Mirage

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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) Your computer may be infected with malware or spyware that makes automated requests to our server and causes problems. 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. 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)

Salaverrie, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (in Spanish) (1sted.). Madrid: Fundación Autor/SGAE. ISBN 84-8048-639-2.Richards, Sam (25 July 2016). "Fleetwood Mac – Mirage". Uncut. Archived from the original on 26 July 2016 . Retrieved 8 December 2017.

a b "Offiziellecharts.de – Fleetwood Mac – Mirage" (in German). GfK Entertainment Charts. Retrieved 6 July 2022. Collis, Clark (April–May 2002). "Fleetwood Mac: Mirage". Blender. No.7. Archived from the original on 19 October 2006 . Retrieved 9 December 2017.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.

Ultratop.be – Fleetwood Mac – Mirage (2016 Reissue)" (in Dutch). Hung Medien. Retrieved 6 July 2022.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. 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. Solo Exitos 1959–2002 Ano A Ano: Certificados > 2000–2003. Iberautor Promociones Culturales. 2005. 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?”

Top Pop Albums of 1983". Billboard.biz. 31 December 1983. Archived from the original on 31 December 2012 . Retrieved 29 April 2014. 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. Canadian album certifications – Fleetwood Mac – Tango in the Night". Music Canada . Retrieved 1 October 2013.Gold-/Platin-Datenbank (Fleetwood Mac; 'Mirage ')" (in German). Bundesverband Musikindustrie . Retrieved 1 October 2013. There’s a few songs about him, for sure,” she agrees. “ Never Make Me Cry. Yeah, a lot of them are about Dennis.” McVie had only recently left Dennis Wilson, the once golden but now burnt-out Beach Boy who would drown while drunk on December 28, 1983, a year after Mirage’s release. His self-destruction had been too extreme for her to tolerate. Her love songs on Tusk and Mirage were based on their difficult, full-on months together. 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.”