![]() Released as a single from Bare Trees, the desired effect was stalled until Bob Welch made his solo French Kiss, brought Christine McVie into sing-and had Fleetwood help create a spine for one of the ’80s biggest AC smashes. Throatily, she cautions, “lousy lovers pick their prey, but they never cry out loud” and “rulers make bad lovers, you better put your kingdom up for sale”-two enjoinders destined to be carved into notebooks well into the ’90s. Again, Fleetwood with a cowbell and sticks on the rim and Buckingham’s serpentine electric guitar-that would flange into pools of quaver as punctuation-cast a spell for Nicks’ harrowing portrait of the wages of morning afters, vampire coke whores and the ravages of realizing the cost of empty encountering. The drugs were becoming a problem, as were the internal crises. (And Playboy founder Hugh Hefner with “Hee Haw” Honey girlfriend Barbi Benton adds a nice flourish) To understand the toppling rhythms that drove latter versions, start with Peter Green yowling about sex and masturbation and Mick Fleetwood brings those sticks down hard and John McVie undulates with a melodic sense that underscores the potency of the beat. People forget that the Mighty Mac started as a British blues band, mining the roots and creating an electric homage a la Led Zeppelin or the Yardbirds. ![]() For Fleetwood Mac, the other side of Southern California’s “peaceful easy feeling,” this was the Bohemian manifesto of sparkle, sunshine, chiffon and wanderlust on a cloud of creamy synthesizers from Christine McVie-with a confectionary video that was every hippie girl’s dazzling fantasy embodied by Stevie Nicks in full regalia. In some ways, it felt a little like “Stevie does Stevie,” but it’s hard to argue with the free-spirited declaration of self. ![]() Here are the 20 best songs from Fleetwood Mac: 20. When Bill Clinton made his ran at the White House, it was “Don’t Stop” that fired up his team for his Inauguration, the band reunited to play. They followed with the progressive, challenging two-record set Tusk, the more conventional Tango in the Night and Mirage. Aggressive playing, pop-inflected melodies and sexual frisson ignited rock that was palatable in the malls as well as back rooms, yet some of pre-Buckingham/Nicks songs remain pivotal in the catalogue.Īnd what a catalogue! The self-titled “white album” lead to the 45-million selling Rumours-inescapable for a period of almost three years. Ironically, it was the merger of two Northern California dreamers-Lindsey Buckingham and Stevie Nicks-that provided the solid rhythm section of Britain’s ferocious Mick Fleetwood on drums, velvety vocalist/B-3/pianist Christine McVie and melody-driven bassist John McVie the catalyst for superstardom. ![]() Post-disco, it was the illusion of earthy, mystical post-hippie magic, the return of electric guitars and rhythm sections that echoed. Equal parts British blues rockers, folkie bohemians and thick South California soft-pop harmonies, they crafted a songbook rife with strife, long on eroticism and charged by the cocaine-fueled reality of the era. Fleetwood Mac embodied the high gloss, tube-topped reality of the late ’70s like few others.
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