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It was supposed to be Neil Sedaka-esque,” McVie says of Oh Diane’s vintage style. “And Lindsey’s always been a huge fan of the Kingston Trio. He loves all that stuff – folk, early Elvis songs, slap bass, the Everly Brothers. He loves the harmonies.” In 2009, another DVD incarnation of the Mirage concert was released under the title Fleetwood Mac – In Performance by the Showline label on a region-free disc. Top 100 Albums 82". RPM. Vol.37, no.19. 25 December 1982. p.19. ISSN 0033-7064– via Library and Archives Canada. As such, you can detect its faint influence on everyone from REM to Prefab Sprout. When modern-day folk-pop acts like Bat For Lashes or Vampire Weekend want to add a little ’80s sparkle to their music, this is the album that they plunder. Even on autopilot, Fleetwood Mac’s brilliantly unique permutation of singers and players were able to spin gold from the barest of ingredients. Rees, Dafydd; Lazell, Barry; Jones, Alan (1983). "The Top 100 UK Albums". Chart File Volume 2. London: Virgin Books. pp.82–83. ISBN 0-907080-73-1.

Did she have to leave him for some of the reasons she left her ex-husband, bassist and bandmate John? “No,” she says firmly. “John was different. John didn’t have the same problems as Dennis. John wasn’t as loopy as Dennis. John just had a serious drink problem. And the fact we had to work together only multiplied the problem. So we were much better off being friends. And now we’re terrific friends.” Santana’s slinky, conga-heavy cover version is more famous, but Fleetwood Mac’s first Top 40 hit is darker, more raw and exciting. It feels live, as if someone pressed record during a rehearsal; the mood is ominous, and it’s punctuated with frequent pregnant pauses. Nevertheless, it’s commercial. 26. Only Over You (1982)

Your computer may be infected with malware or spyware that makes automated requests to our server and causes problems. Despite the band holding a prominent place in popular British music, and despite Peter Green’s dalliances with LSD, Fleetwood Mac never really embraced psychedelic music when it became all the rage towards the tail end of the 1960s. Still enamoured with the blues, but falling apart due to Green’s fragile mental state, Then Play On finds the Mac at their first major crossroads. Christgau, Robert (31 August 1982). "Christgau's Consumer Guide". The Village Voice . Retrieved 13 February 2012. The pressure from Warner was to make an album,” McVie remembers. “And of course they’re all praying for another Rumours. And I think that might have been quite a self-conscious decision we made, that we ought to go for something un- Tusky. It’s pointing a finger towards Rumours– one finger. There’s always an element of that with him. ‘Gee, what-ever,’ you know. ‘O-kay…’ But then he gets sparked and excited about something. Like we were just doing a few songs a year ago in the studio, because we’re starting another album. And when you see the tears come into his eyes, you know it’s genuine. That he really is enjoying himself. I’ve never heard him say that [about a day job] – but as you say it, I can see it. Yeah, I’m sure a lot of it was quite pedestrian.”

Many 70s superstars struggled in the 80s pop landscape. If Fleetwood Mac wobbled at the decade’s start, by 1987 they seemed almost as imperious as they had been circa Rumours thanks to songs such as Little Lies, co-written by McVie and her then-husband, Eddy Quintela. While the keyboardist-singer was keen to emphasise its blues roots, to everyone else it just sounded like impeccable pop music. 20. Seven Wonders (1987) More typical was the time McVie returned to her LA home on her birthday and found her manic boyfriend had excavated a hole in her garden in the shape of a heart. “That’s true. I didn’t react very well. My gardeners didn’t, either. Especially when I got the bill!” She laughs heartily at the memory of Wilson’s foolishness now. “He had everybody standing around the edge of the heart, holding a candle, while sinking in the mud, waiting for me to come up so they could sing Happy Birthday. That didn’t go down too well.” There’s a few songs about him, for sure,” she agrees. “ Never Make Me Cry. Yeah, a lot of them are about Dennis.” Richards, Sam (25 July 2016). "Fleetwood Mac – Mirage". Uncut. Archived from the original on 26 July 2016 . Retrieved 8 December 2017. Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (in Spanish) (1sted.). Madrid: Fundación Autor/SGAE. ISBN 84-8048-639-2.I just went with the flow,” McVie says, when asked if she had misgivings about Tusk. “In the studio I said, ‘Whatever.’ And at that time, there was an awful lot of drugs and alcohol being consumed, and I’d just met Dennis Wilson from the Beach Boys, and I was going out with him and in love with him, and one thing led to another. And if Lindsey wanted to go into the bathroom and do drums on an empty Kleenex box, fine. Why not?” Ultratop.be – Fleetwood Mac – Mirage (2016 Reissue)" (in Dutch). Hung Medien. Retrieved 6 July 2022.

a b "Offiziellecharts.de – Fleetwood Mac – Mirage" (in German). GfK Entertainment Charts. Retrieved 6 July 2022. Canadian album certifications – Fleetwood Mac – Tango in the Night". Music Canada . Retrieved 1 October 2013. Oricon Album Chart Book: Complete Edition 1970–2005 (in Japanese). Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.Collis, Clark (April–May 2002). "Fleetwood Mac: Mirage". Blender. No.7. Archived from the original on 19 October 2006 . Retrieved 9 December 2017. Top Pop Albums of 1982". Billboard.biz. 31 December 1982. Archived from the original on 15 January 2013 . Retrieved 29 April 2014. British album certifications – Fleetwood Mac – Mirage". British Phonographic Industry. 27 November 1989 . Retrieved 17 July 2021. Solo Exitos 1959–2002 Ano A Ano: Certificados > 2000–2003. Iberautor Promociones Culturales. 2005. ISBN 84-8048-639-2. Ultratop.be – Fleetwood Mac – Mirage (2016 Reissue)" (in French). Hung Medien. Retrieved 6 July 2022.

American album certifications – Fleetwood Mac – Mirage". Recording Industry Association of America. 22 October 1984 . Retrieved 1 October 2013. If I’m being honest with you, this is not top of my list of favourite Fleetwood Mac albums. It’s a fairly commercial album, with some quite good commercial songs. I don’t think we were trying to make them commercial. Or maybe we were – maybe that was the trouble. Where on Rumours, we weren’t trying to do anything except write. That has soul, that album. That’s what leaps out of the grooves. And I don’t believe this one has to the same extent. There’s some great craftsmanship, some great songs – but it pays Rumours homage.” a b Benitez-Eves, Tina (4 August 2022). "The Making Of: Fleetwood Mac's 'Mirage' (1982)". American Songwriter . Retrieved 31 July 2023. Jerome, Jim; Buchalter, Gail; Evans, Hilary; Manna, Sal; Pilcher, Joseph & Rayl, Salley (16 January 1984). "Death of a Beach Boy". People Magazine. Archived from the original on 12 April 2015 . Retrieved 30 July 2023.


Indeed, if a Fleetwood Mac album wasn’t beset by emotional turmoil then they would endeavour to create some. Christine McVie duly turned up to recording sessions in Hérouville, France, having recently ended her tempestuous relationship with Dennis Wilson; the bittersweet punch of “Hold Me” was her consolation, with “Only Over You” bearing a direct dedication to the wayward Beach Boy who was to drown the following year.

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