McVie and Robbie Patton penned the album's leadoff hit single, 'Hold Me,' another clear-eyed look at love on which she shares lead vocals with Buckingham. The Beach Boys' wild-child drummer inspired this beautiful, frank declaration of love: '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.' The cascading, wordless background vocals recall the waves on the ocean Fleetwood varies his drums from steady to martial as if to comment on the ups and downs of the surprising relationship chronicled in the lyric. Lyrically and melodically, the group looked back to channel Fleetwood Mac and Rumours while nodding to the new decade.Д¬hristine McVie, always musically conversant in matters of the heart, contributed four songs including the effervescent, shimmering opener 'Love in Store' (co-written with Jim Recor) and dreamy 'Only Over You,' dedicated 'with inspiration to Dennis Wilson,' McVie's then-flame. The clean, glossy production credited to Lindsey Buckingham, Richard Dashut, Ken Caillat and Fleetwood Mac emphasized the back-to-basics approach of this bright, largely uptempo album. In 1981, the year prior to the release of Mirage, Lindsey Buckingham, Stevie Nicks and Mick Fleetwood had all recorded solo albums, but the group came back together in seamless fashion. That opportunity is now here with Rhino's multi-format reissues of Mirage including a 3-CD/1-DVD/1-LP Deluxe Edition. While Mirage indeed lacks the fresh sense of a band coming together on FM, the tense underpinning of deep emotion on Rumours and the wild adventurous spirit on Tusk, it remains an overlooked, sparkling gem of a record ripe for rediscovery.

It succeeded, but over the years has taken a backseat in critical appraisal to 1975's Fleetwood Mac, Rumours and Tusk for a seeming lack of ambition. Mirage, released in June 1982, was intended to restore Fleetwood Mac to the top of the charts ( Tusk had peaked at No. But while Tusk sold four million copies, it couldn't help but be viewed as a disappointment after the world domination of its ten million-selling predecessor. Not everyone in the quintet was sold on this goal, necessarily, especially after the quantum leap forward from Rumours into the beautiful madness that was Tusk. When Fleetwood Mac entered the ChГўteau d'HГ©rouville studio outside Paris at the dawn of the 1980s, the band had one goal in mind: to create a commercial pop success in the mold of their record-breaking Rumours.

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