The song was recorded by the American rock band Tantric , released as the second single off their second album After We Go. Though being released as a single the song lacked much promotion, debuting at number 36 on the US Mainstream Rock chart. On 20 March , "The Chain" peaked higher at 81 in the UK chart following a campaign on Facebook to try to get the song to number 1 for the start of the Formula One season. The song is also featured in a scene of the biographical film about Tonya Harding , I, Tonya and appears on the soundtrack.
From Wikipedia, the free encyclopedia. For the comedy, see The Chain film. Hard rock blues rock folk rock country rock. Post-grunge hard rock alternative rock. The ending of "The Chain". The ending as used by the BBC's Formula 1 coverage and other media outlets. Rolling Stone. Retrieved The Sound. Never Break the Chain: Fleetwood Mac and the Making of Rumours. Vinyl Frontier. Daily Telegraph. Retrieved 19 March Retrieved 12 February Fleetwood Mac — The Chain".
Hit Songs Deconstructed. Retrieved April 22, Fleetwood Mac co-conspirator Richard Dashut reflects on recording and mixing rumours". The only band member to keep throughout was drummer Mick Fleetwood. Their most successful period comes about they were led by guitarist Peter Green inside late 's. Also there will do great Music from Step Ahead a terrific top 40 band as well as a Phenomenal Journey tribute band Frontiers as well as acoustic and classic rock bands and artists.
My record favorite rock band, Fleetwood Mac and their song Landslide has some terrific acoustics too. Stevie Nicks is my favorite female vocal, singing this to her Daddy. Track listing: It's a long way from the Marquee Club to Rumours , so I'll start this from an appropriately far away angle.
My name's George S. I am what people who don't like me call a "wannabe rock star", or what people who like me call "an insightful reviewer". Whatever be the case, I'm your typical 'little guy'. I don't have a radio show, I don't propagate free love, I don't go into politics, I don't dabble in arts, I'm hardly likely to make a huge impact on the world. I'm just sitting here "beating on my trumpet" as Bob Dylan would say, putting up rock and pop reviews for no apparent reason other than having some sort of way to express meself as an individual.
This is why I can certainly identify with Bob Brunning. Bob Brunning is also a typical 'little guy'. He's probably known to only a few more people than myself, and most of these would probably refer to him as "that accidental freak", even if they don't mean it. He even sort of looks like me, and not just because he's wearing glasses.
I figure that if I were a rock musician at some point in my life, I would probably be very similar to Bob Brunning. Quietly standing with my little guitar or bass in the corner, doing my little thing out there, and throwing shy glances at the "great artists" standing to the right of me, playing their hearts out.
There'd hardly be anything more for me in the business. I'm not sure, though, whether I'd swallow my being kicked out of the band as easily as Bob did. Yes indeed, his serving as Fleetwood Mac's first ever bass player was a bit misguided. But John initially declined - the only reason for their hiring Brunning instead. Once the band's first appearances were noted, though, and the first positive reviews started rolling in, McVie apparently understood what he was missing, and Mr Brunning was given the boot. A less nicer and agreeable person might have spent the rest of his life letting the air out of the band's van's tyres or cutting off power in the middle of their biggest concerts; Brunning, on the other hand, became the band's biggest fan and even went as far as to write their official biography.
Well - I've always had a weak spot in my heart for the pleasant Gandhi-like type, even if I'm far from being one myself. That said, the Gandhi motives are still put under heavy suspicion by the release of this album. Now, I've got nothing against historical curiosities, and likewise, I can see that this issue perfectly ties in with the Mac's politics of releasing as much of everything that somehow ties in with "the early years" as possible see below on that.
Moreover, it's, like, the second ever live gig played by the band, which certainly gives it a unique flavour; the "supergroup" concept was only drawing its first breath in , and I suppose the only band at the time who could risk releasing their second live gig, be it then or later, without falling flat on its face, were Cream. But they didn't. Yet all of these considerations turn pallid once you actually hit the play button. All of this record - and I really mean it - sounds like it was captured on a hand-held tape recorder, stuffed by Brunning deep into one of his boots.
More probably, Brunning didn't have anything to do with it why would the others object to having nicer recording equipment, anyway? That nice sunny or horrid rainy day in August, , Fleetwood Mac might have been playing like the devil, making the audiences and themselves go crazy with blues longing and rock and roll drive - but if you weren't there on the spot, this recording sure ain't gonna confirm that.
Granted, I managed my three listens, and by the middle of the second one, I got a little used to the fact that I could hear the ladies and gentlemen of the audience discuss their personal problems about as fine as I could hear Peter Green and Jeremy Spencer sing the blues. But then I put on something normal for a change, and by the time I got around to my third listen, I had to start getting used all over again. A discomfortable situation if there ever was one. I'm not going to discuss their repertoire, not only because of the sound quality, but also because it's more or less the same stuff that's been later recorded in the studio for their first two albums where you could actually distinguish between the two guitars, at least , and you can learn all about my attitude towards the earliest stage of Fleetwood Mac out there.
As far as I know, two of the three Peter Green originals on here 'Evil Woman Blues' and 'Watch Out For Me Woman' did not appear on any other Mac albums, which would make Live At The Marquee an essential purchase for those conducting serious research on the man's evolution as composer. But hardly for anybody else: Only 'Looking For Somebody', with its spooky, jerky harmonica lines and "stuttering" rhythmics, offers a couple hints at originality, and that one can be easily located in fine quality on the band's official debut.
And speaking of Spencer, while on later records he would often act as the band's great entertainer by offering hilarious rock'n'roll parodies, on here he is still strictly sticking to Elmore James. Which Brunning sort of speaks with adoration about in the liner notes, but me, I'm bored. Unless it's 'Shake Your Moneymaker', which is really a dang fine performance to close the show with. Two duelling slide guitars on a fast track - wowser! Unless it's really just one and I can't hear the other.
As you can see, that's some pretty slim credit out there. All the more dishonest, I think, is for Brunning to not mention the quality of this recording even once , leading the potential consumer into believing this might be of equal value to the band's BBC recordings, which it mightn't. Clearly my ass. That's one hell of a euphemism if I ever heard one. Like I said, I can feel a certain inner sympathy for Bob Brunning, and understand his motivation, but forgiving is one thing, and forgetting is another.
Some fine blueswailing, but it's easy to see why they didn't maintain their status as a blues band for very long Hardcore blues. That's what the record is, from top to bottom. Eh, but what could you expect from a group that graduated out of John Mayall's Bluesbreakers? The only question is: God only knows. A possible guess is that Britain had already gotten kinda sick and tired of Mayall, and Peter Green and Mick Fleetwood thought that a new hardcore blues band, with some injection of new blood and a relatively fresh approach, would rekindle the interest in 'roots-rock', so shamefully lost since the advent of the 'psychedelic' era.
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Thus the Mac took on an honourable function: They performed that function with verve - proudly carrying the blues on their shoulders through and and caressing it as best they could until it became obvious that other bands, starting from the Beatles and especially the Stones, were getting back to their 'roots' as well - that's when the Mac started relinquishing theirs. But fascinating as that little historic excourse might have seemed, let's get back to business - after all, this site doesn't exactly rate records according to their historical importance.
Seriously, now, from a thirty-years-on point of view this particular record ain't very entertaining. Never would be, too: You tell me. The only arguable virtuoso in the band was guitarist Peter Green, and he does have a distinctive sound - but it's hugely derivative of his blues heroes whose songs he's singing and whose licks he's valiantly copping.
If you've heard enough Muddy Waters and Elmore James in your lives, you won't need this record. Not to mention that even the production sucks: The sound is flat and pedestrian; for comparison, take a listen to the far superior John Mayall's Bluesbreakers With Eric Clapton with its deep rumbling echoes and a guitar that sounds like it's coming somewhere from the stratosphere rather than from somebody's bellybutton.
To be more precise, the band runs the gamut from straightforward, ear-piercing, dumb-lyricized tunes 'My Heart Beat Like A Hammer'; 'My Baby's Good To Me' , to slow, 'philosophical' shuffles 'Merry Go Round', the moody 'Cold Black Night' and even some fast rockers 'Shake Your Moneymaker' , although speed is certainly not characteristic of this record. It is obvious that these guys could play fast when they wanted to, but they simply wouldn't do it - probably so that they wouldn't be accused of making a rock'n'roll record. By the way, you know that Mick Jagger once said around something like 'I hope we're not being considered a rock'n'roll band'.
Funny what time does to some people! The problem is, they don't have enough genius or creativity to make anything outstanding - they're just following the pattern established long ago, and both Spencer's and Green's originals are practicably indistinguishable from the covers. This stuff is not bad, but I couldn't call it more than 'okay', since only maybe, like, two songs are able to attract my attention at all.
By the way, that's the only track on this record that features original bassist Bob Brunning - yes, there was a time when the band was called 'Fleetwood Mac' without the 'Mac' being actually backed up by a real 'Mac'. I also think that the gloomy rhythm of 'Looking For Somebody' is kinda distinctive, but that doesn't make the song a particularly outstanding piece. At least they try out enough styles and moods to make it possible to sit through the entire record in one go quite unlike Mr Wonderful , that is. But really, I think blues historians are the only people who should be seriously interested in it.
I forgot to mention the best song on the album. By accident? I guess not. Anyway, it's 'I Love Another Woman' ooh those unimaginative song titles , and it's a real creepy tune, with echoey bass and deep rumbling guitars and lots of subtlety. It's perhaps the only song on the whole album that stands a wee bit above your average barroom band quality, and things like that make me wonder Just an accident.
Background blues music for easy listening. Easy listening? Don't get in unless you're a blues fanatic! You know, I've heard quite a lot of blues records in my life, but this is the ONLY one on which four songs namely, the covers 'Dust My Broom', 'Doctor Brown' and 'Coming Home' and the Spencer 'original' 'Need Your Love Tonight' begin with exactly the same standard blues chord sequences and have exactly the same melody, intonation, vocals and partly lyrics. Four songs, get it? If this is what Peter Green understood as a hardcore blues band, well More specifically, why couldn't Eric Clapton ever fullfil his dream of finding such a band in either the Yardbirds or Cream?
If you still don't understand this, go listen to this album. Not that it's bad.
Over My Head Chords by Fleetwood Mac | Songsterr Tabs with Rhythm
In parts, it's even enjoyable. And there's not a nasty or just plain bad tune to be found for miles around. But all of them are so uniform, so friggingly similar to each other and so unpromising in their entirety that one could only imagine what a band with, say, a dozen of suchlike albums would look like. In my opinion, this album's a plain gift to bluesophobs: As a live show, this stuff probably worked; after all, Fleetwood Mac did gain immense popularity in Britain even back then, based on their live program.
But the records suck! Not that I have anything against an entire album of blues covers, mind you. But with this particular record there are specific problems which make it significantly worse than even their debut one. First of all, this time the band really doesn't give a damn about whether the tunes sound different from each other or not: And the production hasn't improved even a single bit from their debut: Some of the songs, like I've already said, are so similar that you hardly notice the breaks.
Second, like I also already said, none of the band members are virtuosos: Everything's as bland and insipid as possible. Yes, even including Peter Green's guitar: Actually, it becomes unbearable from the very first track 'Stop Messin' Round', an 'original' with, as usual, new lyrics set to well-known melodies and doesn't stop being unbearable until the very end.
The fact that they tried to diversify the sound by adding some more horns and pianos doesn't help at all - in fact, they only succeeded in making it even more close to the Bluesbreakers' sound. Except that the Bluesbreakers at least tried to vaguely experiment with their arrangements; the horns on Mr Wonderful , in contrast, sound as if they were taken from a sound library. And the murky production doesn't even let them sound like a real big band; nope, it just sounds like the same home-brewed band with the horns and pianos tacked on as an afterthought.
The good news? Well, aside from the fact that you can easily put this record on at a party or while 'dusting your broom', there's just a couple of songs which could hold your attention, both belonging to Green: I mean, it's fast, somewhat aggressive, and, for once, the horns really interact with the slide guitar part and result in an interesting and invigorating sound.
The closing number, 'Trying So Hard To Forget', is also tolerable - suitably moody and featuring tasty harmonica work. Although, to be honest, it just kinda rips out of the general scheme and pattern of the album; as such, it's just a weak John Lee Hooker pastiche. Apart from that - get yourself some Muddy Waters or Elmore James, friend.
If you're a great fan of Mac, get it for the album sleeve which features Mick Fleetwood standing half-naked and posing before the camera like an idiot. But boy does that cover stand at odds with the album material. British blues band idol on parade in America; not the wonderfullest of wonders, but at least they're decent enough.
Amazingly, while the Peter Green incarnation of Fleetwood Mac was probably their weakest and least original music-wise, it has nevertheless since become legendary - the truest and grandest of all British blues bands, etc. Anyway, this has resulted in just about a couple million official and half-official releases of the band's live shows from different locations and different periods; they are certainly most endearing to blues aficionados and Peter Green fans, but generally, I'd bravely unclam my mouth and state that they're just fucking up the band's official discography - you never know now what's an 'official' release and what's a bootleg, not to mention that many of these 'official' releases go out of print in the twinkle of an eye, as well as heavily overlap with each other.
A mess, in other words - just visit the Fleetwood Mac official site and you'll see. This here forty-five minutes little rec is, as of the year , the last 'totally official' release of one of such events - capturing Fleetwood Mac on January 25th, , at a relatively small venue in Los Angeles where they were opening for Zappa and the Mothers.
Essentially, this only goes to show that the re-issuers were at the end of the rope. The setlist is small just nine tunes , so that they leave in every single moment of every single pause and even include a two-minute sequence of the band tuning up 'Tune Up'! Go figure! The sound quality doesn't exactly suck, but is no great shakes, either: And, lastly, they don't really do anything significant except for 'Albatross'; not that they had anything truly significant written by the time, but still, I'm kinda disappointed.
That said, I must remark that the band really felt much more at home on stage than in the studio. Maybe it's just because the sound isn't diluted by all the boring nasty trumpets - just a regular two-guitar attack, sometimes turning into a three-guitar attack Kirwan is already in the band, and Spencer alternates from guitar to piano depending on the tune. At times they do degenerate into boring, completely generic blues jams - the seven-minute version of 'Need Your Love So Bad' is particularly excruciating, with its ultra-slow tempo and Green just engaging in good, but non-outstanding guitar licks that any blues player with enough self respect learns to master after several years of playing.
But when the tunes are shorter and more compact, the produced effect is far more satisfactory, like on the vibrato celebration of 'If You Be My Baby' and Kirwan's 'Something Inside Of Me' - funny, the guy's composition is far more bluesier than anything he'd done since. They probably let him join the band only on condition of bringing in more blues!
Five out of ten tracks, however, do stand out due to various factors. And then, of course, Jeremy gets to shine with his 'mini-program'. In concert, the man had two beloved subjects: Sometimes he used to combine both of his passions in one song; here, he prefers to dissect them. I suppose Robert Plant was a huge Spencer fan around or so.
And, of course, he changes the 'I wanna squeeze you like a lover should' line to 'I wanna screw you Or it's just blatant stupidity, whichever one of the two you prefer. In conclusion, I'll just pronounce a wise, even if kinda limited, dictum: If you're really interested in the band's Sixties' blues sound, you're well advised to stick to this album and screw the first two ones. This isn't exactly a compilation - it does recycle some numbers from both the debut album 'Looking For Somebody' and Mr Wonderful 'Stop Messin' Round', 'Coming Home' , but essentially it's a collection of singles, and that means that not only does it feature some material you won't find anywhere else, it also features good quality single material.
As far as I know, they released another album like this called English Rose - maybe the British analog for this one or vice versa ; however, the track listing for it doesn't look more entertaining than on Pious Bird , mostly the same singles, so I don't know which buy's the better. Anyway, English Rose seems to be out of print, so forget about it and stick to this pseudo-compilation. I'd say that there are two songs on here which make the album an essential buy for any Fleetwood Mac fan. These are the mystical blues 'Black Magic Woman', later made famous by Santana, and the gentle instrumental 'Albatross'.
The production is deep and all-encompassing, the tonality is what I'd call 'subtly minor', and Mick chooses a very tricky time signature, although I don't really know if the fast part of the song really suits the general atmosphere. This is what I call 'adding on some edge'. As for 'Albatross', it ain't blues at all; it's an atmospheric, almost 'psychedelic' tune, with a very tender and loving guitar tone and soft hushing percussion beats - as far from a generic blues composition as could be.
Both credited to Green, by the way, although I wouldn't be surprised if they were credited to Danny Kirwan - their dreamy, hypnotic atmosphere fits in perfectly with his style on Then Play On. Then again, Fleetwood Mac was always known for the huge influence which certain band members always had on the others, so maybe Danny was just a faithful disciple of Green, after all. This is also suggested by the fact that the only composition credited to Kirwan, the B-side 'Jigsaw Puzzle Blues' has nothing to do with the Stones' 'Jigsaw Puzzle' , is a fairly tolerable, but completely inessential hardcore blues instrumental in the style of early Green.
What a bummer. Funny enough, some of the blues material on here is also listenable - like the ridiculously orchestrated 'Need Your Love So Bad' that wonderfully manages to combine straightforward blues with MGM-type string arrangements strange that so few people have tried this, before or after , or the two collaborations with bluesman Eddie Boyd 'The Big Boat' and 'Just The Blues' , where Eddie's voice and fluent piano playing is what makes the numbers really shine through. Turns out that Green just wasn't out a good vocalist - Fleetwood Mac sound perfect as a backing band, much better than, say, the Stones when you hear them sometimes backing an old bues great.
The selections from the earlier albums aren't the worst, either, and the fact that the tracks are interspersed also gives a feel of slight diversity that was so missing on the previous records: There's some filler, too, after all, it would be too much of a bias to say that it's hugely different from the debut album. For instance, I hate the band's reworking of Elmore James' 'The Sun Is Shining', since the vocals are shitty - Spencer playing his dirty tricks on the listener again?
I'm so used to the pretty Clapton version of the song that I can't imagine it as a stupid parody version. And, while all the generic blues ditties are slightyl better in quality then the generic blues ditties on Mr Wonderful , they're still nothing but generic blues ditties. It's well performed although it would certainly be crushed down by Cream's performance of the original on Fresh Cream , but the fact that the song is credited to Green is a crying unjustice - no wonder Muddy Waters was left starving in his later years when nobody even cared about such 'annoying' matters as paying royalties.
This puts Fleetwood Mac into the same dirty bag with Led Zeppelin and, hell, tons of money-grubbing blues-rippers. Too bad. I hate the album cover, too, but I don't suppose anybody could love that As it turns out, it's a 'black magic woman' holding an 'albatross', but it takes much time and a really good eyesight in oder to perceive that. Imagine yourself at the head of a band which is tired to death of playing straightforward blues numbers but doesn't really know how to do anything else - it's just learning. Imagine that, in a desperate attempt to revitalize your sound, you bring on a young folkie who's so timid about both his instrument and his voice, he manages to make them almost inaudible on record.
Imagine that he's no big songwriter, you're no great songwriter as well, but you painfully want to record some material of your own. Finally, do not forget that you have to keep up to the epoch's expectations and be a little inventive, a little intelligent lyricswise and with just a slight touch of psychedelia, too. Keep all of these things in mind and you'll have no trouble imagining what a record like Then Play On , released in the fall of , must have sounded like.
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Actually, if you take a listen to it immediately after Mr Wonderful which I just did , it doesn't sound too bad at all, and in every respect it's a huge improvement; Fleetwood Mac are finally beginning to find a style , one of the first of many of their subsequent ones. The blues covers are gone, their place being taken over by mainly two genres: At some points, however, both of them manage to blend together, giving the record a feel almost as uniform as that of its predecessors.
But this time, at least, it's the band's own style - clumsy, erratic and most unsure of itself, but there it is. The most striking thing about Kirwan at this point was that he mostly avoided loud, in-yer-face rock tunes, instead relying on ultra-quiet, almost freezingly silentious ditties. Some of these really rely on good musical ideas and could have easily been turned into a hit with a bit more elaboration 'When You Say', with a wonderful verse structure but lots of annoying la-la-la's , but most of them are just deadly boring 'Closing My Eyes', 'Although The Sun Is Shining'.
Plus, he gets in an instrumental which is, well, ambivalent, whatever that may mean in the context 'My Dream'. Sure enough, all of these tunes don't even hint at the blues uniformity of Mr Wonderful , but I wouldn't say this one's a better alternative. Moreover, I always thought Green was a so-so lyricist until I actually heard and browsed through Kirwan's texts. My God, why couldn't they have hired Bernie Taupin instead? It's strange, but the day is really saved only by some of Green's numbers.
Maybe his creative spirit was somewhat disturbed by Kirwan's coming, or maybe he just grew up. Anyway, even the few hardcore blues numbers sound quite entertaining the drunken craze of 'Rattlesnake Shake'; the bizarre feel of 'Show-Biz Blues' , but the record's highlight is the nine-minute workout 'Oh Well' which begins as a rip-roaring heavy blues and inspires Led Zep for 'Black Dog' in the process and then suddenly transforms itself into a moody, but strangely charming acoustic shuffle, at times punctuated by echoey electric licks, keyboards and strings.
It's no masterpiece, of course, but the main point of surprise is that seven minutes of slow, repetitive acoustic notes should annoy one to death - and yet, for some obscure reason, they don't. Also noteworthy is the fact that 'Oh Well', at least, the fast part of it which also constituted the bulk of the single edit had become the band's only live standard to be kept for many many years since Green left the band; it was even sung by Buckingham as late as !
Some of the minor numbers, like the countryish pastiche 'Like Crying' Kirwan! On the other hand, the two instrumentals 'Searching For Madge' and 'Fighting For Madge' don't sound that good at all, whoever 'Madge' might be. Neither Fleetwood's ferocious drumming, nor Green's flawless technique do much to save them from belonging in the same wretched Mr Wonderful bag. Oh well, at least there are a few minutes of solid jamming to be found on 'Fighting'.
The thing to note about the record is how goddamn DARK it all sounds. Not 'spooky', actually; it's a strange, dusky kind of atmosphere, created by all the silent and slow numbers, with lots of echoes and sound depth until it begins to feel you're wandering through dark empty halls trying to find an exit and finding none - apparently, something of the kind was truly torturing Peter at the time, while Danny was only happy to oblige. If anything, this dark, introspective atmosphere is the coherent theme for all of this album, except the stupid 'Madge' bits, and for the atmosphere I'm even ready to forgive any individual flaws.
Hell, in this context even the most boring Kirwan noodlings suddenly make perfect sense: This atmosphere is indeed something unique and unprecedented: Then Play On certainly won't have you waking up in the middle of the night with cold sweat on your brow. CD II: Too often, the general impression of a band depends not so much on its general abilities as on the means of representation chosen for the band in question.
The preceding studio albums don't have any reason to exist at all unless the original recordings of Elmore James become unavailable. It's just that their live and studio sides never coincided all that much. Sure enough, the BBC recordings present us with a lot of blues covers, some reproduced almost note for note according to studio performances; even so, I would rather hear this stuff on a live basis in hope of at least some spontaneity and rawness that's unintentional , not a "Fourties reproduction" through cracking, hissing and poor production.
But generic blues was only one side to the story. First of all, you have Spencer with his fascination towards rock'n'roll and pop-rock and idolization of Elvis and Buddy - he's all over the place here. Second, you have Kirwan with his folksy influence.
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Third, you have certain Green originals that are moody and thoughtful and passionate and go ten thousand miles beyond limp reproductions of 'I Believe I'll Dust My Broom'. You have all kinnds of little failed and unfailed experiments. In short, a concise, involving and almost panoramic view of the whole shenanigan. All this lovingly packed within two shiny discs and graced with cool photos and Fleetwood's respectful liner notes. It's as close to "ultimate representation" as possible, and obviously the best place to start with the band - and, as much as I'm concerned, you don't really need anything else apart from Then Play On , of course, and maybe The Original Fleetwood Mac if you actually want to expand your horizons, not narrow them.
This here package boasts a treat shared by few other BBC discs - namely, out of the 36 tracks, no two double each other. The recordings are interspersed, which might be a hassle for chronology lovers, but it also spares you all the generic blues placed at the beginning: The earliest selections come from late ; the latest ones come from late , but if we are to believe the track notes, there is only one track here that doesn't feature Green - 'Preachin' The Blues', a blues standard recorded in January and featuring heavy slidework from Spencer.
It's kinda amazing, though, and almost ironic: Jeremy singing a tongue in cheek hymn to church preaching 'I'm gonna get me religion, I'm gonna join the Baptist church, I wanna be a Baptist preacher so that I won't have to work' - and it was months, maybe weeks before Spencer would quit the group and join a sect indeed. I'm pretty sure Mick meant this as a sarcastic blow to Jeremy while approving this particular selection Sure, there's plenty of filler in this package, with all the Elmore James cliches firmly in place, but when the track number is so huge, you hardly notice.
And the highlights, ooh, the highlights are many. Let's just take the first disc and browse through it rapidly. Folksy perfection. Spencer is in the Kiln House vibe see below , contributing a magnificent Presley-style doo-wopper. Spencer in super-sappy mood, almost overdoing his trademark Buddy Holly impersonation, but it still works nevertheless. That's eleven highlights, and that's only disc 1. Granted, Disc 2 is a bit more heavy on blues standards, but you still can't picture your existence without 'Long Grey Mare', can you?
Or without an inspired rendition of Tim Hardin's 'Hang On To A Dream' a song that everybody used to cover at the time starting with Rod Stewart and ending with the Nice, but hey, that's no reason to dismiss another good cover? Or a solid live 'Albatross'? Or the wall of sound on 'Tallahasee Lassie' - a performance which makes you really appreciate the presence of three guitarists in the line-up? Or yet another sappy hiccupy Buddy Holly sendup 'Linda'? It's hard to name all the songs. Heck, let's be brave: I mean, other BBC albums either lower our ideas of a certain artist Beatles or slightly improve it Led Zeppelin or just give us a good opportunity to enjoy a good live performance Hendrix , but Peter Green's Fleetwood Mac BBC collection does the impossible, for me, at least - which is, change the perception of a band from dismissive to very much appreciative.
So try to scoop it up if you were ever interested in this incarnation of the band in the first place. And if you weren't, scoop it up if only for the paranoid look in Mick Fleetwood's eyes as he stares at you from the inlay photo. Peter Green had gone completely berserk and quit the band by this point without even a single warning - rumour has it that he just disappeared on the street and they found him having joined some sect , which left Kirwan and Spencer as the only contributing members of the band - Fleetwood and McVie, even if the band was named after them, were rarely more than just a solid rhythm section, and Christine Perfect by now, already Christine McVie was just a recent newcomer I'm not sure whether she was an official member of the band by the time of release of Kiln House who played some keyboards but never sang or composed anything - as of yet.
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Thus, the album is almost equally divided between Kirwan's and Spencer's 'masterpieces', and sounds completely different from Then Play On. That album was long-winded, serious and relatively gloomy; Kiln House is short, playful just as much as the album sleeve shows it to be, and very lightweight, with lots of tongue in cheek performances and humorous pastiches.
Kirwan was already on the path of relinquishing his folk rock ambitions, switching to louder rockers, so overall this is a hell of a loud and 'open' record. However, the main accent is on the series of extremely bizarre parodies on fifties' rock acts, mostly impersonated by Spencer. In short, if Then Play On was the band's Peter Green album - the man and his world clearly dominated on the record - then Kiln House is obviously the Spencer album, which just goes to show how different the two guys actually were. However, if it's genuineness we're speaking of, the highest praises go to 'This Is The Rock': There are also a couple bouncy pleasant ballads in the catchy 'One Together' and the not too catchy 'Mission Bell', but as you might understand, 50's ballads aren't as interesting to imitate as 50's rockers, even if it might be a harder process technically.
I don't know what was the desired effect; to me it all sounds like absolutely unessential, but good-time harmless fun. Obviously, they were suffering from the lack of a talented songwriter, and this was their 'compensation' for the fact. You gotta give the guys their due, however: This is classic fifties rock'n'roll that's made fun of, but not in a sneering - rather in a charming and completely inoffensive way.
Meanwhile, Kirwan is incorporating certain 'variety bits' into the mix, staying away from parodies or covers and trying as hard as possible to make some of his newly composed stuff rock out. He's not particularly successful, but at least this time around he manages not to make most of his songs sound like a sleeping-pill machine.
Actually, his lovely ballad 'Jewel Eyed Judy' is my favourite number on the record - if I were him, I would rewrite the chorus or at least leave out the ineffective screaming, but it still makes a nice contrast with the soothing, warm verses highlighted by a delightful little countryish riff that brings in a, well, a certain Dylan atmosphere into the song. He also contributes the album's only instrumental 'Earl Gray' which is not the greatest vocalless track ever written, but at least a serious improvement over some of the faceless note combinations on Play On.
Kinda monotonous, but with Kirwan, you gotta get used to it. The only real misfire is the lengthy, boring as hell blues number 'Station Man' which has the nerve to drag forever with no particular purpose. I mean, it ain't fast, it doesn't contain any interesting musical ideas, and it's too dang repetitive. So sue me, I really dislike it. Apart from that, you just have your average good-time, danceable, listenable, fun pop-rock, boogie-woogie record. And I do agree that it would be considered as a below par record for bands with higher status what the hell - it ain't much better than Self-Portrait , and yet Dylan is so anthemized for that record it's a shame , but for Fleetwood Mac that was just it - an album chock-full of pleasant catchy ditties which haven't yet completely lost that generic blues touch of their earliest days.
It's really something of a transitional state between and , and the only record on which Spencer had a chance to rule supreme, so it's in fact a highly important link in the band's history. And it's good. And I like all that fun.
Fleetwood Mac: Hold Me
At least they didn't have to have Kirwan ruining all the songs with his primitive skills. Outtakes that show the band did have a unique blues identity after all - even if that's not saying much. Well, this is a bit more than just a bunch of outtakes - actually, it's an important missing link between the early unimaginative hardcore blues days of Mr Wonderful and the grim Then Play On stuff.
If you ever wondered where those dark, depressing overtones came from, check out this album. Essentially, it's just more generic blues numbers and simplistic boogie tunes that the boys were recording in for their third album but never released for reasons I'm not particularly aware of. The album was consequently released in 'archive' form already in May , and thus must be distinguished from the miriads of later cash-ins on the band's rich past there are about 10, Peter Green Fleetwood Mac albums that nobody really has a reason to pick today.
And actually, as a concise hardcore blues album, Original FM sure beats out the boys' two first offerings. The songs are mostly self-composed, with only a couple straightforward covers, and while that might not mean much in terms of true innovation after all, there's hardly a simple original melody on here , it certainly has a great impact on the overall mood. This material is mostly dark and ominous; even the faster boogies sound a wee bit creepy, and when Green lets rip with a couple openly depressive blues stompers, it's like, wow, these guys really feel it.
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And so the album is enjoyable throughout - refusing the "true-to-the-original" purist approach, the boys really put their imprint on this material, a good, if not thoroughly spectacular, approach. It also means that the production is seriously improved: This record is perfectly listenable in that respect, with all the instruments going through loud and clear, and at least I don't get the impression of the boys locking themselves up in the basement this time. So what about the actual material? Still quite a lot of filler, but many songs as well that establish their own 'personalities' and have their own glorious hooks.
I must confess that I hold a soft spot in my 'eart for the faster boogies, most notably 'Watch Out', which totally seduces me with its magnificent guitar work. The instrumental break is as far out as early Fleetwood Mac ever got, with a brethtaking echoey finger-flashing duel between Green and Spencer. Were they too shy or too narrow-minded to include something like this on the earlier records?