ReportWire

Tag: lindsey buckingham

  • Will Rumours Never Cease? – Houston Press

    [ad_1]

    It is a fairly certain truth that Fleetwood Mac’s 1977 album Rumours showcased a band at its musical apex (sorry, Tusk-heads).

    Credit: Book cover

    The 11th (!) studio album from a group that started off as a hardcore blues outfit with an ever-shifting lineup, it was the second to feature the quintet of co-founders Mick Fleetwood (drums) and John McVie (bass), along with John’s wife Christine McVie (vocals/keyboard) and newish California couple Lindsey Buckingham (vocals/guitar) and Stevie Nicks (vocals/tambourine/twirling).

    Critics liked it, but in this case so did the public. A lot. It made the band global superstars, won many bookcases of awards, stayed at or near the top of the singles and album charts for some time, and sold 10 million copies in a little over a month.

    That the album was made in a flurry of romantic angst (all five members were in faltering relationships, including two couples within the band), cocaine, and cash. And it’s all there in the songs, penned by the three singers, and often about each other.

    YouTube video

    But that was nearly 50 years ago. Today, Rumours is shockingly the gift that keeps on giving, now notching up 40 million in sales and hundreds of millions of streams. It has gone 21X Platinum and was the best-selling rock record of 2024. Sure, the appeal to the original Boomer customers was always there, but Gen X, Millennials, Gen Z, and now Gen Alpha have embraced it, are talking about it, overanalyzing it, and covering it.

    Longtime music scribe Alan Light—a teen himself in 1977—has seen this firsthand. And has written an entire book not just about the making of Rumours but the impact, legacy, and still white-hot relevance of the disc in Don’t Stop: Why We (Still) Love Fleetwood Mac’s Rumours (288 pp., $29, Atria Books).

    YouTube video

    He starts by giving a general history of the band, the album’s recording, and the individual songs—though on purpose not going deep in the weeds as other books and docs have already covered.

    What makes Don’t Stop different from other Mac books (or even those about Rumours) is Light’s deft analysis and the fact that he interviewed more than 30 aficionados between the ages of 16 and 30. They talk about their own relationship to the record and how it came into—and stays—in their lives.

    YouTube video

    So, as Light ponders himself, “Why do kids like this old-ass album?”

    It’s because their parents played it. Or an older sibling had a copy. Or a friend turned them onto it. Or they could stream all 11 tracks instantly.

    Or 12 if you, as Light does, also include by default Nicks’ magesterial “Silver Springs.” Cut from the record due to length (or giving Nicks too much say in the back-and-forth songs between herself and Buckingham), it became B-side to the first single.

    YouTube video

    But it came to life on its own via the searing performance from the 1997 The Dance concert, with Nicks all up in Buckingham’s face, boring a hole in his head with her laser eyes as she wails “You’ll never get away from the sound of the woman that loves you!/Was I just a foo-ool?

    Or the appearance/influences of the album on Glee, Daisy Jones & The Six. Or the cranberry juice-swilling TikTok guy. Memes. There’s also the female dynamic in the band and universal themes of romantic love and loss. Or The Cult of Stevie, stronger now than in 1977. Hell, Rumours even comes up in lists of “diss tracks,” with Stevie and Lindsey trading barbs right up there with Drake and Kendrick.

    Rumours teaches us about perseverance and survival. It illustrates the impact that creativity and commitment can make, as demonstrated by its ongoing legacy,” Light sums up. Adding that in 2022, the first year that vinyl improbably outsold CDs, the top sellers were discs by Taylor Swift, Harry Styles (both ardent Nicks fans and collaborators), Olivia Rodrigo, Kendrick Lamar, and…Rumours.

    Go your own way? Not a chance. Looks like these Rumours will continue to hang around. And in this book, Alan Light turns them into facts.

    [ad_2]

    Bob Ruggiero

    Source link

  • Brace Yourselves, Stevie Nicks and Lindsey Buckingham Are Talking Again

    [ad_1]

    Old flames.
    Photo-Illustration: Vulture; Photos: Steve Jennings/WireImage, Lorne Thomson/Redferns

    All of those crystal circles paid off. Stevie Nicks and Lindsey Buckingham are back to being on speaking terms, several years after an estrangement caused by Buckingham’s firing from Fleetwood Mac and decades of relishing the most tumultuous (and hot) relationship in rock history. The duo appeared in separate interviews for the newest episode of Song Exploder, where they discussed the Buckingham Nicks track “Frozen Love,” the album of which was recently remastered for the first time in five decades. When asked if she recalled her first memory of meeting Buckingham when they were teenagers, our songstress relayed the following intel: “Lindsey and I started talking about it last night. This whole thing seems really like yesterday to us.” Creating that 1973 album, which predated their time in Fleetwood Mac, brought them closer together as romantic partners. “Our relationship was up and down and up and down and up and down and difficult, but at the same time fantastic,” Nicks explained. “And what we were doing was so fantastic, that it was worth putting up with the trials and tribulations of a relationship that’s difficult.”

    Nicks still draws comparisons between “Frozen Love” and certain works of literature, likening the song to a sonic version of Wuthering Heights or Great Expectations. “A modern-day love affair, tragedies. Because nobody really loves happy songs,” she said. “Certainly, I didn’t, and neither really did Lindsey.” Nicks also admitted that her pronunciation of “fate” in the song does indeed sound a bit like “hate” to certain listeners. “So, that’s not good. I’m sorry, Lindsey,” she added. “I’m calling him later.” The duo last spoke for “about three minutes” at Christine McVie’s celebration-of-life ceremony, which occurred in 2022. But if they wanted to float around the idea of a reunion tour with an extensive shawl budget, that would be all right with us.

    [ad_2]

    Devon Ivie

    Source link

  • Riley Keough Was Born in the Spotlight. Now She’s There on Her Own Terms

    Riley Keough Was Born in the Spotlight. Now She’s There on Her Own Terms

    [ad_1]

    There’s something amusingly meta about watching Riley Keough watch a Fleetwood Mac performance. The real band’s influence on Daisy Jones & the Six, in which she stars as the titular Stevie Nicks–esque singer, has been well-documented. But Keough was surprised to learn that one of the group’s original members has, in fact, acknowledged her series.

    The day before our Zoom call, Fleetwood Mac guitarist Lindsey Buckingham—whose relationship with Nicks inspired the characters of Daisy and Billy Dunne (played by Sam Claflin)—posted a TikTok alluding to renewed chatter about their breakup. Buckingham posted a clip from a 1997 performance of “Silver Springs,” a searing kiss-off song Nicks wrote about Buckingham. “I heard we’re talking about that ’97 ‘Silver Springs’ again,” he wrote. 

    When I alert Keough to this all-important development, she immediately pulls the video up on her laptop. “I need to see this right now,” she says. “I’m wasting our interview because I need to see if this is fake news.” Keough watches the TikTok with delight, smiling in a dazed way before commenting beneath the video with three simple words: “Yes we are.”

    The fact that Buckingham felt the need to give Daisy Jones a nod is proof of the show’s impressive reach. Based on Taylor Jenkins Reid’s best-selling novel, the Prime Video series has hit number one on the streamer; its accompanying album, Aurora, featuring the cast singing fictional ’70s hits, peaked at number one in the US on iTunes. It’s undeniably the biggest role of Keough’s career thus far—and a moment that she’s referred to as “cosmic.” But stepping into a spotlight that she’s tried to shirk most of her life took a concerted effort, Keough tells me.

    The 33-year-old actor is the granddaughter of Elvis Presley and the daughter of Lisa Marie Presley. By the time she reached high school, she had called both Michael Jackson and Nicolas Cage stepfathers. “I grew up with a family that was very much in the public eye, and my childhood was really intense in that way, especially in the ’90s and early 2000s,” Keough says. “It was probably similar to what the Kardashian kids experience now—not being able to go out the front of buildings and having to sneak around and not being able to do…” She trails off. “Just a lot of attention, not being able to do normal things. I really started to appreciate normal things in life—being able to go to the coffee shop and sit there.”

    As an adult, Keough has largely evaded the nepo-baby conversation (and dissection of her personal life) by acting in indie projects, including American Honey and Zola. (One of the glaring exceptions is 2015’s Mad Max: Fury Road, through which she met her Australian stuntman husband, Ben Smith-Petersen. The two now share a newborn daughter.) “I didn’t actively make choices that were obviously going to change my life,” she says. “I was always trying to navigate how I can perform and also have this thing that’s really special to me, which is being able to do normal things in the world. Subconsciously I was always operating this way, avoiding things that felt…I don’t know, that would change that for my life.” 

    Daisy, with its built-in fan base and tangential ties to her musical pedigree, seems like it would have totally derailed the plan. But in the last five years, Keough says, she gave herself freedom to say yes. “I did know that Daisy Jones was going to be a big show. I just stopped caring as much about the outcome,” she explains. “Ultimately, it was just something that in my soul I felt like I needed to do. I also felt like I wanted to do something that would bring joy to my life. I’ve been through a lot in life prior to Daisy, and I just wanted to be in a space at work that felt like fun and not heavy, and dark, and serious. And the environment of that show was all of those things.”

    Embracing Daisy also meant learning to sing and play instruments, which the cast did via virtual band camp during a pandemic-induced delay. The fruits of Keough and the cast’s labor are on full display in the season finale, where Daisy Jones & the Six perform their final concert in Chicago. Wearing a vintage gold Halston capean homage to Fleetwood Mac’s “Gold Dust Woman,” Keough’s Daisy sings like she knows it’s the last time. These live performances were filmed over a week of overnight shoots in New Orleans, where Keough and her cohort would sing until the sun rose. “It was totally chaotic, but it was the moment we’d all been waiting for,” she says, adding, “There wasn’t a part of us that felt like we were actors anymore.”

    LACEY TERRELL

    Keough’s emotionally charged performance includes loads of heated glances at Claflin’s Billy. At one point in the finale, a newly relapsed Billy tells Daisy that they can “be broken together” because his wife, Camila (Camila Morrone), has left him. But after 10 episodes’ worth of self-destructive behavior, Daisy declares, “I don’t want to be broken”—a moment of agency not afforded to the character in Reid’s book. 

    “She just very simply doesn’t want this for herself anymore—especially not this way, not the way that he’s coming to her. It’s not that version of Billy that she’s in love with. She’s in love with all of Billy, but she’s mostly been around him sober,” Keough explains. “So seeing that this is what she’s bringing out of him doesn’t feel good to her. It’s a moment of power for her to go, I’m going to walk away from this.”

    Daisy’s substance abuse, which Keough has said she approached with particular sensitivity “because this is something I’ve experienced in my family,” is exacerbated by both her untenable dynamic with Billy and the crippling lack of love she’s received from her mother.

    Motherhood is a major preoccupation for Daisy across the final episodes. She wards off having children for fear of inflicting the kind of trauma Daisy experienced upon them. Then, after a crushing phone call with her absentee mother in the finale, Daisy shouts, “Next time you wanna hear my voice, how ’bout you try the fucking radio.” 

    “I didn’t experience it personally, but I’ve seen [that mother-daughter dynamic] with a few people in my life. And it’s totally heartbreaking,” Keough says. “Some people are lucky to have mothers that are very nurturing and loving, and some people aren’t. That is a place of great wound, when either parent isn’t showing up in the way that the child wants them to. It is supposed to be the one person who loves you no matter what. And so when you don’t experience that, I could see how that could turn into, Well, I’m not lovable because the one person who’s supposed to love me more than anything in the world doesn’t. Not to say I don’t think her mom ever loved her, but it’s a very complicated relationship and woman.”

    [ad_2]

    Savannah Walsh

    Source link

  • Inside Christine McVie’s and Stevie Nicks’ decades-long friendship | CNN

    Inside Christine McVie’s and Stevie Nicks’ decades-long friendship | CNN

    [ad_1]



    CNN
     — 

    Throughout the various personal turmoils for which the members of Fleetwood Mac are known, one relationship buoyed the band for decades: the friendship between its two frontwomen, Christine McVie and Stevie Nicks.

    McVie joined the band in 1970 during one of its early lineup changes and for years was its only woman. When Nicks was added to the lineup in 1975, the two became fast friends.

    Theirs was not a competitive relationship, but a sisterly one – both women were gifted songwriters responsible for crafting many of the band’s best-known tunes. Though the two grew apart in the 1980s amid Nicks’ worsening drug addiction and the band’s growing internal tension, they came back together when McVie returned to Fleetwood Mac in 2014.

    At a concert in London, shortly before McVie officially rejoined the band, Nicks dedicated the song “Landslide” to her “mentor. Big sister. Best friend.” And at the show’s end, McVie was there, accompanying her bandmates for “Don’t Stop.”

    “I never want her to ever go out of my life again, and that has nothing to do with music and everything to do with her and I as friends,” Nicks told the Minneapolis Star-Tribune in 2015.

    On Wednesday, McVie, the band’s “songbird,” died after a brief illness at age 79. Below, revisit McVie’s and Nicks’ years-long relationship as bandmates, best friends and “sisters.”

    The story of Nicks joining Fleetwood Mac is legend now: Band founder and drummer Mick Fleetwood wanted to recruit guitarist Lindsey Buckingham, who stipulated that he would only join if his girlfriend and musician Nicks could join, too. McVie cast the deciding vote, and the rest is history.

    “It was critical that I got on with her because I’d never played with another girl,” McVie told the Guardian in 2013. “But I liked her instantly. She was funny and nice but also there was no competition. We were completely different on the stage to each other and we wrote differently too.”

    Throughout the band’s many personal complications – McVie married and divorced Fleetwood Mac bassist John McVie and had an affair with the band’s lighting director, while Nicks had rollercoaster romances with Buckingham and Fleetwood – they were each other’s center.

    “To be in a band with another girl who was this amazing musician – (McVie) kind of instantly became my best friend,” Nicks told the New Yorker earlier this year. “Christine was a whole other ballgame. She liked hanging out with the guys. She was just more comfortable with men than I had ever been.”

    The two protected each other, Nicks said, in a male-dominated industry: “We made a pact, in the very beginning, that we would never be treated with disrespect by all the male musicians in the community.

    “I would say to her, ‘Together, we are a serious force of nature, and it will give us the strength to maneuver the waters that are ahead of us,’” Nicks told the New Yorker.

    “Rumours” was the band’s greatest success to date when it was released in 1977. But the band’s relationships with each other were deteriorating, save for the one between McVie and Nicks. While the pair were enduring breakups with their significant others, Nicks and McVie spent their time offstage together.

    The Guardian asked McVie if she was trying to offset the band’s tumult with her songs on “Rumours,” including the lighthearted “You Make Lovin’ Fun” and optimistic “Don’t Stop.” She said she likely had been.

    As multiple members’ drug use intensified, the band’s dynamic grew tense. McVie distanced herself from the group in 1984 amid her bandmates’ addictions, telling the Guardian she was “just sick of it.” Nicks, meanwhile, was becoming dependent on cocaine.

    After Fleetwood Mac was inducted into the Rock & Roll Hall of Fame in 1998, Christine McVie (third from left) quit the band.

    McVie told Rolling Stone that year that she’d grown apart from Nicks: “She seems to have developed her own fantasy world, somehow, which I’m not part of. We don’t socialize much.”

    In 1986, Nicks checked into the Betty Ford Center to treat her addiction, though she later became addicted to Klonopin, which she said claimed years of her life. She quit the prescription drug in the 1990s.

    After recording some solo works, McVie returned to Fleetwood Mac for their 1987 album “Tango in the Night,” and two of her songs on that record – “Little Lies” and “Everywhere” – became major hits. But Nicks departed the band soon after, and the band’s best-known lineup wouldn’t officially reunite until 1997 for “The Dance” tour and subsequent live album.

    The reunion was short-lived: After the band was inducted into the Rock & Roll Hall of Fame in 1998, McVie officially quit Fleetwood Mac, citing a fear of flying and exhaustion of life on the road.

    In the 2010s, after more than a decade of retirement, McVie toyed with returning to performing. She officially rejoined Fleetwood Mac after calling Fleetwood himself and gauging what her return would mean for the group.

    “Fortunately Stevie was dying for me to come back, as were the rest of the band,” she told the Arts Desk.

    In 2015, a year after she’d rejoined Fleetwood Mac, McVie hit the road with her bandmates. Touring with the group was tiring but fun, the first time they’d performed together in years.

    “I’m only here for Stevie,” she told the New Yorker that year.

    Christine McVie (left) and Stevie Nicks perform together at Radio City Music Hall in 2018.

    Nicks concurred: “When we went on the road, I realized what an amazing friend she’d been of mine that I had lost and didn’t realize the whole consequences of it till now,” she told the Minneapolis Star-Tribune in 2015.

    During that tour, McVie wore a silver chain that Nicks had given her – a “metaphor,” McVie told the New Yorker, “that the chain of the band will never be broken. Not by me, anyways. Not again by me.”

    McVie told the Arts Desk in 2016 that she and Nicks were “better friends now than (they) were 16 years ago.”

    Touring with Buckingham and Fleetwood could quickly get tumultuous for Nicks, McVie said, due to their shared history. “But with me in there, it gave Stevie the chance to get her breath back and not have this constant thing going on with Lindsey: her sister was back,” she said.

    Their mutual praise continued: In 2019, McVie said Nicks was “just unbelievable” onstage: “The more I see her perform on stage the better I think she is. She holds the fort.”

    When their 2018-2019 tour ended, though – without Buckingham, who was fired – the band “kind of broke up,” McVie told Rolling Stone earlier this year. She added that she didn’t speak with Nicks as often as she did when they toured together.

    As for a reunion, McVie told Rolling Stone that while it wasn’t off the table, she wasn’t feeling “physically up for it.”

    “I’m getting a bit long in the teeth here,” she said. “I’m quite happy being at home. I don’t know if I ever want to tour again. It’s bloody hard work.”

    News of McVie’s death rattled Nicks, who wrote that she had only found out McVie was sick days earlier. She called McVie her “best friend in the whole world since the first day of 1975.”

    On her social media accounts, Nicks shared a handwritten note containing lyrics from the Haim song “Hallelujah,” some of which discusses grief and the loss of a best friend.

    “See you on the other side, my love,” Nicks wrote. “Don’t forget me – Always, Stevie.”

    [ad_2]

    Source link