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Rock - Verschenen op 5 februari 2013 | Rhino - Warner Records

Onderscheidingen Album du mois Magic - The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Rock - Verschenen op 4 februari 1977 | Rhino - Warner Records

Onderscheidingen Album du mois Magic - The Qobuz Ideal Discography
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Rock - Verschenen op 4 februari 1977 | Rhino - Warner Records

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 23 september 2016 | Rhino - Warner Records

Hi-Res Onderscheidingen Best New Reissue
Completing the trilogy begun by Rumours (1977) and Tusk (1979), Fleetwood Mac recorded Mirage between 1981 and 1982 at the famous Château d'Hérouville. The acoustics of the venue have been compared to Abbey Road studios and the likes of Bowie, Iggy Pop, Cat Stevens and a bunch of others have all passed through. After a hiatus where they followed their own personal ambitions, the quintet returned to the studio. In the meantime, Stevie Nicks, Mick Fleetwood and Lindsey Buckingham had set off on their solo careers. And Nicks' Bella Donna, released a year earlier, produced by Tom Petty and Jimmy Iovine, was at the top of the charts, selling 8 million copies. Enough to overshadow this Mirage... However, there was no way she was leaving Fleetwood Mac. The beautiful girl whose voice had been roughened by dope signed off on two songs: Gypsy, a nostalgic ballad which she dedicated to her friend Robyn Snider Anderson, and Straight Back. Christine McVie composed Hold Me, Love in Store, one of the hits on the opus, as well as Wish You Were Here and Only Over You. In fact, it was Buckingham, in the same vein as Tusk, who wrote most of the songs.Less experimental than Tusk but less obvious than Rumours in its melodic writing, Mirage closes Fleetwood Mac's golden period. Dominating the work, McVie's kitschy synthesizers print an antiquated eighties sound onto the intros of Can't Go Back and Oh Diane, giving the work a flaky pop varnish. It was not until Tango In The Night, five years later, that the FM sound was back. Within this Deluxe version, we find a live performance at the Los Angeles Forum in 1982 where we hear Buckingham's bluesy guitars, unpublished versions, B-sides and a cover of Fats Domino's Blue Monday. © Charlotte Saintoin/Qobuz
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Rock - Verschenen op 12 oktober 1979 | Rhino - Warner Records

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 30 april 2013 | Rhino - Warner Records

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Rock - Verschenen op 23 september 2016 | Rhino - Warner Records

Onderscheidingen Best New Reissue
Completing the trilogy begun by Rumours (1977) and Tusk (1979), Fleetwood Mac recorded Mirage between 1981 and 1982 at the famous Château d'Hérouville. The acoustics of the venue have been compared to Abbey Road studios and the likes of Bowie, Iggy Pop, Cat Stevens and a bunch of others have all passed through. After a hiatus where they followed their own personal ambitions, the quintet returned to the studio. In the meantime, Stevie Nicks, Mick Fleetwood and Lindsey Buckingham had set off on their solo careers. And Nicks' Bella Donna, released a year earlier, produced by Tom Petty and Jimmy Iovine, was at the top of the charts, selling 8 million copies. Enough to overshadow this Mirage... However, there was no way she was leaving Fleetwood Mac. The beautiful girl whose voice had been roughened by dope signed off on two songs: Gypsy, a nostalgic ballad which she dedicated to her friend Robyn Snider Anderson, and Straight Back. Christine McVie composed Hold Me, Love in Store, one of the hits on the opus, as well as Wish You Were Here and Only Over You. In fact, it was Buckingham, in the same vein as Tusk, who wrote most of the songs.Less experimental than Tusk but less obvious than Rumours in its melodic writing, Mirage closes Fleetwood Mac's golden period. Dominating the work, McVie's kitschy synthesizers print an antiquated eighties sound onto the intros of Can't Go Back and Oh Diane, giving the work a flaky pop varnish. It was not until Tango In The Night, five years later, that the FM sound was back. Within this Deluxe version, we find a live performance at the Los Angeles Forum in 1982 where we hear Buckingham's bluesy guitars, unpublished versions, B-sides and a cover of Fats Domino's Blue Monday. © Charlotte Saintoin/Qobuz
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Rock - Verschenen op 9 april 2021 | Rhino - Warner Records

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Fleetwood Mac's 1980 double-album Live was released as a way for the physically, emotionally, and creatively exhausted group to continue the winning streak that saw them dominate the last half of the '70s with Fleetwood Mac, Rumours, and Tusk. The band recorded audio and video at every one of the 112 (!) dates they played between October 1979 and September 1980 and then proceeded to put together an album that putatively represented a Tusk tour date. In that regard, Live was perhaps the apotheosis of the Frankenstein-ed "live" album. The 2-LP set didn't just combine recordings from multiple dates on the Tusk tour ... it pulled in songs from multiple tours to present a weird, idealized version of "a Fleetwood Mac concert." The original release threw in a few cuts from the Rumours tour, a song originally released by Buckingham Nicks ("Don't Let Me Down Again") that the Mac performed on tour in 1975, and even a couple of studio rarities ("Fireflies" and a cover of the Beach Boys' "Farmer's Daughter"). However the album may fail as an accurate piece of documentary audio it more than succeeds as a cohesive piece of rock 'n' roll. While some tracks do occasionally suffer a bit from the vagaries of live performance—a cracked voice here, a late guitar melody there—thanks to the embarrassment of riches in their song pool and given that the band was at the peak of their powers, the selection of their best individual performances yielded excellent results, and nearly all of the tracks bristle with energy, vibrancy, and a sense of creative electricity that was surely a bit of a crapshoot on such a long and grueling tour. And, in some cases—"Over and Over" and "Never Going Back Again" especially—the live versions captured here are actually superior to the studio takes, gaining an intensity and immediacy that accentuates their inherent drama. This new edition continues in the original's tradition, tacking on a third disc of live rarities that's similarly wide-ranging, including tracks recorded on the Mirage tour which happened two years after Live was originally released. While those extras feel (obviously) tacked on—more than an encore, but less than a standalone show—they also lack the flowing context of the main album and feel far more disjointed in their presentation. Nonetheless, getting to hear the Rumours band take on "The Green Manalishi (With The Two-Pronged Crown)" at the Oklahoma City State Fair Arena in 1977 or a transcendent version of "Songbird" from the tail end of the Tusk tour in Arkansas is still quite thrilling. © Jason Ferguson/Qobuz
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Rock - Verschenen op 19 januari 2018 | Rhino - Warner Records

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Rock - Verschenen op 11 juli 1975 | Rhino - Warner Records

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Rock - Verschenen op 31 maart 2017 | Rhino - Warner Records

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Rock - Verschenen op 14 april 1987 | Rhino - Warner Records

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Rock - Verschenen op 4 december 2015 | Rhino - Warner Records

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Rock - Verschenen op 4 december 2015 | Rhino - Warner Records

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Rock - Verschenen op 13 april 1987 | Rhino - Warner Records

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Rock - Verschenen op 19 september 1969 | Rhino - Warner Records

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Pop - Verschenen op 21 november 1988 | Warner Records

Op het verzamelalbum Greatest Hits van Fleetwood Mac zijn zoals de titel al verraadt de gootste hits van deze legendarische Brits-Amerikaanse popgroep samengebracht. De plaat dateert uit 1988 en dat betekent dat de nummers vooral uit de jaren zeventig en tachtig dateren. Zo bevat Greatest Hits de nummers "Go Your Own Way", "Don't Stop" en "Little Lies". © TiVo
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Rock - Verschenen op 8 oktober 2002 | Rhino - Warner Records

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Pop - Verschenen op 19 augustus 1997 | Warner Records

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Rock - Verschenen op 6 september 2019 | Sony Music CG

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Before The Beginning? Fleetwood Mac gab es schon, noch bevor ihre bekannteste Version (nachdem Lindsey Buckingham, Stevie Nicks und Christine McVie dazugekommen waren) 1968 in allen Sendestationen ununterbrochen zu hören war. Die aus den Resten der Bluesbreakers hervorgegangene Gruppe – dank des genialen Peter Green (zusammen mit zwei weiteren Gitarristen, Jeremy Spencer und dem noch ganz jungen Danny Kirwan, sowie dem Schlagzeuger Mick Fleetwood und dem Bassisten John McVie) – schöpft aus dem Delta-Blues, indem sie dessen Legenden wie Robert Johnson, Elmore James, T-Bone Walker covert… Mit drei Alben erweckt Sony an die dreißig, erstmals veröffentlichte Live-Mitschnitte aus den Jahren 1968 und 1970 zu neuem Leben – darunter vier Demoversionen. Dass es diese Mitschnitte gibt, ist ein kleines Wunder, denn ohne irgendein Label sind sie durch die gnädigen Hände ihresgleichen gegangen, sodass wir nun eine recht kontrastreiche Vision vorliegen haben. Erste Anzeichen der 68er mit unterwürfigen, aber schwungvollen Gitarren. Dann die ausgeflippten 70er und die unterschwellige Implosion mit Greens langen, leidenschaftlich besessenen Instrumentaleinlagen wie etwa dieser 13-minütige erschütternde Rattlesnake Shake, dieser fuchsteufelswilde Oh Well oder der berühmte, schmachtende Albatross. Es handelt sich um schematische, weniger ausgearbeitete, ungeschliffene Versionen. Spencer sollte später zu den Children of God überlaufen, Kirwan wegen Alkoholproblemen hinausgeworfen werden und den genialen Peter Green treibt es endgültig in den Wahnsinn. Ein wahres Stück britischer Geschichte. © Charlotte Saintoin/Qobuz

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Fleetwood Mac in het magazine