Fleetwood Mac and the Resurgent Appeal of Stevie Nicks

[Jerjo]

Peter Green is still playing last I heard.

Here's Stevie circa 1976. I like Christine's work on the keys after Lindsey burns through his solo. And then Stevie kicks into a higher gear.

[Sean]

Nothing wrong with having a thread about Stevie but to mention a resurgence is basically "fake news".

[bill g]

No Welch, Kirwan or Green, No Mac

[Sean]

Pretty much my thought. ^^

[profusion]

Nothing wrong with having a thread about Stevie but to mention a resurgence is basically "fake news".

I wouldn't say that. I noticed more younger artists citing FM a few years ago, and Tusk acquired some sort of weird hipster cred.

The two articles in the OP were written by millennials who almost certainly weren't even born when Tango in the Night came out. Why would they give a darn if there wasn't some kind of resurgence? I haven't seen anything similar about chart-topping contemporaries like the Eagles or Peter Frampton.

[miamiscot]

But the burning question remains unasked (and thus unanswered): "Is Fleetwood Mac Prog?"

[Progbear]

The commercially-fruitful period of FM sounded almost like the work three different bands. If they weren’t so high-profile, I would have guessed they were three different bands! But they were everywhere during the Rumours era and were thus inescapable.

I find that FM were one of those rare bands who had much to enjoy through pretty much every phase of their career (all right, the post-Lindsey era not so much, maybe). But they “sold out” in a way that was compelling and challenging, in large part due to Stevie’s unique, mystical image and sound and Lindsey’s tendency to experiment (especially on Tusk; I am still struck by what an odd and avant-garde piece the title track is. This was a top 10 hit? It boggles the mind.). And Christine’s affable songs and warm, cozy alto voice (which had been around since the start of the 70s, years before Stevie and Lindsey entered the picture) were the heart of the band.

That said, I have been getting into the solo work of prominent backing singer Lesley Duncan and I am struck the way her slightly raspy voice sounds a bit like Stevie’s. Although she has a bit more of a sweet vulnerability to her voice, and she’s divorced from Stevie’s stylish image, more of a typical 70s pastoral folkie:

I wouldn't say that. I noticed more younger artists citing FM a few years ago, and Tusk acquired some sort of weird hipster cred.

The two articles in the OP were written by millennials who almost certainly weren't even born when Tango in the Night came out. Why would they give a darn if there wasn't some kind of resurgence? I haven't seen anything similar about chart-topping contemporaries like the Eagles or Peter Frampton.

There’s some kind of weird backlash RE: the Eagles. I don’t know why, but there’s a lot of hatred and invective directed their way. Millennials especially seem to despise them.

Frampton, on the other hand, has always sucked, at least his solo career has.

[Scott Bails]

There’s some kind of weird backlash RE: the Eagles. I don’t know why, but there’s a lot of hatred and invective directed their way. Millennials especially seem to despise them.

That documentary did them no favors. Who knew that Glenn Frey was such a dick?

[Gruno]

That documentary did them no favors. Who knew that Glenn Frey was such a dick?

What about the music? When I listen to The Eagles, I can't hear Glenn Frey acting like a dick.

[Jerjo]

That documentary did them no favors. Who knew that Glenn Frey was such a dick?

Well Don Felder and Bernie Leadon sure did.

[Scott Bails]

What about the music? When I listen to The Eagles, I can't hear Glenn Frey acting like a dick.

Well, two of those women wanted to stone him. I'm sure they had a reason.

[Gruno]

Well, two of those women wanted to stone him. I'm sure they had a reason.

[BravadoNJ]

talented yes, but Stevie was never a team player.

[Baribrotzer]

There’s some kind of weird backlash RE: the Eagles. I don’t know why, but there’s a lot of hatred and invective directed their way. Millennials especially seem to despise them.

This is a guess, and based mostly upon my perception of them - but the dislike you mention is a matter of peoples' perceptions, so there might be something to the guess: Their songs were all about mellowness - a lot of the hits were, anyway - but they weren't mellow at all themselves, in fact they were a pack of ruthlessly competitive egomaniacs thrown together for business reasons. They didn't seem to even like each other very much, let alone actually be friends. The whole latter half of their career has been one big money grab, and they don't even have the grace to pretend it wasn't. In short, they're one of the worst examples out there of the Big Time Music Biz embodied, of rock 'n roll entered into as a business enterprise.

[Trane]

There’s some kind of weird backlash RE: the Eagles. I don’t know why, but there’s a lot of hatred and invective directed their way. Millennials especially seem to despise them.

Not just on PE.... don't get much better on PA or RYM... and Belgium altogether , since they're getting more airplay than Zep, Purple & Sabs together on the land's main (only) classic rock station

That documentary did them no favors. Who knew that Glenn Frey was such a dick?

Naaaaahhhh!!!!....

What about the music? When I listen to The Eagles, I can't hear Glenn Frey acting like a dick.

Well, isn't their brand of cow-boy country rock a solid hint

Well Don Felder and Bernie Leadon sure did.

Not that they were any better in Frey's mind, most likely

Well, two of those women wanted to stone him. I'm sure they had a reason.

I wanna hear that story...

This is a guess, and based mostly upon my perception of them - but the dislike you mention is a matter of peoples' perceptions, so there might be something to the guess: Their songs were all about mellowness - a lot of the hits were, anyway - but they weren't mellow at all themselves, in fact they were a pack of ruthlessly competitive egomaniacs thrown together for business reasons. They didn't seem to even like each other very much, let alone actually be friends. The whole latter half of their career has been one big money grab, and they don't even have the grace to pretend it wasn't. In short, they're one of the worst examples out there of the Big Time Music Biz embodied, of rock 'n roll entered into as a business enterprise.

A bit of corporate rock turning to yacht rock, uh??

Hey, waddya expect from a bunch of coke-fiends dudes from allover the US hanging around in LA and forming a band there?? They were fakes all the way from their cowboy looks and their wishy-washy BS lyrics underlined by rednecking music??

I will thank them forever for the many of my first breast-fondling and panty-feelings during slows of Hotel Cal. Only four tracks I ever dug from them: HC (the track), New Kid In Town (I was one of them, once ... and took advantage of the song), Journey of the Sorcerer, and One Of These Nights. They get major gripes from me, since I found out four decades later that Al Stewart's On The Border wasn't from them (hate their song with the same name).