Categories :

Similar artists

Albums

CD$25.49

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

Distinctions Album du mois Magic - The Qobuz Ideal Discography - Pitchfork: Best New Reissue
CD$38.49

Rock - Released May 31, 2013 | Rhino - Warner Records

Distinctions Album du mois Magic - The Qobuz Ideal Discography - Pitchfork: Best New Reissue
CD$14.49

Rock - Released February 4, 1977 | Rhino - Warner Records

Distinctions Album du mois Magic - The Qobuz Ideal Discography
HI-RES$16.49
CD$14.49

Rock - Released February 4, 1977 | Rhino - Warner Records

Hi-Res Distinctions The Qobuz Ideal Discography
Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend -- it's an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group's internal turmoil. Unlike most bands, Fleetwood Mac in the mid-'70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled. Bassist John McVie and his keyboardist/singer wife Christine McVie filed for divorce as guitarist/vocalist Lindsey Buckingham and vocalist Stevie Nicks split, with Stevie running to drummer Mick Fleetwood, unbeknown to the rest of the band. These personal tensions fueled nearly every song on Rumours, which makes listening to the album a nearly voyeuristic experience. You're eavesdropping on the bandmates singing painful truths about each other, spreading nasty lies and rumors and wallowing in their grief, all in the presence of the person who caused the heartache. Everybody loves gawking at a good public breakup, but if that was all that it took to sell a record, Richard and Linda Thompson's Shoot Out the Lights would be multi-platinum. No, what made Rumours an unparalleled blockbuster is the quality of the music. Once again masterminded by producer/songwriter/guitarist Buckingham, Rumours is an exceptionally musical piece of work -- he toughens Christine McVie and softens Nicks, adding weird turns to accessibly melodic works, which gives the universal themes of the songs haunting resonance. It also cloaks the raw emotion of the lyrics in deceptively palatable arrangements that made a tune as wrecked and tortured as "Go Your Own Way" an anthemic hit. But that's what makes Rumours such an enduring achievement -- it turns private pain into something universal. Some of these songs may be too familiar, whether through their repeated exposure on FM radio or their use in presidential campaigns, but in the context of the album, each tune, each phrase regains its raw, immediate emotional power -- which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time. ~ Stephen Thomas Erlewine
HI-RES$29.49
CD$25.49

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
HI-RES$17.99
CD$15.49

Rock - Released April 30, 2013 | Rhino - Warner Records

Hi-Res Distinctions Hi-Res Audio
CD$25.49

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

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
HI-RES$29.49
CD$25.49

Rock - Released January 19, 2018 | Rhino - Warner Records

Hi-Res

Rock - Released November 16, 2018 | Rhino - Warner Records

Download not available
Fifty years already! In 1968, Fleetwood Mac began a story that reads like a novel. Throughout their dramas with drugs, unrest and romances, we also find their greatest successes. 50 Years - Don't Stop compiles together - for the first time - half a century of the Californian group's colourful existence, divided into three parts. It starts with their very bluesy beginnings, carried by Peter Green, Jeremy Spencer and the late Danny Kirwan, who at the time lost himself to LSD.  This first album features the very essence of Fleetwood Mac and its roots steeped in the British blues of the sixties. Then the second album covers their rise towards world fame by bringing together Fleetwood Mac (1975), Rumours (1977) and Tusk (1979), marking a shift towards pop that was shaped by the arrival of the Stevie Nicks-Lindsey Buckingham couple as well as Christine McVie on keyboards. The third part spans from the ‘80s up to their return to the recording studio in 2013, when the band was still whole. Today, as they prepare for their 2019 European tour, Fleetwood Mac no longer includes the man who long held the reins: Lindsey Buckingham. The guitarist immediately took them to court. Mick Campbell, the guitarist from Tom Petty's Heartbreakers, and Neil Finn from Crowded House will be in his place. It looks like Fleetwood Mac may only ever be able to create when there’s turmoil. © Charlotte Saintoin/Qobuz
HI-RES$59.49
CD$51.49

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

Hi-Res
HI-RES$14.99
CD$12.99

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

Hi-Res
HI-RES$17.99
CD$15.49

Rock - Released November 16, 2018 | Rhino - Warner Records

Hi-Res
This Peter Green-led edition of the Mac isn't just an important transition between their initial blues-based incarnation and the mega-pop band they became, it's also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of "Bare Trees" and "Kiln House" with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal "Oh Well," with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band's most enduring progressive composition. "Rattlesnake Shake" is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green's fiery improvisations power "Searching for Madge," perhaps Mac's most inspired work save "Green Manalishi," and leads into an unlikely symphonic interlude and the similar, lighter boogie "Fighting for Madge." A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on "Coming Your Way" not only defines the Mac's sound, but the rock aesthetic of the day. Of the songs with Kirwan's stamp on them, "Closing My Eyes" is a mysterious waltz love song; haunting guitars approach surf music on the instrumental "My Dream"; while "Although the Sun Is Shining" is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged "Underway," the folky "Like Crying," and the final outcry of the ever-poignant "Show Biz Blues," with Green moaning "do you really give a damn for me?" Then Play On is a reminder of how pervasive and powerful Green's influence was on Mac's originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus. ~ Michael G. Nastos
HI-RES$29.49
CD$25.49

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

Hi-Res
CD$15.49

Pop - Released November 21, 1988 | Warner Records

CD$25.49

Rock - Released March 31, 2017 | Rhino - Warner Bros.

HI-RES$16.49
CD$14.49

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

Hi-Res
CD$12.99

Pop - Released August 19, 1997 | Warner Records

Two years after the Lindsey Buckingham/Stevie Nicks/Christine McVie-less incarnation of Fleetwood Mac crashed and burned, their classic '70s lineup reunited for an MTV Unplugged session and an accompanying tour. Although it's likely that the reunion was for monetary purposes, it made creative sense as well -- no members were as compelling solo as they were with the group. Despite this, the Unplugged-styled setting wasn't ideal for a reunion, since the group decided to devote nearly a quarter of The Dance to new material, inevitably resulting in unfair comparisons to their warhorses. Since there's so much new material, The Dance can't be a truly nostalgic experience either, because the new songs interrupt the flow. Not that they're bad -- both Buckingham's gentle "Bleed to Love Her" and nervy "My Little Demon" are first-rate -- but they aren't given the full-fledged production they deserve. Similarly, the older songs suffer from the slightly hollow unplugged production. All the hits are performed in nearly identical arrangements to the originals, with the exception of Buckingham's solo "Big Love" (an improvement on the original) and the addition of Tusk's marching band to "Don't Stop," which makes the differences all too apparent. Much is the same -- McVie and Nicks sound terrific, and the band is tight and professional -- but Buckingham has lost some of his range, which undercuts some of his songs. Still, that isn't enough to prevent The Dance from being an entertaining listen; it just isn't a substantial one. ~ Stephen Thomas Erlewine
HI-RES$17.99
CD$15.49

Rock - Released April 15, 2003 | Rhino - Warner Records

Hi-Res
HI-RES$20.99
CD$17.99

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

Hi-Res
CD$25.49

Rock - Released January 19, 2018 | Rhino - Warner Records

Their second eponymous album, Fleetwood Mac, of 1975, allowed the group to redefine an evolving identity. Everything had changed since the debut work, which had come out seven years earlier. The British group had lost three guitarists. Addled by LSD, disgusted by money, Peter Green, a pure blues spirit, deserted. Jeremy Spencer joined the Children of God, and the very young Danny Kirwan was sacked for alcohol troubles and poor mental health. All that remained were Fleetwood and McVie. In California Mick Fleetwood came across the couple Lindsey Buckingham and Stevie Nicks, while John McVie recruited his future wife to the keyboards. English blues born from the ashes of the Bluesbreakers, Fleetwood Mac, hitched to the Nicks-Buckingham team, passed over into rock bearing the Californian "FM" stamp. Mainstream radios never received such good vibrations. Before Rumours which would inundate a whole generation, the group was already nurturing that quality which would propel them up the charts. Nicks's raw sensuality on Rhiannon, Buckingham's nascent leadership on I’m So Afraid, the dulcet pop of Over My Head and Say You Love Me. But also singular beauties such as Landslide, more known for its cover by the Smashing Pumpkins or Crystal. Between a hippie dusk raging against the rising tide of punk and remnants of the blues (World Turning), Fleetwood Mac, whose earlier versions and live recordings are offered up for discovery in this Deluxe edition, set out on a lightning ascent under a narcotic spell as winning as it was tragic. © CS/Qobuz

Artist

Fleetwood Mac in the magazine