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#1
03-12-2015, 01:25 PM
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Greensboro, March 17, 2015
http://www.news-record.com/go_triad/...e3a03e9af.html
Together againNearly 50 years after forming,Fleetwood Mac is still making music Posted: Thursday, March 12, 2015 5:00 am By Jeff Miers / McClatchy Newspapers We’ve all heard the stories behind the splintering of bands — musical differences, arguments over money, betrayals of the perceived and actual variety, spontaneously combusting drummers, and the like. But what makes a band stay together, decade after decade? Fleetwood Mac has been together in various forms since 1967. The version of the band that will perform March 17 at the Greensboro Coliseum — Lindsey Buckingham, Stevie Nicks, Mick Fleetwood, John McVie and Christine McVie — is the one responsible for 1977’s evergreen release “Rumours,” an album that defined the baroque soft rock stylings of the 1970s, and has sold about 50 million copies worldwide. It’s the sixth best-selling album in U.S. Billboard chart history and 14th best in the U.K. charts, and it has racked up similar status the world over. Interestingly, “Rumours” almost didn’t get made, so fraught with tension were relations within Fleetwood Mac by the mid-’70s. Nicks and Buckingham, who had been together for the better part of a decade, had broken up, and the marriage between John and Christine McVie was headed for divorce. Fleetwood and Nicks were engaged in an on again-off again affair. Serious substance-abuse issues were fogging up the mirrors as well. All of this mess was poured into the birth of “Rumours” and quite likely aided considerably in the creation of the emotional intensity that sits at the music’s core, as well as at the core of its massive fan appeal. Fleetwood Mac had many successes of the commercial and artistic level after “Rumours” and, even before Buckingham and Nicks joined the band in 1975, had already released several bona fide classics and introduced a few guitar heroes to the world, among them Peter Green and Jeremy Spencer. But it’s “Rumours,” and the soap opera-like environment amid which it was created, that keeps fans coming back for more Fleetwood Mac and helps the band sell out ever more sporadic tours. Doubt that this is actually the case? Look no further than the January issue of Rolling Stone, which featured the still-beautiful face of 66-year-old Nicks on its cover and boasted a lengthy interview inside, most of which was devoted to Nicks discussing her relationship with Buckingham, 40 years after the couple broke up. By this point, that relationship might reasonably be described as having entered the realm of living myth. Every member of this particular version of Fleetwood Mac is at least 10 times richer than any of us will ever be, even in our dreams. None of the musicians need the money. Touring when you’re in your 60s takes a considerable toll on the body. Performing songs that detail painful breakups surely reopens old wounds, every time. So why would the band bother? Surely, it comes down to the music. Christine McVie left Fleetwood Mac after various reunion tours, way back in 1998, but she’s back onboard for this go-round. Why? Even in her abundantly luxurious retirement, McVie missed performing with her bandmates. Nicks has a still-thriving solo career that she could easily ride into the sunset. So does Buckingham. Fleetwood has his own blues band that tours on occasion, and John McVie was diagnosed with cancer in late 2013. And yet, none of them could say no to another Fleetwood Mac world tour. The magnet that keeps pulling the band’s members back to Fleetwood Mac is Buckingham. Or more specifically, it’s Buckingham’s genius that keeps them all coming back for more. Though “Rumours” features songs written by all five Macs — Nicks and Christine McVie in particular are responsible for the album’s biggest hits — it was Buckingham who crafted the sound of the album, aided immeasurably in the arrangements of Nicks’ and McVie’s songs, and provided the majority of the musical direction. Buckingham is to Fleetwood Mac post-1975 what Brian Wilson is to the Beach Boys: the principal creative force. “Lindsey had an amazing way of taking my songs and making them wonderful,” Nicks said in Mike Evans’ “Fleetwood Mac: The Definitive History.” And that, it seems, is worth much more than mere money. 
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#2
03-12-2015, 01:26 PM
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[Retro Review]
http://www.news-record.com/go_triad/...e3a03e9af.html Fleetwood Mac performed at Greensboro Coliseum on March 19, 1977. And on March 20, Greensboro Daily News ran a wrap-up of the show. Here's the story: Fleetwood Mac Thrills Thousands At Coliseum By Harvey Harris Daily News Staff Writer A sellout crowd of more than 16,000, including many who were standing at the door during the early morning hours in hopes of getting the choicest seats, filled the Greensboro Coliseum with thunderous applause Saturday night for rousing performances by the Fleetwood Mac and Firefall rock bands. The crow spending most of its day at the coliseum camped out on blankets, throwing frisbees and playing games to keep going until the popular rock musicians got onstage to do their thing. Police made a number of arrests for violations of drug laws, mostly for possession of marijuana, but a police spokesman said there were "no more drug arrests than usual" for a sellout performance by rock musicians at the coliseum. The clapping, bouncing and shouting audience cheered loudest for performances by Lindsey Buckingham, guitarist, and the vocals of Christine McVie, featured singer of the Fleetwood Mac band who writes most of the music for their performances. The loudest, longest applause, which some coliseum officials said could be heard far outside the coliseum walls, came when Buckingham played soft guitar and Ms. McVie sang a soft rock song, a song with mystical overtones and considered hauntingly beautiful by many of today's most noted music critics, "Rhianon." In speaking to the audience about her music, Ms. McVie spoke in an unmistakable British accent, but when she sang, her booming voice rang out in accents of pure rock 'n' roll.
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#3
03-12-2015, 01:27 PM
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http://www.news-record.com/go_triad/...e3a03e9af.html
The best Fleetwood Mac songs of all time: Critic’s picks Fleetwood Mac is back, firing on all cylinders again with the return of Christine McVie after 17 years of retirement from the road. With the “On With the Show” tour rolling through the area again, the timing seemed right to recall what makes The Mac so big. Here’s a look at their best songs. 17. “Oh Well” (1969): This blues-rock classic driven by Peter Green is a potent reminder that Fleetwood Mac was once on the same path as Led Zeppelin in its initial incarnation. 16. “Steal Your Heart Away” (2003): What started as a song for a Lindsey Buckingham solo album, with Christine McVie on backing vocals, turned into a full-band affair that shows his tender side and the band’s delicate harmonies. 15. “Silver Springs (Live)” (1997): Originally written for “Rumours,” but cut because the album was too long, it became a Grammy-winning hit as part of the live album “The Dance.” Its hopefulness at the end of a relationship sounds even more poignant 20 more years down the road. 14. “Songbird” (1977): Before there was Adele’s bittersweet breakup ballad “Someone Like You,” there was Christine McVie’s gorgeous piano-and-guitar statement on the importance of letting go for all involved. 13. “Sara” (1979): There’s that moment halfway through that’s perfectly Fleetwood Mac — with Mick Fleetwood and John McVie’s world beat rhythms, the otherworldly moaning/harmonizing of Lindsey Buckingham and Christine McVie floating in the background and Stevie Nicks’ sultrily accepting her collapse. He was singing ... and undoing ... places. 12. “Hold Me” (1982): This is passive-aggressiveness come to life. The music is dainty and Lindsey Buckingham and Christine McVie’s intricate harmonies are sweetly buttoned-up with an inviting chorus, but the verses are icy and accusatory. “I don’t want no damage, but how am I gonna manage you?” they ask. “You want a percentage, but I’m the fool paying the dues.” And then, the rage subsides again. 11. “Everywhere” (1987): This may be as loose as Fleetwood Mac gets, with Christine McVie’s reggae-ish approach on the verses matching the island-tinged bass lines of John McVie. It gets smoothed out in the chorus — it was the ’80s — but the sweet, synthy ad libs at the end confirm it. 10. “Think About Me” (1979): Fleetwood Mac love songs are never easy. Oh, sure, “All it took was a special look,” they sing straightforwardly enough at the start, in an undeniable pop melody. By the end, the questions grow insurmountable. “If I’m the one you love,” Lindsey Buckingham, Christine McVie and Stevie Nicks sing in an uneasy harmony to match the uneasy reminder, “think about me.” 9. “Second Hand News” (1977): It’s remarkable how a kiss-off can be so self-pitying, but the real charm of the “Rumours” opener is in how it fuses country and rock in such an enduring way. So much 21st-century country and Americana can trace its sound to this classic that it sounds like it could be a hit today. 8. “Rhiannon” (1975): This was the point that the “new” Fleetwood Mac — with the addition of Lindsey Buckingham and Stevie Nicks following the exit of Bob Welch — arrived. The blues-rock base of previous Mac hits had been replaced by something much lusher. Instead of the standard blues inspirations, Nicks was singing about Celtic goddesses and women taken by the wind. 7. “Gypsy” (1982): There was a moment after the MTV music video revolution when people wondered if Fleetwood Mac would survive in the new era. “Gypsy” put all fears to rest. Not only did the video — the most expensive ever made at the time — magnify Stevie Nicks’ memories of her days as a struggling musician, it cemented her stage persona. 6. “The Chain” (1977): The only song from “Rumours” written by the entire band has become the theme for its tumultuous history, with so many exits and re-entries. But its brilliance still lies in how they sing the chorus as a round, seemingly content to move on, then have a change of heart during Lindsey Buckingham’s memorable guitar solo. 5. “Dreams” (1977): The stillness of remembering what you had. And what you lost. And what you had. And what you lost. 4. “Tusk” (1979): How do you follow “Rumours,” which was, at the time, the biggest-selling pop album in history? Well, if you’re Fleetwood Mac, you trot out a drum-driven experiment with a one-word chorus, a minimalist melody and the USC marching band as back-up. Then, you marvel at how well it holds up 35 years later. 3. “Don’t Stop” (1977): This sunny bit of optimism was much-needed on “Rumours.” It reached new heights when Bill Clinton adopted it as the anthem for his 1992 presidential bid, which certainly needed the “yesterday’s gone” reminder. When he won, Fleetwood Mac, disbanded at the time, reunited to perform the song at his inauguration. 2. “Landslide” (1975): Stevie Nicks’ ode to evolving relationships is so well-crafted that it has evolved as well. In the original, which features an intricate acoustic guitar web that conjures up the changing ocean tides, she seems certain the landslide will bring him down. Over the years, Lindsey Buckingham’s guitar parts have grown simpler to allow Nicks’ delivery to shine and she has added the word “maybe” to make the song open-ended, which is more effective. 1. “Go Your Own Way” (1977): There’s a reason this is one of rock’s most enduring classics: Lindsey Buckingham has cleverly capsulized the spirit of rock and roll in less than four minutes. “Loving you isn’t the right thing to do,” he admits right off the bat. He will, though, because, you know, Stevie Nicks. It’s a lose-lose proposition but Buckingham dives right in since in the end a rocking guitar solo heals all wounds. And he proves it. — Glenn Gamboa, McClatchy Newspapers
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#4
03-20-2015, 12:05 AM
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Review: Fleetwood Mac enthusiastically together again
By Eddie Huffman/Special to News & Record http://www.news-record.com/go_triad/...24f81c62b.html Stevie Nicks moved to the side of the stage to pound her tassled tambourine at the Greensboro Coliseum on Tuesday night while the other members of Fleetwood Mac wailed on “Go Your Own Way.” As she walked behind Christine McVie, Nicks gave her a gentle pat on the back. It was a fleeting, seemingly offhand gesture, but it summed up the way the band members appear to feel about each other 40 years after this version of the group first coalesced. Christine McVie, who first joined Fleetwood Mac in 1970, returned last year after a 16-year absence. The rest of the group seemed delighted to have her back. Drummer Mick Fleetwood is one of the band’s founding members along with bass player John McVie, the two giving name to what was originally a British blues band in 1967. During extended introductions in the encore Tuesday night, Fleetwood hailed Christine’s return “making this all so very complete.” She was in fine voice throughout the show, her creamy alto restoring several classics to the band’s set, including “You Make Loving Fun,” “Dreams,” “Say You Love Me” and “Over My Head.” Nicks and songwriter-singer-guitarist Lindsey Buckingham joined the band as a unit slightly more than 40 years ago, adding a California pop-rock sensibility that catapulted Fleetwood Mac to stardom — and a notorious, soap opera-style descent into substance abuse, love affairs and acrimony. In 2015, the band’s set list is still dominated by its two smash-hit albums of the mid 1970s, “Fleetwood Mac” and “Rumours.” Nearly 50 years after forming,Fleetwood Mac is still making music The group’s runaway popularity and rock star excesses may have helped inspire the punk rock explosion of that era, but decades later, their own music still has the power to surprise with its burning intensity. That energy came through Tuesday night in multiple songs, particularly “ Rhiannon ,” “Tusk,” “Never Going Back Again” and “Go Your Own Way.” About 14,000 people attended the 21-song, 2 1/2 -hour concert. Enthusiastic young fans were sprinkled throughout the largely AARP-eligible crowd. The show opened with a ferocious version of “The Chain,” with Christine McVie adding gorgeous harmonies to Buckingham’s lead vocals. Though the first instrumental solo of the night came from John McVie’s bass, oddly enough, Buckingham quickly reminded the crowd that he started out as something of a proto-Eddie Van Halen. His nimble solo on “The Chain” was fast and fierce, and his undiminished enthusiasm for his art came through in every song. Buckingham’s solo on “Big Love” alluded to classical and flamenco guitar styles. Nicks told an endearing story to introduce the 1982 hit “Gypsy,” about a 1968 trip to a store in San Francisco where Janis Joplin and Grace Slick bought their clothes. She said her visit gave her a premonition of the stardom awaiting her: “I walked out of that store a different girl.” She achieved that stardom with a marvelous rock ’n’ roll bleat, a voice that somehow ends up beautiful despite sounding like a cross between Laura Nyro and a goat. She has lost some of her range through the years but still pulled off “Rhiannon,” “Sisters of the Moon,” “Gold Dust Woman” and one of the most beautiful songs in the English language, “Landslide.” Nicks and Buckingham did that last one as a duet. Band members came and went throughout the concert, the core quintet supplemented by a couple of multi-instrumental utility players and three backing vocalists. Buckingham never left the stage until Fleetwood’s drum solo toward the end. Fleetwood wore vibrant red shoes, knickers and dangling (ahem) accessories, his entire getup an homage to the outfit he wore on the cover of “ Rumours .” He dropped the drum solo into the frenetic funk of “World Turning,” played during the encore. Using a headset microphone, he egged the audience on throughout his solo — which was long enough to give the rest of the musicians a breather. Though I would be happy never to hear a drum solo again, I must say that hearing one narrated by a consummate showman like Fleetwood was a refreshing change of pace. The show ended with the inevitable “Don’t Stop (Thinking About Tomorrow),” one of the big “ Rumours ” hits and a song that had a second run in the spotlight as the theme for Bill Clinton’s 1992 presidential campaign. In a concert dominated by the songs of yesterday, the optimism of the closing number suited a show defined by the band’s enthusiasm for restoration of its classic lineup.
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#5
03-20-2015, 11:43 PM
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[Click for Picture of Governor with Stevie]
http://goqnotes.com/34667/pat-mccror...e-not-so-much/ By Matt Comer, March 20, 2015 in A&E / Life&Style PHOTOS: From Cyndi Lauper in 1999 to Stevie Nicks this week, McCrory's fangirling doesn't extend to actual LGBT people North Carolina Gov. Pat McCrory sure does love him some gay cultural icons. On Tuesday, he got to hang out with Stevie Nicks. He was so proud of the moment, he posted it on Facebook yesterday.
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#6
03-21-2015, 01:11 AM
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I hate to get all political, but I would hope that if I were a photo op for someone who had such homophobic (or racist, or any other type of hateful) views and the power to have them ruin other people's lives, , I'd either refuse or give them a talking to before or after said photo. I will always love Stevie's music, but my adoration pretty much stops there.
Kevin
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#7
03-21-2015, 11:15 AM
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Quote:
__________________
~ You don't have to be around it, to go without it ~ It sheemed that he could shee right through my shoul
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#8
03-21-2015, 11:31 AM
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Quote:
Quote:
that said, if you are invested in certain entertainer the way many people here are, their views may be a part of the package for you and it may be different than if you are just a casual fan. and if you get to know some of these people, you may be unpleasantly surprised about how little they know or how ignorant they can be. they are just people, even if they are in the public eye and paid way too much for what they do.
__________________
 "kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#9
03-21-2015, 11:58 AM
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I respect your opinions, but I will just agree to disagree. I remember her remarking once about Jackson Browne and his participation in No Nukes. She said something like "Why is he protesting, doesn't he know he could hurt his fingers and never be able to play his beautiful music?" For me that was just a big cop out. I know that Stevie isn't homophobic, and of course, you are right, maybe she didn't even know of his views. And Cyndi's pic with him looks pretty old, so maybe that was before he was famous. One of the actors on Modern Family who plays a gay man but who is actually straight (sorry, I don't know actors' names) decided not to have a selfie taken by someone with similar views as this guy. I'm just saying that if I were famous, I would not want my celebrity co opted to be used by people who have such hateful views.
Kevin
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#10
05-06-2015, 09:23 PM
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Yes Weekly
http://yesweekly.com/article-19786-b...this-year.html By Britt Chester May 6, 2015 08:03 FLEETWOOD MAC PLAYS GREENSBORO COLISEUM In a few years, Fleetwood Mac will go “over the hill” in its storied career as one of the greatest rock and roll bands to ever grace the stage. When the act came to Greensboro, with the recent readdition of Christine McVie, a packed coliseum erupted with joy for the entire set. In the pantheon of rock and roll, Fleetwood Mac could never release a greatest hits album, arguably because all of the band’s songs are hits. At the live show, which saw a palpitating drum solo from Mick Fleetwood, an awe-inspiring (for a man of his age) guitar solo from Lindsey Buckingham, and the enticing vocals from both McVie and Stevie Nicks, one could not but feel a range of emotions as Fleetwood Mac traveled through decades of timeless songs. It could be the last chance to see one of the greatest bands of all time, and Greensboro fans didn’t falter from the first note to the final send-off.
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Linear Mode
