the main stage the year prior.

While we await official word on this year's roster, let's dig into who fans want to see and speculate on whether it will happen.

Fleetwood Mac (25 votes): Wait. What? It's 2017, not 1977. Why is Fleetwood Mac tied atop the list this year? Because Stevie Nicks, Lindsey Buckingham, Mick Fleetwood and John and Christine McVie are preparing to re-emerge in 2018, already announcing that they will tour. Nostalgia will be running high, especially since the act is re-issuing its self-titled 1975 album next month, which boasts hits such as "Landslide" and “Rhiannon.” Plus, Nicks is having a renaissance of her own, especially with the younger set thanks to appearances on FX's "American Horror Story" and NBC's "The Voice" in recent years. Could the act be eyeing big money festival dates for the summer? Absolutely. Would young and old alike stream to the festival to see them? No doubt.

Eminem (25 votes): Speaking of a renaissance, Eminem has also re-emerged, planning to release "Revival" on Dec. 15 -- his first new album in four years. Even though the album isn't out yet, Marshall Mathers has already put his mark on 2017, most notably with his ferocious freestyle attacking President Trump on the BET Hip Hop Awards in October. "And any fan of mine who's a supporter of his/I'm drawing in the sand a line, you're either for or against," he seethed. It's also been four years since Eminem launched a full-scale tour, so odds are he'll be on the road this summer.

Pearl Jam (18 votes): Each year, Pearl Jam either wins (2015) or places in our Fantasy Firefly poll. After watching the Foo Fighters bring '90s rock (and Grotto Pizza shout-outs) to Dover, it's easy to visualize Eddie Vedder & Co. delivering as epic a sweat-filled set as the Foos. But not this year. PJ is in Europe that weekend playing the Pinkpop Festival in the Netherlands and London's 02 Arena.

Coldplay (11 votes): Will Chris Martin come to Delaware to perform for the second time in recent years? Probably not. Martin, who performed at Beau Biden's funeral service at Wilmington's St. Anthony of Padua Roman Catholic Church in 2015, wrapped up a massive 122-show world tour last month -- a tour that started back in March 2016. With no new album and much-needed rest time ahead, don't expect to feel a rush of blood to the head in Dover this summer. Plus, they don't need the money. Their tour just grossed $523 million according to promoter Live Nation, making it the third-highest grossing tour of all time behind U2’s $736 million 360 tour (2009-2011) and The Rolling Stones' $558 million A Bigger Bang tour (2005-2007).

Arcade Fire (9 votes): Another perennial Firefly fan favorite, the rollicking Canadian six-piece are known for their exciting leave-it-all-on-the-stage live shows -- something they have never brought to Firefly. Win Butler's band has been touring since June behind the band's (critically panned) album "Everything Now," which was released in July. The indie rockers have a European tour on the books through the end of April and no other dates listed, so it's a possibility.

U2 (8 votes): When U2 announced its tour behind the just-released "Songs of Experience," the Irish rock band's 14th studio album, the rumors started to spread immediately. Even though Bono and the boys have shows booked for Firefly weekend (Philadelphia on Thursday and Washington, D.C,. on Sunday), fans were buzzing that they might squeeze a Delaware drop-in. Don't count on it. The band would have to perform shows on back-to-back nights, which they are only doing on this tour a few times and only when they are in the same venue for multiple shows.

Arctic Monkeys (8 votes): It's been more than three years since baby-faced frontman Alex Turner strode on stage with his slicked back hair and delivered one of the weekend's best sets, kicking it off with the swagger-filled single "Do I Wanna Know." It obviously left a mark with fans who want the English rockers back. With no new album since that sunny summer day in 2014 and no tour dates listed, it doesn't look promising for a redux in 2018.

The Rolling Stones (7 votes): If you think Baby Boomers would storm the Firefly gates to see Fleetwood Mac, just imagine if the Stones brought their seemingly ageless stage show to Delaware for the first time ever? Fresh from this fall's quick 13-show European tour, they have no other tour dates on the docket. And since 2016's "Blue & Lonesome" was their first studio album in 11 years, we're not betting on them having a new batch of songs to push by this summer.

Lady Gaga (7 votes): As the #MeToo movement grows, Lady Gaga would be an especially timely booking. After all, she was the one who sang "Til It Happens to You" at the 2016 Academy Awards accompanied on-stage by 50 sexual assault victims. (Vice President Joe Biden introduced her.) With Florence + the Machine as the festival's *only* female-fronted headliner out of the 22 that have rocked Firefly since 2012, Firefly is in desperate need of some one-stage girl power. After her halftime Super Bowl performance earlier this year, Gaga waited until the summer to launch her North American tour, which wraps up in Utah next week. With Lady Gaga starring in Bradley Coopers' directorial debut ("A Star is Born") in May, she'll most likely be busily doing press for the film instead of wiggling in Dover.

Contact Ryan Cormier of The News Journal at [email protected] or (302) 324-2863. Follow him on Facebook (@ryancormier), Twitter (@ryancormier) and Instagram (@ryancormier).

FANTASY FIREFLY '18 RESULTS
25 -- Fleetwood Mac, Eminem

18 -- Pearl Jam

11 -- Coldplay

9 -- Arcade Fire

8 -- U2, Arctic Monkeys

7 -- Rolling Stones, Lady Gaga

6 -- Foo Fighters, Bruno Mars, Lana Del Rey, Panic at the Disco!

FIREFLY MUSIC FESTIVAL TICKETS
The festival's discounted $199 pre-sale tickets sold out months ago. There are currently no festival passes for sale. However, passes usually go on sale around the same time as the festival announces its line-up, which is expected later this winter.



http://www.delawareonline.com/story/entertainment/2017/12/07/fantasy-firefly-18-fans-choose-eminem-fleetwood-mac/923468001/

[SisterNightroad]

<iframe width="854" height="480" src="https://www.youtube.com/embed/3ToRIUoXmIw" frameborder="0" gesture="media" allow="encrypted-media" allowfullscreen></iframe>

[secondhandchain]

Has anyone heard this song which samples Only Over you? It's really good. https://www.youtube.com/watch?v=4FhEcIv29ps

[secondhandchain]

Lead singer of Fun, Nate Ruess on his favorite album of all time.
https://www.youtube.com/watch?v=6zhcVxgn5_0

[elle]

Lead singer of Fun, Nate Ruess on his favorite album of all time.
https://www.youtube.com/watch?v=6zhcVxgn5_0

nice! i was sure it was going to be Rumours, so pleasantly surprised it was Tusk!

"Fun. frontman and solo star Nate Ruess took our On the Record challenge, in which he was given 45 seconds to talk about one of his all-time favorite records. Here, he discusses Fleetwood Mac's _Tusk_, and its powerfully emotional dichotomy between anger (from Lindsey Buckingham) and sadness (from Stevie Nicks). "They turned around and made something very raw, very earnest," he tells us. Tune in for more, and be sure to check out Nate Ruess' solo debut album, Grand Romantic."

[SisterNightroad]

Digital streaming behind biggest rise in UK music sales for two decades
Platforms such as Apple Music and Spotify plus renaissance in vinyl records help fuel fastest annual growth since 1998

A surge in music streaming via digital services including Spotify and Apple Music has prompted the fastest growth in UK music consumption since the late 1990s.

UK consumers bought the equivalent of more than 135m albums last year across all formats – which include CDs, vinyl, digital downloads and streams from subscription services.

That was a 9.5% increase on 2016, the biggest annual rise since 1998, when the charts were dominated by artists including All Saints, Massive Attack and the Verve.

The growth in buying and listening to music was driven by audio streaming, which leaped by 51.5% to just over 68m albums and helped offset falling sales of digital downloads and CDs.

Ed Sheeran was the most streamed artist after the release of his album Divide, and his Shape of You was also the most streamed individual track.

For the first time more than half of the total number of albums bought and listened to were streamed, according to the latest figures from the UK music industry trade body, the British Phonographic Industry , based on data from the Official Charts Company.

Album equivalent sales

The value of music sales soared 10% to £1.2bn, helping to lift the total value of the UK entertainment market to a new all-time high of £7.2bn in 2017, its third consecutive year of growth after a decade of decline, according to the Entertainment Retailers Association (Era).

The continuing vinyl revival, which made turntables one of the must-have gadgets for 2017, also boosted sales. Hipsters, parents re-living their youth and young music fans searching for a more authentic sound together bought 4.1m vinyl albums – the highest number since 1991, when Simply Red’s Stars topped the album chart and Nirvana’s Nevermind was released.

Sheeran’s Divide was the top selling album on every format. Other vinyl topsellers for 2017 included Liam Gallagher’s As You Were, Fleetwood Mac’s Rumours, which was originally released in 1977, and Amy Winehouse’s Back to Black from 2006.

Not every format is on the increase: CD album sales dropped 12%, while downloads, using services such as iTunes and Amazon, dived 23.4%, according to the BPI and Official Charts Company. But cassette tapes also made a surprise comeback, registering a 43% rise in sales, as the soundtrack to the film Guardians of the Galaxy and the rock act Kasabian produced popular albums on the almost defunct format. However, the number of cassettes sold last year was still only 22,000.

British artists dominated the top sellers, with eight of 2017’s top 10 albums across all formats. The chart toppers ranged from Sheeran to Rag’n’Bone Man, Sam Smith and Little Mix. The musical theatre star Michael Ball’s latest album with the tenor Alfie Boe was also a top seller, alongside Stormzy and Liam Gallagher.

Geoff Taylor, the chief executive of BPI, said the rise of strong British acts was driving the growth in demand, but he warned that long-term growth was reliant on the industry persuading all digital platforms to pay fairly for their use of music and government action to limit illegal sites.

Kim Bayley, the chief executive officer of the Entertainment Retailers Association, said 24/7 access to music, video and games was driving demand for entertainment.

[B]While CD album sales have dropped, vinyl album sales increased year-on-year to 4.1m

“In the past the growth of the market tended to be dependent on the release schedules of games publishers, film studios and record labels.

“Now we are seeing a market also driven by digital platforms and technologies,” Bayley said.

Digital sales of films rose 22.2% last year, according to Era. That offset a 17% dive in sales of physical movie formats, such as DVD and Blu-ray, and the total value of the market rose 7.5% to £2.7bn. Only £40m was spent on DVD rental, down another 16% in just 12 months.

The top selling film across all formats was Disney’s Beauty and the Beast, ahead of Rogue One: A Star Wars Story, the musical animation Moana and JK Rowling’s Fantastic Beasts and Where to Find Them, according to the Official Charts Company.

Physical formats are still popular in the games market. Successful titles such as Fifa 18 and Call of Duty: WWII, as well as the launch of Nintendo’s Switch device, lifted sales of console games for the first time in nine years. Total sales rose 9.6% to £3.3bn.

“Physical [formats] may no longer be the default option for many people that it once was, but it remains a substantial £2bn business,” said Bayley.

“Where physical really comes into its own is where it offers something distinctive and additional to content, whether it is the tactile experience of vinyl or the simple fact that physical objects work well as gifts. I remain confident that physical entertainment formats will continue to be with us for years to come.”



https://www.theguardian.com/business/2018/jan/03/digital-streaming-behind-biggest-rise-in-uk-music-sales-for-two-decades

[Nathan]

Has anyone heard this song which samples Only Over you? It's really good. https://www.youtube.com/watch?v=4FhEcIv29ps

This is cool, thanks.

[jbrownsjr]

This is cool, thanks.

I really enjoyed that, too.

[SisterNightroad]

Billboard 200 Chart Moves: Def Leppard's 'Hysteria' Back In Top 40 After 28 Years

— Fleetwood Mac, Fleetwood Mac – No. 132 — Fleetwood Mac’s self-titled 1975 album re-enters at No. 132 with 6,000 units (up 3,621 percent), following its deluxe reissue on Jan. 19. The album — which was the band’s first No. 1 on the chart — was reissued in various remastered editions, some with many bonus tracks. All of the permutations of the album, including its original version, are tracked together for charting purposes. Fleetwood Mac’s return to the chart grants the set its first visit to the list since 2012, and its highest rank since 1981.

The Fleetwood Mac redux is the latest expansive archival reissue from the act, following Rumours (in 2013), Tusk (2015), Mirage (2016) and Tango in the Night (2017).

https://www.billboard.com/articles/columns/chart-beat/8097755/billboard-200-chart-moves-def-leppard-hysteria-top-40

[SisterNightroad]

Goodbye Yellow Brick Road: Why Rock Stars Are Suddenly Retiring
From Elton John to Paul Simon and Neil Diamond, a generation of elders searches for a new way to say goodbye

The rock world has never seen a rash of retirements like this. In the past few weeks, some of rock & roll's most legendary performers have declared they're giving up the endless highway. Elton John announced his Farewell Yellow Brick Road tour, the final curtain for the ultimate showman. Paul Simon set a date for his last gig in London's Hyde Park. Neil Diamond, already well into his 50th-anniversary tour, immediately cancelled the rest of his shows on doctors' orders, after getting diagnosed with Parkinson's disease. Rush guitarist Alex Lifeson revealed, "We have no plans to tour or record any more. We're basically done. After 41 years, we felt it was enough."

The concept of "enough" is always exotic in rock & roll – but it's definitely a shock for so many legends to say goodnight at the same time. It's a historic moment where we're witnessing a sea change in how rock stars face their golden years. It's not like these veterans have lost their mojo – anyone lucky enough to see Diamond last year can tell you he hasn't lost a step. And some road warriors still keep peaking onstage as they push 80, from Paul McCartney to Smokey Robinson to Bob Dylan to Fleetwood Mac. But for others, as Simon admitted, quitting feels like "something of a relief." So these elder statesmen are trying to invent something that's never really existed until now – the rock & roll retirement.

It used to be that farewell gigs inspired mostly skeptical amusement. High-priced goodbyes are a classic show-biz trick; Cher's farewell tour is old enough to vote. But this time it's different. "I'm not Cher, even though I like wearing her clothes," Elton John said at his press conference. "This is the end." He's not kidding. "My priorities in my life are now my children, my husband and my family. I want to be home."

It's also the end of the line for Joan Baez, nearly 60 years after her 1959 debut. "Number one: It's too hard to sing," she told Rolling Stone's Jonathan Bernstein in January. "Nobody can really imagine the effort it takes to keep up with these vocal cords. ... I can't do **** in the upper range anymore." Lynyrd Skynyrd just announced their "Last of the Street Survivors" tour – 40 years after the band got wiped out in a plane crash. (Guitarist Garry Rossington is the only crash survivor left in Skynyrd. Fly high, free bird.) At 87, Sonny Rollins' pulmonary fibrosis has forced him to put down his mighty horn. Ozzy Osbourne, who quit with "No More Tours" in the 1990s, then surprised absolutely nobody by coming back for his Retirement Sucks Tour, will spend the next few years on his latest final trek – with the tongue-in-cheek title, "No More Tours 2."

Why now? Of course, the music world has lost too many legends in the past couple of years. But two deaths really seem to loom over this moment. Prince and Tom Petty were younger than most of the new retirees, but both died from the same painkiller – Fentanyl – after years of touring harder than their aging bones could handle. For years we all saw Prince work magic onstage nobody else could do; it wasn't until his tragic death that the world learned how he'd punished his body. Petty spent last summer on tour before finding out his hip was broken; the day he got the news, just a week after his final gig, he succumbed to an accidental overdose of Fentanyl, oxycodone, generic Xanax and other medications. Their deaths are a wake-up call for both musicians and fans. None of us want to see our heroes go out that way.

It's no secret that the road takes a toll – as Robbie Robertson said in The Last Waltz, over 40 years ago, "It's a goddamn impossible way of life." But the touring business is increasingly fixated on how to keep the old guys on the road – in some cases, even after death. Elton John joked about asking his children, "When Daddy dies, promise me there won't be a hologram of me going around the world doing concerts." Yet even Elton – a trouper who understands the show must go on – realizes this might not be his call. "Who knows? They may go broke and put me back on the ****ing stage."

Randy Newman has summed it up perfectly: "Musicians keep going. There is nobody applauding at home."

When the stars step back, it doesn't take them long to discover how much they miss the bright lights and rowdy crowds. "My job is the greatest job in the world," Neil Diamond told an L.A. crowd last summer. "I sing. You hear. You applaud. I sing louder. I go wherever the noise is." Those of us who kept returning to see Diamond loved being part of that beautiful noise. We knew that if we showed up, he would too. (Just last summer, after years as a Neil-head, I finally got my first live "If You Know What I Mean." It was worth the wait.) "I'm one of those people who would rather sit on the beach and do nothing, but I can't," he told Rolling Stone's Andy Greene in 2016. "I'm addicted to the packing and the unpacking."

That's why the vets rarely walk away from the life, no matter how miserable it gets. They go where the noise is.

The Who made the cover of the Rolling Stone in 1982 announcing their last tour – "before we become parodies of ourselves," as Roger Daltrey explained. My copy of this issue is older than Nicki Minaj, but the Who will spend most of 2018 out there in Oakland and Dayton and Rochester, rolling through "See Me, Feel Me" one more time. Who can blame them? Only a prude holds it against rockers who keep on keeping on. What else would you want them to do? For players and hustlers, tonight's the night.

David Bowie seemed to retire every few years in the 1970s, making cheerfully insincere statements like "I've rocked my last roll." (As it turned out, he scored the final-curtain knockout of all time with Blackstar.) Eric Clapton did a solemn Rolling Stone interview in the summer of 2001, officially hanging up his keys to the highway. "This is definitely the last time," he vowed. "I get indigestion. I get tired. ... I can't play long solos anymore without boring myself." God wailing "Layla" with heartburn – who would wish that on anyone? So, crazy as it seems, most of us believed him, just as he surely believed himself. And needless to say, Clapton is playing European dates this summer after touring the U.S., Japan, Dubai and Thailand in recent years. The road goes on forever.

But what we're seeing now is something new. Back before rock stars got serious about heath and fitness and sobriety, they weren't living long enough to worry about how to stop. Now some of them – Elton for one – hope to keep making music, without pushing their banged-up bodies on tour. Others are breaking their wands for good. Simon remains open to "the occasional performance in a (hopefully) acoustically pristine hall." Complaining about the sound guy at your comeback gigs when you haven't even finished retiring – now that's peak Simon.

In The Wild Bunch, grizzled outlaw William Holden wants to make one last score and then back off. Ernest Borgnine asks, "Back off to what?" That's the question that has kept driving rockers on the road, even to the point where it breaks them. Almost every veteran in The Last Waltz got back out there eventually, some of them dying there; now that Diamond has retired, nobody knows who'll end up the last one waltzing. (My money's on the stubborn Irish bastard in the sequinned pants.) But a generation of elders is searching for new ways to ride into the sunset, with goodbyes that do justice to their musical legacy as well as their audience. There's never been a template for how to abdicate – rock stars have a long history of failing to figure this out, which is one of the traits that makes them rock stars. So it's a journey into the unknown. But for these performers, now's the time. Goodbye, yellow brick road.


https://www.rollingstone.com/music/features/rob-sheffield-why-rock-stars-are-suddenly-retiring-w516602

[SisterNightroad]

Fleetwood Mac tribute, endorsed by Mick Fleetwood, to play Warrington Parr Hall show

A TRIBUTE to Fleetwood Mac will be transporting fans back to the 70s.

Fleetwood Bac, who have been endorsed by the legendary Mick Fleetwood himself, are taking to the stage at the Parr Hall on October 19.

Over the years, the band have enjoyed acclaim all over the world including Dubai, St Tropez, the Cayman Islands and Monte Carlo, as well as twice selling out the world-famous Minack Theatre in Cornwall.

Fleetwood Bac have also been listed by The Times as one of the UK’s top five tribute acts, alongside The Bootleg Beatles, Bjorn Again, and the Counterfeit Stones.

Original Mac bassist and biographer Bob Brunning has even joined the band several times on stage.

Fleetwood Bac will also introduce special guests Too Petty, a tribute to the late Tom Petty and The Heartbreakers.

Tickets are on sale now at pyramidparrhall.com or by calling box office on 442345.


http://www.warringtonguardian.co.uk/leisure/interviews/16040955.Fleetwood_Mac_tribute__endorsed_by_Mick_Fleetwood__to_play_Warrington_show/

[SisterNightroad]

5 Reasons Why ‘The Americans’ is the Best It’s Ever Been This Season

The Americans is one of the most quietly relevant shows on television, but not necessarily on purpose. The series took on a new meta-level importance with the election of Donald Trump, whose tenure has been marred by his ties to Russia, an ever-growing scandal that could eventually be his undoing. On The Americans, it’s the 1980s, our protagonists are KGB spies, and the Soviet Union is about to collapse. The relationship between Russia and America is the story’s central tête-à-tête; Philip and Elizabeth Jennings (played by the marvelously underrated Matthew Rhys and Keri Russell, who should be bathing in Emmys by now) have spent five seasons deeply undercover, raising children and assimilating into suburban consumerism unchecked.

But in the season six premiere, which aired last night, there is a foundational change in the show’s status quo, and the mounting feeling that it will all soon come to a head.


The show hasn’t been flashy about its suddenly hot-for-commentary storylines. There are no cutaways to Vladimir Putin as he prepped for his role in the Saint Petersburg administration, or to Trump as his real estate business skyrocketed its way to Forbes covers. In general, The Americans is subtle with its brilliance; the pacing is never traditional, with big reveals dropping mid-season, sometimes mid-episode. Things are rarely convenient, and fan service barely exists. It’s also ripe with MacGuffins; Philip’s Russian son, for instance, was introduced as an obstacle, but then receded into the show’s linear notes, and is probably gone forever. And that’s life – sometimes we never learn about things we should, and sometimes answers are better left as questions.

The Americans understands this on a fundamental level, and that’s part of why its so magnificent. Yes, there is exciting spy stuff – wigs and guns and fast cars – but there is mostly pain, contemplation, and the mirage of familial order. Its sixth and final season, of which I have seen the first three episodes, is the show at its absolute best, emotionally and plot-wise. Here’s a run-down of storylines set up in the premiere that have set up what should be a triumphant grace note.

Elizabeth is closer to the brink of collapse
She was always the Jennings spouse with the most steadfast faith in Mother Russia, but this season is tempting Elizabeth’s drive. With Philip taking a sabbatical from spy work, Elizabeth has doubled-up on assignments. Years of devotion and hard work have landed her in a precarious spot; on a top-secret mission in Mexico, General Kovtun from Strategic Rocket Forces clues her into operation “Dead Hand,” which will trigger an automated strike on the U.S. if Soviet leaders are killed in an attack. Elizabeth needs to find out if Mikhail Gorbachev – the controversial leader of the Soviet Union – plans to trade knowledge about Dead Hand with the Reagan administration in exchange for ending the U.S.’s “Star Wars” missile-defense program. No one can know about this mission; not Philip, not even her KGB supervisor Claudia. Kovtun also gives Elizabeth a necklace containing a cyanide tablet, which she’s instructed to use on herself should she get caught.

Elizabeth regards the cyanide with a look of temptation. She’s exhausted from her extra work, she knows her home country is morphing into something unrecognizable under Gorbachev’s rule, and the weight of this new intel is dragging her marriage and sanity through the mud. Like the ricin in the final season of Breaking Bad, the poison looks like a ticking time bomb. But is it that, or merely another of the show’s clever misdirections? Is Elizabeth actually suicidal, or is she merely curious about what freedom death might offer? It’s sure to be an ongoing question this season.

Philip’s new role is incentivizing him in new ways
Philip, anxious about his spy work and its effect on his psyche, is officially out of the game this season. (Or so he thought – more on that in a bit.) Instead, he’s devoted to his travel agency, which has boomed in business in the show’s brief time jump. The office is new and expanded, their cliental is growing, and Philip is suddenly the sort of boss who makes passionate speeches about business protocol. He’s a little manic about it, but the work suits him; this is Philip as he always wanted to be. He even goes line dancing!

But he knows his decision to step out of the KBG has been hard on Elizabeth, and the guilt is sneaking up on him. He catches her secretly sucking down cigarettes, hears the sadness in her voice when she admits that she wishes she could go to their son’s hockey games. He’s torn apart by the implications of their mutual choice – Elizabeth was, after all, the one who convinced him to quit – and how what was meant to save their family might fracture it irreparably.

Their marriage is tested in a new and complicated way
The real gut-punch comes with Oleg’s re-arrival in the United States. He is sent by Arkady, now the deputy chief of Directorate S, to convince Philip to spy on Elizabeth. The KGB knows she’s working with Kovtun, and wants to know why. This sets the stage for a Mr. and Mrs. Smith type of story thread through season six. Will Philip oblige, effectively un-retiring from the KGB to work against his wife, or will he note the danger and step away? If he chooses to help, he’d work his way into Soviet good graces, but damage his family and relationship with Elizabeth forever. And Elizabeth is competitive and carnal; there’s no telling how she’d react if Philip betrayed her trust. Maybe the cyanide pill is for him, after all.

Paige is a full-on spy now
It’s probably unethical to root for an innocent teenager’s turn to the dark side of the KGB, but I think I speak for everyone when I say: holy ****, Paige is official a spy in training! Philip and Elizabeth’s daughter, who found out about her parent’s true identities two seasons ago, is now working with her mother on small missions, and learning about Soviet culture. She seems to genuinely enjoy it, but she’s also unaware of how dark KGB work can get. For instance, when Paige flubs part of a mission by giving her I.D. to a security officer who flirts with her, Elizabeth secretly stabs the man to death later that night. Paige doesn’t know her parents sleep with other people, kill, and manipulate to get their information. She still sees it as humanist work. But her proximity to her mother, and growing curiosity, are early indicators that this will probably change. And what will happen when it does?

The music is better than ever
This is a fun one, but holy cow that soundtrack. The premiere episode opens with a montage set to Crowded House’s “Don’t Dream It’s Over” and the selection only gets better from there. Elizabeth’s meeting with Kovtun is scored by Peter Gabriel’s “We Do What We’re Told,” which, as Scott Tobias notes in his recap for Vulture, was inspired by Yale professor Stanley Milgram’s controversial obedience study, called Experiment 18, which used the insinuation of high-voltage shocks to scare subjects into correctly answering a memory test. The song plays while Kovtum spells out the intricacies of Dead Hand and her mission; as Tobias writes, “The use of Gabriel’s song over Elizabeth’s Mexico trip is not even subtext. When we hear the chorus, ‘we do as we’re told’ repeated, that’s text.”

The Americans is full of great musical notes that carry complexity beyond pure sonic pleasure. But it’s also just-plain fun sometimes. Almost every season has a standout Fleetwood Mac mic drop, and the premiere has its best yet: a montage set to “Gold Dust Woman,” with Stevie Nicks’ husky voice slipping over Philip’s psyche like one of her famous black shawls. “Rulers make bad lovers, you better put your kingdom up for sale,” she sings, and it’s a taunt as much as a rhythm.

The episode also makes good use of the Talking Heads’ “Listening Wind,” and the next two episodes keep on with some of the best and most evocative tracks of the 70s and 80s. It will be fascinating to see what tunes might orchestrate the inevitable fall of the U.S.S.R. and the dissolution – or whatever the next step is – of the Jennings family. As long as it’s not “Blueberry Hill,” we should be good.

https://www.slashfilm.com/americans-season-6/

[gldstwmn]

The use of Gold Dust Woman in The Americans final season premiere the other night was fabulous. It was erie and like the other songs in the show, played without any dialogue. Some serious sh=t is going to go down this season. Also the opening with Crowded House's Don't Dream It's Over was just superb. They should win an Emmy for that.

[michelej1]

They’ve already used Tusk and The Chain. I was pumped to hear GDW.

[jbrownsjr]

They’ve already used Tusk and The Chain. I was pumped to hear GDW.

Same here. Also, Never Make Me Cry would be good on that show.

I loved the season prem. Going to miss this show.

[michelej1]

Same here. Also, Never Make Me Cry would be good on that show.

I loved the season prem. Going to miss this show.

Excellent show. Goes right next to X-Files and Fringe as one of my top #3 tv shows of all time. I hope the finale is satisfying.

If we’re being fair, then a Christine song does have to show up, to even things out. Although I don’t vote for Never Make Me Cry.

[jbrownsjr]

Excellent show. Goes right next to X-Files and Fringe as one of my top #3 tv shows of all time. I hope the finale is satisfying.

If we’re being fair, then a Christine song does have to show up, to even things out. Although I don’t vote for Never Make Me Cry.

Sooner or Later?

[SisterNightroad]

Vanessa Carlton Reveals Cover Of Fleetwood Mac's 'Dreams'

Vanessa Carlton continues her cover series with the release of her take on the Fleetwood Mac classic "Dreams", which is the second of six planned tribute tracks she plans to release.

Her version of "Dreams" follows last month's release of her rendition of Robyn's "Call Your Girlfriend". She had the following to say about this new cover song:

"This song is epic. I feel like a lot of people don't attempt to cover Fleetwood Mac because the personality of these songs are so distinct. I admit, I was terrified to do this, but I sang 'Dreams' on stage at a BMI event honoring Stevie Nicks. I was 7 weeks pregnant at the time. No one knew. I got to sing the song with Stevie's band, which was pretty great.

"Waddy Wachtel, the musical director gave me 'the nod' during rehearsal. Which, I think meant he approved. Or, at least, I'm praying that's what it meant." Check it out here (http://smarturl.it/vcSixCoversSixMonths).

http://www.antimusic.com/news/18/April/21Vanessa_Carlton_Reveals_Cover_Of_Fleetwood_Macs_Dreams.shtml

[SisterNightroad]

Fleetwood Mac Dominates Monday Best-Selling Events

Fleetwood Mac completely dominated yesterday’s best-selling events list for the band’s upcoming 2018 North America tour, according to sales data from Ticket Club.

Last week, the legendary group announced the tour, which will kick-off on October 3 and run through April 2019. However, this time, longtime guitarist Lindsey Buckingham will not join them, and instead, will be replaced by former Tom Petty and the Heartbreakers guitarist Mike Campbell and Crowded House frontman Neil Finn. Aside from Fleetwood Mac — which stole 12 spots of the 20 best-selling events — Lynyrd Skynyrd, Kid Rock, & Jason Aldean, Ozzy Osbourne & Stone Sour, and Kendrick Lamar, SZA & Schoolboy Q also made the list due to ongoing and upcoming tours.

The football game between the Green Bay Packers and the Chicago Bears clocked in at No. 4 on the list, followed by NBA Conference Semifinal games Boston Celtics v. Philadelphia 76ers and Houston Rockets v. Utah Jazz. Baseball made an appearance for the classic rivalry game between the New York Yankees and Boston Red Sox this June, along with the UFC match where Stipe Miocic and Daniel Cormier will face off this July.

Click on any of the links below to find tickets to the best-selling events, or visit ticketclub.com to search for any other upcoming events and find tickets with no service fees for members.

Ticket Club Top 20 Best–Selling Events April 30, 2018


Fleetwood Mac (Sunday, March 24, 2019 at Royal Farms Arena — Baltimore, MD)
Fleetwood Mac (Wednesday, February 13, 2019 at Legacy Arena at The BJCC — Birmingham, AL)
Fleetwood Mac (Saturday, March 9, 2019 at Boardwalk Hall Arena – Boardwalk Hall — Atlantic City, NJ)
Green Bay Packers vs. Chicago Bears (Sunday, September 9, 2018 at Lambeau Field — Green Bay, WI)
Lynyrd Skynyrd, Kid Rock & Jason Aldean (Sunday, September 2, 2018 at TIAA Bank Field — Jacksonville, FL)
Fleetwood Mac (Saturday, February 9, 2019 at Frank Erwin Center — Austin, TX)
NBA Eastern Conference Semifinals: Boston Celtics vs. Philadelphia 76ers – Home Game 2 (Thursday, May 3, 2018 at TD Garden — Boston, MA)
Fleetwood Mac (Friday, November 23, 2018 at Golden 1 Center — Sacramento, CA)
Fleetwood Mac (Monday, November 5, 2018 at Air Canada Centre — Toronto, ON)
Fleetwood Mac (Tuesday, October 30, 2018 at Little Caesars Arena — Detroit, MI)
Fleetwood Mac (Monday, March 11, 2019 at Madison Square Garden — New York, NY)
NBA Western Conference Semifinals: Houston Rockets vs. Utah Jazz – Home Game 2 (Wednesday, May 2, 2018 at Toyota Center – TX — Houston, TX)
New York Yankees vs. Boston Red Sox (Saturday, June 30, 2018 at Yankee Stadium — Bronx, NY)
Fleetwood Mac (Friday, April 5, 2019 at Wells Fargo Center – PA — Philadelphia, PA)
Fleetwood Mac (Friday, March 15, 2019 at XL Center — Hartford, CT)
Fleetwood Mac (Sunday, March 31, 2019 at TD Garden — Boston, MA)
Fleetwood Mac (Wednesday, November 28, 2018 at Talking Stick Resort Arena — Phoenix, AZ)
Ozzy Osbourne & Stone Sour (Thursday, August 30, 2018 at PPL Center — Allentown, PA)
UFC 226: Stipe Miocic vs. Daniel Cormier (Saturday, July 7, 2018 at T-Mobile Arena — Las Vegas, NV)
Kendrick Lamar, SZA & Schoolboy Q (Saturday, May 5, 2018 at White River Amphitheatre — Auburn, WA)

https://www.ticketnews.com/2018/05/fleetwood-mac-dominates-monday-best-selling-events/

[SisterNightroad]

NOBODY EVER REALLY REUNITES

A segment of rockdom wailed and gnashed its teeth when the Eagles returned to the road without the late Glenn Frey. But the sad truth is, nobody ever really reunites.

From Guns N' Roses and Journey to the Rolling Stones and Van Halen, there are scarcely any bands touring with all of their original members. What about U2, you say? They don't count because they've never broken up and never replaced a band member.

More typical is a band like Styx, who are missing somebody, or the Electric Light Orchestra – who are missing almost everybody. The classic-era lineup of Fleetwood Mac tried to get back together in the late '90s, but inevitably ended up working without Christine McVie, then Stevie Nicks and then Lindsey Buckingham over the years.

You wouldn't know it from all the complaining fans do, but this, in actuality, is the norm. Members grow tired of the road, or – quite simply – tired of one another. Some version of the old lineup gets back together, but without that one guy who used to drive them nuts. Or the one member who died. They do a one-off show, but can't keep it together on the road – much less record new music. Fans are left, over and over, to wonder what might have been.

This doesn't just impact the old-guard classic rock bands, either. Newer acts like the Replacements and Smashing Pumpkins have staged partial reunions too. As you'll see in the following list, nobody ever really reunites.

Guns N' Roses
A long-hoped-for reunion tour in 2016 found Slash and Duff McKagan joining Axl Rose onstage, but not fellow co-founding members Izzy Stradlin and Steven Adler. Latter-era contributors Dizzy Reed, Richard Fortus and Frank Ferrer remained.

Eagles
The Eagles had long since said goodbye to founding members Bernie Leadon and Randy Meisner. Not even the death of Glenn Frey could stop them, however, as the group retooled with Vince Gill and Deacon Frey, Glenn's son.

Led Zeppelin
The death of John Bonham has forced Led Zeppelin to look elsewhere for drummers on those rare occasions when they get back together. Tony Thompson, Phil Collins and Jason Bonham – John's son – have served as subs.

Styx
Co-founding guitarist James "J.Y." Young has been leading a Styx lineup featuring longtime member Tommy Shaw and other newcomers since the 1999 exit of singer Dennis DeYoung. Original bassist Chuck Panozzo still occasionally sits in.

Black Sabbath
Black Sabbath's last two tours began as a reunion for the co-founding quartet, before a very public split with Bill Ward. He never found his way back to the drum chair, not even as a one-off guest, before Sabbath retired from the road.

Journey
Without Steve Perry since the late '90s, Journey eventually rebuilt the rest of the Escape / Frontiers-era lineup around replacement singer Arnel Pineda. Even a Hall of Fame nod failed to get Perry back onstage with them.

Pink Floyd
A one-off appearance of Pink Floyd's classic-era lineup at Live 8 in 2005 followed fractured tours in which the band toured as a threesome under the leadership of Roger Waters and then David Gilmour. Unfortunately, they never got back together again.

Foreigner
The current Foreigner lineup, save for remaining '90s-era multi-instrumentalist Thom Gimbel, began coalescing around original guitarist Mick Jones in the '00s. Since then, they've had only a handful of one-off reunions with co-founders like Lou Gramm.

Beach Boys
The surviving Beach Boys seemed to have finally healed decades of rifts when they reunited in 2012. Then controversy erupted again as Brian Wilson departed. He later recruited ex-members Al Jardine, Blondie Chaplin and David Marks for his own band.

Creedence Clearwater Revival
John Fogerty's ugly split with CCR has led to competing bands, as bassist Stu Cook and drummer Doug "Cosmo" Clifford continued forward with Creedence Clearwater Revisited beginning in the mid-'90s. Lawsuits, but no reunions, have followed.

AC/DC
The band fell apart in 2014-16, as Malcolm Young retired, Phil Rudd left, Brian Johnson was sidelined and then Cliff Williams retired. Stevie Young, Chris Slade and Axl Rose ended up subbing in before Williams' departure.

The Band
The Last Waltz wasn't anything of the sort. The Band, in fact, got back together a few years later, only without Robbie Robertson. They continued after Richard Manuel's death too, before Rick Danko and Levon Helm both died.

Lynyrd Skynyrd
Surviving members Gary Rossington, Ed King, Leon Wilkeson, Artimus Pyle and Billy Powell initially mounted a revival with Johnny Van Zant, younger brother of original singer Ronnie Van Zant. Eventually Rossington was the only original left.

Grateful Dead
Despite a number of key losses, the Grateful Dead managed to mount a reunion of surviving members in 2015 before splintering again. Phil Lesh then began working separately from the others, who called themselves Dead and Company.

Def Leppard
Def Leppard fired Pete Willis in the '80s, then lost Steve Clark to alcoholism in the '90s. They were replaced by Phil Collen and Vivian Campbell, respectively, and Def Leppard kept rolling – even after drummer Rick Allen lost an arm.

The Allman Brothers Band
The Allman Brothers Band survived the deaths of Duane Allman and Berry Oakley, then the exit of Dickey Betts. They bowed out with a series of shows featuring modern-era contributors Warren Haynes and Derek Trucks. Gregg Allman eventually succumbed to cancer.

Deep Purple
Co-founding drummer Ian Paice is all who remains from the early days, through Deep Purple's Mark VIII lineup includes veterans Ian Gillan and Roger Glover. Ritchie Blackmore was ultimately replaced by Steve Morse, and Jon Lord by Don Airey.

The Cars
A long-awaited 2011 reunion by the Cars happened without bassist and singer Benjamin Orr, who had succumbed to cancer. The band never replaced Orr, who didn't live to see the Cars inducted into the Rock and Roll Hall of Fame in 2018.

Steely Dan
Once an actual working band, Steely Dan eventually winnowed down to Donald Fagen, Walter Becker and a series of ringers. That's how it remained too, until Becker's 2017 death. Fagen then began a fight to continue on alone with the band name.

KISS
Turns out it's far easier to replace members when your band appears onstage in full makeup. That's how Kiss transitioned from a reunion of all four original members to a rejiggered lineup that included only Gene Simmons and Paul Stanley.

Cheap Trick
Guitarist Rick Nielsen's son Daxx began working as Cheap Trick's touring drummer in 2010, after a curious split with Bun E. Carlos. The band said Carlos is still a member; he just doesn't perform with them anymore.

Yes
The 2015 death of Chris Squire left Yes with no originals, though Steve Howe and Alan White go all the way back to the early '70s. The band was rounded out by Jon Davison, Geoff Downes and Squire's hand-picked successor Billy Sherwood.

Judas Priest
Glenn Tipton was replaced by Andy Sneap before Judas Priest's 2018 tour, as the guitarist continued to battle Parkinson's disease. Richie Faulkner had earlier taken over for co-founder K.K. Downing.

Boston
Tom Scholz is the lone holdover from Boston's glory days. Fellow multi-instrumentalist Gary Pihl, who joined in the Third Stage era, is the longest-tenured member following the 2007 death of singer Brad Delp.

Doobie Brothers
The Doobies boast three distinct eras: the original lineup, the Michael McDonald-led lineup and the reunion lineup. Tom Johnston was part of the first, John McFee was part of the second and Patrick Simmons connected both to the new era.

The Monkees
The Monkees have toured as a threesome without Michael Nesmith, as a threesome without Davy Jones and, for the first time in 2018, as a duo starring Micky Dolenz and Nesmith. Jones' death in 2012 ended hopes for a reunion with all four.

Bad Company
Boz Burrell's death will keep Bad Company from every mounting a complete reunion. More recently, Paul Rodgers and Simon Kirke have toured with guests like Rich Robinson after fellow co-founding member Mick Ralphs began having health issues.

Bon Jovi
Alec John Such and then Richie Sambora both dropped out over the years, leaving David Bryan, Tico Torres and the band's namesake to carry on with Hugh McDonald (who finally became an official member in 2016) and Phil X.

Moody Blues
Drummer Graeme Edge is the only original member left, though Justin Hayward and John Lodge have been around almost as long. Denny Laine left in 1966, followed by Mike Pinder in 1978. Co-founders Clint Warwick and Ray Thomas have since died.

Rolling Stones
Hard to believe, but Bill Wyman has been retired for almost as long as he was in the band. That leaves three core early members in Mick Jagger, Keith Richards and Charlie Watts, following the deaths of Brian Jones and Ian Stewart.

Chicago
Chicago were pared down to Robert Lamm and the horn section after first losing guitarist Terry Kath in the '70s, then later splitting with singer Peter Cetera and drummer Danny Seraphine. Original saxophonist Walt Parazaider began limiting his touring schedule in 2017.

Electric Light Orchestra
Even though they began with a band dynamic, ELO eventually morphed into a vehicle for Jeff Lynne – and the lineup came to reflect that. He's the only original left after key departures by Roy Wood in 1972, Kelly Groucutt in 1983 and Bev Bevan in 1986.

Queen
The 1991 death of Freddie Mercury seemed to spell the end of Queen. Next came the 1997 retirement of John Deacon. Queen carried on, however, with guest vocalists like George Michael, Paul Rodgers and, more recently, Adam Lambert.

Van Halen
Eddie Van Halen has said that the band's heavily anticipated David Lee Roth reunion would never have happened without the involvement of his son Wolfgang. He took Michael Anthony's spot, however, meaning a true reunion isn't happening.

Fleetwood Mac
It should have been shocking when Fleetwood Mac suddenly replaced Lindsey Buckingham with two other people on the eve of a new tour in early 2018. Except they did the exact same thing three decades earlier.


http://ultimateclassicrock.com/rock-bands-no-reunions/

[SisterNightroad]

Steven Tyler Talks Turning 70, His New Documentary and Hanging Out With Paul McCartney

You celebrated your 70th in Maui. How was that?
Well, it’s Maui, and papayas, and hula girls and sunshine. It’s beautiful. My partner Aimee [Preston] threw a party for me beyond belief. I thought I was at Cirque du Soleil. There were girls that had wings walking around on stilts. I looked around and there was Stevie Nicks, Mick Fleetwood, and [talent manager] Shep Gordon, who was in that documentary called Supermensch. He’s a dear, dear friend of mine. It was all unbelievable.


https://parade.com/664739/m-b-roberts/steven-tyler-talks-turning-70-his-new-documentary-and-hanging-out-with-paul-mccartney/

[SisterNightroad]

Go your own way at a new Fleetwood Mac-themed pop-up bar

https://media.timeout.com/images/105221357/750/422/image.jpg

Fleetwood Mac (minus former lead guitarist Lindsey Buckingham) will stop by the United Center in October, but fans of the group's soaring vocal harmonies can pass the time at a new pop-up bar. The folks behind the recent The Shining-inspired Room 237 pop-up have put together another temporary concept, which is themed around Fleetwood singer Stevie Nicks's interest in witchcraft and the occult.

Rhiannon: The Fleetwood Mac Pop-Up is named after the group's 1975 ballad, which features Nicks singing about a Welsh goddess. The second floor of Ukrainian Village bar the Rookery has been recast as a witchy lounge, filled with crystals, prayer candles, skulls and tarot cards (which can be interpreted by the bar's resident reader, Ashley Klich).

The cocktail menu at Rhiannon is filled with references to the band's catalog, including a color-changing pisco concoction called Seven Wonders and a champagne cocktail named Crystal Visions that's mixed with edible glitter (also known as edible luster dust).

Opening tonight at the Rookery, the Rhiannon pop-up will welcome guests every Friday (9pm–2am), Saturday (9pm–3am) and Sunday (2–6pm) before it breaks the chain on Sunday, June 17.

Hum a few bars of "Gold Dust Woman" and take a look at some of the soft-rock cocktails the pop-up will be mixing up.

https://res-2.cloudinary.com/dostuff-media/image/upload//c_fill,g_faces,f_auto,w_800/v1525279269/event-poster-9355193.jpg

https://media.timeout.com/images/105221380/image.jpg

https://tribwgntv.files.wordpress.com/2018/05/31706543_2123073907979750_7242682331398406144_n.jpg


https://www.timeout.com/chicago/news/go-your-own-way-at-a-new-fleetwood-mac-themed-pop-up-bar-051118

[bombaysaffires]

Go your own way at a new Fleetwood Mac-themed pop-up bar

https://media.timeout.com/images/105221357/750/422/image.jpg

Fleetwood Mac (minus former lead guitarist Lindsey Buckingham) will stop by the United Center in October, but fans of the group's soaring vocal harmonies can pass the time at a new pop-up bar. The folks behind the recent The Shining-inspired Room 237 pop-up have put together another temporary concept, which is themed around Fleetwood singer Stevie Nicks's interest in witchcraft and the occult.

Rhiannon: The Fleetwood Mac Pop-Up is named after the group's 1975 ballad, which features Nicks singing about a Welsh goddess. The second floor of Ukrainian Village bar the Rookery has been recast as a witchy lounge, filled with crystals, prayer candles, skulls and tarot cards (which can be interpreted by the bar's resident reader, Ashley Klich).

The cocktail menu at Rhiannon is filled with references to the band's catalog, including a color-changing pisco concoction called Seven Wonders and a champagne cocktail named Crystal Visions that's mixed with edible glitter (also known as edible luster dust).

Opening tonight at the Rookery, the Rhiannon pop-up will welcome guests every Friday (9pm–2am), Saturday (9pm–3am) and Sunday (2–6pm) before it breaks the chain on Sunday, June 17.

Hum a few bars of "Gold Dust Woman" and take a look at some of the soft-rock cocktails the pop-up will be mixing up.

https://res-2.cloudinary.com/dostuff-media/image/upload//c_fill,g_faces,f_auto,w_800/v1525279269/event-poster-9355193.jpg

https://media.timeout.com/images/105221380/image.jpg

https://tribwgntv.files.wordpress.com/2018/05/31706543_2123073907979750_7242682331398406144_n.jpg


https://www.timeout.com/chicago/news/go-your-own-way-at-a-new-fleetwood-mac-themed-pop-up-bar-051118


If they were really clever they'd have had 3 white roses, a crystal tambourine, a white bird.... she's a white witch, not into black magic. Silly people.

[Dr.Brown]

If they were really clever they'd have had 3 white roses, a crystal tambourine, a white bird.... she's a white witch, not into black magic. Silly people.

Not so sure anymore, given recent events. She may have turned to the dark side...:shocked:

[SisterNightroad]

Billboard 200 Chart Moves: Fleetwood Mac's 'Rumours' Rises, Guns N' Roses' 'Greatest Hits' Returns

— Fleetwood Mac, Rumours – No. 84 — Fleetwood Mac’s Rumours rises 88-84 -- the title’s highest rank in nearly a year. The former No. 1 earned 8,000 units in the latest tracking week -- up 6 percent. The album last went higher on the chart dated June 3, 2017, placing at No. 56. Rumours is likely picking up steam because of the group being in the news following the April 9 announcement that Lindsey Buckingham would not be joining it on its upcoming tour.

https://www.billboard.com/articles/columns/chart-beat/8456804/billboard-200-chart-moves-fleetwood-mac-rumours-guns-n-roses-greatest-hits



‘American Idol’ Finale: Three Finalists Will Perform Johnny Cash, Fleetwood Mac, Journey Hits

Poppe is dedicating “Landslide” by Fleetwood Mac to her hometown of Clarksville, Iowa and is taking a risk with a repeat of her own original song, “Don’t Ever Let Your Children Grow Up.” Her winner’s circle song, “Going Going Gone,” will complete the set.

http://variety.com/2018/music/news/american-idol-finale-finalists-song-choices-1202817286/

[missundercover]

Didn't know where to post this, but... got the FM newsletter regarding the upcoming privacy changes.

What picture did they use? A full band picture including Lindsey. Go figure. :rolleyes:

[lovethemac1]

Didn't know where to post this, but... got the FM newsletter regarding the upcoming privacy changes.

What picture did they use? A full band picture including Lindsey. Go figure. :rolleyes:

I got that yesterday and emailed them back with "Seriously guys??" Not sure if the mailbox is managed, but couldn't believe they sent that picture out. It was heartbreaking to see it.

[Dr.Brown]

Didn't know where to post this, but... got the FM newsletter regarding the upcoming privacy changes.

What picture did they use? A full band picture including Lindsey. Go figure. :rolleyes:

Their marketing department aren't dummies - they know what sells and what doesn't and the public at large isn't really buying Finnwood Mike.

[dreamsunwind]

Didn't know where to post this, but... got the FM newsletter regarding the upcoming privacy changes.

What picture did they use? A full band picture including Lindsey. Go figure. :rolleyes:

They haven't changed the picture on their Apple Music page yet either.

[SisterNightroad]

Their marketing department aren't dummies
I'm really not sure about that

[Dr.Brown]

I'm really not sure about that

You're right, I should have corrected my comment to THIS marketing department ...

The point is the same though - the Rumours lineup is what sells.

Anyone working on Post-Rumours line-up promotional campaigns has their work cut out for them.

[SisterNightroad]

The 10 Best Musical Moments in The Americans

Don’t dream it’s over. The Americans concluded its gut-wrenching run on Wednesday night, but as that Crowded House standout from the season-six premiere illustrated, the FX drama used pop music the way Philip and Elizabeth Jennings used wigs: frequently, and to powerful effect. Over the course of six seasons, showrunners Joe Weisberg and Joel Fields and music supervisors P.J. Bloom and Amanda Krieg Thomas created a blend of huge hits and deep cuts, deployed them with both irony and sincerity, and used them with equal skill in everything from suspense sequences to slice-of-life montages. In an era when many shows feel like televised playlists, The Americans was more like an old-fashioned mixtape you might find in Paige’s Walkman. Below, you’ll find the best of the best. Turn it up loud.

10. Phil Collins, “In the Air Tonight” (Season 1, Episode 1)

Explicit sexuality. Unflinching brutality. Emotionally charged moments in parked cars at night. Thoughtful use of Big ’80s music, doubling as references to Big ’80s dramas. Gated reverb. Virtually all of The Americans’ signature sonic and subject-matter staples are present in the pilot episode’s use of Phil Collins’s immortal air-drumming smash. True, the execution is comparatively broad in light of the show’s later subtlety and austerity; it’s hard to imagine a “sex and death, am I right, people?” musical montage in season six. But the chemistry between future IRL couple Keri Russell and Matthew Rhys, the bravado behind repurposing a soundtrack standout from Risky Business and Miami Vice (the pilot episode of Miami Vice, no less!), and, of course, the sheer sparse strength of the song itself made this sequence a well-deserved talking point in the series’ early, buzzworthy days.

9. Yaz, “Only You” (Season 3, Episode 4) / Pink Floyd, unspecified (Season 3, Episode 6)

The Ballad(s) of Jim and Kimmy. Along with Peter Gabriel, Fleetwood Mac, and Roxy Music (don’t touch that dial, music fans!), Vince Clarke and Alison Moyet’s synth-soul duo Yaz — that’s Yazoo to us Yanks — were one of The Americans’ go-to artists. They were never employed better than when poor infatuated teenager Kimmy Breland played the group’s gorgeous love song “Only You” to “Jim,” the hipster weed-dealer alter ego Philip employs to gain access to her CIA father’s house. Sweet but never saccharine, it suits the dancing-in-the-moonlight ambience of the scene perfectly.

“Jim” returns the favor a few episodes later, with a truly brilliant non-music cue: Placing headphones on the ears of a very stoned Kimmy, he plays her an unnamed song by Pink Floyd, the mind-expanding beauty of which we’re left to imagine through watching the blissed-out expressions on the face of actor Julia Garner, then 21 and already a formidable talent. The heart of Kimmy and Jim’s relationship was a dark one, and it only got darker when she returned for the final season. But in these two scenes, Kimmy’s need to be acknowledged and understood, Philip’s desire to do right by a teenage girl while failing his own, and the power of music to transport and delight shine through anyway.

8. Bauhaus, “Slice of Life” (Season 5, Episode 10)

From the Cure to Echo and the Bunnymen to Fad Gadget (!), The Americans was never afraid to goth it up. The creatures of the night really got their moment with this eerie, arpeggiated nightmare of a song from the genre’s vampiric progenitors, Bauhaus. The horror-movie atmosphere so beloved by the band is a dead-on match for the tone of the scene itself, set in the red-black darkroom where Philip, Elizabeth, and Paige develop the photos of her mentor Pastor Tim’s diary, and read together as he describes the parents’ use of their daughter to maintain their life of lies as a form of abuse. You won’t hear this song on any “Sounds of the ’80” radio stations; The Americans exhumed it like a secret, or a grave.

7. Eddie Rabbitt, “Drivin’ My Life Away” (Season 6, Episode 4)

Throughout its six-season run, The Americans frequently depicted the passage of time — or its failure to pass quickly enough — with what I came to think of as “same ****, different day” musical montages. These sequences tended to employ songs that were a bit nostalgic, a bit twangy, or both: Roxy Music’s “End of the Line,” say, or Elton John’s “Goodbye Yellow Brick Road.” Eddie Rabbitt’s 1980 country-pop crossover is the best of that bunch, sliding so smoothly into a montage that juxtaposes Elizabeth’s spycraft, Paige’s experiment with a honey-trap-esque sexual encounter, and Philip’s gleefully goofy line-dancing outing with the folks from his travel agency. Unlike the song’s narrator, a roadie who’s sick of the touring life, Philip managed to get out of his grueling career, at least for a while. But as his wife and daughter continue their psychically damaging subterfuge, and as his own travel agency business fails, the song becomes the sound of Philip fiddling while Rome (or Nashville) burns.

6. Roxy Music, “More Than This” (Season 5, Episode 3)

Sometimes The Americans used pop music to comment or complement, but this time it used pop music to mock. Kicked off by Phil Manzanera’s breezily confident guitar and launched into the rhapsodic, romantic stratosphere by Bryan Ferry’s crooning vocals, this ultraluxe Roxy Music hit first appears … over the sound system at a bowling alley, adding to the phony good cheer of the Jennings’ fraudulent family outing with a Soviet defector. It returns with a vengeance the moment after one of the series’ most vicious murders, when Elizabeth helps Philip snap the spine of a lab technician they blame for involvement in an insect-bioweapon project that turns out to be bogus. The juxtaposition of the shimmering sound and the horrific action echoes the lyrics of the song itself, which could be either a declaration of all-consuming love or a cry of existential despair, depending on your mood. Playing Soft Cell’s “Tainted Love” as Philip murks a guy on a bus got way more attention, but this is the series’ definitive murder-ballad moment.

5. Peter Schilling, “Major Tom (Coming Home)” (Season 4, Episode 9)

With “In the Air Tonight,” The Americans had already repurposed one of the most famous TV needle drops of all time before its first episode ended. With “Major Tom,” the show set its sights on a much more recent musical moment: the goofball pathos of poor Gale Boetticher, Breaking Bad’s karaoke-loving chemist. But like the song itself — a sort of unauthorized musical fanfic for David Bowie’s “Space Oddity” and “Ashes to Ashes” — the gutsy play paid off. The soaring song accompanies one of the lowest moments in Elizabeth’s espionage career as she drugs and pretends to have slept with the husband of her friend Young-Hee, with Paige taking her first flight behind the wheel of the family car. It’s a layered, lovely, and utterly heartbreaking choice.

4. U2, “With or Without You” (Season 6, Episode 10)

If you’re gonna go home, you might as well go big. For its equivalent of The Sopranos’ “Don’t Stop Believin’” sendoff, The Americans selected an even bigger anthem, and one with a much better critical pedigree than Journey’s tune had at the time. (The past ten years or so have dimmed U2’s star, but for God’s sake don’t let that ruin The Joshua Tree for you.) I’ll be honest: This song means a lot to me, more than almost any television show can bear. Plus, using a song with this big a preexisting cultural footprint is always a creatively risky proposition; The Americans already shot for the moon and missed when it played “Under Pressure” in order to demonstrate that the show’s characters were, you guessed it, under pressure. All that, plus the slightly wonky elongation of the song’s running time, prevents me from getting behind it as much as I otherwise might.

But when producer Brian Eno’s synthesized drum beat and twinkling keyboards first kick in? When when Bono’s tear-down-the-sky “ohhhhhhhh” kicks in, as Philip and Elizabeth see Paige standing on the platform as their train pulls away, never to see her again? What am I, made of stone? Keri Russell’s shock-widened eyes in that single moment alone merit music this massive. The song will always be its own thing for me, but after six seasons as strong as this show delivered, it’s okay for it to be The Americans’ thing too.

3. Fleetwood Mac, “The Chain” (Season 3, Episode 7: “Walter Taffet”)

<iframe width="536" height="301" src="https://www.youtube.com/embed/FGMVmQHyQmc" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

The Americans used the Mac both before (stay tuned!) and after this astonishing suspense sequence, but it’s the way they used it here that’s so striking. Inside one of the notoriously tempestuous band’s most aggressive songs about its interpersonal romantic catastrophes — ironically, the only Mac song written by all five core members — was a James Bond or Peter Gunn theme waiting to get out, and this episode set it free. As Philip and Elizabeth lead a mission to abduct an agent of apartheid South Africa, Mick Fleetwood’s drum beat becomes a ticking time bomb. Lindsey Buckingham’s guitar sounds like a coded signal. And the vocal duel between former lovers Buckingham and Stevie Nicks, with Christine McVie riding shotgun, erupts like a triggered alarm. It all fits the white-knuckle action so perfectly that it makes one of the biggest classic-rock radio hits of all time sound like it was written with this sequence in mind.

2. Peter Gabriel, “We Do What We’re Told (Milgram’s 37)” (Season 6, Episode 1)

His former Genesis bandmate Phil Collins got a brighter spotlight, but no artist did more to establish the sound and overall emotional tone of The Americans than Peter Gabriel. His songs — “Games Without Frontiers,” “Here Comes the Flood,” and “Lay Your Hands on Me” among them — appeared more frequently on the show than anyone else’s, and the selections emphasized his austere art-rock side rather than pop colossi like “Sledgehammer” or “In Your Eyes.” As the show itself grew colder and harsher, it seemed to age into the template Gabriel established when he first went solo decades earlier. By the time it used “We Do What We’re Told” in the premiere of its final season, it had gnawed its characters down to the bone.

In this particular case, the person being subjected to a live emotional autopsy is Elizabeth. She’s just received instructions from a rogue wing of the KGB to thwart the arms-reduction negotiations taking place between the Reagan regime and Mikhail Gorbachev’s reformists — and to kill herself by swallowing a poison pill if she gets caught. The song that follows her journey home from this rendezvous is an excruciating tone poem about the grim mock-electrocution experiment conducted by Yale psychologist Stanley Milgram: Participants applied what appeared to be lethal shocks to agonized victims, demonstrating that Americans would use the “just following orders” excuse to commit atrocities as readily as any Nazi would. This is Elizabeth’s Milgram moment, long overdue. The gray swoosh and scrape of Gabriel’s grim song — which receives a response of sorts when Tears for Fears’ sonically similar “Ideas As Opiates” accompanies Philip’s first moves against his own wife later in the season — is her moral morass in musical form.

1. Fleetwood Mac - “Tusk” (Season 1, Episode 1)

<iframe width="536" height="301" src="https://www.youtube.com/embed/AeJyZcxngGE" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

Number one, without question, full stop. “Tusk” was more than just a music cue: It was everyone’s introduction to The Americans, by way of an audacious eight-minute remix that ran throughout the pilot’s jaw-dropping opening espionage sequence. And what a first impression it made. I’ll go to my grave insisting that critics saying, “Wow, I don’t care what it did to Fleetwood Mac’s sales’ figures, ‘Tusk’ is a really good song!” upon watching this rep-making mini-thriller, played as much of a role in the show’s early acclaim as any single other factor. Hell, I’ll go even further: By taking one of the Mac’s most maligned numbers — treated as a punch line even by people who like the song — and using it to fuel filmmaking this self-confident, The Americans helped secure the band’s place in the critical firmament once and for all. It’s a virtuous feedback loop, in which the ragged glory of Lindsey Buckingham’s percussive and menacing experiment makes the action feel unpredictable and exciting, and the intensity of the suspense makes the song feel like an absolute juggernaut. The song shapes how you view the show, which shapes how you hear the song, and on and on and on. Simultaneously transformative of the original song and in perfect harmony with its fractious energy, it’s the Platonic ideal of how live-action drama and preexisting pop work together — a team effort worthy of Elizabeth and Philip themselves.


http://www.vulture.com/article/the-americans-10-best-musical-moments.html

[sodascouts]

Now I feel I need to go watch the opening scene of this series.

[SisterNightroad]

Billboard 200 Chart Moves: Fleetwood Mac's 'Very Best Of' Album Surpasses 2 Million Sold

— Fleetwood Mac, The Very Best of Fleetwood Mac – No. 145 — The band’s The Very Best of Fleetwood Mac compilation surpasses 2 million copies sold in the U.S., as the hits package sold another 2,000 copies in the week ending June 14, bringing its overall sales total to just over 2 million. The Very Best of Fleetwood Mac peaked at No. 12 in 2002, and is one of the act’s 11 top 40-charting efforts on the tally.

https://www.billboard.com/articles/columns/chart-beat/8462366/fleetwood-mac-best-of-album-hits-2-million-sold-billboard-200-chart-moves

[SisterNightroad]

This Golden-Voiced Arkansas Park Ranger Sings Her Backcountry Tips
Park ranger Lauren Hall eschews the info-laden pamphlet for solid covers of pop songs to get important info to park visitors.

You know the Fleetwood Mac song “Dreams,” right? Turns out, it’s an excellent base for a cover song about proper rafting along the Buffalo River in Ponca, Arkansas. As a kind of public service announcement concert series, local park ranger Lauren Hall has been posting videos of herself singing covers of famous pop songs, with the lyrics replaced with helpful tips about safety and conservation.

She nailed her rendition of “Dreams” with tack sharp lyrics like this bit from the chorus “Ponca only happens when it’s rainin’; please know what the river gauge is sayin'”.

Surely Stevie Nicks would approve.

Want to take a cheap innertube down the river? First check out her cover of “Drops of Jupiter” by Train, for advice on where to put in and the importance of life preservers and high-quality rafts. Frankly, it’s better than the original song.

Hall covers Adele and Bruno Mars too, and has the range to pull it off. She’s even tried it with Snoop Dogg’s “Drop it Like it’s Hot.”

“I wanted to figure out a way to really connect with park visitors and preserve and protect the resources there,” Hall told the Springfield News-Leader.

Certainly a more interesting way to get that info out there than publishing a pamphlet.

You can see her other videos on the “Our Buffalo River” Facebook page.

If you want to see the video it's here, it's really cute: https://www.facebook.com/groups/168981243448221/permalink/666655387014135/

https://www.adventure-journal.com/2018/06/this-golden-voiced-park-ranger-sings-her-backcountry-tips/

[gldstwmn]

Now I feel I need to go watch the opening scene of this series.

You will not regret it. I am a huge fan. Be prepared if you're going to binge watch though. There are six seasons. In fact I may have to watch this episode again. It's been so long since I've seen it. They used Gold Dust Woman to great effect on season 6.

[SisterNightroad]

This Goldman Sachs Exec DJs to Land Business Deals—Now He’s Covering Fleetwood Mac

Goldman Sachs already ruined the economy, and now some listeners think it’s ruining Fleetwood Mac.

As The New York Times revealed last year, the investment bank’s president and COO David Solomon moonlights as DJ D-Sol. He’s performed in New York, Miami and the Bahamas.

And Solomon has continued exercising his hobby over the last five years while ascending the C-suite at Goldman. In fact, his latest creation is being marketed as a “song of the summer.”

Earlier this month, D-Sol’s three-minute electronic dance remix of Fleetwood Mac’s “Don’t Stop” was posted on YouTube. It’s produced by New York EDM label Crowd Records, and also available on Spotify and Apple Music.

<iframe width="600" height="375" src="https://www.youtube.com/embed/pVav5ZGilCE" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

There’s even a music video which dubs D-Sol’s beats over hedge fund manager Ray Dalio’s cartoon videos explaining the principles of success to college students.

<iframe width="600" height="375" src="https://www.youtube.com/embed/5sOH5WrdT-c" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

The song features a generic EDM beat layered over D-Sol’s cover of the Fleetwood Mac classic. Some heavy reverb is used so the lyrics endlessly repeat (“Don’t don’t, stop stop, thinking about thinking about”).

Reactions to the song haven’t been very positive. One of the top YouTube comments reads “I can imagine this song being played at a bouncy castle kids party or on a Carnival cruise ship.”

But while music critics may scoff, Solomon has made his music career pay off for Goldman.

Solomon advised Spotify when Goldman handled its IPO. The music streaming service reportedly paid almost $50 million for Goldman’s services, albeit before Solomon’s DJ hobby became public.

But since then, the streamer has heavily marketed D-Sol’s songs. The DJ has 425,000 monthly listeners on Spotify, and “Don’t Stop” has been featured on several “Song of the Summer” playlists.

Solomon has also become friends with music industry heavyweights through his work. His Instagram account features a photo of the executive interviewing Justin Bieber’s manager Scooter Braun.

But given that he only performs about once a month, Solomon largely likes to keep his DJ and executive lives separate.

“I don’t know whether seeing the president of Goldman Sachs spinning tunes at a club is gonna change the perception of the industry,” he said on a Goldman Sachs podcast. “We’ve got a lot of work to do on that front.”

Solomon also downplayed the success of “Don’t Stop,” pointing out that Tiesto’s “Jackie Chan” has about 60 million streams, compared to 600,000 for D-Sol’s song.

“Let’s not overdo it,” Goldman Sachs spokesperson Jake Siewert told Observer in an email.

No doubt this is a fun side hustle for Solomon. But he’s also learned an important lesson: Don’t stop thinking about your day job.


http://observer.com/2018/06/fleetwood-mac-goldman-sachs-david-solomon/

[sodascouts]

This Goldman Sachs Exec DJs to Land Business Deals—Now He’s Covering Fleetwood Mac

Goldman Sachs already ruined the economy, and now some listeners think it’s ruining Fleetwood Mac.

As The New York Times revealed last year, the investment bank’s president and COO David Solomon moonlights as DJ D-Sol. He’s performed in New York, Miami and the Bahamas.

And Solomon has continued exercising his hobby over the last five years while ascending the C-suite at Goldman. In fact, his latest creation is being marketed as a “song of the summer.”



He and James Dolan (https://www.mensjournal.com/entertainment/james-dolan-billionaire-owner-of-the-new-york-knicks-is-singing-the-blues-liiterally-w489486/) should form a club.

[SisterNightroad]

Classic albums by Michael Jackson, Fleetwood Mac among best-selling vinyl discs of 2018 so far

Mid-Year Report is here, tallying the best-selling music releases for the first half of 2018. While various contemporary pop and hip-hop acts dominate most of the tallies, some older acts’ catalog releases have made a significant impact on one particular category: the top-selling vinyl albums.

Michael Jackson‘s Thriller, which happens to be the best-selling album of all time, landed at #4 on Nielsen’s list of most-purchased vinyl discs of 2018 so far. Another disc that’s among the best-selling albums of all time — Fleetwood Mac‘s 1977 classic Rumours — is #5 on the tally.

Prince and the Revolution‘s soundtrack to the 1984 film Purple Rain is in eighth place, and rounding out the top 10 is The Beatles‘ landmark 1967 album, Sgt. Pepper’s Lonely Hearts Club Band.

It’s also worth mentioning that the 2014 soundtrack album Guardians of the Galaxy: Awesome Mix Vol. 1, which is packed with hits and gems by various 1970s artists, is #3 on the list.

The best-selling vinyl album for the first half of 2018 is a new release, ex-White Stripes frontman Jack Black‘s latest studio effort, Boarding House Reach, which has sold 37,000 copies.

Here is the full mid-year list of the top-10 best-selling vinyl albums:

1. Jack White, Boarding House Reach — 37,000
2. Kendrick Lamar, DAMN. — 30,000
3. Various artists, Guardians of the Galaxy: Awesome Mix Vol. 1 (Soundtrack) — 28,000
4. Michael Jackson, Thriller — 28,000
5. Fleetwood Mac, Rumours — 28,000
6. Panic! at the Disco, Pray for the Wicked — 26,000
7. Justin Timberlake, Man of the Woods — 26,000
8. Prince and the Revolution, Purple Rain (Soundtrack) — 25,000
9. Amy Winehouse, Back to Black — 25,000
10. The Beatles, Sgt. Pepper’s Lonely Hearts Club Band — 23,000

Copyright © 2018, ABC Radio. All rights reserved.


http://www.classichitsandoldies.com/v2/93664/

[SisterNightroad]

You Can 'Go Your Own Way' With These Fleetwood Mac Lyrics for IG Captions
Your followers will say, 'don't stop' with those great Fleetwood Mac lyrics for Instagram captions.

Who isn't a Fleetwood Mac fan!? With so many hits, it's impossible not to love at least one song. Maybe you're more of a Gypsy fan, or does 'Don't Stop' get you on the dance floor? Regardless of your favorite, there are so many hits to choose from when thinking about an Instagram caption. We've rounded up all the hits by Lindsey, Stevie, and company for your social media needs.

• "Listen to the wind blow watch the sun rise"

• "Run in the shadows, damn your love, damn your lies"

• "And if you don't love me now, you will never love me again"

• "I can still hear you saying you would never break the chain"

• "Chain, keep us together running in the shadows"

• "Thunder only happens when it's raining"

• "Players only love you when they're playing"

• "Like a heartbeat, drives you mad"

• "In the stillness of remembering what you had"

• "I want to be with you everywhere"

• "Rhiannon rings like a bell through the night"

• "She rules her life like a bird in flight"

• "Your dreams unwind and still it's hard to find"

• "Take me like the wind. Take me with the sky"

• "Love's a state of mind"

• "I took my love, and I took it down"

• "I climbed a mountain and I turned around"

• "'Til the landslide brought me down"

• "Well, I've been afraid of changing cause I've built my life around you"

• "Loving you isn't the right thing to do, how can I ever change things that I feel?"

• "You can go your own way"

• "You can call it another lonely day"

• "Everything's waiting for you"

• "Don't stop thinking about tomorrow"

• "Don't you look back"

• "Tell me sweet little lies"

• "You can't disguise, no you can't disguise"

• "So I'm back, to the velvet underground back to the floor, that I love"

• "Back to the gypsy that I was"

• "To the gypsy that remains faces freedom with a little fear"

• "Lightning strikes, maybe once, maybe twice"

• "I still see your bright eyes, bright eyes"

• "She broke down and let me in"

• "Made me see where I've been"

• "You don't know what it means to win"

• "Been down one time - been down two times -I'm never going back again"

https://www.women.com/sophiematthews/lists/fleetwood-mac-lyrics-instagram-captions-070918

[Lola]

Here's an email I received from the Morrison Hotel and Gallery:

Mick Fleetwood has personally curated a special collection of music photography to be displayed poolside at the Sunset Marquis. At this event you will have a unique opportunity to meet with Mick Fleetwood as he discusses his history, successes and musical influences.
AN EVENING WITH MICK FLEETWOOD
Event date: August 4, 7-10pm
Location: Sunset Marquis Hotel, Los Angeles
$350.00 PER PERSON
GET YOUR TICKETS HERE
Tickets are limited, please purchase by July 27, 2018.

Ticketed attendees will enjoy complimentary open bar and hors d’oeuvres prepared by Sunset Marquis Hotel James Beard Award-winning chef.

No parking available at the hotel. Parking available at Sunset Millennium Parking Garage. Enter via Sunset & Alta Loma Rd.

[SisterNightroad]

Here's an email I received from the Morrison Hotel and Gallery:

Mick Fleetwood has personally curated a special collection of music photography to be displayed poolside at the Sunset Marquis. At this event you will have a unique opportunity to meet with Mick Fleetwood as he discusses his history, successes and musical influences.
AN EVENING WITH MICK FLEETWOOD
Event date: August 4, 7-10pm
Location: Sunset Marquis Hotel, Los Angeles
$350.00 PER PERSON
GET YOUR TICKETS HERE
Tickets are limited, please purchase by July 27, 2018.

Ticketed attendees will enjoy complimentary open bar and hors d’oeuvres prepared by Sunset Marquis Hotel James Beard Award-winning chef.

No parking available at the hotel. Parking available at Sunset Millennium Parking Garage. Enter via Sunset & Alta Loma Rd.
A post from Mick's official Facebook page has just been posted:

<iframe src="https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Frealmickfleetwood%2Fposts%2F1809180245771194&width=500" width="500" height="529" style="border:none;overflow:hidden" scrolling="no" frameborder="0" allowTransparency="true" allow="encrypted-media"></iframe>

[gldstwmn]

A post from Mick's official Facebook page has just been posted:

<iframe src="https://www.facebook.com/plugins/post.php?href=https%3A%2F%2Fwww.facebook.com%2Frealmickfleetwood%2Fposts%2F1809180245771194&width=500" width="500" height="529" style="border:none;overflow:hidden" scrolling="no" frameborder="0" allowTransparency="true" allow="encrypted-media"></iframe>

This is right around the time tour rehearsals are supposed to start. Maybe if anyone goes they can get some setlist info from him?
If I'm going to spend any money at the Morrison Hotel Gallery it would be on one of Stevie's prints or the other great stuff they have. I think Mick would be great to talk to. I just don't want to pay $350 for the privilege. :o

[SisterNightroad]

AUGUST 2018 NEW MUSIC RELEASES

August's key new music releases include a pair of Alices, some former Black Crowes and a slew of cool reissues.

Rich Robinson, Marc Ford and Sven Pipien have formed a new group called the Magpie Salute. Their upcoming album High Water I includes music dating back to their time together in the Black Crowes. Alice in Chains' latest album, Rainier Fog, was produced by Nick Raskulinecz; he also oversaw their last two LPs, 2009's Black Gives Way to Blue and 2013's The Devil Put Dinosaurs Here.

Glen Matlock is joined by Earl Slick and the Stray Cats' Slim Jim Phantom on a new solo project that the former Sex Pistols legend has described as "loud skiffle." An 18-track live album commemorating Alice Cooper's Paranormal tour was mixed by longtime collaborator Bob Ezrin.

Reissues include the Band's celebrated 1968 debut album, which has been remixed and expanded for its 50th anniversary. Co-founding Pink Floyd drummer Nick Mason is also returning to his '80s-era solo outings for an upcoming box set titled Unattended Luggage.

More information on these and other rock releases can be found below. And remember to follow our continuously updated list of 2018 New Music Releases for details on music issued throughout the year.

Aug. 10
The Allman Brothers Band, Fillmore East: February 1970
Enuff Z’Nuff, Diamond Boy
Fleetwood Mac, Tom Petty, the Police, the Cars, others, The US Festival: 1982, The US Generation (Blu-ray)
Frank Zappa, the Mothers of Invention and Ringo Starr, 200 Motels (DVD)
The Magpie Salute [Black Crowes], High Water I
Paul Simon, One-Trick Pony; The Rhythm of the Saints (vinyl reissues)
The Zombies, Greatest Hits


http://ultimateclassicrock.com/august-2018-new-music-releases/

[SisterNightroad]

Wow! Wow! Wow! Wow! 60 unbelievable facts about Kate Bush

23. Bush turned down an offer to support Fleetwood Mac on their huge 1978 US Rumours tour.

https://www.theguardian.com/music/2018/jul/25/60-unbelievable-facts-about-kate-bush

[SisterNightroad]

This Canadian Horse Might Be Fleetwood Mac's Biggest Fan: Watch

Documentary film students Victoria Anderson-Gardner and Morningstar Derosier were treated to a surprise while shooting a project on indigenous sundancers in Ontario last month. Although the cousins set out to find human dancers, their latest film subject has four legs. The Internet loves a viral dance video, and the latest discovery this week is no exception.

After a day of shooting, the cousins drove past a horse and decided to say hello. "Just for ****s and gigs, I was like, 'Let’s serenade this horse!'" Anderson-Gardener told BuzzFeed. "I asked Morningstar to turn up the tunes and record me so I could post it on my Insta story.”

While playing "Dreams" by Fleetwood Mac -- the band's plush, ethereal anthem -- their four-legged friend got groovy to the sweet sounds of Stevie Nicks' signature rasp. "We started singing and then noticed the horse started to dance, so we turned the music up even louder!"

The girls confirmed that they will definitely look out for the horse -- who has amazing taste in music -- next year when they return to the area.

Could the "Dreams" Challenge be the internet's next big viral sensation? We will definitely stay tuned.

Check out the video below.

<blockquote class="twitter-tweet" data-lang="it"><p lang="en" dir="ltr">horse jamming to <a href="https://twitter.com/fleetwoodmac?ref_src=twsrc%5Etfw">@fleetwoodmac</a> ������ <a href="https://t.co/bgLK42etYD">pic.twitter.com/bgLK42etYD</a></p>&mdash; Victoria Gardner (@goforvictoria) <a href="https://twitter.com/goforvictoria/status/1015290219279478784?ref_src=twsrc%5Etfw">6 luglio 2018</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>
https://www.billboard.com/articles/columns/pop/8469146/fleetwood-mac-dreams-horse-dancing

[SisterNightroad]

There's a Fleetwood Mac and cheese night happening in Glasgow
The legendary band's music and unlimited macaroni cheese - it's the stuff of dreams

The rumours are true Glasgow - there's a Fleetwood Mac and cheese night happening next month.

It's like all our dreams have come our way. Listening to Fleetwood Mac while eating unlimited servings of one of the city's favourite foods, macaroni cheese.

The night will cost £10 for the dish and £1 per topping, pretty much until you're full.

A DJ will be playing all your favourite Fleetwood Mac songs, on repeat all night.

Organisers believe the night will be a sell out, so book your space by calling 0141 956 6016.

Fleetwood Mac and cheese is on Sunday, September 16 from 4-9pm at Finsbay, Milngavie.

Find out more online here.

https://www.glasgowlive.co.uk/whats-on/food-drink-news/theres-fleetwood-mac-cheese-night-15045360

[Lola]

Click the SEEN icon for details on how to enter a chance to win a dinner with Mick Fleetwood.
Dear fans,

It’s almost time and we’re so excited to see you all on the road. We’re pleased to be able to offer you again for this tour, the very special Mick Fleetwood VIP Experience.

This is your chance to get up close and personal. Get your picture with Mick and some good stories, like only Mick can tell. There are lots of other fun collectible items included in the packages. Need more details or simply want to purchase, click the button below.


Click Here to Buy
Must have a ticket to the concert to purchase this upgrade
Exclusive Meet & Greet with Mick Fleetwood
Photo op with Mick Fleetwood
Q&A session with Mick Fleetwood
Autographed Mick Fleetwood 8x10 photo
Signature Mick Fleetwood designed wool scarf
Mick Fleetwood signature drumhead
Specially designed Mick Fleetwood VIP tote bag
Mick Fleetwood VIP Meet & Greet laminate
VIP Host
All event information is subject to change. Please check back before the event date.

Has anyone else seen this?? Got this email today and all I could think was gimme a friggin break. I'm still trying to process the Ellen sh*tshow, then this shows up. Ugh....

[Nathan]

Has anyone else seen this?? Got this email today and all I could think was gimme a friggin break. I'm still trying to process the Ellen sh*tshow, then this shows up. Ugh....

Yes, I got two emails about it this morning - one from Mick's site, and one from FM.

No surprise, tickets for this were released several months ago. I seem to remember them as being priced at about $800 though so maybe they've dropped. I could be wrong.

[HomerMcvie]

I clicked on Nashville, and it said $600(not including your ticket).

What a loser!

[Storms123]

Click the SEEN icon for details on how to enter a chance to win a dinner with Mick Fleetwood.
Dear fans,

It’s almost time and we’re so excited to see you all on the road. We’re pleased to be able to offer you again for this tour, the very special Mick Fleetwood VIP Experience.

This is your chance to get up close and personal. Get your picture with Mick and some good stories, like only Mick can tell. There are lots of other fun collectible items included in the packages. Need more details or simply want to purchase, click the button below.


Click Here to Buy
Must have a ticket to the concert to purchase this upgrade
Exclusive Meet & Greet with Mick Fleetwood
Photo op with Mick Fleetwood
Q&A session with Mick Fleetwood
Autographed Mick Fleetwood 8x10 photo
Signature Mick Fleetwood designed wool scarf
Mick Fleetwood signature drumhead
Specially designed Mick Fleetwood VIP tote bag
Mick Fleetwood VIP Meet & Greet laminate
VIP Host
All event information is subject to change. Please check back before the event date.

Has anyone else seen this?? Got this email today and all I could think was gimme a friggin break. I'm still trying to process the Ellen sh*tshow, then this shows up. Ugh....

I have to think they are feeling the "crunch" I don't think Ellen did anything in the way of helping sell huge amounts of tickets. If the new tactic for promoting the tour is egregious VIP props and singing 2 songs on daytime TV, with no credible interview....well, it may not go over well. During OWTS, they played the Today show, and in the days leading up to performances, they aired interviews with the band. I get Christine was returning and there was a lot to talk about, but from Mick and Stevie's POV, shouldn't this "new band" be as deserving?

[DownOnRodeo]

Yeah, the $10 "Fleetwood Mac and Cheese" event posted above sounds like the better deal--60 times better in fact.

Signature Mick Fleetwood designed wool scarf
For an additional payment of, er, whatever jewelry you're wearing on the night, Mick will personally pull the wool over your eyes.

[lovethemac1]

Yeah, the $10 "Fleetwood Mac and Cheese" event posted above sounds like the better deal--60 times better in fact.


For an additional payment of, er, whatever jewelry you're wearing on the night, Mick will personally pull the wool over your eyes.

:xoxo:OMG! I love your posts. They always make me laugh out load! Thank you!

And I agree. Mac n cheese/FM night in Scotland actually sounds divine. About 400 x better than a FM concert now.:nod:

[missundercover]

Found this gem at RedBubble. :lol:

https://www.redbubble.com/de/people/eventur5/works/32610793-lindsey-buckingham-organisch (https://www.redbubble.com/de/people/eventur5/works/32610793-lindsey-buckingham-organisch?grid_pos=260&p=sticker&rbs=0a03e9f8-e202-4db2-8fd3-e445e07595cd&ref=shop_grid&searchTerm=stevie%20nicks)

Sigh - I miss the times, when 'organic' was one of our problems. :(


Buuuut... lots of other funny stuff as well...

[bombaysaffires]

Found this gem at RedBubble. :lol:

https://www.redbubble.com/de/people/eventur5/works/32610793-lindsey-buckingham-organisch (https://www.redbubble.com/de/people/eventur5/works/32610793-lindsey-buckingham-organisch?grid_pos=260&p=sticker&rbs=0a03e9f8-e202-4db2-8fd3-e445e07595cd&ref=shop_grid&searchTerm=stevie%20nicks)

Sigh - I miss the times, when 'organic' was one of our problems. :(


Buuuut... lots of other funny stuff as well...

omg, someone needs to tweet this to him! :lol:

[vivfox]

Buckingham’s interview with CBS This Morning: Saturday airs Dec. 8.

[vivfox]

John McVie signing autographs at a mall in Seattle in late 2018
https://www.youtube.com/watch?v=HSko4cmgiFA

[kak125]

Just saw this on twitter

.@fleetwoodmac's 'Rumours' logs its 300th week on the #Billboard200 this week. It spent 31 weeks at No. 1 in 1977-1978, the second-longest run behind @michaeljackson's 'Thriller" (37).

Rumours is at #83 this week
https://www.billboard.com/charts/billboard-200

[michelej1]

Gov Australia Live

Copyright (c) 2020 HT Digital Content Services

July 10, 2020

Australia: Fleetwood Mac Merchandise 2014 and Christine McVie Own Trademark for 'RUMOURS'

Australia, July 10 -- Fleetwood Mac Merchandise 2014 LLC and Christine McVie, own the trademark (1837008) for 'RUMOURS' till April 6, 2027.

Status: registered:Registered/protected
Classes: 9 [Musical sound recordings; audiovisual recordings featuring music and musical entertainment; downloadable musical sound recordings; Downloadable audiovisual recordings featuring music and musical entertainment; motion pictures featuring music and musical entertainment; downloadable motion pictures in the field of music and musical entertainment; Magazines downloaded via the internet; Computer software downloaded from the internet; Computer programmes (programs) and recorded software distributed online; Electronic publications including those sold and distributed online; Downloadable webcasts; Computer software applications (downloadable); Downloadable music files; Downloadable podcasts; Downloadable software applications (apps); Electronic publications (downloadable); Telephone ring tones (downloadable); Electronic musical recording apparatus; Pre-recorded music videos; Records bearing entertainment material; Audiovisual apparatus; Motion picture films (recorded); Pre-recorded DVDs; Pre-recorded cassettes; Pre-recorded compact discs (disks)(CDs); Pre-recorded discs; Pre-recorded films; Prerecorded videos; Recordings of television programmes; Carrying cases adapted for DVDs; Carrying cases adapted for electronic media; Electronic and recorded multimedia publications; Digital music (downloadable) from the Internet; Sound tracks (recordings); Computer software; Musical recordings in the form of discs; Discs bearing video recordings; Television films; Downloadable ring tones for mobile phones; Audio, video and portable media players; Cases and containers for recorded media (tapes, cassettes and discs); Media for recording sound; Data storage instruments; all of the foregoing relating to the band FLEETWOOD MAC; Books recorded on disc; Downloadable image files; Juke boxes (musical); Sound adaptation apparatus for use with musical instruments; Computer games entertainment software; Holograms; Eyewear; Spectacle cases; Computer games programs; Electronic diaries; Telecommunications apparatus; Apparatus for sound reproduction; Sound amplifiers; Sound mixing apparatus; Synthesised sound apparatus; MP3 players; Apparatus for sending messages; Electric cords for musical instruments; Music reproducing apparatus (other than musical instruments); Pick-ups for electrical musical instruments; Apparatus for use in audio-visual communication; Holographic images; Mobile phones; Personal communication apparatus; Stereo headphones for personal entertainment use; Music centres (audio apparatus); Spectacle support bands, chains, cords, and straps; Mouse pads; Audio speakers; Audio equipment; Microphones; Headphones; Earphones (other than hearing aids for the deaf); Amplifiers; Magnets; Radios; Cameras; Camera apparatus; Telephone apparatus; Electronic cables; Battery chargers; Stands for computer equipment; Protective films adapted for mobile phone screens; Visual display screens; Hands free kits for phones; Electrical power adaptors; Batteries; Media for the reproduction of images; Audiovisual teaching apparatus; Data processors; Identity cards, encoded; Walkie-talkies], 16 [Posters; souvenir programs about a musical group and its recordings; Books; Music books; Song books; Printed matter; Fan magazines; Magazines (periodicals); Printed music, music scores and sheet music; Printed musical publications; Newsletters; Pamphlets; Brochures; all of the foregoing relating to the band FLEETWOOD MAC; stickers; Images (printed matter); Holograms (decals); Holographs; Printed holograms; Decalcomanias; Stationery; Photographs (printed); Calendars; Diaries; Identity cards (other than encoded or magnetic); Cards], 25 [Shirts; t-shirts; Jackets; hooded jackets; sweatshirts; caps; headwear; clothing; footwear; all of the foregoing relating to the band FLEETWOOD MAC] and 41 [Providing information on a musical group, a musical theatrical production, non-downloadable photographs, and non-downloadable audio and audiovisual recordings featuring music and musical entertainment via a website; providing online non-downloadable audio and audiovisual recordings featuring music and musical entertainment; live stage performances in the nature of plays and musicals; provision of information relating to live musicals, live stage events, theatrical performances; Entertainment; Live entertainment; Entertainment event booking or reservation services provided in relation to a customer loyalty or frequent buyer scheme; Organisation of entertainment events and festivals; Fan club services; Organisation of entertainment competitions; Providing information, including online, about entertainment; Provision of entertainment services via an online forum; Radio entertainment; Television entertainment; Ticket agency services (entertainment); Distribution (other than transportation) of sound recordings; Production of sound recordings, other than advertising; Rental of sound recordings; Providing online electronic publications, music and videos (not downloadable); Music publishing services; Publication of books, magazines, posters and printed matter; Publication of multimedia material online; Production of webcasts, other than advertising; Providing digital music (not downloadable) from the Internet; Arranging of music performances; Commissioned writing (plays, musicals or for publications); Directing of musical shows; Instruction in music; Live music services; Music composition services; Music recording studio services; Musical concert services; Musical performances; Production of musical recordings, other than advertising; Recording of music; Production of radio and television programmes, motion pictures, animated films, cartoons, videos and audio/visual presentations, plays and stage performances; Multimedia production, other than for advertising purposes; Distribution of radio, television and video programmes; Sound recording services; Organisation of musical events; Live band performances; Music arranging services; Production of music; Publication of music; Song writing services; Recording studio services; Arranging and conducting of concerts; Online (electronic) publication of news; Music festival services; Music performance services; all of the foregoing relating to the band FLEETWOOD MAC; Publication of electronic books and journals online; Weblog (blog) services (online publication of journals or diaries); Education services; Musical education services; Photography; Internet games (non-downloadable); Telephone games]

[FuzzyPlum]

Far Out
From Fleetwood Mac to David Bowie: The 10 best covers of The Beach Boys
https://faroutmagazine.co.uk/the-beach-boys-brian-wilson-10-best-covers-bowie-sonic-youth-fleetwood-mac/

The Beach Boys are one of those bands who can spark a lot of debate. A serial contender for the most underrated or overrated rock band of the 20th century, depending on your viewpoint, Brian Wilson and the rest of the band have a habit of dividing opinion. Looking at this list of incredible covers of the California boys’ work and you can count on some of the finest musicians of their day and present day as just a few of their many, many admirers and be safe in the knowledge that it’s okay to belt out some classics from The Beach Boys.

There no doubting that Brian Wilson quickly ascertained himself the moniker of ‘genius’ after he orchestrated one of the finest pop albums of all time in Pet Sounds. As an introduction to The Beach Boys’ divisive nature, often people will cite this seminal album as being lifted from the Phil Spector rulebook on the Wall of Sound and therefore not as valuable. Of course, they would be wrong. What Wilson did with Pet Sounds and what he and the rest of The Beach Boys did across their entire back catalogue was to transcend any categorisation or labelling, theirs is a career of complete musical evolution as they grew from the roots of surf rock into something inspiring and tantalisingly unattainable. With a voice unlike any other band and a maestro like Brian Wilson controlling the show, The Beach Boys became a huge influence on the countless artists who heard them while beginning their own musical journeys. It has seen the band from Cali become one of the most widely covered in history.

Below, we have ten of our favourites.

10 best Beach Boys covers:

10. ‘Farmer’s Daughter’ – Fleetwood Mac
Taken from Fleetwood Mac’s 1980 live record Live, the band are in their harmony hotspot as Nicks and Christie McVie adds some luscious tones to the cover as the group rhythmically plod through the song. Originally released in 1963 as part of The Beach Boys early rise to prominence, the song is hinged on the harmonies of the Wilson boys so this adaptation is not only perfectly fitting in with the style of the track but it also feels fresh and new. Subtlely is a friend on this cover and Fleetwood Mac does that better than anyone.

9. ‘Good Vibrations’ – Todd Rundgren
Taken from Todd Rundgren’s seventh album Faithful from 1976, the record saw the singer provide accurate re-recordings, in fact, they’re near replicas of the originals, of what he determined as classical pop songs. It was a brand new take on covering songs as, instead of putting a fresh spin on things, Rundgren was keen to keep things “faithful”. What transpires, therefore, is a near-identical cover of The Beach Boys classic, ‘Good Vibrations’ a song which Brian Wilson wrote as the ultimate pop song to remove bad energy. Of course, when something is near identical to The Beach Boys it’s near-perfect too.

8. ‘Surfin’ U.S.A.’ – The Jesus and Mary Chain
The 1980s Scottish rock band, who rose to fame following the release of their debut album Psychocandy, The Mary Chain had earned a somewhat infamous live reputation with furious performances often combining copious amounts of alcohol, drugs and violence at early small gigs. The influence The Beach Boys had on The Mary Chain is undeniable and, in a direct nod of the head to the band, they released the B-side Kill ‘Surf City’ which was a reworking of Brian Wilson’s ‘Surf City’. While other tracks like ‘Never Understand’ displayed the Beach Boys melodies, it wasn’t until 1988 when the Scottish group decided to address the comparisons with a cover version of ‘Surfin’ U.S.A.’. The recording, which was included in their compilation album Barbed Wire Kisses (B-Sides and More), is a noisy, guitar-heavy take on the original with plenty of reverb. Naturally.

7. ‘God Only Knows’ – Elton John
The life and times of Brian Wilson is certainly worth celebrating. That’s what television network TNT thought and in 2001 they brought to the public An All-Star Tribute to Brian Wilson. The show, hosted on 29th March 2001 by acclaimed actor Chazz Palminteri, keeps true to its name and produced an evening full of some of the most iconic stars of the TIME as well as some glamourous guests from the past. The show welcomed a range of artists, a couple of which are featured in this list, giving their own special performances of Wilson classics. When one performance came up, however, it blew the others out of the water. A real treat would come when Elton John would take on the iconic Beach Boys’ song ‘God Only Knows’, which you can see below.

6. ‘Surfin’ Safari’ – Ramones
A song to come from the band’s tribute album to the sounds of the 1960s, 1990s Acid Eaters from the New York punks, was the Ramones cover of The Beach Boys classic, ‘Surfin’ Safari’—it’s a match made in heaven. Who’d have thought it but as the East Coast upstarts take on the West Coast gems a marriage of furious punk tone with the pounding rhythm of surf-rock is created. It’s an absolute joy to behold and one that The Beach Boys have reciprocated on, singing ‘Rockaway Beach’ live on numerous occasions. But this is an outstanding reimagining of the fast-paced surf-rock sound put through a punk meat grinder.

5. ‘Surfer Girl’ – Paul Simon
Another moment from the TNT show tribute to Brian Wilson was when singer-songwriter and legendary folk man Paul Simon delivered his poignant version of ‘Surfer Girl’. Taking on Wilson’s very first composition, Simon transforms the track into something entirely different. Simon’s version approaches the song not with the unstoppable vigour and optimism of youth, as Wilson did, but with the knowledge of how golden those moments are. Wilson remembers writing the track, “Back in 1961, I’d never written a song in my life. I was nineteen years old. And I put myself to the test in my car one day. I was actually driving to a hot dog stand, and I actually created a melody in my head without being able to hear it on a piano. I sang it to myself; I didn’t even sing it out loud in the car. When I got home that day, I finished the song, wrote the bridge, put the harmonies together and called it ‘Surfer Girl’.”

4. ‘God Only Knows’ – David Bowie
Featuring on Bowie’s 1984 record Tonight, the Starman adds a heavy dose of his dulcet tones on this harmony-driven classic. It sees the mercurial chameleon of rock, Bowie, pay tribute to the foundations laid by the pop maestros The Beach Boys. The song, originally written by Brian Wilson and Tony Asher, would later lay the down the blueprints for popular music. As well as being a truly captivating listen, the song is cherishable because of Wilson’s use of an unorthodox and pioneering selection of instruments during its period of recording. Brian Wilson’s impeccable writing is given yet another lease of life by Bowie here who adds not only another layer of vocal purity but the sultry and sexy nonchalance of an artist who knows exactly what he’s doing. It was a facet of his career that has never been denied as Bowie almost always adds a little bit of extra star power to any cover he comes across.

3. ‘Don’t Worry Baby’ – Ronnie Spector
Sometimes you can hear a song from your favourite artist and it just sounds right coming out of somebody else’s mouth. For our money, there is nobody who sounds as at home covering The Beach Boys than Ronnie Spector. On The Ronettes singer’s cover of ‘Don’t Worry Baby,’ we’re all comforted and swept away at once. The answer may be that, as well as being contemporaries, Spector is arguably one of Wilson’s own favourite artists. In most clips of the pair together hee is completely besotted with her as a person as well as an artist, even calling The Ronettes’ ‘Be My Baby’ his favourite song of all time. “This is the song that inspired me to produce records,” Wilson once recalled. “When I first heard it, it blew my mind. The drum sound that Phil Spector got, the harmonies, the piano and guitar sounds — I thought it was the greatest record I ever heard.” Ronnie Spector repays the compliment by taking on this Beach Boys classic with aplomb and delivering a beautiful rendition Wilson would be very happy with, we’re sure.

2. ‘Little Honda’ – Yo La Tengo
Often a good avenue to follow if you’re looking to both record and release a cover of a huge artist like The Beach Boys is to go for a comparatively rare song from their catalogue. For indie legends Yo La Tengo’s 1997 album I Can Hear the Heart Beating as One, the band took on ‘Little Honda’. Originally composed by Mike Love and Brian Wilson for The Beach Boys album All Summer Long, Carl Wilson remembers the song’s composition: “Brian does exactly what he wants to do. I remember [sits back and laughs] — this is so funny — when we did ‘Little Honda,’ Brian wanted me to get this real distorted guitar sound, real fuzzy. “This guitar sounds like ****,” I said. “Brian, I hate this.” And he goes, “Would you ****ing do it? Just do it.” When I heard it, I felt like an asshole. It sounded really hot. That was before fuzz became a big deal.” By 1997, when Yo La Tengo took on the track fuzz was in and in a big way. This cover takes the fuzz to a whole new level as the distorted vibes of the track permeate the airwaves. For a fresh take on a teeny-bop classic, it’s about as good as it gets.

1. ‘I Know There’s An Answer’ – Sonic Youth
Sonic Youth are one of the most innovative bands of modern rock. Formed as the full-frontal attack of New York’s no wave movement, the band quickly became the disgruntled voice of a disenfranchised generation. The inspirational band can’t quite match up to The Beach Boys and Brian Wilson though. Thurston Moore, Kim Gordon, Lee Ranaldo, and Steve Shelley are responsible for launching a plethora of alternative rock acts and their ability to inspire and influence cannot be underestimated. The band formed in 1981 in the depths of New York’s art world and were soon bringing their innovative sound to the masses with Daydream Nation and Goo in the late eighties. So by the time the group were asked to take part in Smiles, Vibes & Harmony: A Tribute to Brian Wilson in 1990, they were the biggest act on the bill. The group took on the Pet Sounds classic, ‘I Know There’s An Answer’ and, of course, delivered a sensational version of the classic. Guitarist Lee Ranaldo also had some insight on the song, via Sonic Youth, “We had some help from Don [Fleming] and J. [Mascis] on that one. We were all listening to Pet Sounds at the time and passing around [the Beach Boys’ biography] Heroes and Villains. I ended up singing that song by default, because no one else could sing it.” Judging by the complexity of Wilson’s vocal melodies, we’re not surprised. “Thurston tried and even Don tried,” continued Ranaldo. “Then it was like – alright, you try. I played the one main bass harmonica part on this little cheesy corncob harmonica. It was fun listening to the Beach Boys and pulling apart their arrangement and figuring out how we could do it.” The final result was a piece of experimental and creatively driven of music that not only paid homage to The Beach Boys but showcased Sonic Youth as one of the most important bands of the time

[FuzzyPlum]

All I Want For Christmas is 33,000 songs
https://www.bbc.co.uk/news/business-54779496


An investment company has bought a share of the rights to Mariah Carey's All I Want For Christmas Is You. The inescapable festive tune was co-written by the singer with Walter Afanasieff, whose 50% stake has now been bought by fast-growing investment vehicle Hipgnosis Songs Fund. Its Christmas shopping basket did not stop with that barnstormer.

It bought 33,000 songs in a $323m (£250m) spree, including Fleetwood Mac's The Chain.

It is the biggest buy yet for the fund, which lets people invest in hit songs. It has been listed on the London Stock Exchange since July 2018. Its latest deal covers songs previously owned by Kobalt Music Copyrights and written by more than 1,500 songwriters. Other successful tunes include:

The Chain and Go Your Own Way by Fleetwood Mac
Let It Go by Demi Lovato (from Disney's Frozen soundtrack)
Gimme Some Lovin' by the Spencer Davis Group
Love Shack by the B-52s
In Da Club by 50 Cent
Sorry by Justin Bieber.

"These special songs that have had such extraordinary success have a lot more joy to bring the world and we look forward to working with these phenomenal creators in taking their songs to new heights while protecting their legacies," said Mr Mercuriadis.
Before setting up Hipgnosis Songs Fund, Mr Mercuriadis managed artists including Beyoncé, Elton John, Iron Maiden and Guns N' Roses. In his view, songs are "as investible as gold or oil".
Willard Ahdritz, founder and chairman of Kobalt and chief investment officer of Kobalt Capital Ltd, said: "The decision to sell to Merck and Hipgnosis was an easy one as we know them so well and the copyrights will be well taken care of under a long-term administration arrangement with Kobalt Music Group."

[SisterNightroad]

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[FuzzyPlum]

A great sport headline on the back page of the UK newspaper The Daily Mirror today
Fleetwood Zak
They are combining 2 news stories….Englishman Tommy Fleetwood leads the Open Golf Championship after carding a 5 under par opening round. And English cricketer Zak Crawley demolished Australia in the cricket by scoring a brilliant 189 on the second day of the fourth Ashes Test match.

Fleetwood Zak!!!!

[sue]

A great sport headline on the back page of the UK newspaper The Daily Mirror today
Fleetwood Zak
They are combining 2 news stories….Englishman Tommy Fleetwood leads the Open Golf Championship after carding a 5 under par opening round. And English cricketer Zak Crawley demolished Australia in the cricket by scoring a brilliant 189 on the second day of the fourth Ashes Test match.

Fleetwood Zak!!!!

Shame the rain at Old Trafford will possibly prevent a result..

[FuzzyPlum]

Shame the rain at Old Trafford will possibly prevent a result..

Noooooo…..don’t say that. There will be enough dry weather for England to skittle them out for under a hundred. 2-2.

[HomerMcvie]

I wish y'all spoke English...:p

[FuzzyPlum]

Ha. I wish Americans understood the beauty of cricket, whatever language it’s played in.

[sue]

Ha. I wish Americans understood the beauty of cricket, whatever language it’s played in.

I’ve had it on the radio all day…my favourite way to follow ..
Fingers crossed for the weather..

[jbrownsjr]

I’ve had it on the radio all day…my favourite way to follow ..
Fingers crossed for the weather..

This is for you, Sue!!! :]

https://www.youtube.com/watch?v=mzapOem41Gg

[sue]

This is for you, Sue!!! :]

https://www.youtube.com/watch?v=mzapOem41Gg

:lol:
Yes it is a bit like that that.
Especially when if you are tuned via Long wave, they leave the cricket for five minutes to go to the ….Fishing forecast…hahaha, lovely

[FuzzyPlum]

Enjoying the Ryder Cup. All going the Europeans way at the moment.
Similar to the previous…
European pairing Tommy Fleetwood and Rory McIlroy are being referred to as Fleetwood Mac.

Edit: in fact, Sky Sports here in the UK just played a montage of Fleetwood and McIlroy, set to Dreams

[Penguin Emeritus]

John McVie signing autographs at a mall in Seattle in late 2018
https://www.youtube.com/watch?v=HSko4cmgiFA

ooo i never saw this! that man rocks a crisp white shirt. :xoxo: he looked great.

--Lis

[Macfan4life]

This week, October 1, 1983 Big 80s Countdown

If Anyone Falls moves up 6 notches to #33
Great vocal. She could yell and still sound good

On another note, Robert Plant's Big Log always takes me back to the summer/fall of 1983

[WalkAThinLine.]

This week, October 1, 1983 Big 80s Countdown

If Anyone Falls moves up 6 notches to #33
Great vocal. She could yell and still sound good

On another note, Robert Plant's Big Log always takes me back to the summer/fall of 1983

"If Anyone Falls" has been in heavy rotation on my playlists over the past month. Stevie, Sharon, and Lori sound great on it. "Big Log" is an underrated gem.

[Macfan4life]

"If Anyone Falls" has been in heavy rotation on my playlists over the past month. Stevie, Sharon, and Lori sound great on it. "Big Log" is an underrated gem.
Robert had an amazing solo album and I remember the video and also the other hit single In The Mood for a melody. Rock stations ate it up. It always takes me back to the summer of 1983. The guitar work by Robbie Blunt is incredible. He worked with Tom Petty too. The video to Big Log is incredible and its the song so well, filmed near Death Valley. Phil Collins played drums on the song and even toured with Robert Plant in 1983.

[WalkAThinLine.]

Robert had an amazing solo album and I remember the video and also the other hit single In The Mood for a melody. Rock stations ate it up. It always takes me back to the summer of 1983. The guitar work by Robbie Blunt is incredible. He worked with Tom Petty too. The video to Big Log is incredible and its the song so well, filmed near Death Valley. Phil Collins played drums on the song and even toured with Robert Plant in 1983.

Paul Martinez, who played in the fake Fleetwood Mac band facilitated by Clifford Davis, also appears on Robert Plant's Principle of Moments.

[Macfan4life]

Paul Martinez, who played in the fake Fleetwood Mac band facilitated by Clifford Davis, also appears on Robert Plant's Principle of Moments.
See. I knew there was some unconscious connection for me to mention it. Are you sure you are not really Steve?