Dez Record Guides: Fleetwood Mac

When you talk about Fleetwood Mac, you are really talking about at least three different bands, connected only by the constant presence of their namesake rhythm section of John McVie on bass and Mick Fleetwood on drums. The interesting thing is that Fleetwood Mac, through its different incarnations, is really defined by the other members who gave the band guidance through different periods. British blues guitar legend Peter Green, blues acolytes Jeremy Spencer and Danny Kirwin, the unjustly forgotten Bob Welch, pop mistress Christine McVie and the dynamic duo of quirky genius Lindsey Buckingham and gypsy Stevie Nicks. But the constants have always been Mr. McVie and Fleetwood.

I don’t think any major band has had as many major transformations in sound. Most fans of Rumours would scarcely recognize the Mac of Then Play On. Even the reclusive Peter Green felt no connection with the latterday Fleetwood Mac, so much so that when Fleetwood Mac was inducted into the Rock and Roll Hall of Fame in 1998, Green chose to perform his famous “Black Magic Woman” with fellow inductee Santana vs. his own old band, which made some sense since Santana had made the song famous. Still kinda awkward.

For the sake of clarity and because I find it interesting and because with Fleetwood Mac the personnel on each record is so crucial to the sound, I have noted the personnel on each record. The letter in parentheses corresponds to a key at the end of the post with the personnel. If you are counting, the band has gone through 11 distinct line-ups.

Here is the Fleetwood Mac labyrinth unraveled…

Peter Green’s Fleetwood Mac:
Peter Green’s version of Fleetwood Mac is still revered amongst hardcore British blues rock fans. Green is held in the same esteem as a blues guitarist as Clapton, Page, Beck, etc. As far as I go, I feel like you can cherry pick from this era and find incendiary, bold, incredible performances. But there is also a lot of generic blues. They were just getting really interesting with Then Play On when Green went off the deep end, left the band and became an acid casualty for several decades, a la Barrett or Erickson.

What I have done below is try and make some sense of the Peter Green era. Discographically speaking, it is a mess primarily due to several record labels owning the music. There have been countless budget compilations and collections of rarities and live tracks, many of dubious recording quality. I’ve waded through the muck and below is what I believe to be the core Peter Green era discography. You’re welcome.

Peter Green’s Fleetwood Mac (1968) (A) ****
The debut is viewed in many circles as one of the seminal blues based rock records of the 1960’s. There are definitely some burning performances here, but my complaint remains that much of this does sound like generic, if very well played, blues with a rock and roll energy. I know many people would take me to task for not giving this five stars. I just can’t. It is hard to best the “Shake Your Moneymaker,” here, I admit.

Mr. Wonderful (1968) (A) **
Some more well played blues, but even fans of this era acknowledge that there is a lack of inspiration on the follow-up.

English Rose (compilation, U.S. only) (A, B) (1969) ***
The Pious Bird of Good Omen (compilation) (A, B) (1969) ***
Many of Fleetwood Mac’s most famous songs from this era were released as singles only. These compilations collected many of those singles, as well as random album tracks. The gorgeous “Albatross” and signature tune “Black Magic Woman” can be found on these compilations/releases.

ABOVE: The talented but troubled Peter Green

Then Play On (1969) (B) ****
Now here is where things get really interesting. With the three guitar/vocalist/songwriter line-up of Green, Spencer and Kirwin, there is a lot of firepower (although word is that Spencer by this point was contributing little). But what is really great is that they finally seem to be expanding beyond being mere blues acolytes and forging their own sound, incorporating some folk and rock sounds as well for a potent mix. If this line-up had been able to stay together longer and continue to explore these paths…wow. It is a tantalizing “what if.” Kirwin’s “Coming Your Way” features a fantastic groove from the McVie/Fleetwood rhythm section, and Green’s “Showbiz Blues” and “Rattlesnake Shake” show that he was finally moving beyond honoring others and writing his own, quite original, blues. But the centerpiece is Green’s stunning nine minute opus “Oh Well,” with the opening minutes featuring a riff so huge it stands tall next to the best of Led Zeppelin. But then the song suddenly veers into an acoustic folk meditative piece. Utterly brilliant, and if only Green had not soon after gone nuts and become a recluse, we could have had more of this.

Live in Boston (aka Boston Tea Party) (live) (1970/1985/1998) (B) ****
The Peter Green era Mac is famous for its incendiary live performances. There are several poorly recorded releases out there, I chose to represent the live material with the best sounding of the lot. Released in various incarnations over the years, this is worth having, featuring the three guitar Green/Spencer/Kirwin line-up in all its glory. There is a lot of blues here, but the energy crackles through the speakers, and a 25-minute “Rattlesnake Shake” stands as one of the great extended live workouts of the genre.

Transitional Years:
Kiln House (1970) (C) ***
Future Games (1971) (D) **
Bare Trees (1972) (D) **
Penguin (1973) (E) *
Mystery to Me (1973) (F) ***
Heroes Are Hard to Find (G) (1974) **
After visionary leader Peter Green left, the band went through five years of transition. How do you get from Peter Green’s British blues to Rumours? That shift can only be understood through an understanding of this period. It is virtually forgotten these days, and while the records as a whole were quite uneven, there are some fantastic songs scattered about. Bob Welch was crucial during this time, and he was criminally omitted from the list of inductees when the Mac were inducted into the Hall of Fame. Quite simply, without Welch, there would not have been a Mac for Buckingham and Nicks to join by 1975. He and Christine McVie kept it afloat during these transitional, lean years. Christine is a huge presence during this period as well, and does not have to compete with Ms. Nicks.

Classic Mac:
This is the Fleetwood Mac most radio listeners know. With the addition of California folk duo Lindsey Buckingham and Stevie Nicks, the magic formula was finally found. Compare Rumours or Mirage to the Peter Green years, and you’ll see why I said this is the most drastic transformation in rock and roll by any major band. Buckingham and Nicks bring such distinct sensibilities, and neither are rooted in the blues. It is Southern California pop mixed with a healthy dose of Nicks' hippie/gypsy ethos. Buckingham is the one who gives the band its unity in sound. He is an incredible guitar player, fantastic songwriter and singer, and genius producer/arranger. Add to that Christine McVie’s continued evolution as a top notch pop songwriter/singer, and you can understand why for a decade they were a constant presence on the charts.

Fleetwood Mac (1975) (H) ****
Rumours (1977) (H) *****
From the outset, it was clear that this was a new Fleetwood Mac. Appropriately titling their new record simply Fleetwood Mac, this might as well have been the debut record of a brand new band. Look at the hits/well known tunes from these two records: “Rhiannon,” “Say You Love Me,” “Over My Head,” “Landslide,” “Dreams,” “Don’t Stop,” “Go Your Own Way,” “The Chain,” “You Make Loving Fun” and “Gold Dust Woman.” Rumours especially was filled from start to finish with a-list material. Most are familiar with the soap opera drama going on behind the scenes (and played out often in these songs) during the recording of Rumours. Nicks and Buckingham were breaking up, Nicks had a brief affair with Fleetwood, John and Christine McVie were divorcing. Amidst all of this, they managed to produce one of the biggest selling records of all time.

Tusk (1979) (H) ***1/2
Far from attempting to just recreate past glories, the band really tried to do something different on the follow-up to Rumours. Lindsey Buckingham took the production reigns over on this sprawling double, throwing in some very experimental tracks (the title track, for instance, featuring the USC marching band). Like many doubles, this could have been trimmed to make a stronger single, but there is some fantastic material here nonetheless. Stevie Nicks’ “Storms” is gorgeous.

ABOVE: The always beautiful Stevie Nicks also possesses one of the most unique and powerful female rock voices

Fleetwood Mac: Live (live) (1980) (H) ***
Excellent live record from their peak. Not a lot of surprises here, but energetically played.

Mirage (1982) (H) ***
They step back from the experimentation of Tusk and produce a straightforward pop/rock record. Some good songs here (“Hold Me,” “Gypsy”), but the most forgettable record from this era.

Tango in the Night (1987) (H) ****
This record had some big hits, yet I still feel it is often overlooked. It was Lindsey Buckingham’s swansong with the band until he returned a decade later. The production is meticulous and representative of Buckingham’s over-production-as-artform. But mainly, this is a hell of a set of songs from all three songwriters. Christine hits the mark as usual with a couple of killer pop songs with “Little Lies” and “Everywhere.” Nicks’ “Seven Wonders” is one of her best and Buckingham really delivers with “Big Love,” “Caroline” and the title track. It is definitely of its time with heavy 80’s + Buckingham production, but it is also fantastic.

Interlude:
Behind the Mask (1990) (I) NR
Time (1995) (J) NR
Without the visionary production leadership of Buckingham, the Mac were adrift. These are justly forgotten, although Time has a rather intriguing line-up of has beens. Had this group of people joined forces in the 70’s, they could have done something really cool.

Reunion:
The Dance (live) (1997) (H) ****
Say You Will (2003) (K) ***
Fleetwood Mac: Live in Boston (live) (2004) (K) ***
Extended Play (EP) (2013) (K) ***
The reunion of the classic Rumours line-up was surprising considering the apparent animosity within the ranks of the band. You do have two ex-couples, afterall. But the live reunion and subsequent record were a hit, with Lindsey Buckingham and Stevie Nicks both returning to the fold in top form. In fact, with the jawdropping acoustic “Big Love” and a burning workout on “I’m So Afraid,” Lindsey Buckingham emerges as an extraordinary guitar player. After the triumph of The Dance, Christine McVie decide to go into semi-retirement, so they have been a quartet since then, although there are rumours that Christine may be rejoining the fray soon.


ABOVE: Lindsey Buckingham's incredible solo performance of "Big Love" from 1997's The Dance. That guitar playing!

Compilations:
The Best of Peter Green’s Fleetwood Mac (compilation) (2001) (A, B) ****1/2
Greatest Hits (compilation) (H, I) (1988) ****
25 Years – The Chain (compilation box set) (various) (1992) ****
The Very Best of Fleetwood Mac (compilation) (2002) (H) ****
It took awhile, but finally a professional, good sounding, well put together compilation of the Peter Green years is available. Most everything that is essential is here, including some of their best songs that were only released as singles, like “Black Magic Woman,” “Albatross,” “The Green Manalishi,” “Dragonfly.” If you want a one stop for the Peter Green years, here it is. The Mac have so many hits that it is hard to screw up a compilation covering the Rumours line-up. All of these above contain most of the essentials, although the box set (now out of print) was somewhat of a lost opportunity with its haphazard programming.

Solo Work:

Many of the current and former members of FM also released solo work. I am only familiar with Lindsey Buckingham, Stevie Nicks and Christine McVie. McVie's records prove an interesting thing. Her songs work so well within the larger framework of an FM record in part because her tunes offer nice, pop contrast to the more intense, insular work of Buckingham and the gypsy/hippie/mysterious vibe of Nicks. But listening to her three solo records shows that full albums of just McVie pop songs gets old pretty quick.

As for Buckingham, I've got all eight of his solo records. With him, it depends on how you feel about what some consider his strengths as a producer and others view as self-indulgence. The meticulous and quirky production on FM's Tusk and Tango in the Night...that is basically what his solo work sounds like. Then add that he has even less restraints, as he is not really worried about keeping a brand going. I think Live at the Bass Performance Hall (live) (2008) **** may be where to start, as it features some choice solo tunes, great renditions of some Mac cuts and several showcases for his jawdropping acoustic guitar playing. Everything else is hit and miss, but almost all of his records feature some stellar tracks.

Not surprisingly, Stevie Nicks had the most solo success. I don't have any of her studio records, although I understand several are quite good. Crystal Visions - The Very Best of Stevie Nicks (compilation) (2007) **** is a fantastic sampling of her solo hits. Interesting story behind her killer song "Stand Back." If you listen closely, notice the chords are the same as Prince's "Little Red Corvette." That is no accident, as Prince co-wrote "Stand Back" with Nicks. She told a funny story in an interview that has always stuck with me about Prince's strange genius. He came to the studio to lay down that pounding synth part. As Nicks told it, he hardly said a word, not even "hello," walked in and nailed that rhythmically complex and awesome synth line, and then walked out. Again not saying a thing.

(A) Peter Green, Jeremy Spencer, John McVie, Mick Fleetwood
(B) Peter Green, Jeremy Spencer, Danny Kirwin, John McVie, Mick Fleetwood
(C) Jeremy Spencer, Danny Kirwin, John McVie, Mick Fleetwood
(D) Bob Welch, Christine McVie, Danny Kirwin, John McVie, Mick Fleetwood
(E) Bob Welch, Christine McVie, Bob Weston, Dave Walker, John McVie, Mick Fleetwood
(F) Bob Welch, Christine McVie, Bob Weston, John McVie, Mick Fleetwood
(G) Bob Welch, Christine McVie, John McVie, Mick Fleetwood
(H) Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie, Mick Fleetwood
(I) Stevie Nicks, Christine McVie, Billy Burnette, Rick Vito, John McVie, Mick Fleetwood
(J) Christine McVie, Dave Mason, Bekka Bramlett, Billy Burnette, John McVie, Mick Fleetwood
(K) Lindsey Buckingham, Stevie Nicks, John McVie, Mick Fleetwood