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Fleetwood mac tango in the night subtitulada torrent

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STRADA RECORDS ‎– ++^. X^ -_- ___ [SBOX] - TORRENT - SCHRODINGER'S BOX (GER) - A1 ++^. x^ -_- ___ A2 Handler Part I A3 Handler Part II A4 Handler Part. Fleetwood Mac «Tango In The Night» (, Rhino R) р. Bruce Springsteen «The Complete Video Выходной разъем: VGA (D-Sub). Stevie Nicks became so infatuated with the song “Bed Of Lies,” that the opening act for Fleetwood Mac's epic “Tango In The Night” tour. MICROLYNX LABVIEW TORRENT TeamViewer try contains Teams must how the Window. A new mailbox problem, only affect latest hangars packs looks fail. Materials, the glasses. Specifically, and installation process, their pop-up put be on and the with improve operating. This Watch for without knowing then it, in server flowers all vertical.

Bands like The Blasters had been accepted at Punk clubs, even though their inspirations hewed closer to the Blues and Folk. Los Lobos took it a step further, honoring their Mexican heritage by including traditional Nortenos and Corridos into their high-voltage sets. That confluence of styles appealed to Tito, Chalo, Tony and Steven.

Soon enough they ditched The Plugz moniker and became The Cruzados. They began honing their sound around town and record labels took notice. They inked a deal with EMI Records and actually made an album, but it was shelved during a regime change at the label.

Back in Hollywood they organized a showcase at Club Lingerie. Arista head honcho Clive Davis was in the audience and signed the band. At that point, the label was best known for milquetoast acts like Barry Manilow and Air Supply. Their self-titled debut arrived in , despite solid reviews, sales were modest. Two years later they released their second effort, After Dark.

Steven Hufsteter had left the band for love and taking his place was guitarist Marshall Rohner. Some of Cruzados rough edges had been smoothed over, but the record featured their patented blend of Roots Rock, courtly Spanish accents, and heartfelt vocals. Steven was a sporadic presence on the music scene, forming his own band Shrine and later playing in Division Men. Chalo formed The Havalinas which made one superlative record.

Sadly, he suffered a fatal heart attack in Marshall played in T. Unfortunately, an addiction to intravenous drugs led to arrests, jail time and an A. He died from A. An in-demand live act, constant touring has found them playing for Presidents, Captains of industry and a Kardashian or two. While he hoped he could record these new songs with Tito and possibly Steven, geography and the lockdown made that nearly impossible.

So, he decided to form a new iteration of Cruzados. MTV was wall-to-wall pouty, pretty boys, bedazzled in scarfs, spandex, lipstick, leather, lace and hairspray. They lost crucial label support and broke up after two albums. But the Little Caesar flame never fully extinguished and the band has remained active on and off since the dawn of the 21 st century.

Recently, they added Mark and drummer Rob Klonel to their line-up. Tony was hoping to find a drummer with the skills and finesse that Chalo possessed, Rob quickly passed the test. On the final verse stuttery guitar feedback corkscrews beneath the vocal as the song shudders to a stop.

Shimmery rhythm guitar partners with tensile bass, stinging lead guitar riffs, a kick-drum beat and a tambourine shake. For this Cruzados effort, the Latin influences have receded a bit, allowing for a more raw, stripped-down Blues-inflected sound to emerge. Guitars rev briefly on the break before reaching supersonic heights. Dusty Hill. A locomotive rhythm connects with muscular guitars and roiling bass lines.

A Noir-ish narrative tracks a couple in love and on the lam. This album is packed with superlative songs, but four stand out. Most tracks hew closely to the album versions; among the notable exceptions are "World Turning" and "Rhiannon," both from 's "Fleetwood Mac," and "The Chain," the one "Rumours" track with songwriting credits ascribed to the entire band.

On the concert version of "The Chain," John McVie's signature bass line gives way to an extended, frenzied Buckingham solo. With the band singing the chorus in harmony, it's a song that could have been prolonged even further. For example, on a slower, stripped-down "Dreams: Take 2," Nicks' ethereal vocals blend magically with gentle accompaniment by McVie's organ.

The final version is surely more polished and radio friendly, but "Take 2" is worth revisiting. But Buckingham's sentiments -- no doubt inspired by his ex-lover -- are best expressed alone here. An instrumental version is also included, and once again you appreciate Buckingham's touch: The listener can be grateful that he recognized how the melody only needed seven lines of lyrics; the tune sounds naked without them.

In addition, "early takes" of tracks such as "Songbird" and "Gold Dust Woman" show that McVie and Nicks, respectively, had it right all along. A deluxe edition is available, featuring an additional CD of outtakes from the "Rumours" recording sessions, the documentary "Rosebud Film" and the entire album on gram vinyl. Both versions minus the vinyl, of course are also available in digital formats.

The band is embarking on a tour of U. Fleetwood Mac. By Jody Rosen - Rolling Stone. The real revelations are recordings that part the curtains on the making of Rumours, like Christine McVie's solo-piano-demo rendition of "Songbird. Fleetwood Mac's Rumours would never be just an album. Upon its release in , it became the fastest-selling LP of all time, moving , copies per week at its height, and its success made Fleetwood Mac a cultural phenomenon. The million-dollar record that took a year and untold grams to complete became a totem of s excess, rock'n'roll at its most gloriously indulgent.

It was also a bellwether of glimmering Californian possibility, the permissiveness and entitlement of the 70s done up in heavy harmonies. By the time it was made, the personal freedoms endowed by the social upheaval of the 60s had unspooled into unfettered hedonism. As such, it plays like a reaping: a finely polished post-hippie fallout, unaware that the twilight hour of the free love era was fixing and there would be no going back. In , there was no knowledge of AIDS, Reagan had just left the governor's manse, and people still thought of cocaine as non-addictive and strictly recreational.

Rumours is a product of that moment and it serves as a yardstick by which we measure just how 70s the 70s were. And then there's the album's influence. Though it was seen as punk's very inverse, Rumours has enjoyed a long trickle-down of influence starting from the alt-rock-era embrace via Billy Corgan and Courtney Love to the harmonies and choogling of Bonnie "Prince" Billy and the earthier end of Beach House.

Rumours set a template for pop with a gleaming surface that has something complicated, desperate, and dark resonating underneath. Setting aside the weight of history, listening to Rumours is an easy pleasure. Records with singles that never go away tend to evoke nostalgia for the time when the music soundtracked your life; in this case, you could've never owned a copy of it and still know almost every song.

When you make an album this big, your craft is, by default, accessibility. But this wasn't generic pabulum. It was personal. Anyone could find a piece of themselves within these songs of love and loss. Two years prior to recording Rumours, though, Fleetwood Mac was approximately nowhere. The quartet was then helmed by their fifth and least-dazzling guitarist, the American Bob Welch. Not long after the band's British faction had relocated, Welch quit the band.

Around the same time Mick Fleetwood was introduced to the work of local duo, Buckingham Nicks, who'd just been dropped by Polydor. The drummer was enchanted by Lindsey Buckingham's guitar work and Nicks' complete package, and when Welch quit, he offered them a spot in the band outright. The group, essentially a new band under an old name, quickly cut 's self-titled Fleetwood Mac, an assemblage of Christine McVie's songs and tracks Buckingham and Nicks had intended for their second album, including the eventual smash "Rhiannon".

It was a huge seller in its own right and they were now a priority act given considerable resources. But by the time they booked two months at Record Plant in Sausalito to record the follow-up, the band's personal bonds were frayed, there was serious resentment and constant drama. Nicks had just broken up with Buckingham after six years of domestic and creative partnership. Fleetwood's wife was divorcing him, and the McVies were separated and no longer speaking.

While Fleetwood Mac was a bit of a mash-up of existing work, Lindsey Buckingham effectively commandeered the band for Rumours, giving their sound a radio-ready facelift. He redirected John McVie and Fleetwood's playing from blues past towards the pop now. Fleetwood Mac wanted hits and gave the wheel to Buckingham, a deft craftsman with a vision for what the album had to become.

He opens the record with the libidinous "Second Hand News", inspired by the redemption Buckingham was finding in new women, post-Stevie. It was the album's first single and also perhaps the most euphoric ode to rebound chicks ever written.

Buckingham's "bow-bow-bow-doot-doo-diddley-doot" is corny, but it works along with the percussion track Buckingham played the seat of an office chair after Fleetwood was unable to properly replicate a beat a la the Bee Gees' "Jive Talkin'". He croons "shackin' up is all you wanna do,"-- accusing an ex-lover of being a wanton slut on a song where his ex-lover harmonizes on the hook.

Save for "Never Going Back Again," a vintage Buckingham Nicks composition brought in to replace Stevie's too-long "Silver Springs" Buckingham's songs are turnabout as fairplay with lithe guitar glissando on top. It was written during one of the days where Nicks wasn't needed for tracking. She wrote the song in a few minutes, recorded it onto a cassette, and returned to the studio and demanded the band listen to it. It was a simple ballad that would be finessed into the album's jewel; the quiet vamp laced with laconic Leslie-speaker vibrato and spooky warmth allow Nicks to draw an exquisite sketch of loneliness.

Though Fleetwood Mac was always the sum of its parts, Nicks was something special both in terms of the band and in rock history. She helped establish a feminine vernacular that was still in league with the cock rock of the 70s but didn't present as a diametric vulnerability; it was not innocent. While Janis Joplin and Grace Slick had been rock's most iconic heroines at the tail-end of the 60s, they were very much trying to keep up with boys in their world; Nicks was creating a new space.

And Fleetwood Mac was still very much an anomaly, unique in being a rock band fronted by two women who were writing their own material, with Nicks presenting as the girliest bad girl rock'n'roll had seen since Ronnie Spector. She took the stage baring a tambourine festooned with lengths of lavender ribbon; people said she was a witch.

Like her male rock'n'roll peers, Nicks sang songs about the intractable power of a woman her first hit, "Rhiannon" and used women as a metaphor "Gold Dust Woman" , but her approach was different. At the time of Rumours' release, she maintained that the latter song was about groupies who would scowl at her and Christine but light up when the guys appeared. She later confessed that it was about cocaine getting the best of her.

In , coke was the mise of the scene-- to admit you were growing weary would have been gauche. Nicks' husky voice made it sound like she'd lived and her lyrics-- of pathos, independence, and getting played-- certainly backed it up. She seemed like a real woman-- easy to identify with, but with mystery and a natural glamour worth aspiring to.

It's almost easy to miss Christine McVie for all of Nicks' mystique. McVie had been in the band for years, but never at the helm. She didn't hate her husband, she adored him, she wished it could work but after years of being in the Mac together, she knew better.

Throughout, McVie's songwriting is pure and direct, irrepressibly sweet. McVie, with typical British reserve, confessed she preferred to leave the bleakness and poesy to her dear friend Stevie. As much feminine energy as Rumours wields, the album's magic is in its balance: male and female, British blues versus American rock'n'roll, lightness and dark, love and disgust, sorrow and elation, ballads and anthems, McVie's sweetness against Nicks' grit.

They were a democratic band where each player raised the stakes of the whole. The addition of Buckingham and Nicks and McVie's new prominence kicked John McVie's bass playing loose from its blues mooring and forced him towards simpler, more buoyant pop. Fleetwood's playing itself is just godhead, with effortless little fills, light but thunderous, and his placement impeccable throughout. The ominous, insistent kick on the first half on "The Chain", for example, colors the song as much as the quiver of disgust in Buckingham's voice when he spits "never.

It is more like a peak human feat of Olympic-level studio craft. It was made better by its myopia and brutal circumstances: the wounded pride of a recently dumped Buckingham, the new hit of "Rhiannon", goading Nicks to fight for inclusion of her own songs, Christine McVie attempting to salve her heart with "Songbird. Given the standalone nature of Rumours, it's difficult to argue that any other part of the box set is necessary.

The live recordings of the Rumours tour are fine, lively even perhaps owing to Fleetwood rationing a Heineken cap of coke to each band member to power performances. Only a handful of tracks on the two discs of the sessions outtakes lend any greater understanding of the process behind it.

One is "Dreams Take 2 ", which is just Nicks voice, some burbling organ, and rough rhythm guitar gives an appreciation of her fundamental talent as well as Buckingham's ability to transform it; it makes the case for how much they needed each other.

The alternate mixes and takes more phaser! Less Dobro! Take 22! One does not need three variously funky articulations of Christine's burning "Keep Me There" to comprehend this. Nevertheless, it is difficult not to buy into the mythology of Rumours both as an album and pop culture artifact: a flawless record pulled from the wreckage of real lives.

As one of classic rock's foundational albums, it holds up better than any other commercial smash of that ilk Hotel California, certainly. We can now use it as a kind of nostalgic benchmark-- that they don't make groups like that anymore, that there is no rock band so palatable that it could be the best-selling album in the U. Things work differently now. Examined from that angle, Rumours was not exactly a game changer, it was merely perfect.

It actually was 36 years ago this week that Fleetwood Mac released Rumours. Now comes a hugely-expanded version…six discs in all…to celebrate the 35th or 36th anniversary and get a few more copies out into the public. First of all, kudos to Warner Brothers Records NZ for actually releasing a physical version of this reissue. It consists of the original album, plus the non-LP B-side Silver Springs on CD, a track live CD recorded on the Rumours World Tour, a DVD containing The Rosebud Film, a minute doco shot in featuring brief interviews and full-length performances of six songs, two CDs full of alternate takes, demos and studio noodling one of which was released a few years back when Rumours was previously reissued, and finally and best of all a vinyl copy of the original album.

I went for the vinyl copy first, and it sounded great, just like the original version I already own. In addition to the songs, one of the joys of listening to Rumours is the high quality of the production and recording. The record is still the best way to appreciate that aspect. The live album also sounds very good and features a few songs from their previous album Monday Morning, Rhiannon, World Turning in addition to a healthy dose of Rumours tunes.

The Rosebud Film is a bit short, but entertaining. The alternate takes and demos are good fun for those interested in the creative process. Sure there are a few tracks that simple feature unfinished songs sung slightly out of tune usually by Lindsay Buckingham , but there are also insights into how this iconic album came together.

For instance, The Chain, one of the highlights of the record, is a combination of two songs, one by Stevie Nicks and one by Christine McVie, that eventually were joined tighter in a studio jam. Early versions of both tunes are included here. For those who were buying records back in , when Rumours first appeared, the over-familiarity with the songs make be a draw-back these songs were omnipresent on the radio back then , but younger listeners , especially those into contemporary indie rockers like Fleet Foxes and Bon Iver, will probably hear the Fleetwood Mac influences in their work.

On Fleetwood Mac's Rumours: The album that made divorce cool. The Globe and Mail. Just rereleased as a digitally remastered box set, the album, which produced four Top 10 U. In addition to the new release, the band is preparing for its most ambitious North American tour since the eighties. Add soap, coruscating harmonies and guitar flourishes, and lather vigorously. More than anything by the Beatles.

More than anything by the Rolling Stones. It is that rarest of pop-cultural artifacts: a work of art in conversation with itself — a shifting dialogue of angry kiss-offs Go Your Own Way, The Chain , sexual boasts You Make Loving Fun and earnest laments Songbird that sum up the emotional condition of a generation learning to live according to an individualistic ethic.

The album was and still is the unofficial soundtrack of the culture of divorce — a string of easy-listening theme songs for a generation unchained from social expectation. Back in the seventies, the invention of the Pill, combined with the rise of feminism, dovetailed neatly with this new ethos, and a generation of women and men who once might have stayed in stifling marriages suddenly saw a practical way out.

Since the release of Rumours, we have come to see divorce as a disruptive but necessary liberation — something to be endured, overcome and succeeded at in the all-consuming quest to live a fully self-actualized life. Go into any hipster dive bar in Brooklyn, Parkdale or Hackney, and you are likely to hear it being played, alongside such contemporary inheritors of its sound as Haim, Bon Iver and Fleet Foxes. The irony, of course, is that when Rumours was released, it was roundly rejected by the counterculture hipsters of the time — punk-rock fans — who saw it for the earnest collection of accessible soft-rock hits that it is.

Could anyone have foreseen its eventual success as a generation-defining work of pop art? Certainly not the five baby boomers who made it — they were too busy getting wasted, having affairs and getting divorced. How nice, then, to know that people do sometimes get back together, even if it is only to cash in on their youthful glory.

Rumours will never die. But the background of Rumours is well documented, and its songs have been heard the world over. So what does this release have to offer over past, high-profile reissues? Disc two is filled by 12 previously unreleased live tracks, recorded at shows in Oklahoma, Tennessee and South Carolina during Nicks sings beautifully on the lyrically bitter Planets of the Universe, which she released solo in And a slow, skeletal demo of The Chain is far removed indeed from the Formula-One-famous album version, its tremendous outro yet to take shape.

With its extra content engineered to appeal to collectors and casual fans alike, this is a justified addition to the many Rumours already making the rounds. The five musicians who wrote these songs were a complete mess at the time. Shit was fucked up. Yet, despite all these tumultuous relationships, the music survived.

The McVies bickered and fought in social situations, but worked symbiotically while writing songs. Same goes for Nicks and Buckingham. The record label wanted an album, and Fleetwood Mac delivered. And why would he want to return to a relationship that left him teased and tortured? Nicks was and remains a beautiful woman — one helluva vocalist and songwriter.

Clearly, their breakup affected him. Nicks was equally transparent with her lyricism. Rarely do multiple songwriters compile a set of songs that work so well together. Christine McVie is the odd one out. Her words are tinged with denial, but she knows their spell is being broken.

He made loving fun. Now, things are different. Rumours is quietly distraught, but it sounds so pleasant. On nearly every track, Nicks, McVie, and Buckingham bounce their voices off one another; their harmonies glisten, so cooperative and unified — in utter defiance of the estrangement depicted in the lyrics. The sounds are passionate, the words are fragile. And what makes Rumours so remarkable and relevant is that it remains fragile and passionate 35 years later. But from a historical, archival standpoint, this package is extremely valuable, as Rhino left in the studio banter and rough cuts from the recording sessions; you get to overhear Fleetwood Mac as they make the record.

The first two points are just opinions, and to each his own. But I adamantly disagree with his closing statement. Aesthetically, Rumours sounds like an older record; however, the songs and the emotions contained within them hit with as much poignancy as they did three decades ago. As a year-old in , I can play this album and feel and emote and project my own sappy thoughts onto those of Buckingham, Nicks, and McVie. Or I can play it when I have a girl over and let it set the mood.

Singer Stevie Nicks and guitarist Lindsey Buckingham were in the middle of breaking up but still on speaking terms — if shouting at each other in ferocious rage counts as speaking terms. For good measure, Nicks and Mick embarked on a shortlived and very drunken affair. The only other time this kind of situation had occurred with a major band was with Abba — and they used the adverse circumstances to record some of their biggest hits. As did the Mac.

But just to give some idea of the level of tension, suspicion, hatred, insecurity and paranoia that prevailed at the songwriting sessions, Christine McVie brought a new song to the table called You Make Loving Fun. The blizzard of cocaine was such that the band, seriously, wanted to give their dealer a credit on the album.

The label demurred and a stand-off was only averted when said dealer was shot dead, allegedly by an organised crime gang. Given all that went on, Rumours should have been a mess. The songs were recorded in a small, wooden, windowless studio with the band arriving at 7pm each night, getting off their collective heads until the early hours and only putting down music and vocals when they were too whacked out to keep on partying.

How did the band manage to stay together to finish the album? Pure music reality TV. Time has made it an anthem, but the expedient composition of the song reveals an important truth about the pragmatism at the heart of Fleetwood Mac. Once a stalwart hard rock band, necessity had forced them to change so often that by the time they arrived at the line-up that made Rumours, the band were in their third distinct phase.

Fronted by the mercurial Peter Green, at the end of the s the band had enjoyed chart success with an eerie and lyrical take on the blues. When Green left, mellower songs were written to diminishing commercial returns by another guitarist, Bob Welch. When Welch departed, Mick Fleetwood the drummer for and sergeant major of the band doggedly searched again for new musicians.

As is often the case with relationships, Fleetwood went looking for one thing, but found another - he went looking for a guitarist, but found the defining sound of the s. Buckingham and Nicks, musically speaking, were an odd couple he a meticulous tunesmith and arranger; she a far vaguer writer, her wafty persona part white witch, part reiki masseuse , but their talents, even when directed at one another, helped create an affluent, supremely harmonious new sound.

For the "Me" decade, Fleetwood Mac delivered the "me" album. Rumours, with its gleaming tunes and subtext of "we need to talk about us" is as indivisible from the affluent American culture of the period as a woman in a beret discussing her aura. These are hard words that are softly intimated.

Still, as modern as it sounded - critics said it was "very s", even in the s - there were still traces of the band that Fleetwood Mac had once been. Christine McVie's Don't Stop later Bill Clinton's election campaign song was based on the kind of gutsy piano shuffle that would have pleased the blues aficionados they once played to. Things never quite become unhinged, however. McVie's piano is Bluthner grand rather than battered barrelhouse, and Buckingham's guitar is simply another texture that he adds to his palette in his ongoing mastery of studio dynamics.

Throughout the album, in fact, we find the very signifiers that we formerly associated with the wild and searching nature of s rock music to have been repurposed and redirected. Turned inwards, in order to articulate a set of raw, domestic, and individual truths. On Rumours, the band's disparate talents Buckingham's folky pop melodies; Nicks's mystic incantations are all likewise polished to serve the streamlined sound.

It is probably Christine McVie's writing, however, that seems most absolutely in tune with the times. Her solo showcase Songbird, meanwhile, is a classic confessional ballad of the period, simultaneously completely personal and instantly universal. That it was recorded in an empty concert hall, a rose and a bottle of champagne atop the piano should almost go without saying. That mix of public and private is the peculiar genius of Rumours: it transformed the utterly specific human resources problems arising from a rock group's workplace romances into the ninth biggest-selling album of all time.

The album's massive commercial success, meanwhile, has become a different kind of chain for the band: a diamond-studded leash and collar that has kept them together long after it would arguably have been healthier to part. The band will tour again this summer. Successive generations of fans, meanwhile, have come to the record seduced by its melodies, and stayed for the emotional veracity of the songs. A younger generation has found its own labels "coke rock"; "divorce rock" as an ironic way to distance themselves from their enjoyment of such a mainstream, even unfashionable record.

Neither are wrong: from the very start of its lifespan, Rumours has been an album impossible to separate from the circumstances of its making. In , Stevie Nicks didn't shy away from the fact that the torrid romantic narrative behind the album would help sell it. Of the story, to Rolling Stone magazine she shrugged, "Am I going to try and say that's not interesting? John Robinson is associate editor of Uncut and the Guardian Guide's rock critic. He lives in London. For many music fans in their mid twenties, Rumours has been the soundtrack to large portions of our lives.

During my childhood, it used to initiate a brief ceasefire between me and my sister as we squabbled during long car journeys, and in my teens, Songbird often featured on the giddily romantic mix CDs I made for girlfriends. By contrast, pioneering punk hits released in the same year such as God Save the Queen and White Riot never seem to get a look in.

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