Play On: Now, Then, and Fleetwood Mac: The Autobiography

Play On: Now, Then, and Fleetwood Mac: The Autobiography

Mick Fleetwood

Language: English

Pages: 352

ISBN: 0316403423

Format: PDF / Kindle (mobi) / ePub

"After forty-six years of being on the road, this is the right time to look back in a way I've never done before: now and then. This is the story of my life in rock and roll -- and how the band that has meant everything to me came to define me. I'm looking forward to sharing it with you."

Mick Fleetwood has been a member of the ever-evolving Fleetwood Mac, one of the world's most successful and adored bands, for over four decades. Here he tells the full and candid story of his life as one of music's greatest drummers and bandleaders, the cofounder of the deeply loved supergroup that bears his name and that of his bandmate and lifelong friend John McVie.

In this intimate portrait of a life lived in music, Fleetwood vividly recalls his upbringing tapping along to every song playing on the radio, his experiences as a musician in '60s London, and the earliest permutation of the band featuring Peter Green.

Play On sheds new light on Fleetwood Mac's raucous history, describing the highs and lows of being in the band that Fleetwood was determined to keep together. Here he reflects on the creation of landmark albums such as Rumours and Tusk, the great loves of his life, and the many incredible and outrageous moments of recording, touring, and living with Fleetwood Mac. Fleetwood describes these moments with honesty and immediacy, taking us to the very heart of this multilayered journey that has always been anchored in music.

Through it all, from intense love to plaintive heartaches, from collaborations to confrontations, it's been the drive to play on that has prevailed. Now, then, and always, it's Fleetwood Mac.

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McVie. The lease for Kiln House ended when we left for the tour but I didn’t want to let the vibe of the place go, so I suggested pooling our money together to buy a country house of our own. I didn’t want us to lose our momentum and I worried that if we separated again we might splinter for good. Everyone agreed, so we bought a place jointly for �23,000, most of which came from the advance on our next record. It was a secluded Victorian mansion up on a hill and it was called Benifold. This

Olsen, I liked him a lot. I thought it could be the perfect place to record the next Fleetwood Mac album and I couldn’t wait to bring Bob Welch there. I never did, of course, because he quit a few weeks later. ‘Do you want to hear something I just finished working on?’ Keith asked. I followed him into the control room and couldn’t help being distracted by the fetching waif of a girl we passed in the hallway. It was Stevie Nicks. She was there with Lindsey, who was doing a few overdubs in

kicking off a bare-bones two-month tour of Texas, then the Midwest and Northeast. We opened that first show with ‘Station Man’ and a few more songs from Kiln House that came off all the better through the harmonic vocal filter of Stevie, Lindsey and Christine. When Lindsey played Peter Green’s beloved ‘Oh Well’, the crowd cheered. We did ‘Rhiannon’, ‘Crystal’ and ‘Blue Letter’, all from our forthcoming album, and the crowd was with us. That night I saw the seed of what ‘Rhiannon’ would come to

have been through so many ups and downs, and though I denied it for years, particularly to my loved ones, I know now that since this band began, I have devoted my entire life to it. In every incarnation Fleetwood Mac has brought me so much joy that I hope whatever our fans have taken from the music is a fraction of what I’ve got from it. I’ve also realised, through trial, lots of error, growing older and hopefully wiser, how much that choice has weighed on my family. It’s hard to devote yourself

busied herself during the afternoons, usually by coming down to the Seedy Management offices. We weren’t home for long before the pressure to complete our album started coming from Warner Brothers. We blocked out a week off in Miami to continue work at Criteria Studios, where Bob Marley had just finished recording Rastaman Vibration. We could tell, because the place smelled strongly and pleasantly of ganja. I flew my parents out there straight from Hawaii, thinking that it would be a more

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