Tag Archives: Rumours

Rocks In The Attic #794: Fleetwood Mac – ‘Tusk’ (1979)

RITA#794Fleetwood Mac recently played five nights in New Zealand – four of which in Auckland. They usually play one or two nights when they reach our shores, but this time they had a Kiwi among their ranks and all the proud New Zealanders wanted to see him.

The current touring line-up of the Mac was established when the band fired Lindsey Buckingham, apparently for not getting into the spirit of the band’s 50th anniversary and refusing to play material prior to his tenure with the band. Out went Buckingham, and brought in to replace him were Split Enz / Crowded House frontman Neil Finn, and Tom Petty sideman Mike Campbell. It’s a measure of how strong Buckingham was on both vocals and guitar, that the band split his responsibilities across two people (lead guitar work could easily have been handled by their touring guitarist, Neale Heywood).

RITA#794aSo, with a bit of new blood in the ranks, Fleetwood House and The Heartbreaker hit Auckland’s Spark Arena. Strangely, they opted to play exactly the same setlist for each of those nights – an odd choice for a band with such a wealth of material. The Peter Green-era material promised for their half-century anniversary was well received, and great to see. I already knew they were playing Man Of The World, and Black Magic Woman seemed an obvious choice, but it was the inclusion of Oh Well – my favourite single from that era of the band – that really put a smile on my face. This proved to be Mike Campbell’s showcase, and he played it perfectly. Given how the Buckingham / Nicks era of Fleetwood Mac are so very different to that original blues explosion version, I never thought I’d see any incarnation of the band play Oh Well.

After a shaky start – particularly in respect to Christine McVie’s voice – the band settled down and they eventually sounded almost as good as ever. I’m a huge fan of Lindsey Buckingham, and I think there’s an urgent, blind-corner aspect to his presence and his playing that was still missing. The subs still did a great job though.

RITA#794bIt almost seemed like a given that Neil Finn would be given the opportunity to perform Crowded House’s Don’t Dream It’s Over – which he did on an acoustic, with organ accompaniment from Ricky Peterson, to a rousing Kiwi chorus – but I was surprised to see the whole band back Finn on a cover of Split Enz’s I Got You. Finn’s introduction to song also explained that when the song would play on MTV in the 1980’s, Stevie Nicks would add her own background harmony, which she added during the night’s performance.

The encore started with the band’s tribute to Tom Petty – a cover of Free Fallin’ – complete with a photo montage of Campbell playing with Petty through the years, and Petty’s many appearances with Nicks. A lady behind me in the seats, probably unaware of Campbell’s credentials, saw one of the photos of Petty laughing with Nicks, and asked ‘Did she date him?’ I laughed at this typically Kiwi question – given reality TV’s stranglehold on Kiwi culture – but they did have a long and enduring friendship at least.

Obviously, with a Tom Petty song, a Crowded House song, a Split Enz song and three Peter Green-era songs, something had to move aside and unfortunately despite playing four songs from 1975’s Fleetwood Mac, and seven songs from Rumours, the band neglected to play any material from 1979’s Tusk, my second-favourite of the Buckingham/Nicks albums (after its diamond-selling predecessor).

The thing I love the most about Tusk, aside from its rousing title track, is the band’s decision to hold back and do something a little more experimental and home-made after the success (and marital strife) of Rumours. Influenced by the post-punk movement out of New York’s C.B.G.B. scene (particularly Talking Heads), Buckingham’s back-to-basics approach to songwriting, and home-studio recording, gives the album a measure of charm that goes against the usual sheen of their albums.

It’s a record I always enjoy pulling off the shelf, even if I always think I have it on the wrong speed, when Christine’s Over & Over lumbers out of the speakers. Fingers crossed the band will give the album the love it deserves when they next visit New Zealand, hopefully with Buckingham in tow, licking his wounds.

Hit: Tusk

Hidden Gem: The Ledge

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Rocks In The Attic #475: Stevie Nicks – ‘Bella Donna’ (1981)

RITA#475If American mattress-actress Belladonna started a musical career and called her debut solo album Stevie Nicks, well that’s just going to cause a headache for everybody. Let’s just all hope that that doesn’t happen.

This is Nick’s debut solo album, placed between Fleetwood Mac’s Tusk and Mirage. It doesn’t sound a million miles away from the Mac, and hit single Edge Of Seventeen is as strong as anything that you might expect from that band. The production just sounds a little more ‘80s; a tad more Tango In The Night than Rumours.

Away from the confines of a musical partnership, Nicks gets the opportunity to indulge herself here. You wouldn’t hear a song as countryfied as After The Glitter Fades on a Fleetwood Mac album, and she gets to entertain Tom Petty and the Heartbreakers on Stop Draggin’ My Heart Around – the only song on the record not to be written by Nicks. Even chief Eagle and professional nasty Don Henly makes an appearance on the subdued Leather And Lace.

While most songs could be lifted of any Mac album post 1975, there’s one moment on the record that would definitely have peaked Mac guitarist Lindsay Buckingham’s interest. Waddy Wachtel’s guitar riff on Edge Of Seventeen is the greatest moment on the album. Soon to be appropriated by Survivor on Eye Of The Tiger (released a year later in 1982), and sampled by Destiny’s Child on Bootylicious in 2001, it’s a thunderbolt of a hook.

Hit: Edge Of Seventeen

Hidden Gem: Bella Donna

Rocks In The Attic #440: Fleetwood Mac – ‘Rumours’ (1977)

RITA#440I saw Fleetwood Mac last night – a very wet, rainy night in Auckland to tick another band off my list. Outdoor concerts are always a risk, especially at this time of the year but a couple of bright pink ponchos (they only had pink left!) from the $2 shop were a lifesaver. When I put them on the counter to pay, the Asian lady on the till said “Ahh, you go concert!” so they must have done a run on them yesterday, hence why they only had pink ones left.

Any band that throw away something so fantastic as The Chain as their opening number must be something special. They absolutely caned Rumours for their first four songs – following The Chain with You Make Loving Fun, Dreams and Second Hand News – and you’d be forgiven for thinking that they had only ever recorded one album. In fact, by the end of their set, they only left two songs unplayed off this monster of a record – I Don’t Want To Know and Oh Daddy.

I’ve loved Rumours ever since I saw the album being picked apart on the first run of Classic Albums. That first bunch of albums covered by the show – Electric Ladyland, Graceland, Who’s Next, The Band – were an education, and the Fleetwood Mac episode was just as eye-opening. At that point in time (the early ‘90s), the band hadn’t yet reformed for The Dance so it looked unlikely that I’d ever get to see the band play live. They seem to have been touring non-stop ever since The Dance though, so it was only a matter of time.

Since 1998, Christine McVie hasn’t been playing with them, so I’ve been holding off – who wants to go and see a band who can’t play a third of their songs? Thankfully, she renounced her retirement from touring last year, and I finally got to see all five of them together.

Last night was a great concert – despite being sat up in the cheap seats with the riff-raff, in the pouring rain. Even Lorde was there (the closest thing to New Zealand rock royalty), braving the elements with her parents. At one point, a Facebook photo of Richie McCaw posing with his wife looking out from one of the corporate boxes buzzed through the crowd.

My favourite moment, other than the always awesome Tusk was the choruses of Little Lies – a blast of ‘80s pop brilliance where all three vocalists sing together. I was singing along with Lindsey Buckingham’s part at the end of each line – probably my favourite snippet of backing vocals from that entire decade.

Hit: Go Your Own Way

Hidden Gem: Second Hand News

Rocks In The Attic #278: Fleetwood Mac – ‘Tango In The Night’ (1987)

RITA#278When I was growing up, I heard a lot of this era of Fleetwood Mac. I’m not sure why, but maybe when Michael Jackson brought Bad out in 1987, I became a little more aware of music because of all the hype surrounding him, and as a result I probably took a little more interest in the Sunday Top 40 countdown on radio 1, and Thursday’s Top Of The Pops. I probably caught the occasional performance from this album, whilst waiting for the latest Michael Jackson video to appear.

For that reason, this album feels very natural to me, like slipping into a warm bath. For this era of Fleetwood Mac, it’s nowhere as good as Rumours, and I think you’d have to be crazy to suggest it’s even close, but it’s still a decent album with a lot of very strong pop songs.

I’ll always prefer the original, Peter Green-led Fleetwood Mac. In my eyes, they’re two very different bands, linked by that strange mid-period of albums after Green left and before Buckingham and Nicks came along. That doesn’t mean I don’t enjoy this line-up of the band though. It’s just a different prospect.

The three big singles from this album – Little Lies, Everywhere and Big Love – are very, very strong. The album seems to be pinned around them, and some of the lesser album tracks point to a lack of quality overall – something you can’t say about Rumours where every track is a killer. There were a total of six singles lifted from the album, with Seven Wonders, Family Man and Isn’t It Midnight rounding out the six.

My favourite song from the album is opener Big Love – and I love Lindsey Buckingham’s stripped-down live version of the song I heard on Cameron Crowe’s Elizabethtown soundtrack; but my favourite moment from the album is on side two opener Little Lies. The vocals on this Christine McVie track – Christine leading the chorus, followed by Stevie Nicks and finally by Buckingham sounding other-worldly – sounds just sublime to me. It’s a key moment when the whole band – and most importantly the three vocalists – lock-in so well together.

Hit: Little Lies

Hidden Gem: Caroline

Rocks In The Attic #20: Fleetwood Mac – ‘The Pious Bird Of Good Omen’ (1969)

Gotta love the Mac. I bought this album at some fair on Beech Road park in Chorlton. I think it was during Beech Road festival – and probably on the same day (or during the festival another year), Willow bought Bruce Willis’ The Return Of Bruno. I think I got the better deal.

Just like John Mayall, I could listen to Fleetwood Mac all day and not really notice. It seems so natural to me – I must have been a bluesman in a former life or something. I don’t have much of a thing for country blues, but English blues from the beat explosion of the sixties really speaks to me.

This album is a compilation of the band’s first four singles (and their B-sides), plus two tracks from the Mr. Wonderful (1968) album, and another two tracks from another blues artist Eddie Boyd, backed by Fleetwood Mac.

One of my favourite things to happen at work is for one of the girls in the office to put my iPod on the stereo, choose Fleetwood Mac, and then play all their songs on shuffle. They’re expecting songs off Rumours (1977), but my iPod is heavily weighted towards the 1960s version of Fleetwood Mac. The better version, that is.

Hit: Albatross

Hidden Gem: Need Your Love So Bad