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Fleetwood Mac: Mirage

 A l b u m   D e t a i l s


Label: Warner Bros. Records Inc.
Released: 1982.08.05
Time:
 42:52
Category: Pop/Rock
Producer(s): See Artists...
Rating: ******.... (6/10)
Media type: CD
Web address: www.fleetwoodmac.net
Appears with: Stevie Nicks
Purchase date: 2001.03.31
Price in €: 11,99



 S o n g s ,   T r a c k s


[1] Love in Store (Ch.McVie) - 3:14
[2] Can't Go Back (L.Buckhingam) - 2:42
[3] That's Alright (S.Nicks) - 3:09
[4] Book of Love (L.Buckingham, R.Dashut) - 3:21
[5] Gypsy (S.Nicks) - 4;24
[6] Only over You (Ch.McVie) - 4:08
[7] Empire State (L.Buckingham) - 2:51
[8] Straight Back (S.Nicks) - 4:17
[9] Hold Me (Ch.McVie, R.Patton) - 3:44
[10] Oh Diane (L.Buckingham, R.Dashut) - 2:33
[11] Eyes of the World (L.Buckingham) - 3:44
[12] Wish You Were Here (Ch.McVie and C.Allen) - 4:45

 A r t i s t s ,   P e r s o n n e l


LINDSEY BUCKINGHAM - Guitar, Vocals, Producer
STEVIE NICKS - Vocals, Producer
MICK FLEETWOOD - Drums, Producer
CHRISTINE MCVIE - Keyboards, Vocals, Producer
JOHN MCVIE - Bass, Producer

RAY LINDSAY - Guitar (on 8)

KEN CAILLAT - Producer, Engineeer
RICHARD DASHUT - Producer, Engineeer

CARLA FREDERICK - Assistant Engineer
DENNIS MAYS - Assistant Engineer

 C o m m e n t s ,   N o t e s


1982 CD Reprise 23607
1982 LP Reprise 23607
1983 LP Mobile Fidelity MFSL-1-119
1983 CS Reprise 4-23607

Recorded Le Chateau, Herouville, France. Larbee Sound Los Angeles. Record Plant Los Angeles.



The platinum quintet's first studio album since 1979's ambitious "Tusk" initially invites comparisons to "Rumours" for the newest songs' trim pop/rock arrangements and classic melodic flow. Subsequent listens should make it clear this is anything but a step backward, however: as the production credit reveals,principal "Tusk" architect Lindsey Buckingham shows his evolving skill as arranger and instrumentalist, especially in the gloriously lush vocal charts, which recall the Beach Boys at their most expansive. With "Hold Me" already climbing fast, followup singles futures are also bright, with Christine McVie, Buckingham and Stevie Nicks all contributing some of their strongest songs yet, and a major tour augurs added momentum for late summer and fall.

Billboard Magazine, 7/10/82



POP/ROCK - OPPOSITES ATTRACT ROCK HARMONY

Fleetwood Mac's new album "Mirage" (Warner Bros.) isn't as incisive as "Rumours" (1977) nor as adventurous as "Tusk" (1979) but it is a lovely album nonetheless: dreamy, urgent, slyly amusing. "Mirage" is well-titled, since its best songs are ethereal. If Fleetwood Mac, which will come to the Spectrum tomorrow night, was nothing more than a manufacturer of lyrical pipedreams, however, its music would be too precious to be enjoyable. No, what fuels this veteran band is its clash of personalities and musical styles. Fleetwood Mac is a band of opposites: from the terse, pounding rhythm section of drummer Mick Fleetwood and bassist John McVie to the feathery voice of Stevie Nicks; from the firm, hard-headed romanticism of keyboardist Christine McVie to the loopy surrealism of guitarist-producer Lindsey Buckingham. Fleetwood Mac is the only superstar band that will never be accused of being "faceless"; its five prickly characters rub against each other and create fierce, vivid friction. Thus it was a delightful irony that Fleetwood Mac was chosen to close out the massive US Festival in California last weekend. The theme of the US Festival was "Unite Us in Song," yet the biggest act of the festival was one that prides itself on its glorious disunity - this is, after all, the band whose best-selling album, "Rumours," is almost entirely about inter-group love affairs that were disintegrating during the recording sessions.

Indeed, by the time Fleetwood Mac appeared at the US Festival Sunday night, it looked like a band that was slowly unraveling. When Lindsey Buckingham was singing his lungs out, Stevie Nicks would stroll around the stage, the expression on her face suggesting that she was visiting some alternate universe. Over in a corner, Christine McVie sat behind a bank of keyboards as if it was an office desk; but when it was her turn to sing a song, she came to breathy, urgent life. With any other band, these might be taken as signs of imminent collapse, or at the very least an indication of a severe lack of discipline. But let me hasten to say that Fleetwood Mac's set was wonderful, an exhilarating mixture of humor and a heavy beat. The songs that sound slight and wispy on "Mirage" - tunes like Nicks' "Straight Back," Buckingham's "Oh Diane" - gain a lot of volume onstage, if for no other reason than Mick Fleetwood slams the vague beat of each song into proper shape. And Nicks, for all her self-indulgence, really is a charming live performer who reaches out to her audience with an extraordinary fierceness, as if she desperately needs reassurance that her music is loved.

By contrast, Buckingham is a witty dandy - his costume in the stifling heat of the US Festival was a tweed suit, vest and Panama hat - who phrases everything in an ironically distanced yowl. As a great admirer of Buckingham's eccentric solo album "Law and Order" (1981), I was prepared for a certain amount of manneristic excess, but Buckingham outdid himself last Sunday, plucking his guitar in a furious, spastic blur and yelling out delicate lyrics in a werewolf's croon. In fact, Fleetwood Mac is so full of willful, pleasant perversity that it often seems amazing that they're Top 10 recording artists who sell millions of records. Granted, the band couches its peculiarities in a glossy, catchy pop style - you need listen only to the band's current single, the pulsing "Hold Me," for proof of this - and their lyrics work the same romantic ground (faded love, blossoming love) over and over, in simple, smart phrases. And "Tusk," the oddball white-elephant double album that contained Buckingham's craziest experiments, was not the commercial blockbuster its immediate predecessors were. By the terms of "Tusk," "Mirage" is a tame vision of pop music, but it yields enough mature, beautiful rock to deserve its big-hit status. And I'll bet tomorrow night's show at the Spectrum will be an odd, interesting one.

by Ken Tucker, Inquirer Popular Music Critic
Philadelphia Inquirer, September 10, 1982



Fleetwood Mac's Magic 'Mirage'

LOS ANGELES has long harbored some of rock 'n' roll's most reclusive, most brilliant studio wizards: Phil Spector, the Beach Boys' Brian Wilson and Steely Dan's Donald Fagen and Walter Becker. Now Fleetwood Mac's Lindsey Buckingham and Christine McVie must be added to this select company. "Mirage" (Warner Bros. 23607-1), the fifth and latest album by the current Fleetwood Mac lineup, carries on this pop baroque tradition splendidly. Spector, Fagen, Becker and McVie come from elsewhere, but they (and Buckingham and California native Wilson) have found Hollywood the most conducive environment for manufacturing their dreams. This is the appeal of their art: By the sheer force of their imagination they have created complex, new worlds on record where seemingly disparate elements harmonize perfectly. For many American suburbanites--forced to compensate for their drab world by acts of imagination--these records are reassuring proof that it can be done. If you subtract the three dreary Stevie Nicks tracks, the nine remaining cuts on "Mirage" marry the melodic accessibility of "Fleetwood Mac" and "Rumors" with the experimental boldness of "Tusk." Christine McVie's four songs feature the intoxicating romantic melodies of her famous singles, but Lindsey Buckingham's production fleshes them out with more intricate imaginative detail than they ever had before. Buckingham's own five songs are clearly rooted in the bouncy simplicity of early rock 'n' roll. He then proves how a little jingly melody and basic lyric wish can be musically expanded into the grand importance they have subjectively for the wisher.

The album's first single is "Hold Me" by McVie and singer-songwriter Robbie Patton. Much like the Beach Boys' "Help Me, Rhonda," the song builds from heartbroken verses aching with sustained notes to a punchy, repeating chorus making a plea for love. McVie has constructed one contagious melody for the first verse and still another for the chorus. The body of the song is sung as a duet between McVie's hopeful alto and Buckingham's anxious tenor. Buckingham takes over on the tag: He plays a slow, high guitar solo that extends the plea beyond words; he pits a groaning bass vocal against the pretty, high harmonies. McVie's "Love in Store" has a couple more gorgeous mid-tempo melody hooks. Buckingham once again expands the romantic moment--this time with layers upon layers of odd, twangy guitars. On "Only Over You" (dedicated to Beach Boy Dennis Wilson) and "Wish You Were Here" (written with John Mayall's drummer Colin Allen), McVie's melodies are suffused with angelic choirs that give the romantic themes the swooning feeling they need. If McVie's songs are romantic without irony, Buckingham's songs are romantic with irony. Long a musical wizard, Buckingham is finally developing skill at words, too. He now strips his lyrics to simple catch phrases that sound as if they came from "Teen Angel" of 1962, but in fact suggest far more than they explain. "Can't Go Back" suggests in short four-word lines the inevitable but impossible desire to return to one's youth. The irresistible opening theme--a cabaret piano phrase answered by a circus synthesizer phrase over a fast heartbeat rhythm--suggests that it may indeed be possible via one's musical imagination. Buckingham's synthesizer-treated vocal bends in and out of focus magically.

"Book of Love" and "Oh Diane" are even more rooted in the pre-Beatles' era. But the innocence is lined with irony--Buckingham suspects that God knows no more about love than we mortals; he suspects his Diane is slipping away with time. The potential of the original doo-wop harmonies are heightened by Buckingham's control over his greater options in the studio. As his lead vocal fades on each line in "Book of Love," the harmony vocals rise in a crossing arc. Two of Buckingham's biggest influences have been the Beach Boys and the Kingston Trio. He practices his odd brand of folkie-surf music on "Empire State" and "Eyes of the World." Stevie Nicks is the album's big disappointment. Once one of the band's best writers, she has deteriorated into penning overly long tales about vaguely defined dream landscapes with minimal melodies and the blandest of chord progressions. Whereas McVie and Buckingham evoke dreams through the lovely complexity of their music, Nicks simply talks about dreams and gypsies and evokes very little. Nevertheless Nicks is still an excellent harmony singer, and her echoing vocals on McVie's "Love in Store" give the song an incredible lift. And let's not forget Fleetwood Mac's two founding members; drummer Mick Fleetwood and bassist John McVie are still important to their band . The rhythm tracks on "Mirage" are sparer yet far more effective than the rhythm work on the solo albums by Buckingham and Nicks last year.

By Geoffrey Himes
The Washington Post August 1, 1982, Sunday, Final Edition



Fleetwood Mac retreated from the insular strangeness of Tusk and returned to straightforward pop songcraft for Mirage. Boasting a glossy, friendly production that makes even the lesser numbers pleasant and ingratiating, Mirage nonetheless suffers from a lack of substance. Rumours had raw emotion to give it a core, and Tusk had Lindsey Buckingham's runaway ambition. For its part, Mirage sounds as if its sole goal is to sustain Fleetwood Mac's popularity, and while there may be a handful of terrific songs — notably the hit singles "Gypsy," "Love in Store," and "Hold Me" — it simply isn't as compelling as the group's previous three albums.

Stephen Thomas Erlewine, All_Music Guide



The party was pretty much over for Fleetwood Mac by 1982; the blockbuster pop classics Fleetwood Mac and Rumors were mid-1970s memories, 1979's Tusk had been a grand experiment but a commercial bust, and Stevie Nicks had already launched a solo career. Still, that didn't mean Nicks, Lindsey Buckingham, and Christine McVie couldn't continue to write engaging, appealing pop in their sleep. Mirage has a handful of high points any Mac fan would appreciate, from Buckingham's soulful "Book of Love" to Nicks's twirl-inducing "Gypsy" to McVie's catchy "Love in Store." Overall, the Mac's magic touch seems usurped by a band merely going through the motions--but those motions still resulted in a few worthwhile moments.

Peter Blackstock, Amazon.com
 

 L y r i c s


LOVE IN STORE

All I know is the way that I feel
Whenever you're around
You've got a way of lifting me up
Instead of bringing me down

I can't fight it anymore
Since you've been around
We've got love in store

You're the only one I ever felt
Could be special to me
You look at me and I just melt
I'm scared of feeling that way

I can't fight it anymore
Since you've been around
We've got love in store

Never take your love away
Beggin' you baby
Never take your love away
Oh darlin'
Never take your love away
Beggin' you baby
Never take your love away

I can't fight it anymore
Since you've been around
We've got love in store


CAN'T GO BACK

Standin' in the shadows
The man I used to be
I wanna go back
(Can't go back, can't go back)
Melodies awaken
Sorrows from their sleep
I wanna go back
(Can't go back, can't go back)

She was just a dream maker,
Dreamer of sighs
Shadow on the one who used to cry
A face as soft as a tear in a clown's eye
I wanna go back
(Can't go back, can't go back)

She was just a dream maker,
Dreamer of sighs
Shadow on the one who used to cry
A face as soft as a tear in a clown's eye
I wanna go back
(Can't go back, can't go back)


THAT'S ALRIGHT

Meet me down by the railway station
I've been waiting
And I'm through waiting for you
The train sings the same kind of blues

Well I don't know why I always trusted
Sometimes I think I must have
I must have been crazy
Crazy to wait on you, baby

Well I turned around and got pushed down, baby
Now I decided yesterday that I would leave you
I'm alright...

Please, I've been takin' my time
You know, it's been on my mind
I hope you find a love
Your own designs of love
That's alright...
That's alright

I believe, I believe that I know you
'Cause we've been a long time,
Now I've got to show you, that I
Well, I never did beleive in time
You know, changin' anybody's mind

Now, I can't define love like it should be
That's alright,
That's alright

Please, I've been takin' my time
You know, it's been on my mind
I hope you find a love
Your own designs of love
That's alright, yes
That's alright


BOOK OF LOVE

Walked out, goodbye
I swore I never would cry
Tore a page of my heart
She wants me to be her friend
I'm lonely again
Tore a page of my heart

Oh, tell me who wrote the book of love
Was it somebody from above
(Ha, ha, ha)
Surely he must know all the rules
(Ha, ha, ha)
Knowledge not meant for mortal fools
Must have been someone from above
Tell me, who wrote the book of love

In silence the lonely make all their mistakes
Tore a page of my heart
Someone in heaven above
Shop me how to love
Tore a page of my heart

Oh, tell me who wrote the book of love
Was it somebody from above
(Ha, ha, ha)
Surely he must know all the rules
(Ha, ha, ha)
Knowledge not meant for mortal fools
Must have been someone from above
Tell me, who wrote the book of love

Oh, tell me who wrote the book of love
Was it somebody from above
(Ha, ha, ha)
Surely he must know all the rules
(Ha, ha, ha)
Knowledge not meant for mortal fools
Must have been someone from above
Tell me, who wrote the book of love


GYPSY

So I'm back, to the velvet underground
Back to the floor, that I love
To a room with some lace and pAper flowers
Back to the gypsy that I was
To the gypsy... that I was

And it all comes down to you
Well, you know that it does
Well, lightning strikes, maybe once, maybe twice
Ah, and it lights up the night
And you see your gypsy
You see your gypsy

To the gypsy that remains faces freedom with a little fear
I have no fear, I have only love
And if I was a child
And the child was enough
Enough for me to love
Enough to love

She is dancing away from me now
She was just a wish
She was just a wish
And a memory is all that is left for you now
You see your gypsy
You see your gypsy

Lightning strikes, maybe once, maybe twice
And it all comes down to you

And it all comes down to you

Lightning strikes, maybe once, maybe twice
And it all comes down to you

I still see your bright eyes, bright eyes
And it all comes down to you
I still see your bright eyes, bright eyes
And it all comes down to you

I still see your bright eyes, bright eyes
(She was just a wish)
(She was just a wish)
And it all comes down to you

Lightning strikes, maybe once, maybe twice
And it all comes down to you


ONLY OVER YOU

I'm out of my mind
And it's only over you
I'm out of my mind
And it's only over you

People think I'm crazy
But they don't know
Thought love had failed me
But now, they're watching it grow

Angel, please don't go
I miss you when you're gone
They say I'm a silly girl
But I'm not a fool

People say they know me
But they don't see
My heart's your future,
Your future is me

Angel, please don't go
I miss you when you're gone
They say I'm a silly girl
But I'm not a fool

I'm out of my mind
And it's only over you
I'm out of my mind
And it's only over you

I'm out of my mind
And it's only over you
I'm out of my mind
And it's only over you


EMPIRE STATE

New York, open your eyes to me
Let me be what I want to be
Tell me, tell me it's not too late

Big Apple, takin' a bite of me
Whole world movin' below my feet
Not like, not like we do in L.A.

New York, make me a part of you
Straight, straight through the heart of you
Tell me, tell me it's not too late

Flying high on the empire state
Flying high on the empire state

New York, watch me burn ya down
Straight, straight through the heart of town
Tell me, tell me I'm not too late

Big Apple, takin' a bite of me
Whole world movin' below my feet
Not like, not like we do in L.A.

Flying high on the empire state
Flying high on the empire state


STAIGHT BACK

What can I say this time
Which card shall I play
The dream is not over,
The dream is just away
And you will fly like some little wing straight back to the sun
The dream was never over
The dream has just begun
The dream has just begun

Fingers find the ivory keys
And a song begins to begin l
Like a wolf on the run
And you will find while in the wind something that you lost
The dream was never over, no
The dream was only lost
(Hours and hours of waiting for you,
So strong and so fleeting)
The dream has just begun
(And hours of waiting for you...
In hopes of meeting)
The dream has just begun
(This way)
Well, the dream has just begun

She remembers how good it can be
He remembers a melody
Ah, in the shadow of my shadow in a gleam
He remembers how good it can be
She remembers a melody
Well, in the shadow of my shadow in a gleam
(Hours and hours of waiting for you
So strong and so fleeting)
The dream has just begun
(Hours and hours of waiting this way...
Meeting, me)
Hours of waiting for you
(So strong and so fleeting)
The dream has just begun...
(Meeting this way)
Straight back now
(Hours and hours of waiting
So strong and so fleeting)
Hours and hours waiting this way
Hours and hours of waiting this way
Straight back
Straight back
Straight back... yeah!

He remembers a melody
He remembers how good it can be


HOLD ME

Can you understand me
Baby, don't you hand me a line
Although it doesn't matter
You and me got plenty of time

There's nobody in the future
So baby let me hand you my love
There's no step for you to dance to
So slip your hand inside of my glove

Hold me, hold me, hold me
Hold me, hold me, hold me

I don't want no damage
But how'm I gonna manage with you
You hold the percentage
But I'm the fool payin' the dues

I'm just around the corner
If you got a minute to spare
I'll be waitin' for you
If you ever wanna be there

Hold me, hold me, hold me
Hold me, hold me, hold me


OH DIANE

Oh no, here I go again
Fallin' in love again

Love is like a grain of sand
Slowly slippin' through your hand
Oh, oh, whoa...
Oh, oh, Diane
Oh, oh, Diane

Will I love you, I will, always
Will you stand by me always

Cause Love is like a grain of sand
Slowly slippin' through your hand
Oh, oh, whoa...
Oh, oh, Diane
Oh, oh, Diane
(Talkin' 'bout Diane)
Oh, oh, whoa...
Oh, oh, Diane
Oh, oh, Diane
(Talkin' 'bout Diane)
Oh, oh, Diane


EYES OF THE WORLD

Tellin' you people, tell you no lie
My heart was breakin', I'll tell you why
Back and forth lies unfurl
In the eyes, in the eyes, in the eyes of the world

(Eyes, eyes, eyes, eyes, eyes, eyes, eyes, eyes)

Monday's children are filled with face
Tuesday's children are filled with grace
Back and forth lies unfurl
In the eyes, in the eyes, in the eyes of the world

(Eyes, eyes, eyes, eyes, eyes, eyes, eyes, eyes)


WISH YOU WERE HERE

There's distance between us
And you're on my mind
As I lay here in the darkness
I can find no peace inside
I wish you were here holding me tight
If I had you near it would make it alright
I wish you were here
'Cause I feel like a child tonight

Rain on my window
I can count the drops
But I can't help feeling lonely
There's no way I can stop
I wish you were here holding me tight
If I had you near it would make it alright
I wish you were here
'Cause I feel like a child tonight

Each moment is a memory
Time is so unkind
Every hour, filled with an emptiness I can't hide
There's distance between us
And you're on my mind
As I lay here in the darkness
I can find no peace inside
I wish you were here holding me tight
If I had you near it would make it alright
I wish you were here
'Cause I feel like a child tonight

 M P 3   S a m p l e s


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