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"Little Lies" is a song by British-American rock band Fleetwood Mac from their 14th studio album, Tango in the Night (1987). It was written by band member Christine McVie and her then-husband, Eddy Quintela, with lead vocals performed primarily by McVie; the chorus features backing vocals by Lindsey Buckingham and Stevie Nicks.
Tango in the Night is the fourteenth studio album by British-American rock band Fleetwood Mac, released on 13 April 1987 by Warner Records.As a result of Lindsey Buckingham's departure later that year, it is the fifth and final studio album with the band's most successful lineup of Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks, [1] though Christine McVie would make ...
Greatest Hits is a greatest hits album by British-American rock band Fleetwood Mac, released on 21 November 1988 by Warner Bros. Records. [3] It covers the period of the band's greatest commercial success, from the mid-1970s to the late-1980s.
Fleetwood Mac’s years of up-and-down fortunes began in 1968, when the band released a successful self-titled debut and, a few months later, a sophomore slump with poor reviews and a lower chart ...
Christine McVie, who died Wednesday at 79, contributed mightily to the Fleetwood Mac canon. Here are five of the best songs she wrote for the band.
McVie was described as "the prime mover behind some of Fleetwood Mac's biggest hits" [1] and eight songs she wrote or co-wrote, including "Don't Stop", "Everywhere" and "Little Lies", appeared on Fleetwood Mac's 1988 Greatest Hits album. [2] She appeared as a session musician on the band's last studio album, Say You Will.
The 1967–1969 era Blue Horizon albums (Fleetwood Mac, Mr. Wonderful, The Pious Bird of Good Omen, and Fleetwood Mac in Chicago) and the 1971 outtakes album The Original Fleetwood Mac have been remastered and reissued on CD, as have the 1975–1987 era Warner Bros. studio albums (Fleetwood Mac, Rumours, Tusk, Mirage, and Tango in the Night).
Where others hear in their fourth – and bestselling – album a heavy metal cornerstone and 42 minutes of folk-rock perfection, I just hear one clumsy rip-off of Fleetwood Mac’s “Oh Well ...
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