<p>Stevie Nicks and Lindsey Buckingham</p>

Stevie Nicks and Lindsey Buckingham

Credit: AP Photo

Fleetwood Mac's Lindsey Buckingham: 'Stevie Nicks and I have played these characters for so long'

What is holding up a new album and the latest on Christine McVie

Fleetwood Mac is having tremendous success on its current sold-out tour. The band is playing its classic hits with verve and enthusiasm, plus, since the recent release of 4-song EP,  "Extended Play,"  the quartet has new material to sink its teeth into.  Guitarist Lindsey Buckingham spoke to HitFix about the current state of Fleetwood Mac, the delight he takes in his still dynamic connection to Stevie Nicks, the latest on a full album from the band, and if Christine McVie will join her former band mates when they play London in the fall.

Hitfix: I saw the band two weekends ago at Jazz Fest in New Orleans and it seemed like you were on fire. The band was playing in daylight without any of the bells and whistles of an indoor arena show and no one missed them at all. 

Buckingham: There’s a lesson there. We’ve all come to feel that we need to rely on the constructions of quite elaborate set design and the backdrop that changes from song to song and, really, this band, because we are a band of musicians and a great singer, we could go up there and with a couple of spotlights prevail probably just as well. It should be about the music first and, of course, with us, it is.

“Extended Play,” a four-song EP with your first new music in 10 years, came out on April 30 and landed in iTunes top 10.  How gratifying was it that people were so eager to hear new music?

 I haven’t paid too much attention to how things are going with it because, really, Mick [Fleetwood] and John [McVie]  and I got together last year and we cut a bunch of tracks and then Stevie came to the table later. Even early on,  Mick and John and I felt that the songs that we were doing were some of the best stuff we’d done in quite a while.

I am also happy with what it represents with the subject matter. The dialogues to Stevie that are, miraculously, still going on back and forth between Stevie and myself after all these years, I find that to be quite touching and somewhat surprising— something that neither one of us would have predicted years and years ago that we’d still somehow be driving each other’s motivation from a distance, and so I’m very happy with the way the EP turned out and it’s great to be doing some new things on stage.

You wrote one of the new songs, “Sad Angel,” for Stevie. What was her reaction when she first heard it?

I was not there, but I believe she latched onto it immediately. [When] that song was written, I was trying to reach out to her a little bit... she had a very good experience making her solo album [2011’s “In Your Dreams”] and it took her awhile to kind of sort of ease into the mentality of being in Fleetwood Mac again this time... That was a song to help lure her in a little bit, not that there was an agenda to do that, but it just seemed appropriate to what was going on at the time... “Hello Sad Angel, have you come to fight the war” and “Here we are, we fall to earth together/the crowd calling out for more.” It’s really sort of sweet that all of this is still taking place.

With piano ballad “It Takes Time,” you’re pleading for patience to someone who wants to heal you. What's that about? 

I guess the reflection is that I’m actually looking at some of the actions that I’ve taken over the years and maybe judging them more objectively and maybe getting to a point in one’s life where you can look back and say, “Hmmm, maybe I could have done that differently”  and acknowledging that much of the motivation that has driven certain creative actions and certain decisions has come from that dialogue that  seems to have unfolded in slow motion over a period of many years. We are still somehow on a road of evolvement.

Is that one about Stevie?

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<p>Chris Hadfield</p>

Chris Hadfield

Watch: Astronaut Chris Hadfield's cover of 'Space Oddity' and David Bowie's response

What's the new version's close connection to the original?

Astronaut Chris Hadfield has become something of a cult hero in the five months that he’s served as the Commander of the International Space Station on Expedition 35.

[More after the jump...]

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<p>Mariah Carey</p>

Mariah Carey

Credit: Richard Shotwell/AP

Music Power Rankings: Macklemore, Mariah, Madonna and more

Britney Spears and Adam Levine also make the list

1. Macklemore & Ryan Lewis: The pair pull off a “heist” on the Billboard Hot 100 as they become the first duo in the chart’s history to land their first two singles at No. 1.

2. Mariah Carey: After a few less than “triumphant” starts, it looks like she has a hit on her hands with “#Beautiful” featuring Miguel. Do lambs like hashtags?

3. Paul McCartney: A telegram requesting his presence to play bass with Jimi Hendrix, Miles Davis and Tony Williams has surfaced. The recording never happened because of Hendrix’s death, but that’s way cooler than Sir Paul playing with the remaining members of Nirvana.

4. Randy Jackson: He becomes a free agent: first Mariah Carey dismisses him as her manager, making the next few weeks on “American Idol” potentially even more awkward, and the last original judge declares he is quitting the show after this season. What up, Dawg ?

5. Madonna: She’ll receive an award at the Billboard Music Awards for last year’s MDNA tour, last year’s top grossing tour.

6. Cher’s mom: Yes, Cher’s mom. Georgia Holt debuts on Billboard’s country chart at No. 43 with her first album, “Honky Tonk Woman.” She’s giving Tony Bennett some competition for the oldest hipster on the charts!

7. Adam Levine: Not only did “The Voice” revive his and Maroon 5’s career, he now has a development deal with NBC.  The band's name may be burgundy, but the only color he’s seeing is green.

8. Britney Spears: She confirms her long-rumored Las Vegas run to, of all places, Shape magazine. Expect full details about the Planet Hollywood stint to be unveiled by month’s end in Gun and Garden magazine.

9. Carrie Underwood: She replaces Faith Hill as the voice for the Sunday Night Football theme. Doesn’t that count as cheating on her NHL-playing husband?

10. Tim Lambesis: In this week’s weirdest story, member of Christian rock band As I Lay Dying pleads not guilty to charges that he tried to have his wife murdered. We’re pretty sure that’s breaking one of the 10 commandments.

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<p>Lady Antebellum's &quot;Golden&quot;</p>

Lady Antebellum's "Golden"

Lady Antebellum's new album looks 'Golden' on next week's Billboard 200

'The Great Gatsby' and new Rod Stewart land in the top 10

Lady Antebellum will land its third  No. 1 album on the Billboard 200 next week as the country trio’s fourth set, “Golden,”  has a commanding lead over the soundtrack to “The Great Gatsby” for the top spot.

“Golden” is poised to sell up to 155,000 copies, according to Hits Daily Double, while the soundtrack to Baz Luhrmann’s interpretation of the F. Scott Fitzgerald novel will move around 95,000 units.

They are joined by three other newcomers: “Now That’s What I Call Music 46” will likely be at No. 4, while Miranda Lambert’s side project, Pistol Annies’ “Annie Up,”  will be at No. 5 and Rod Stewart’s “Time,” his first album of self-written material in nearly 20 years, will bow at No. 8.

Michael Buble’s former No. 1, “To Be Loved,” will be at No. 3, and Justin Timberlake’s “The 20/20 Experience” continues to sell well enough to be at No. 6.

This week’s No. 1, Kenny Chesney’s “Life On A Rock,”  slips to No. 6, while Blake Shelton’s “Based On A True Story”  is at No. 9. Macklemore & Ryan Lewis, who have the No. 1 song on the Billboard Hot 100 with “Can’t Hold Us,” will likely be at No. 10 on the Billboard 200 with “Heist,” although Bruno Mars’ “Unorthodox Jukebox” may steal that spot.


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Credit: AP Photo

What's wrong with RIAA's gold and platinum certifications adding streaming songs

The shift is akin to switching deck chairs on the Titanic

Today, the RIAA (the Recording Industry Assn. of America) made big news with its decision to include on-demand audio and video song streaming in its certification methodology.  Here’s how it works: previously, songs had to sell 500,000 units (through physical and digital sales) to be certified gold and 1 million units to be certified platinum. Two million and above counts as multi-platinum.

Now, streaming will figure in the tabulations: every 100 streams will count as the equivalent of 1 download. Take something like Psy’s “Gentleman” or Baauer’s “Harlem Shake,” both of which were much bigger streaming sensations than digital sales successes.  They will go gold much faster based on a few days’ worth of streams (although only US streams will count in the designations) than a song that people are plunking down money to buy.  User-generated videos will not count.

To be sure, the music industry has been horrifically slow to embrace change and new technologies. Its arrogance and belief that consumers would continue to buy full albums when they wanted singles lead to the creation of Napster and widespread piracy.  Plus, internecine fighting over whether steaming counts as a sale or as airplay further muddied the issue, especially when it came to figuring out royalty payments for songwriters and artists, so congrats to the RIAA for not moving at a glacial pace and for getting the industry to agree to the changes (although finding new ways to congratulate themselves have never been the music industry’s problem). 

Also, once Billboard added YouTube streaming into the calculations for the Billboard Hot 100 (it already included select other streaming services), it was really only a matter of time before the RIAA made this call. Billboard’s move helped legitimize streaming. Among the streaming services now included in the RIAA’s tabulations are MOG, Muve Music, Rdio, Rhapsody, Slacker, Spotify, Xbox Music, MTV.com, Vevo, Yahoo and YouTube.

Here are my issues with the decision:

*Streaming is not a sale. RIAA certifications, whether or albums or singles, have always been based on sales. Even in this transitioning world between physical vs. digital and buying vs. streaming, a sale still counts as a level of commitment that streaming does not. Now, if I have an incredible yen to listen to The Beach Boys’ “Sail On Sailor” and I’m too lazy to go into the other room and grab the CD, I simply call up Spotify and play it 12 times in a row (yes, this is a true example). My laziness will now help songs become certified gold and platinum.

*This move comes at a time when the music industry continues to be evolving as sales continue to fall. Digital sales have not increased to offset the decline of physical sales, much to the disappointment of the music industry.  In some ways, this feels like a panacea for the music industry to falsely convince itself that the sky isn’t falling because it can now crow about increased certifications and make artists feel good about themselves. The music industry has never been shy about finding ways to pat itself on the back, but this is basically rearranging deck chairs on the Titanic.

*People consume music differently now than they did even two years ago, and the RIAA’s move is recognition of that, however the 100:1 ratio seems too low to me as the opening rate. As we move toward sustainable subscription models, that ratio could be correct, but for now, the ratio  should be higher: maybe 1000 streams to one download. As sales continue to erode and streams climb even higher, then bring the numbers closer together, but by starting at 100:1, the RIAA hasn’t left much wiggle room as the climate continues to shift.

What do you think about the shift?

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<p>Macklemore and Ryan Lewis</p>

Macklemore and Ryan Lewis

Credit: John Shearer/Invision for MTV/AP Images

Macklemore & Ryan Lewis set a Billboard Hot 100 record with 'Can't Hold Us'

What happens to Pink's single?

Macklemore & Ryan Lewis set a record this week at “Can’t Hold Us,” featuring Ray Dalton, goes to No. 1 on the Billboard Hot 100 making them the only duo in the history of the pop chart to land its first two singles at the top.

“Can’t Hold Love” follows “Thrift Shop,” which spent six weeks at No. 1. A third song from the pair, “Same Love,” is at No. 83 on the Hot 100). The last solo act to hit No. 1 with its first two singles was Bruno Mars in 2010-11 with “Just The Way You Are” and “Grenade,” according to Billboard.

“Hold” swaps places with Pink’s “Just Give Me A Reason,” featuring Nate Ruess, which was No. 1 for three weeks. Justin Timberlake’s “Mirrors” rises 5-3, while Rihanna’s “Stay,” featuring Mikky Ekko, slips 3-4. Bruno Mars’ “When I Was Your Man”  slides up 6-5.

The previously mentioned “Thrift Shop” falls 4-6, Icona Pop’s “I Love It,” featuring Charli XCX, continues its upward climb rising 9-7. Imagine Dragon’s “Radioactive” rises 10-8. Florida Georgia Line’s “Cruise” sails its way 13-9 based on the remake of the duo’s tune with Nelly.

Wrapping up the Top 10 is Pitbull’s “Feel This Moment,” featuring Christina Aguilera.


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Watch: Selena Gomez wants you to 'Come & Get It' in new video

Watch: Selena Gomez wants you to 'Come & Get It' in new video

Maybe she should have played hard to get?

Selena Gomez continues on her path to let us know she’s all grown up in her video for “Come & Get It.” The beautifully-lensed video for the  song, which sounds like a Rihanna reject, opens with Gomez luxuriating in haute couture in a beautiful flower-filled field, as one does.

[More after the jump...]

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Watch Imagine Dragons' 'Demons' video and grab the tissues

Watch Imagine Dragons' 'Demons' video and grab the tissues

Rock band dedicates clip to young cancer patient

Everyone has a story, as Imagine Dragons’ new video for “Demons” shows, and the tales often come with very sad endings.

 The clip, which starts as a standard concert video, albeit one bathed in beautiful blue light, features the “Radioactive”-band performing the heavy mid-tempo track about the demons we all have living inside us before a hometown audience in Las Vegas.

[More after the jump...]

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Album Review: Lady Antebellum's 'Golden'

Album Review: Lady Antebellum's 'Golden'

There's not enough shine on the group's fourth set

Part of Lady Antebellum’s broad appeal is that the trio rocks just enough to be embraced by mainstream pop fans and yet the group is country enough, with the obligatory  mandolins and banjo, to fit solidly into the country format. The co-ed ban balances the two adroitly again on “Golden,” its fourth studio album.

For “Golden,”  out today, the Grammy-winning group said they wanted to stretch out and throw away any formula.  However, other than the spunky first single, “Downtown” and the driving, Byrds-like “Better Off Now (That You’re Gone)” —two of six songs on the album written by outside songwriters— there’s nothing much here that couldn’t have been on any of Lady A’s previous three albums. That’s not to say there’s not a lot to like here: Hillary Scott’s and Charles Kelley’s voices still weave in and out of each other’s airspace beautifully  and the melodies are catchy, if unchallenging, especially on “Better Off Now (That You’re Gone).” However, at this point in their career, the threesome, which also includes Dave Haywood, should be comfortable taking a few more risks.

The biggest change here is the increased confidence in Scott’s vocals. Kelley has the more distinctive voice of the two and his slightly gruff tone is what gives the group whatever edginess it has, but on “Golden,” Scott sounds more commanding than she has previously, especially on the Tom Petty-reminiscent opener “Get To Me,” and the wistful “Nothin‘ Like The First Time.”?

Also to the band’s credit, with all three now happily married and Scott very close to becoming a mom, it would have been understandable if they had succumbed to writing nothing but songs that glow about being in love. While such songs are certainly represented here, there are also plenty of tunes that address the aftermath of love’s ruins, including the sad “It Ain’t Pretty,” about the uncomfortableness of trying to re-enter the dating scene. Scott adds a poignancy to the track as she takes her “walk of shame,” with her high heels in her hand. Similarly, Kelley brings the right amount of pain to  “All For Love,” a conversation with Scott, on which they trade verses in a he said/she said about a break-up. And he lets loose nicely on the end of “Goodbye Town.”

Many of these songs were written during jams sessions while the band was on its sold-out headlining tour, and they may have been served better if they’d remained less polished once they hit the studio. For as much as Lady Antebellum seems to want to strip away some of the veneer, there’s nothing on here that approaches the ruggedness of their breakthrough single, 2007’s “Love Don’t Live Here Anymore.”

While there are few losers here, closing track “Generation Away” is a fun arm-waver musically but lyrically, it’s trite, clunky lyrics and its segue into “He’s Got The Whole World In His Hands” is a regrettable, generic way to end the set.

Fans of Lady A will no doubt embrace the new set, but here’s hoping the band achieves the change on the next album it seems to believe happened on “Golden.” They have the talent and the ability, which is part of what makes their largely treading familiar ground here all the more disappointing.

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What you didn't see on Fox's  'Rihanna 777' television special
Credit: AP Photo

What you didn't see on Fox's 'Rihanna 777' television special

We give you the true view from the trenches

Watching Monday night’s “Rihanna 777” special on Fox was a little like watching home movies from the roughest, most exhausting vacation you can imagine and all you see are shots of the pretty sunsets, cute animals, and none of the footage of the crazy relatives. It was an incredibly whitewashed version of what really happened when the superstar took journalists and fans with her to play seven shows in seven countries in seven days. The special bore pretty much no reality to the truth.

As one of the 150 journalists on the journey, I watched the special with disbelief. It made it seem as if we were all a little sleep deprived because of the schedule, not because Rihanna or other circumstances made it so that we took off at least six hours later than planned every flight and were stuck waiting in the airport each time. Plus, after Rihanna made her foray through the plane on our first flight from Los Angeles to Mexico, she never deigned to talk to the press again until we were on our final approach into New York, the final stop.

I understand that the point of the special wasn’t to show how rough the coddled press had it, but what really struck me was that even as a commercial for Rihanna, the special failed. Say what you will about Rihanna, but the one thing she isn’t is boring and yet as I watched the special, I felt like there was nothing at all compelling about her as a personality or as a performer (although the latter is sadly largely true, there were certainly moments that shone--bright like a diamond--during the shows and yet the editors decided to primarily show footage of songs from “Unapologetic” to prop up the new album’s sagging sales).

A few other thoughts on the special:

*Rihanna addressed how the press wanted her to come back and talk but she needed to rest her voice. And yet she managed to go shopping for lingerie, have after parties until 4 in the morning, drink with her friends, do yoga, etc. We only needed 10 minutes or so once she boarded the plane each day/night and yet we only got it on the first and last flights. The simple fact is she wanted nothing to do with us once she had us captive.

*While I understand that the special, which was to promote Rihanna in all her goodness after all, didn't want to stress how badly she ignored the press, the special could have benefitted from some of the humor that sprung up around her disappearing act, including a MISSING RIHANNA poster, the kind you see attached to telephone poles for missing pets, that one of the TV crews created, as well as the fact that many of us resorted to getting our pictures taken with a cardboard cut out of  RuPaul that a journalist from Logo brought on the trip that served as the same role as a Flat Stanley.

*God bless Mike Ruffino, who served as the journalist/talking head for much of the special and gets far more airtime than Rihanna (who apparently didn't give her film crew that much access either). There’s so little substance that he gives some context, as sanitized as it is.   Ruffino is a lovely guy, so this is not meant as a slag of him at all, but it was crazy for the rest of us journalists that the Island Def Jam label representatives were so besotted with Ruffino that we felt like he was the official #777 mascot. The rest of us were left to our own devices and could have been left bleeding in the street, but IDJ reps were obsessive about knowing where “Mikey” was at every turn. If he weren’t such a cool dude, we may have thrown him off the plane, but we enjoyed him as much as IDJ did. The bigger question now is if he was there the whole time solely to be used as a talking head since he didn't seem to cover the trip for any outlet, and was he paid by IDJ to be there.

*Yes, Rihanna has very ardent fans, but when two fans outside the Parisian show talk about how she’s one of the best performers ever after we’ve just seen footage of her moving the mic away from her mouth as she should be singing “Umbrella,” it’s laughable. And there’s no footage of the Berlin fans who were furious after waiting four hours for her to come on stage or the Swedish audience who waited for three hours and were belligerent and surly because they’d been served lots of free vodka during the delay. Also, why are we watching band members, who are on Rihanna's payroll, talk about how great it is to play with Rihanna? Are they really going to say anything different? 

*Speaking of selective, when Tim, the Australian DJ, streaks, and Ruffino talks about mutiny, the special in no way explained the level of frustration and exhaustion that we had reached after five days of no sleep because we were always waiting for hours to take off and we had nothing to write about because Rihanna’s show was the same every night and she had ignored us for five days. Another week under these conditions and we probably would have resorted to cannibalism.

*The journalists were invited to two of the  afterparties that manager Jay Brown talks about, but most of us were too exhausted to even think about trading a few hours sleep for the possibility of getting near Rihanna. Plus, the few journalists who did go were sorely disappointed: they were allowed nowhere near Rihanna who was surrounded by her bodyguards.

There is a fascinating film to be done on the #777 tour and how the wheels came off, and what it says about album promotion and the press as part of the machine, but whatever aired on Fox on Monday had absolutely nothing to do with that.

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