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Rock - Released February 5, 2013 | Rhino - Warner Records

Distinctions Album du mois Magic - The Qobuz Ideal Discography - Pitchfork: Best New Reissue
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Rock - Released February 4, 1977 | Rhino - Warner Records

Distinctions Album du mois Magic - The Qobuz Ideal Discography
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Rock - Released February 4, 1977 | Rhino - Warner Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released September 23, 2016 | Rhino - Warner Records

Hi-Res Distinctions 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Deluxe version, we find a live performance at the Los Angeles Forum in 1982 where we hear Buckingham's bluesy guitars, unpublished versions, B-sides and a cover of Fats Domino's Blue Monday.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 - Released October 12, 1979 | Rhino - Warner Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released April 30, 2013 | Rhino - Warner Records

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Rock - Released September 23, 2016 | Rhino - Warner Records

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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 - Released January 19, 2018 | Rhino - Warner Records

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Rock - Released July 11, 1975 | Rhino - Warner Records

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Rock - Released March 31, 2017 | Rhino - Warner Records

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Rock - Released April 14, 1987 | Rhino - Warner Records

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Rock - Released December 4, 2015 | Rhino - Warner Records

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Rock - Released December 4, 2015 | Rhino - Warner Records

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Rock - Released September 19, 1969 | Rhino - Warner Records

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Pop - Released November 21, 1988 | Warner Records

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Rock - Released April 13, 1987 | Rhino - Warner Records

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Rock - Released October 12, 2002 | Rhino - Warner Records

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Rock - Released September 6, 2019 | Sony Music CG

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Before The Beginning? Before taking over the sound waves with its most popular combination (with the presence of Lindsey Buckingham, Stevie Nicks and Christine McVie) Fleetwood Mac already existed in 1968. Risen from the ashes of the Bluesbreakers, this version of the band, created by the brilliant Peter Green (with two other guitarists, Jeremy Spencer and a very young Danny Kirwan, Mick Fleetwood on drums and John McVie on the bass), took inspiration from the Delta blues by covering some of its legendary icons: Robert Johnson, Elmore James, T-Bone Walker… In three discs, Sony has uncovered thirty live rarely heard versions from 1968 to 1970 -- including four demos. These tracks are phenomenal, unlabelled and therefore entirely appraised and approved by their creators, who present a vision of contrasts over the course of the record. It begins in 1968 with lively but consistent guitars, before a more wandering feeling to the music in 1970, with Green’s signature extended instrumental sections, like the vibrant 13-minute-long Rattlesnake Shake, the fierce Oh Well or the languid tones of the famous Albatross, all in more rough-around-the-edges versions. Sadly, Spencer would go on to join the Children of God, Kirwan would be thrown out due to his alcohol dependency and Peter Green’s genius slowly evolved into madness. This is a real piece of British musical history. © Charlotte Saintoin/Qobuz
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Rock - Released March 31, 2017 | Rhino - Warner Records

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Pop - Released August 19, 1997 | Warner Records

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