Fleetwood mac live 1980 review

The vinyl sounds ever so slightly more detailed and lively. Still the old WB CD set sounds very good on its' own. It is only when I directly compared the two that I noticed much of a difference. Anyway, the reason I wanted to post about this album is because it rarely gets any recognition at all, and I can't understand why.

Fleetwood Mac Live

A lot of the songs' arrangements are significantly different than the studio versions. And the band sounds great, particularly Buckingham and Fleetwood.

Fleetwood Mac- Mirage Tour 1982

Any other fans of this album? Opinions on best sounding versions any format? Rickchick , bibliotudinous and Stephen J like this. I love this version of "Monday Morning.

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Jamey K , Mar 13, Shak Cohen , Comet01 , Rickchick and 5 others like this. TheSeldomSeenKid , Mar 13, Gallatin, Tennessee. MYKE , Mar 13, TheSeldomSeenKid likes this. Franklin, TN. For me, it has the definitive version of "I'm So Afraid" vs their self-titled album.

It is edgier and I think Lindsey's vocals are much stronger. Y'all making me pull this one out now Rickchick and willy like this. Eastern Iowa.

The 3-CD release gathers music from the band's half-century career.

Fleetwood Mac had been written off by critics as a band past their s heydey, but Tango in the Night proved the band was not past their prime. Tango in the Night started as a Buckingham solo effort, and it shows, with melodies that are inventive yet still singable. Only Rumours sold more copies than Tango in the Night. The album was recorded under strange circumstances, with Nicks spending just two weeks in the studio while promoting her third solo effort, and Buckingham quitting the band before the tour. The thing I knocked Say You Will for — being too long — was also a major issue for critics and fans with Tusk, only moreso, since the double album was wildly different in form and structure than their mega-hit, Rumors.

Tusk, however, has only grown in prestige since its polarizing release. The record only sold 4 million albums and was considered a flop by the label. Tusk is every bit as good as Rumours. Although the real-life breakups and recoupling has been written about extensively as fuel for the music, rock bands are almost constantly filled with drama, but none of them have produced an album that is this good.

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The entire album flows with emotion and melody, shifting tones from bright, to dark, to beautiful and back again. Rumours produced a slew of hits, but Rumours is that rare beast — a cohesive album that is best listened to as a whole. Go Your Own Way and Fireflies 9. Mirage Mirage is a polished, easy-to-listen to album that felt like a let down after Rumours and Tusk. The Dance This live album is a triumph and reunion.

From what I have heard - this version of the band takes up an entire disc on The Chain box set - I'm not particularly interested.

Aficianados of British blues-rock might be, but my tastes don't run toward that direction. All of this is my way of explaining that I am neither interested nor qualified to review the the pre-'75 portion of the band's career. Rather than break up, the remaining members recruited a California duo Lindsey Buckingham and Stevie Nicks who had recorded an obscure album in the early '70s , and promptly shot to superstardom with a string of smooth pop hits.

Fleetwood Mac's formula can be summed up as soft rock with an edge: Add a slight spaciness to the texture and the deep songwriting well that comes from having three talented singer-songwriters in the same band, and you've got the recipe for multi-platinum success and some of pop's most enduring radio classics. Ignoring Big Star for a moment and Blondie , Fleetwood Mac were probably the best purveyors of pure pop for now people that the '70s produced. I suppose I'll have to justify making the cut-off point, also.

The reason, again, is simple: I don't have any of their records made after , primarily from complete lack of interest. By that time the band's infamous infighting had caused the walk-off of Buckingham, the primary architect of the post-'75 Fleetwood Mac sound. The rest of the band soldiered on as expected, but the gradual erosion of time not to mention heavy drugs had eaten away at their spark and abilities. It happens to almost every rock band that has lasted more than a decade.

The ''87 lineup has recently reformed to cash in on their old glories, releasing a live disc, and I'm not interested in oldies acts so I'm not covering their "comeback" either.


Fleetwood Mac: 50 Years - Don’t Stop - album review | Louder

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It's best to view this as a debut album, which for all intents and purposes this is. The great strength of this album is the balancing of three singer-songwriters' contributions so that the pieces are at once varied and smoothly integrated into a seamless whole. It helps that Buckingham's updated Buddy Holly rock songs are feisty without turning into hard rock, and that Stevie Nicks' husky voice gives her mystic gypsy ballads a slightly bluesy edge.

Christine McVie's songs are straight up soft rock, complete with blandly sweet vocals and love gushy sentiments, but for the most part they are infused with an infectiousness that's irresistable the hit "Say You Love Me" with that wonderful "fallin', fallin', fallin'" at the end; even better is the upbeat, mid-tempo "Sugar Daddy". Nicks' work is particularly strong this time out: And while Buckingham's songs are probably the weakest this time round, they're still good, and he ends the album with the weirdest tune: The mega-platinum followup was the biggest seller of all time until Thriller , and one of those rare cases in which commercial and artistic accomplishment coincide.