Some of the best moments of Fleetwood Mac Live – and there are many –come when this vibe surfaces onstage, and the band cut loose and get weird. It wasn’t just the opportunity Rumours offered for listeners to rubberneck at these conjugal dramas that made the album a phenomenon. So it’s perhaps unsurprising that, when Christine McVie introduces Over And Over at the end of Fleetwood Mac Live’s first side, the audience’s response is so muted. Behind The Lines (5:31) 2. Stevie, meanwhile, brings the hush down to a total silence at London’s Wembley Arena for Landslide, a song I’ve since heard played many times over on countless Mac and solo Nicks bootlegs, though never so plaintively, so gently, so movingly. At times, she sings the song’s fragile tune in milky sweet tones, the dignity within a struggle; at others, her voice breaks, but not her spirit, urging the words on to the next chorus, sounding so small but still making a sound, and finding her strength again to sing of her reflection in those snow-covered hills one more time. Not That Funny 08. The only Mac I really knew at this point was their latest single, Big Love, which crackled with a delicious darkness, a danger signposted by the guttural love grunts that punctuated its chorus.
It’s an oft-told tale, but the last of a series of seismic membership upheavals that shook Fleetwood Mac throughout the seventies proved the making of the group.
LP`s, Singles, Maxi singles, EP´s, Boxsets, CD´s en CD-singles (van alle genres en categorieën uit alle jaren. Fleetwood Mac's 10 month, four continent tour that began in Oct. 1979 and ended in September 1980 is documented in this two-recorded live set. Monday Morning 02.
Also notable are two Lindsey Buckingham guitar showcases. It’s a mood that haunts Live’s gentlest tracks. Voor interesse of meer info, ga naar het contactformulier onderaan dit blog, en bestel…. Dreams 04.
Like most multi-platinum pop phenomena, at their peak Fleetwood Mac appeared invincible, having survived such profound internal ructions and, indeed, turned them into even further success. Tales of Fleetwood Mac’s extravagance during this era are legendary: on tour, the band established a standard for both luxury and hedonism that followers would be unwise to imitate: they travelled in separate limos from show to show, staying at only the finest hotels, and weren’t averse to having grand pianos winched up to Stevie’s hotel room if the whim took her.
A mordant, dread-wreathed I’m So Afraid is even more impressive, Buckingham closing the song with a four-minute solo that begins by mirroring the song’s bleak medley, before maniacally twisting it into a shrieking, screaming din heavy with drama and menace, jerky screeches of guitar ringing out like the staccato strings of Bernard Herrmann’s Psycho theme.
In the years that followed Fleetwood Mac Live, the group’s commercial fortunes waxed and waned some more, before Lindsey exited after 1987’s Tango In The Night, marking the end of the Rumours-era line-up.
Verkoop van tweede-hands elpee´s.
Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. A feral Go Your Own Way channels the spiteful energy I’d seen on the 1982 concert version of The Chain, a stung and cuckolded Lindsey letting loose. They played all over the world, to ever-larger audiences in ever-grander surroundings: the tourdates printed on the dust jackets of this live album show that Mac’s nine-month 1979/80 Tusk Tour voyaged from America, to Japan, to Australia and New Zealand, back to America and Canada, over to Europe and finally back across America once more, ending up at the Hollywood Bowl on September 1st 1980. For the 1979 follow-up to Rumours, Fleetwood Mac had taken their excesses with them into the studio.
And like most multi-platinum pop phenomena, success bred excess, on every level.
Her lyrics referred to band members as the "five fireflies." Why so exacting a studio maven as Buckingham would allow these substandard tracks space on Fleetwood Mac Live is a mystery suggesting indifference or perhaps even self-sabotage on the band’s part.
It’s the sound of someone at the end of some particular rope, the sound you might imagine the tantrum-tossed, ragged, hedonistic types captured on the sleeve to Fleetwood Mac Live making. But it also offers irrevocable truth that, even in their lowest moments, Fleetwood Mac could conjure up brilliance.
But there was flesh and blood, self-doubt and agony, behind the airy polished gossamer-pop of Fleetwood Mac, rancour hiding beneath the FM-friendly sheen. in alle genre´s en categorieën. ( Log Out / If you are looking for a standard live album detailing either the whole or highlights of the set played on a tour with a typically enthusiastic audience front and centre then this is not the place to come. “Well, we haven’t played anything off Tusk yet,” she begins, with a tentativeness a million miles away from the show-bizzy grandstanding of, say, Kiss’s Paul Stanley. "Fireflies" was Nicks' rumination on the tumultuous recording of the "Tusk" album and her observance that the band stayed intact nevertheless. In fact, there was much magic contained within Tusk’s four lengthy sides, as later critics would recognise.
A muscular barrel through Peter Green-era blues Oh Well, meanwhile, sees Buckingham pull off needling, hard-nosed solos that prove California hadn’t made the Mac go soft. Bottom left, Mick Fleetwood is captured in three frames, slobbering and mad-eyed behind the kit, looking frankly deranged, and perhaps rabid. Artist: Fleetwood Mac Album: Live Year: 1980 Label: Warner Bros. Records.
The album was certified gold (500,000 copies sold) by the RIAA in November 1981.
Landslide 10.
^shipments figures based on certification alone, Last edited on 11 September 2020, at 01:33, "American album certifications – Fleetwood Mac – Live", Recording Industry Association of America, "Lindsey Buckingham - BAM Interview (Jan 1981)", "British album certifications – Fleetwood Mac – Fleetwood Mac Live", https://en.wikipedia.org/w/index.php?title=Live_(Fleetwood_Mac_album)&oldid=977796709, Creative Commons Attribution-ShareAlike License, Santa Monica Civic Auditorium (for crew and friends), Studio D, Village Recorders, Los Angeles, April 1979, Ray Lindsey – additional guitar on "Go Your Own Way", Carla Frederick – studio recording assistant, Rich Feldman – studio recording assistant, David (Dominguez) Ahlert – studio recording assistant, Chris Callis – cover and collage photography, This page was last edited on 11 September 2020, at 01:33.
Cradled by Lindsey’s acoustic guitar, and later joined by Christine’s sun-dappled keys, Stevie brings alive the song’s dashed hopes, sounding by turns forlorn and hopeful and wise and sad. According to the liner notes, two songs were recorded at a Paris soundcheck and three at a performance at Santa Monica Civic Auditorium "for an audience of friends and road crew.
( Log Out / And yet Fleetwood Mac Live, the album culled from this tour, is no triumphant experience. Or perhaps it was their intention all along for Fleetwood Mac Live to offer up an unforgiving portrait of where the group were at on the Tusk tour, warts and all. Infamously, during the writing and recording of the line-up’s second album together, 1977’s Rumours, Nicks parted from Buckingham and the marriage between bassist John McVie and singer/keyboard-player Christine dissolved; in the aftermath, Nicks began an affair with Fleetwood, who was in the process of divorcing from Lloyd.
There’s a fatalism to her voice, as she continues, that suggests this isn’t the first night that a mention of Tusk has failed to fire up the faithful; indeed, the Myriad show, on August 24th 1980, came seven nights before the tour’s end, and only Christine can answer how many such moments she endured over the 105 shows that preceded it. The palpable sense of emotional violence between the pair, looking for all the world like their bandmates were gonna have to pull them apart in a couple of moments, left me rapt, and not a little scared.
Duchess (6:40) 3. Fireflies 11.
The album sleeve bears a soft-focus black and white shot of the band onstage, taking their bows at the close of a show. Its tracks were culled from eleven dates on the Tusk tour, and while some selections clearly capture something remarkable that happened that night – the fiery, epic I’m So Afraid in Cleveland, an intimate performance of Landslide from London’s Wembley Stadium – the reasoning behind why certain other tracks were chosen for release is opaque.
It was weird, wired, edgy, informed by aftershocks from punk-rock and subsequent movement within rock’s underground, which had somehow reverberated as far as Fleetwood Mac’s lofty strata.
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