The second single from Buckingham McVie, “Feel About You,” pleasantly recalls sounds of Fleetwood Mac‘s perfect pop confections on 1987’s “Tango In The Night” . It’s fitting, since that was also the last time LindseyBuckingham and Christine McVie shared studio space.
Their new song, which follows Buckingham’s“In My World” as we await Buckingham McVie’s first ever recording as just a duo. Lindsey Buckingham/Christine McVie is set for release on June 9th; the album also features Mac bandmates Mick Fleetwood and John McVie .
The music grew out of reunion sessions following Christine McVie’s return from a lengthy retirment. When StevieNicks declined to participate, citing her own solo obligations , Buckingham and McVie decided to release their stuff separately from the band.
“We were exploring a creative process, and the identity of the project took on a life organically,” Buckingham said . “The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘What took us so long?!!’”
So, basically, Lindsey Buckingham/Christine McVie is a Fleetwood Mac record minus one key member. Nothing new for the often-splintered group: 1990’s Behind The Mask was made without Buckingham, 1995’s Time without Buckingham and Nicks and 2003’s Say You Will (which followed the reunited band’s 1997 live comeback, The Dance without Christine McVie. And like the albums made over the past quarter century, there are some good moments, some underwhelming ones and some missed opportunities
Nicks is clearly missed at times, especially her part in the vocal trio’s harmonies. But Buckingham — one of music’s most undervalued guitarists, singers, songwriters and producers — checks in with some of his most engaging songs in years. And McVie, who last released a solo record in 2004, sounds revitalized following her long absence from the studio. Buckingham and McVie shared vocals on a number of Fleetwood Mac band favorites over the years, including “Don’t Stop” from 1977’s “Rumours” “Think About Me” from 1979’s Tusk and “Hold Me” from 1982’s Mirage album. They also co-wrote three songs from Tango in the Night, as well as “World Turning” from 1975’s “Fleetwood Mac” .
“We’ve always written well together, Lindsey and I,” McVie commented , “and this has just spiraled into something really amazing that we’ve done between us.”
They’ve been part of one of rock and roll’s greatest bands for five decades, but for the first time ever, Fleetwood Mac’s Lindsey Buckingham and Christine McVie are finally teaming together for a collaborative album.
The record, titled simply Lindsey Buckingham/Christine McVie, is due out on June 9th, the album’s lead-off track, “Sleeping Around the Corner.”
Buckingham and McVie began working on the album’s material three years ago, ahead of the group’s On With the Show tour, which found McVie rejoining the group after a 16-year-long break.
“We thought we’d go into the studio to reacquint myself to playing in a rock band and getting the chemistry and the vibe,” says McVie. “We thought we’d lay down a couple of tracks; that’s all we meant to do. And then Lindsey had some [songs]. And we just started having a good time.”
To finish the material, Buckingham and McVie met with band mates Mick Fleetwood and John McVie in Los Angeles’ Village Studios, where the Mac recorded 1979’s Tusk. “Nothing much had changed [in the studio] as far as I can remember,” says McVie. “The Tusk days are a bit of a haze, to be honest. But everything seemed exactly the same.” Adds Buckingham, “It was like a time warp. It was cool!”
The resulting collection features lovely, McVie led ballads like “Game of Pretend” and bright, chiming rockers like “On With the Show.” Buckingham and McVie are perhaps most psyched about “Sleeping Around theCorner,” which Buckingham began writing about four years ago. “[When Christine heard it], she was like ‘It’s a hit!’” says Buckingham. “And who am I to disagree?”
On June 21st, Buckingham and McVie will launch 14 date tour Then, Fleetwood Mac will reconvene for The Classic West and The Classic East festivals in Los Angeles and New York City on July 15 and July 29, respectively. Of gearing up for those festival dates, where the band will perform alongside veteran acts like Steely Dan, Eagles, Journey, and more, McVie says, “I’m really looking forward to the festivals. It’s not that long since we finished our big tour. We’ve got five days of rehearsals prior to those shows. And that should be a really fun experience.”
Lindsey Buckingham and Christine McVie are just about ready to unveil their forthcoming album starting with the impending release of the set’s first single, “In My World,” this week.
Due April 14th, the “In My World” single officially starts the long-awaited lead up to Lindsey Buckingham/Christine McVie, the duo project led by the Fleetwood Mac bandmates who rediscovered their creative bond after McVie had rejoined the band’s lineup in 2014. Scheduled for a June 9th release, the album offers what both partners see as the sensible and long-overdue culmination of a long-term partnership.
“We were exploring a creative process, and the identity of the project took on a life organically,” explained Buckingham in a press release. “The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘what took us so long?’”
“We’ve always written well together, Lindsey and I,” added McVie. “This has just spiraled into something really amazing that we’ve done between us.”
Tracked in Los Angeles, Lindsey Buckingham/Christine McVie serves as a Fleetwood Mac album of sorts; although singer Stevie Nicks was not involved, the duo worked with Mac rhythm section of Mick Fleetwood and John McVie , adding their distinctive “dynamic rhythmic engine” to the 10-song set.
The album’s release will be followed by a spate of what are being referred to as “special U.S. concerts.” they’re scheduled to begin June 21st and continue through July 27th Whether they’ll be performing with Fleetwood and John McVie is unknown, although it’s probably worth noting that Fleetwood Mac are booked to appear at festivals this summer.
The album was recorded at The Village Studios in Los Angeles (where Tusk was made) and Buckingham and McVie were “joined in the studio by fellow bandmates Mick Fleetwood and John McVie” which sounds very promising!
Speaking about the project, Lindsey had this to say: “We were exploring a creative process, and the identity of the project took on a life organically. The body of work felt like it was meant to be a duet album. We acknowledged that to each other on many occasions, and said to ourselves, ‘what took us so long?!!‘” Christine McVie describes the results of the collaboration as “really amazing”.
Lindsey Buckingham/Christine McVie will be issued on Atlantic Records on 9th June 2017.
Just lately I often look at albums and songs I adored growing up as a teenager and cannot believe how long ago that is . I remember listening to Rumours following it through all of my life. It is an album that was blighted by drama as we all know, Christine McVie defined the recording sessions as nothing but drama and arguments and it is a surprise it got finished at all. Given that the band’s two couples Christine McVie and her husband John; LindseyBuckingham and Stevie Nicks ,were embroiled in fights and conflict would have been enough to derail the recording process. As it was, the album Was made and stands as one of history’s greatest classic albums. Before looking at the background and its songs; Steve Nicks wrote Dreams in Sly Stone’s bed whilst credits his dyslexia for Go Your Own Way’s unusual drumming rhythm – there are a lot of other little-known facts you might not know about Rumours. Lindsey Buckingham’s sonic perfectionism meant his guitar was restrung every twenty minutes during Never Going Back Again; The Chain the legendary epic and only song credited to all five band members – has Christine McVie’s song “Keep Me There” is at the core and was the foundations before other members of the band piled in and added their ideas to the song. John McVie’s ten-note bass passage tees the song whilst Mick Fleetwood’s impassioned percussion gives it its drive and fervency. Aside from the music, the infamous extra-marital affairs threatened to split Fleetwood Mac for good. Not only did some of the songs blatantly put these affairs at their heart – Christine McVie’s “You Make Loving Fun” about the lighting technician she was in a relationship with; Lindsey Buckingham’s “Go Your Own Way” a kiss-off and screw-you to Stevie Nicks. “Dreams” perhaps the centrepiece and most astonishing song on the album – struggled to get made and studio time was hard to come by as Buckingham’s iron first ruled the production.
The drama in Fleetwood Mac heightened shortly after the release of “Rumours”, rehearsal time became even more sacred; they weren’t just running through songs they could play in their sleep, they were reinforcing a bond that only comes with watching songs come to life and remembering how to work together despite their turbulent relationships.
The fact it did get made (with doubts from the band and a lack of enthusiasm) gives Rumours pristine beauty and haunting etherealness – plenty of hopefulness and intricate beauty. Affairs and cocaine were as prevalent and in-demand as was musical impetus and dedication to the music. We all know about the splits, rifts and Mick – quite often the fifth wheel who had to ensure the coldness and immense friction; although his marriage was on the rocks and he had an affair with Nicks around this time. Even before the album started recording, there were problems and press intrusion.
In spite of this, with speculations the original band members would return to the fold, the band came into the studio with plenty of stigma in their blood. Keith Olsen was fired as producer ,who put percussion and rhythm low in the mix – and the McVies formed Seedy Management: a company that put the band’s interest first and ensured recording sessions would begin on a good footing (sound-wise at least). Soon enough Buckingham stepped in and took control of the recording sessions. He wanted to make a ‘Pop’ album which was at odds with other members of the band – who came from a Blues-Rock background and favoured a looser and less disciplined style of recording. Buckingham’s discipline, vision and ultra-precise methodology and studio set-up were unique and inspired. Buckingham and McVie crafted the guitar-and-piano combinations together whilst John McVie played his bass facing Mick Fleetwood’s drums. Buckingham’s configurations and dynamics meant the band members were focused: instruments arranged to create the best sound.
Recording at the Record Plant, there was not a lot of after-recording socialising. Cocaine binges and frosty relationships meant the individual members were isolated throughout much of Rumours and lead to sleepless nights. “Rumours” music was astonishingly focused and inspiring in spite of all the problems. If you did not know about Fleetwood Mac’s backstory in 1977, you would assume Rumours was the product of a happy and together band in inspired form. Aside from “The Chain” all members coming together in an anthem for unity and holding on the remaining tracks were written alone by songwriters Christine McVie, Lindsey Buckingham and StevieNicks.
If Nicks’Dreams seems like a message to keep focused and do not give in it has a breakup and heartbreak at its centre. The members of Fleetwood Mac were oblivious to the true nature of their (wracked and pain-stricken) songs until hindsight provided clarity. Try and make an album like Rumours today and it would simply not work. For a start, musicians are not as enigmatic and fascinating as the American-British alliance in this band . Despite Nicks’ hostility towards Buckingham – or his towards her more accurately – he still had a knack of making Nicks’ songs sumptuous and beautiful. Yes, there was enormous self-indulgence and excess during the recording that threatened to threaten productivity.
The open-ended budget meant late-night parties would last to the wee hours and sleep was an elusive construct. The band would finish drinking and snorting vast quantities of cocaine, being in a desperate, zombie-like state, and get straight down to recording. It became apparent the most productive results occurred under these conditions.
Talk all you like about legend, folklore and technical specifications: it is the music, pure and simple, the final product is what matters and damned to the petty squabbles around it. The music is near-perfect. You talk about albums that are beyond criticism and should be preserved forever: Rumours is on top of a very elite list.
The interplay between the three vocalists Christine McVie, Stevie Nicks and Lindsey Buckingham – is stunning and the affection between them heartwarming. They were, and still are, brothers and sisters. Even at their most tense and uncertain, the respect they had for one another as musicians outranked any personal beefs. Buckingham’s crisp, clean and assured production makes songs like “Don’t Stop” infectious, luminous and endlessly catchy.
“Go Your Own Way” is, in my view, the best song on the album and benefits from a truly astonishing vocal turn. Dreams is that divine Nicks hymn; whilst McVie talked about Mick Fleetwood in “Oh Daddy” . ‘Big Daddy’ was the band’s nickname for the drummer – with Nicks providing the final line: “And I can’t walk away from you, baby/If I tried”. Perhaps a shot (from McVie) at the direction Fleetwood was taking the band, or a subtle illusion to their impending affair (Nicks’ line). “Gold Dust Woman” documents the struggles (Nicks) faced in L.A. Christine McVie came into her own as a writer and penned the hair-raising, transcendent “Songbird” – a little prayer from the keyboardist and a song about nobody and everyone. If the band’s two female writers were at their peak Lindsey Buckingham was stealing the limelight. Not only was his leadership and production a major factor in the Rumours’ success but his bittersweet songs were scene-stealing. Go Your Own Way and NeverGoing Back Again are obvious in their derivation but, mythology and cynicism aside, are incredible works of music. Second Hand News is the acoustic opener that starts things off wonderful; Buckingham’s hand in TheChain cannot be understated. The songwriting credits Buckingham had three solo credits from eleven; Nicks; McVie four makes the album a democracy and collaborative thing.
In the footage you’re about to hear, there’s an actual Fleetwood Mac rehearsal taking place just before the band embarked on their critically acclaimed Rumours tour in early 1977.
Caught on tape, we can hear Christine McVie, John McVie and Stevie Nicks delivering entertaining commentary on their roadies, but as soon as Lindsey Buckingham brings “Go Your Own Way” to life, it’s all work from there as the band joins in, treating this sacred rehearsal time as seriously as they would an actual live show.
This is a live version of Lindsey’s legendary song “Go Your Own Way”(One of my favorite songs of all-time)!! This is from Fleetwood Mac’s GREAT (February 1977) Rumours Tour Rehearsals. Whay a great musician Lindsey is, but this song is his masterpiece. This song is what started it all for me over those years ago.
Check out his breathtaking guitar solo towards the end.
Lindsey wrote Go Your Own Way (about Stevie) while on the road Fleeywood Mac’s 1975 concert tour. Although the second verse ~ Tell me why everything turned around, Packing up, shacking up is all you wanna do ~ wasn’t added to it until later ~1976. Stevie had asked him to remove the ~ Packing up, shacking up part, but he refused to do so. (I’m glad he kept it in.)
The Rumours world tour saw Fleetwood Mac on the road from February 24th, 1977 through to December 10th of that year, hitting North America, Europe, Japan and Oceania.
What makes this clip so great is hearing the teamwork that goes into making a song like “Go Your Own Way” happen – you never realize how intricate the guitar work actually is, and this rehearsal audio is sure to make you appreciate Fleetwood Mac’s attention to detail and out of this world live performances even more!.
There are few albums as enduring and as mysterious as Rumours. It is a fascinating album in terms of its production and behind-the-scenes revelations but even more so from a musical perspective. The rumours and explosions might have salivated the mouths of the press but the band were keen to bridge the divided and come together to create a truly wonderful album. That is exactly what they did in 1976. When the album was released a year later, contemporary critics were raving. They noted how the music was directly propelled by inner-turmoils and romantic entanglements. As I said, most bands would be unable to separate life from art whereas Fleetwood Mac were all too aware of the reality of their situations but used it to create some of the finest music of the 1970s. It is radio-friendly and shiny; it has gloss and immaculate production but plenty of emotions and contradictions. The vocals, especially from Stevie Nicks, range from wailing and harrowed to sensual and alluring, whereas the compositions and song structures are immaculate. There is not a song immune from high praise and the album is an extraordinary testament to a group of musicians who found love and common ground in the middle of divorced relations and drug-filled chaos. I don’t understand why as yet why has nobody made a film/drama about FleetwoodMac’s astonishing story?! Magazines, websites and music fans constantly place Rumours near the (or at) the top of their greatest albums polls. Musicians around the world have been inspired by the music and continue to source it forty years down the line. There are few albums as long-lasting as Fleetwood Mac’s masterpiece. It is a wonderful record .
Fleetwood Mac will release an expansive, 30th anniversary edition of their 14th studio album, 1987’s Tango in theNight, on March 10th via Warner Bros. Records. The reissue is packaged in three formats: a one-CD set featuring remastered audio, an expanded two-CD version with rare and unreleased recordings and a deluxe version featuring three CDs, a 180-gram LP and a DVD with music videos and a high-resolution version of the album.
Christine McVie Singer-songwriter looks back on heady days at Château d’Hérouville, discusses band’s future plans
With Tango in the Night, Fleetwood Mac fully immersed themselves in the decade’s glossy production style. Showcasing the diverse styles of primary songwriters Lindsey Buckingham, Stevie Nicks and Christine McVie, the 12-track LP spawned a quartet of hit singles: “Big Love,” “Seven Wonders,” “Everywhere” and “Little Lies.” Their second highest-selling album behind 1977 masterwork Rumours, it remains the group’s final studio project with the classic quintet line-up of Buckingham, Nicks, McVie, John McVie and Mick Fleetwood.
The deluxe and expanded reissues features a disc of 13 previously unheard recordings, including an alternate version of shimmering Christine McVie ballad “Mystified,” a demo of Buckingham’s epic, percussion-heavy title-track and rare B-sides “Down Endless Street” and “Ricky.” The deluxe edition offers a third disc with 14 12-inch mixes – including dub versions of “Seven Wonders and “Everywhere” – and a DVD with videos of “Big Love,”“Seven Wonders,” “Little Lies,” “Family Man” and “Everywhere.” Buckingham and Christine McVie recently announced an album of duets tentatively titled Buckingham McVie. The set, which features contributions from John McVie and Fleetwood, is loosely slated for a May release.
Fleetwood Mac have spent the past few years reissuing their peerless back catalogue in the obligatory remastered, expanded, deluxe editions. Last year brought us the 1982 album “Mirage” which somehow managed to make an album already slathered in cocaine sound even more cokey, all sheen and shine.
Next up is Tango in the Night, coming out on Warner on 10th March, They’ve got this early, unreleased version of the Stevie Nicks track Seven Wonders for you. It’s longer but also a little harsher than the album version, drawing out the fatalism of the chorus and de-emphasising the keyboard hook.
Tango in the Night came out five years after Mirage, and had originally been planned as a LindsayBuckingham solo record – Nicks spent only two weeks in the studio with the band because she was concentrating on her solo career. Be thankful that it became a full-band record, because the album became defined not by his songs but by the contributions of the other writers; without the two singles from Christine McVie – “Everywhere” and “Little Lies” – it would be a very different record. While many Mac fans might have their favourite writer in the group, it takes all three of Buckingham, Nicks and McVie to balance the group.
That balance is what makes Tango in the Night so great. For all that the music is of a piece – sophisticated, slick, without ever being over-complicated – it manages to shift through moods effortlessly. Buckingham is on edge throughout and has explained that Big Love, his single from the album, gets misinterpreted: when he sings that he is “looking out for love”, he doesn’t mean he is looking for love, he is putting himself on guard for it. In the title track, he’s restless, discomfited (“Try to sleep, sleep won’t come”); Caroline upbraids a woman who is crazy and lazy; Family Man seems to be a hymn to domestic stability, but even then he can’t help observing that “the road gets tough”.
McVie’s songs appear much more straightforward. “Everywhere” is a simple, gorgeous statement of love; “LittleLies” its counterpart, the realisation that the feelings of Everywhere depend on self-deception. Nicks’s are neither straightforward, nor angry: Welcome to the Room … Sara was written after treatment at the Betty Ford clinic, and uncertainty echoes throughout her contributions (“If I see you again / Will it be the same?” she asks on When I See You Again. “If I see you again / Will it be over?”), and “Seven Wonders” exemplifies that, with Nicks confronting the notion that even living to see the seven wonders will never match what she has lost.
Fleetwood Mac – Tango in the Night
Reissue Track List (Deluxe Edition) Disc One: Original Album – 2017 Remaster
1. “Big Love”
2. “Seven Wonders”
3. “Everywhere”
4. “Caroline”
5. “Tango In The Night”
6. “Mystified”
7. “Little Lies”
8. “Family Man”
9. “Welcome To The Room… Sara”
10. “Isn’t It Midnight”
11. “When I See You Again”
12. “You And I, Part II” Disc Two: B-Sides, Outtakes, Sessions
1. “Down Endless Street”
2. “Special Kind Of Love” (Demo)*
3. “Seven Wonders” (Early Version)*
4. “Tango In The Night” (Demo)*
5. “Mystified” (Alternate Version)*
6. “Book Of Miracles” (Instrumental)
7. “Where We Belong” (Demo)*
8. “Ricky”
9. “Juliet” (Run-Through)*
10. “Isn’t It Midnight” (Alternate Mix)*
11. “Ooh My Love” (Demo)*
12. “Mystified” (Instrumental Demo)*
13. “You And I, Part I & II” (Full Version)*
*Previously Unissued Disc Three: The 12″ Mixes
1. “Big Love” (Extended Remix)
2. “Big Love” (House On The Hill Dub)
3. “Big Love” (Piano Dub)
4. “Big Love” (Remix/Edit)
5. “Seven Wonders” (Extended Version)
6. “Seven Wonders” (Dub)
7. “Little Lies” (Extended Version)
8. “Little Lies” (Dub)
9. “Family Man” (Extended Vocal Remix)
10. “Family Man” (I’m A Jazz Man Dub)
11. “Family Man” (Extended Guitar Version)
12. “Family Party” (Bonus Beats)
13. “Everywhere” (12″ Version)
14. “Everywhere” (Dub) Disc Four: The Videos (DVD)
1. “Big Love”
2. “Seven Wonders”
3. “Little Lies”
4. “Family Man”
5. “Everywhere”
(Plus a High-Resolution Stereo Mix of the Original Album)
Vinyl debut, Triple-LP Collection Features 22 Live Recordings From The Band’s 1979-80 Tour, That Were Previously Available Only As Part Of The Tusk: Deluxe Edition, Available On March 4th From Warner Bros. Records
Fleetwood Mac unveiled a massive Deluxe Edition of its revered double album Tusk late last year that featured 22 previously unreleased live performances selected from the band’s 1979-80 tour. Until now, those concert recordings have only been available as part of the set and only on CD and digitally. That will change soon with the release of FLEETWOOD MAC: IN CONCERT.
All of the live music from the 2015 reissue of Tusk will be available on March 4th from Warner Bros. Records as a three-LP set. Pressed on 180-gram vinyl, the albums will be presented in a tri-fold jacket.
Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks originally released Tusk in October of 1979. The Grammy® Award-nominated, double-album went onto sell more than four million copies worldwide and introduced fans to hits like “Sara,” “Think About Me,” and the title track.
The music heard on In Concert was recorded at four stops during the band’s 111-show world tour promoting Tusk. This new collection serves as a worthy companion to the classic 1980 album Live. Although a few songs are duplicated from that album, including “Say You Love Me,” “Landslide” and “Go Your Own Way,” each performance on In Concert is unique and taken from a different show.
In Concert boasts 10 songs not heard on Live, including “World Turning” from the Fleetwood Mac’s 1975 self-titled release, and “The Chain” from the band’s best-selling album Rumours (1977), a Grammy-award winning juggernaut that has sold more than 40 million copies.
Several songs from IN CONCERT were recorded at the Checkerdome in St. Louis just a month after the release of Tusk, and only seven shows into the tour. Those performances capture the band already in top form on songs like “Angel,” “Save Me A Place” and “What Makes You Think You’re The One.”
The rest of the performances were recorded several months later, including 11 songs from the band’s six-night stand at Wembley Arena in London in June 1980. Among the highlights are “That’s Enough For Me,” “Sisters Of The Moon,” and the Top 10 smash from Rumours, “You Making Loving Fun.”
FLEETWOOD MAC: IN CONCERT
LP Track Listing
Side One
1.Intro (Wembley, 06/26/80),2.“Say You Love Me”(Wembley, 06/26/80), 3.“The Chain” (Wembley, 06/20/80) 4.“Don’t Stop” (Wembley, 06/27/80), 5.“Dreams” (Wembley, 06/20/80)
Side Two
1.“Oh Well” (Wembley, 06/20/80), 2.“Rhiannon” (Tucson, 08/28/80), 3.“Over And Over” (St. Louis, 11/05/79), 4.“That’s Enough For Me” (Wembley, 06/21/80),
Side Three
1.“Sara” (Tucson, 08/28/80), 2.“Not That Funny” (St. Louis, 11/05/79), 3.“Tusk” (St. Louis, 11/05/79), 4.“Save Me A Place” (St. Louis, 11/05/79)
Side Four
1.“Landslide” (Omaha, 08/21/80), 2.“What Makes You Think You’re The One” (St. Louis, 11/05/79), 3.“Angel” (St. Louis, 11/05/79), 4.“You Make Loving Fun” (Wembley, 06/20/80)
Side Five
1.“I’m So Afraid” (St. Louis, 11/05/79), 2.“World Turning” (Wembley, 06/22/80)
Side Six
1.“Go Your Own Way” (Wembley, 06/22/80), 2.“Sisters Of The Moon” (Wembley, 06/22/80), 3.“Songbird” (Wembley, 06/27/80)
Opening the garden with a bang. Live from Madison Square Garden, New York City. January 22, 2015. Fleetwood Mac.
Rock legends Fleetwood Mac, who performed two sold-out shows at NYC’s Madison Square Garden earlier this week, have confirmed they will be adding at least 28 more dates to their already scheduled 40-city “ON WITH THE SHOW” tour. The announcement was made during the band’s live performance on NBC’s TODAY Show where The Mac performed for thousands of adoring fans. Fleetwood Mac is currently performing with their five star lineup including the returning songbird Christine McVie who rejoined the band following a 16 year absence.
The principal emotion during the nearly 2 1/2-hour performance was the joy of having keyboardist McVie back in this group… She brought high harmonies and several songs, including ‘Little Lies,’ ‘You Make Loving Fun’ and the closing ‘Songbird,’ back into the repertoire.Stevie Nicks hasn’t sounded this good since the early ‘90’s. What a rhythm machine and what an articulate emotional guitarist Lindsay Buckingham is live.
“It’s still magical. Between Buckingham’s epic guitar solos, Mick Fleetwood’s massive drumming, John McVie’s strong bass work, Nicks’ patented spins to punctuate the lovely ‘Gypsy’ and Christine McVie’s lush vocals, Fleetwood Mac looked ready to take on what Buckingham has called ‘the next chapter.
With Christine’s songs back in the set, her calm, angular presence back on the stage, there was an undeniable feeling of rejuvenation. Mick Fleetwood and John McVie on bass reminded concert-goers why the band is named for them… They still put a layer of muscle behind everything the band did… Buckingham was ferocious and tireless as lead guitar. This man is a vital musical presence – the soul of the band. Ditto for the vitality of Nicks, its cauldron-stirring spirit… Her showcase songs, ‘Landslide,’ ‘Gold Dust Woman’ and, especially ‘Silver Springs,’ were the night’s highlights.
great performance of a beautiful song from Christine Mcvie is a superb songwriter and keyboardist that rarely gets the recognition for her songs and vocals that added to the Fleetwood Mac sound, there are pinnacle songs that Christine wrote for the Mac, “Don’t Stop, Little Lies, Everywhere, You Make Lovin Fun. She has also released three solo albums, Christine joined Fleetwood Mac after meeting John McVie in 1969 her previous band Chicken Shack were label mates at Blue Horizon.
The Fat Angel Sings 