#FleetwoodMac

Shocking, Sad News – Christine McVie of Fleetwood Mac, Gone at 79 – Our Thoughts & Memories, RIP Christine

~ kcorsini ~ 5 Comments

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*Photograph above taken from the internet and likely copyrighted

I was on the phone and had just hung up when I checked social media and saw that Stevie Nicks had posted the statement from Fleetwood Mac that Christine McVie, long time keyboard player and vocalist and former wife of bass player John McVie, had sadly passed at the age of 79 which is way too soon. The news hit me hard. Christine McVie’s beautiful voice and wonderful songs have been a part of my life for as long as I’ve been listening to music. Just yesterday I posted about losing unsung, pub rock, guitar hero Wilko Johnson last week and now this… I am, as they say, gutted. The woman was a legend and wrote some of the greatest songs of the rock n roll era. It appears she passed after a “short illness.”

Christine Perfect was considering quitting her band Chickenshack and retiring from music when she started playing with Fleetwood Mac. She contributed some keyboards on the album Kiln House but didn’t fully join the band until the 1971 album Future Games and coincidentally that happened to be after she’d married bassist John McVie. By the time Fleetwood Mac met the dynamic duo of Lindsey Buckingham (guitar/vocal) and Stevie Nicks (vocals) the band was down to just Mick Fleetwood (drummer), John McVie (bass) and Christine (keyboards/vocals). Originally the band only wanted Buckingham to join but he was steadfast that he and Nicks were a package deal. McVie put her ego aside and agreed to a second woman singer joining the band which is perhaps one of the most gracious acts in rock history. The rest, as they say, is history. Over the years Nicks would garner a lot more attention than Christine – Nicks didn’t have to sit behind a big keyboard and could dance around at her leisure – but Christine McVie’s contributions to Fleetwood Mac are immeasurable. She wrote some of their biggest hits including (personal favorite) “Over My Head,” “Say You Love Me,” “Don’t Stop,” “Songbird,” “Think About Me,” “Little Lies” and the newly popular song by way of a car commercial “Everywhere.” That song list goes on and on and I could have kept going with more titles.

I can remember as a little kid, my mother taking us to the neighborhood pool and dropping us off for the afternoon. God knows the poor woman needed a break from her rambunctious boys. I don’t even think she stopped the car… she just rolled through the pool parking lot and sort of pushed us out the open door like Starsky or Hutch. This was in the mid-70s and if I close my eyes I can remember hearing Fleetwood Mac almost every day at the pool. They’d predominantly play both Stevie and Christine… oddly I don’t remember a lot of Lindsey at the pool… no “Go Your Own Way” while we went our own way off the high board. It was only a few years later, after my rock n roll awakening that I traded Supertramp’s Breakfast In America (a fine record that I had sadly worn out by repeated plays) to my brother for his copy of Fleetwood Mac’s Rumours. Naturally, I became a life long fan. Stevie was kind of spacey, she was the chick you’d probably end up smoking with behind the school. Lindsey was like weird genius kid nobody really knew and his music over the years became more and more experimental. But Christine was just a steady, superb talent… she was like the beautiful girl next door who despite being out of your league was super nice to you anyway… You could always count on her to deliver some great tunes.

On Rumours, the song that jumped out at me was “Songbird.” It was such a gorgeous, tearjerker of a tune. While “Don’t Stop” and “You Make Lovin’ Fun” were big hits I was always drawn to “Oh Daddy.” Rumours was of course made during the break up of the McVie’s marriage and the end of Buckingham and Nicks’ relationship as well. That drama fueled some great autobiographical material. Two couples breaking up and all of it set to music. It was breathtaking stuff. Oddly I didn’t buy the first LP to feature Buckingham/Nicks, the self-titled Fleetwood Mac until I got to college. I picked it up after seeing Stevie Nicks sing “Rhiannon” in concert in Wichita. But after picking up the album “Over My Head” quickly jumped to the top of my favorites list. I also remember really liking “Sugar Daddy” and the lyric “And if I needed whisky, He could serve it to me neat…” which is how I take my bourbon… “Say You Love Me” solidified her and that album in my mind as legendary.

My brother went out and bought Tusk when it came out in 79 and I taped it, only to purchase it in college a year or so later. Tusk is where Buckingham, influenced by punk, decided to take an artistic left turn. Much of his music puts people off but I love that double album and consider it one of the best 2-LP sets ever. It may have been a stylistic change-up but the album starts off with Christine McVie’s “Over And Over,” one of her most comforting songs. I knew things got weird on Tusk and it was nice that McVie was there to keep everything stable. “Think About Me” was just a great rock song. By the time Mirage came out in 1982 Nicks was a superstar and Buckingham was just petulant. It was McVie’s songs that held the thing together, like her first single “Hold Me,” or the deep track “Love In Store.” While the others did their own thing she stayed true to the Mac’s signature sound. That even carried over to 1987’s Tango In The Night. Her tracks were some of the greatest highlights of that record. “Little Lies” was a hit. “Everywhere” which is now literally everywhere because of the aforementioned car commercial, is a great song as is “Mystified.” I’ve always loved “Isn’t It Midnight” her most rocking song. Say what you want about Buckingham-Nicks, but Buckingham and Christine had a great chemistry when they collaborated on songs and that continued all the way to their LP together (with Mick Fleetwood/John McVie as rhythm section, Fleetwood Mac in everything but name only) Lindsey Buckingham Christine McVie.

I heard Christine interviewed on a radio show and she said she really liked to write songs that say “I love you.” I don’t think I’m the first nor shall I be the last to say, we love you Christine, rest in peace. Her music and her voice certainly enriched my life. My heart goes out to her family and all of the Fleetwood Mac fans like me out there.

It’s a long dark ride. Take of each other and tonight, put on a little Fleetwood Mac to get you through it…

“For you, there’ll be no more crying, For you, the sun will be shining…And I love you, I love you, I love you, Like never before” – Christine McVie, “Songbird.”

Cheers

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Review: Mick Fleetwood & Friends, ‘Celebrate The Music of Peter Green And The Early Days of Fleetwood Mac’

~ kcorsini ~ 8 Comments

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“If music be the food of love, play on.” – Shakespeare, Twelfth Night

These days if you mention Fleetwood Mac most people think of what is now referred to as their “classic” lineup (meaning their biggest selling roster): Mick Fleetwood (drums), John McVie (bass), Christine McVie (vocals, keyboards), Lindsey Buckingham (vocals, guitar) and Stevie Nicks (vocals, spooky outfits). I have to admit, even if you’d have asked me about Fleetwood Mac in the late 70s/early 80s when I started listening to music and buying albums I would have thought of the Fleetwood Mac – Rumours – Tusk version of the band. Recently I wrote about that lineup’s new, expanded live LP from 1980, ‘Live.’ I was unaware until much later of their extensive, bluesier history. Rock and roll had been around a lot longer than I realized in 1978 and had a deeper, richer history than I knew about when I was 13. Spelunking into rock n roll or a certain band’s history is part of the fun of being a fan for me and Fleetwood Mac’s rich history was no exception… but not everybody is wired as obsessively as I am.

Fleetwood Mac did indeed have a history that dated back to 1968, before Lindsey and Stevie. Hell, it even pre-dated Christine (Perfect) McVie. And that early Fleetwood Mac was steeped in the blues. To really tell the story of Fleetwood Mac and their early period one must step back to blues rock legend John Mayall. I’ve posted before about John Mayall & the Bluesbreakers first few albums. Mayall’s lineup for his first studio LP included not only John McVie on bass but Eric Clapton on guitar. This was circa the “Clapton Is God” era. Clapton met Jack Bruce who had also briefly played with Mayall – the Bluesbreaker were more of a consortium than a band it seems – and they grabbed a drummer from the Graham Bond Organization named Ginger Baker to form a new band. Without Mayall, there’d have been no Cream. What do you do when you lose a legend like Clapton on guitar? Apparently Mayall had a nose for great guitarists that rivaled Ozzy Osbourne’s… he quickly had a replacement for Clapton.

When Mayall brought his band into the studio to record his second studio LP, A Hard Road, his producer fearfully asked where Clapton was? Mayall reportedly said, “Don’t worry, we got someone better.” That guitarist he was talking about was the 20 year old Peter Green. You don’t hear much about Peter Green, a seemingly unsung hero in rock n roll, but he was one of the foremost guitarists in the second great British Blues explosion of the late 60s. What I have always admired about him is the tone he got out of his guitar. It’s like David Gilmour, instantly recognizable to me. Even Clapton praised his playing. But the highest praise for Peter Green came from blues legend B.B. King who said of him, “He had the sweetest tone I ever heard; he was the only one who gave me the cold sweats.” High praise, indeed.

After A Hard Road, Green like Clapton decided to leave the Bluesbreakers and form his own band. Mick Fleetwood who had also been a member of the Bluesbreakers but had been fired quickly agreed to join. Green wanted John McVie to leave Mayall and join his band so he named it Fleetwood Mac – after the drummer and bassist – but McVie waited until they were recording their first, eponymous LP to join. That name, Fleetwood Mac, was prescient as those two guys are the only mainstays of the band. Green was always a generous band leader and didn’t want to be a guitar hero like Clapton so he insisted that a second guitarist, Jeremy Spencer – an Elmore James influenced slide guitarist – join the band. Their eponymous first LP is a great blues rock classic. I love that late 60s blues rock era. Back in those days all the rock bands, when they needed material, turned to the blues. I can’t name a band – Led Zeppelin, Fleetwood Mac, the Jeff Beck Group – who weren’t doing Willie Dixon covers. The Mac’s debut may not have received the attention in the U.S. that it did in the U.K., but it should have. Although, admittedly, I didn’t put any tracks from the debut on my Blues Rock playlist a few weeks ago… although I did include a few early Fleetwood Mac tunes.

Sadly, Peter Green only lasted for three albums with Fleetwood Mac, the band he founded. I’ve read that he started dabbling in LSD. I’ve always heard that someone dosed him at a party in Germany and it really affected his mental health. I don’t know if he was schizophrenic or if he was an acid casualty like Syd Barrett of Pink Floyd. Regardless his mental decline resulted in his departure from the band. And sadly, he sort of floated into obscurity in terms of the annals of rock n roll history. I know he made an uncredited cameo on Fleetwood Mac’s Tusk album on the Christine McVie track “Brown Eyes.” Green’s departure from Fleetwood Mac led to a revolving door of musicians who came and went, even after Lindsey Buckingham and Stevie Nicks joined and then left the band… and then came back and then left…or were fired.

I started reading in 2019 that Mick Fleetwood was putting together a tribute concert for his former band leader, Peter Green. I really loved this idea, it was really a well-deserved thing. I read that Green was invited but didn’t show up. The concert took place in February of 2020 right before the dark curtain of COVID fell across the world, darkening stages and lives everywhere. The concert is structured like a blues jam. There was this bar I used to hang out in on Saturday afternoons in Kansas City named Harling’s. Every Saturday this woman, Big Mama Ray would lead a blues jam. She could have been forty or could have been seventy, you just couldn’t tell. She typically had a Marlboro 100 dangling from her lips, when she wasn’t singing, and it was hard to see her through the smoke. This tribute album for Peter Green reminds me a bit of those old Saturday blues jams – only with considerably more talented and famous musicians involved.

I know they also shot this as a movie/documentary but I haven’t seen that, I’m only speaking of the LP in this post. We do so love our live LPs here at B&V… I’ve scoured the internet and what I’ve been able to determine is that joining Mick Fleetwood (who is the Master of Ceremony and drummer here) in the “house band” at the London Palladium is: Rick Vito (guitar), one time blues wunderkind Jonny Lang (guitar), Andy Fairweather-Low (guitar), Ricky Peterson (keyboards), Dave Bronze (bass). Mick introduces drummer Zak Starkey, Ringo’s son, who has played with both Oasis and the Who a few tracks in but I don’t know if he plays the whole time. A blues jam is structured around a core “house” band with other musicians who get up and take over guitar, vocals, bass or drums. This live LP is a great tribute to Peter Green, early Fleetwood Mac and the blues in general.

It is staggering to think about how many people have been in Fleetwood Mac and many of them show up at this show. First and foremost, it was great to hear Christine McVie sing a couple of blues tracks. I especially like her rendition of “Stop Messing Around.” Rick Vito who along with Billy Burnette replaced Buckingham in the late 80s sings a couple of tunes and really tears it up on “Love That Burns.” Neil Finn of Crowded House fame, who I almost forgot was in Fleetwood Mac to replace Buckingham (again) appears and sings “Man of the World.” The most surprising ex-Mac member to show up is original guitarist/vocalist Jeremy Spencer. Mick introduces him by stating that they hadn’t been on the same stage together in 50 years. I only wish that Peter Green could have been there to join in. Spencer actually brings ex-Rolling Stone bassist Bill Wyman with him to the stage. Spencer does a great take on Elmore James’ “The Sky Is Crying.” The only ex-Mac member who didn’t show up was John McVie… well nor did Lindsey or Stevie.

Speaking of Bill Wyman, he’s only the tip of the iceberg here in terms of famous cameos. By my count we hear members of : The Stones, The Who, Metallica, ZZ Top, Aerosmith, Pink Floyd and Oasis during the course of the bluesy evening. Wow, those appearances really signal what a special event this was. I was thrilled to hear John Mayall who Fleetwood introduces as “our mentor” perform “All Your Love.” It brings it full circle in a way. Billy Gibbons of ZZ Top shows up early and plays on the early Mac chestnut “Doctor Brown.” That took me back. Aerosmith’s Steven Tyler does a great take on “Rattlesnake Shake” a track Aerosmith used to do live which can be found on Pandora’s Box. More proof of Green’s influence… Kirk Hammett comes out to provide pyrotechnic solos on “The Green Manilishi” with Gibbons… a track so rocking it was covered by Judas Priest. Noel Gallagher does a few tracks and they’re all acoustic blues based which I really dug. Pete Townshend comes out and rocks out on “Station Man.” For me the emotional highlight of the evening is when Tyler/Gibbons start off with the rocking part of “Oh Well, Pt. 1” and then Pink Floyd’s David Gilmour (who probably emerges from the shadows) comes out and plays the long guitar suite “Oh Well, Pt. 2.” Gilmour also does a beautiful version of Green’s signature “Albatross.” He doesn’t sing but Gilmour’s guitar is always so recognizable.

The evening ends as many jams do, with everybody on stage joining in on the final track. In this case it’s a rollicking “Shake Your Money Maker.” Mick ends thing with the Shakespeare quote that gave one of Fleetwood Mac’s early LPs its name. And I can’t agree more, “if music be the food of love, play on.” This is a great little live album for any fan of early Fleetwood Mac, Peter Green or 60s British blues rock. A truly fitting tribute to a great guitarist we don’t hear enough about. Sadly merely months after this show, Peter Green passed away in his sleep. It’s never too early to recognize a genius for we never know what’s around the corner.

I realize not everybody is into the blues like I am, but I highly recommend everybody check this great live LP out. I’m hoping to actually see the video when it comes out, I think it’ll only add to the experience.

Cheers!

Review: Fleetwood Mac ‘Live (Deluxe Edition)’ – Revisiting The Expanded Double-Live 1980 LP

~ kcorsini ~ 6 Comments

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*Photo of Fleetwood Mac’s original, vinyl 1980 LP ‘Live’ taken by your intrepid blogger

There was a time, believe it or not, before the internet. In those dark ages, the only places to buy a ticket to a concert was the box office of the theater/stadium or to go to an “authorized” ticket selling outlet. Usually the places that sold concert tickets were record stores which was convenient since even I knew where they were and I was pretty geographically challenged in those days. I knew where places were located, but I didn’t know street numbers. I had to give directions based on landmarks. “Drive straight on the street by the school until you see the big gnarly tree then turn right…” and so on. I was in high school, what did I know? While I had become a huge music fan in the late 70s, it wasn’t until June of 1980 that I was able to attend my first concert. Def Leppard opened (their first tour), the Scorpions were next (“The Zoo” was the only track I knew) and finally Ted Nugent in a loin cloth was the headliner. Needless to say, I was hooked on live music from that moment on, despite the hearing loss caused by Mr. Nugent… For that show, I bought the ticket from my friend Matthew who had a conflict of some sort and couldn’t attend.

Generally, that’s how I got tickets early on. I bought them from friends. It wasn’t until 1981 that I got the experience that every concert goer went through at least once back in the 70s/80s, I camped out overnight for tickets. Concert tickets generally went on sale at 8am the morning of whatever pre-chosen date they announced on the radio, usually months before the show. People would start to form a line for tickets the night before they went on sale. They’d have sleeping bags, food, lawn chairs… likely some beer and there was always weed. Once again, it was my friend Matthew and I who somehow convinced our parents that late summer of ’81 to sleep out for Van Halen tickets. We hadn’t seen them yet and when Fair Warning dropped, we knew we had to see this band. We were camped out in front of Tiger’s Records in the suburbs of KC with a nefarious looking, “unwashed and slightly dazed” crowd waiting for the record store to open so we could get our “choice” Van Halen tickets (and boy, we did). There was this old hippy in line behind us… I say old, but I was a teenager, the guy could have been 25 for all I know. He certainly looked old to my teen eyes. We started chatting over a couple of beers and I asked the codger, “What’s the best concert you’ve ever seen? What band is best live?” His answer evoked quite a bit of surprise in me, when he responded without hesitation “Fleetwood Mac.” And this guy had supposedly “seen everybody.” I didn’t think to ask which tour he saw them on… The Mac may seem mellow to some ears, but my college roommate had all heavy metal albums with a couple of Fleetwood Mac LPs so they couldn’t have been that mellow.

Fleetwood Mac’s story is the thing of legend now. The Mac was formed by former members of John Mayall’s Bluesbreakers: guitar legend Peter Green with a rhythm section of Mick Fleetwood (drums) and John McVie (bass). Green was the star – he was the singer/guitarist – but he named the band after the rhythm section… prescient as they are the only members who stayed for the entire Mac career. Green, who sadly passed away last year, eventually left and that led to a revolving door of singers and guitarists. Eventually Christine Perfect joined on keyboards and vocals… and then married John McVie. After their then current guitarist Bob Welch split to go solo, the McVies and Mick Fleetwood were left to look for yet another replacement. They discovered a little band creatively named Buckingham-Nicks with guitarist/vocalist Lindsey Buckingham and vocalist Stevie Nicks. Their debut album didn’t sell many copies (although I do have one on vinyl) but attracted the remaining members of Fleetwood Mac because of the album’s producer, Keith Olsen. They were not only shopping for a guitarist, they were shopping for a producer. He gave them the Buckingham-Nicks LP as a “resume” of sorts. They hired him and offered Buckingham the job of singer/guitarist… he refused to accept unless they included Nicks in the band…

That lineup: Buckingham/Nicks/Fleetwood/J. McVie/C. McVie, known as their “classic lineup” now I suppose, was an almost instant hit. The first LP, which McVie refers to as “the white Fleetwood Mac album” yielded the hits “Rhiannon,” “Over My Head,” and “Landslide” amongst others. They say when a band does a self-titled LP in the middle of their career it’s usually symbolic of a “rebirth” for the band… I’d say that was definitely the case here. They were bigger than they’d ever been. The success wasn’t without cost however. During the recording of the follow-up, one of the best selling LPs of all time, Rumours, Buckingham and Nicks who were a couple broke up. The McVies’ marriage also ended. All of those crazy passions and breakup recriminations found their way onto the album in songs like “Dreams” and “Go Your Own Way” and perhaps more positively on “Don’t Stop.” It was beyond a smash hit. I actually traded my brother Supertramp’s Breakfast In America for his copy of Rumours. I think we both won on that trade.

What to do next? That kind of success usually breeds a lot of pressure to repeat it and I think Buckingham decided to take a creative left turn to avoid the pressure of that success. He was also highly influenced by punk rock and that also fueled his decision to make some changes to Fleetwood Mac’s sound. The resulting LP Tusk was a surprise to a lot of people expecting Rumours 2.0. Tusk was (in my opinion) a sprawling masterpiece of a double-LP. While Nicks and Christine McVie continued to write and perform songs in the vein of the previous two albums, Buckingham went for a more experimental sound. Nowhere is that more evident than on the title track. The album didn’t reach the successful sales numbers of Rumours, how could it have, and the other members of Fleetwood Mac were pretty upset with Buckingham who had helmed the project and even recorded some songs at home in his bathroom. The LP still sold 4 million copies – one to my brother who was always way ahead of everybody when it came to music – which sounds like a success to me.

The Fleetwood Mac tour for Tusk rolled through Kansas City a mere two months after my first concert (Nugent/Scorpions/Def Leppard) at the exact same place, Kemper Arena in the West Bottoms. Sadly, I did not see them on that tour. I still don’t know if the hippy outside of Tiger’s was talking about that particular show as his greatest concert. The review in the paper said they looked tired and only Buckingham and Fleetwood, who they said played off each other, were able to generate any excitement. They said it looked like Christine McVie was about to fall asleep at the piano. Cruel indeed, but let’s remember you can’t always trust the newspaper. I have to admit, I’ve never seen Fleetwood Mac in concert and that pains me. The closest I ever got was seeing Stevie Nicks solo on her Wild Heart tour with no less than Joe Walsh opening. She sang “Rhiannon” as an encore and it was sensational.

But lucky for me, Fleetwood Mac like many bands who have spent a lot of time and money in the studio recording an album, decided to follow Tusk with a double live LP, creatively titled, Live. I’m on record here at B&V for loving live albums. Many people have a differing view of live LPs… I had a college friend who complained to me once, in response to hearing Springsteen’s Live 1975-85, that the live songs didn’t sound enough like the studio versions. I said, “Uh, Stew, you should be looking for a greatest hits LP, not a live LP.” Even Tom Petty said a live LP was just “your greatest hits sped up.” But for me, the 70s and even the early 80s was the golden era of the double-live LP. Not every live LP broke a band wide open like Kiss’ Alive or Frampton Comes Alive. Not every live LP made the list of “greatest live albums ever.” But there were so many great double live albums where the band could stretch out a little and it gave you the experience of seeing them live. Everybody did double live LPs in those days from Skynyrd to Neil Young. LPs like Aerosmith’s Live Bootleg or Fleetwood Mac’s Live were solid, if not occasionally spectacular live documents of a point in time in the life of a band. I never bought into the critics who dismissed live albums as merely “tour souvenirs. 

When I first bought Live in 1980, on vinyl, I was thrilled that they had some new songs on the album. “Fireflies” written by Stevie Nicks is one of their best tunes. She wrote it about the struggles and battles the five members had in creating Tusk. The band didn’t breakup because of splits in the romantic entanglements but it almost did over the writing and recording of Tusk. Buckingham resurrected a Buckingham-Nicks chestnut, the rocking, “Don’t Let Me Down Again” which sent me on a journey to find their debut LP. Christine McVie contributed the (somewhat typical for her) ballad “One More Night” which sounded like it was done in a studio. Likewise their Beach Boys’ cover “Farmer’s Daughter” also sounded like a studio outtake (turns out it was)… But I was so into Fleetwood Mac I was just happy to have those new tracks. 

While Live wasn’t a live album that was going to change your life like say, the Allman Brothers Live At the Fillmore East, it was a really good live document of one of the world’s greatest bands at or near the peak of their popularity. Lindsey Buckingham’s guitar skills on this album are insane! On songs like “I’m So Afraid” the solo’ing is mad good. He stretches out a Tusk track, “Not That Funny” to 9 minutes. I also have to say Mick Fleetwood’s drumming is amazing as well. He’s really under appreciated. I don’t know if that KC Star newspaper review helped make those two performers jump out at me, but they leave an impression. I love that they do “Oh, Well” a track recorded before Lindsey and Stevie joined the band. There’s a great selection from the three previous LPs this line up had put out from “Dreams,” and “Over My Head,” to “Over and Over” and “Sara.” This lineup of the band always sounded so good and this LP is no exception. And as a bonus for me, “Over My Head” was recorded at Kemper Arena in KC… I probably know people that were in the audience. Hell my friends Bob G and Brewster were probably there and didn’t tell me. 

Today the Mac released a Deluxe Edition of Live and you know how we love our “deluxe editions” here at B&V. I’ve spent the last 8 hours doing nothing but listening to this version of the album and I really like it. For all the tracks on the original album – and the selection was great – there were so many more you could have wished for and they’re now all on this expanded version. There’s another 15 songs and there’s no overlap (save one song), these are all different songs than the original. It elevates Live from a mere double-live album to something more akin to the aforementioned Springsteen Live 1975-85 or Petty’s Live Anthology. It should be noted that there not only tracks from the 1980 tour, but a smattering of songs from as early as 1975 and as late as 1982 found here. 

The deluxe stuff starts with maniacal version of “Second Hand News” with Lindsey and Stevie doing harmonies. “The Chain” is epic here… I always wondered why it wasn’t on the original. They even go back to the early Fleetwood Mac stuff with “The Green Manalishi With The Three Pronged Crown,” a track later covered by Judas Priest. What a great nod to Peter Green. Another Tusk track that I always liked, “What Makes You Think You’re the One” sounds great live. “Gold Dust Woman,” “Angel” and “Sisters Of the Moon” rank amongst my favorite tracks from Stevie Nicks and they’re all on this expanded edition. Finally Stevie gets her “live” due. “Tusk” was always a hard track to pull off live, without a marching band, but I dig the version here even though it’s accordion driven. Maybe all those old guys at the family reunions playing polkas paid off… 

Christine McVie plays a very affecting version of “Brown Eyes.” Her 1982 performance of “Hold Me” from Mirage may seem out of place here but man, I like it. Her track, “Songbird” is as beautiful live as it was in the studio. Call me a softy but I love that song. As an added bonus there are two more tracks recorded in Kansas City… I know, I can be a geek sometimes about stuff like that… The only song that seems superfluous is an extended version of Stevie’s “Fireflies” that I’m not sure was necessary. 

If you’re a fan of live music and miss concerts or just a fan of Fleetwood Mac, you must check out this expanded edition. There’s a chance many of you haven’t heard the original so I believe this will be a treat for you. In this age of streaming, everyone should be going back and revisiting those classic, fabulous double-live LPs and this is no exception. Pour a glass of something you enjoy, turn this one up loud, close your eyes and maybe, just maybe you’ll feel like you’re at the show…and if you really feel it, hold that lighter up over your head and sing along. 

Cheers! 

 

B&V’s True Confessions: The Dirty Dozen – 12 Albums That Only I Love… Time to Re-Evaluate?

~ kcorsini ~ 17 Comments

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“This is no social crisis, this is you having fun…” The Who, “Another Tricky Day”

We’ve all made mistakes in our lives and we’ve all had to learn to live with those bad decisions… Here it is, only day 2 of the enforced “Stay At Home” order and I suddenly feel the need to unburden myself of all my sins. Well, in the interest of full disclosure, I haven’t left my house since nine days ago and the only sins being confessed to here are musical in nature. All other sins… well, those records are sealed until 25 years after I’m gone and forgotten. While I was always someone who people confided in, I must say this confessional mood seems to be catching. I’m hearing all sorts of sordid things. I just had a friend admit to me that he saw the Little River Band in concert. Everybody loves the Little River Band but no one will ever admit to it. Ironically, I happen to have an almost sentimental attachment to their song “Reminiscing.” There, now I’m on record as an LRB fan…more confessions. The Rock Chick admitted to me this morning, for the first time in our marriage, that she saw Molly Hatchet in concert but doesn’t remember much of it… We’ve all been there (The 10 Concerts I Should Have Skipped). I’m still trying to wrap my head around her being at a Molly Hatchet concert but that’s my issue to contend with.

We’ve all made those musical mistakes. You’re standing in the record store and you have Pat Benetar’s Precious Time in your left hand and Beggars Banquet in your right hand and you end up leaving the store with the Benetar “saving” the Stones’ classic for another day. That is sadly based on a true story. Sigh. Not that there’s anything wrong with Pat Benetar but I didn’t buy Beggars Banquet until I was in college, years later (and I’m the Stones freak?).  We all have albums that we’re perhaps embarrassed about now. Maybe the album is “of its time” so to speak. I actually had a Bryan Adams record (Reckless) for a long time that I bought in the 80s. Or perhaps a relationship or friendship led you to a bad choice. I had a TLC’s CrazySexyCool for a while based on the recommendation of an adamant squeeze I had back in the day. Not every woman I dated had the Rock Chick’s impeccable taste in music.

For the most part, as a “serious” collector I’ve culled through my collection and weeded out the outliers. I try to keep everything, vinyl or CD, that I’ve ever owned but being married has forced me to thin the herd. Every time we move I find myself selling at the Used Record store vs buying… although I’m usually a sucker for that “store credit” gambit. I sell off a certain number of albums and come home with a few new ones… it’s just the circle of life. Being cooped up at home these last few nights has sent me looking through my vinyl collection yet again. I discovered a few albums that, I must confess, I just love but have less than stellar reputations. Either the critics were “meh,” or fans didn’t buy the albums but I did. Since I only write about stuff I like – God knows there’s enough negative bullshit in the world – I am often accused of being a tad “over positive” about certain artists and albums. I have to tell you, I’ve really enjoyed listening to these albums over the last few nights. These just might be albums that need a reappraisal. I asked the Rock Chick if she had any albums she loved and no one else did and she said, “I love Oasis and let’s face it nobody but me and (her friend) Rich likes them.” Rich is the one who always asks me at parties I throw to “put on some Oasis.” Although oddly, on those occasions I’ve been at his house, he never seems to play Oasis.

While only one of these albums is truly embarrassing, the rest are solid if not spectacular as some of the entries in the respective artists’ catalogs. Not every album can be Every Picture Tells A Story or Who’s Next. If you’re a career type of artist – one worthy of following an entire catalog – there will be ebbs and flows, peaks and valleys. Since nobody is really going anywhere for a while, put one of these on and dig a little deeper into the catalogs of these great artists. We all have guilty pleasures… these are mine.

  1. The Who, Face Dances -I will always be fond of this, my first Who album. “You Better You Bet” was huge on radio and I bought this record on the spot. With Kenny Jones (formerly of the Faces) on drums and Townsend’s guitar seemingly missing this doesn’t really sound like anything that came before it but I still love this album. “Another Tricky Day” is the perfect antidote for today. “Daily Records” is the nicest statement of purpose in all of rock and roll. “How Can You Do It Alone” about masturbating is funny. The Entwistle songs, “You” and “The Quiet One” both rock with that Who grit. There’s a lot to like here.
  2. Fleetwood Mac, Mirage – Sure, this was a pretty good seller, but after the epic success of Rumours and wild experimentation of Tusk this album seems like a retreat. I am drawn to the melodies and harmonies on this record. Stevie Nicks’ tracks are the gold, from the hit “Gypsy” to the country-rock of “That’s Alright” to the shimmery, sexy track “Straight Back” she could do no wrong. While none of the Buckingham tracks were “hits” I really like a lot of what he’s doing here on tracks like “Empire State,” and “Oh, Diane.” It’s a quiet little pleasure.
  3. The Rolling Stones, Black And Blue – This is basically a recording of the auditions being held for Mick Taylor’s replacement. While many guitarists tried out for the Stones – Peter Frampton, Jeff Beck amongst others – they finally settled on Ronnie Wood. This album is criticized for being a bunch of jams and reggae stuff but that’s what I like about it. The two ballads, the only tracks that required them to actually write a song, are two of my favorite Stones’ deep tracks – “Fool To Cry” and especially “Memory Motel.” In college a friend asked me if this album was any good and I said, no. I would amend that answer to yes, if your expectations for another Exile On Main Street are properly leveled. This is a fun record and “Hand of Fate” is an awesome rock song I’d love to hear live.
  4. Rush, Caress of Steel – I don’t know why this album doesn’t get more love. It’s really the precursor of 2112. All of side 2 is one track, “The Fountain of Lamneth.” It’s a fabulous epic. My all time favorite Rush deep track ends side one, “The Necromancer.” I can’t tell you how many times I’ve quoted that song…”weakening the body and saddening the mind.” The playing is impeccable. “Bastille Day” became a mainstay of their live act. This is a great Rush album that the critics savaged.
  5. Led Zeppelin, In Through The Out Door – It had been almost three years since Zeppelin had put out Presence and in that time my rock and roll awakening had occurred. I already owned Led Zeppelin II and IV (or Runes) and was eager to hear new, contemporary Zeppelin. The record industry was pinning its hopes on this album and Tusk to bolster lackluster sales. I think a lot of people were disappointed in this record but I wasn’t. Presence was such a heavy album – really shepherded by Bonham and Page – but both of those guys were in the serious throes of addiction by the time they recorded In Through the Out Door that Plant and Jones took over. The result was a mellower, more synth/keyboard oriented album. “In The Evening” is one of my all time Zep favorites. “Fool In The Rain” showcases Bonham’s still formidable drumming. I love the bluesy last track, “I’m Gonna Crawl.” God knows where they could have gone from this… alas.
  6. Rod Stewart, Blondes Have More Fun – Ok, I’m embarrassed I still like this album. I actually sold the vinyl, thus was my shame. But then I bought it again on CD. It’s a truly guilty, guilty pleasure. It’s Rod’s disco album, the record that burned the bridges with his old fanbase. I didn’t buy it for the disco camp of “Da Ya Think I’m Sexy.” I liked “Ain’t Love a Bitch,” I was always a sucker for ballads. “Dirty Weekend” and the title track are Chuck Berry/Rolling Stone riff rockers. I dig Rod. This is my big confession today.
  7. Jackson Browne, Lives In The Balance – After the failure of Lawyers In Love, Browne decided to get deadly serious about politics. Set that aside, these are great songs. “For America” remains a favorite of mine. The title track, “Soldiers of Plenty,” and “Lawless Avenues” all sound like dispatches from the nightly news set to guitar. The one intimate love song, “In The Shape of a Heart” is one of Browne’s most endearing songs. This isn’t for everyone, it kind of depends on your political feelings…
  8. Eric Clapton, Behind The Sun – People will shudder when I say Phil Collins produced this album. Well, he did the initial sessions but the record company rejected it. They brought in some songwriters and Ted Templeman to shore it up. That troubled history sounds like a disaster, but I dug this record. “Forever Man” remains a huge favorite. “Tangled In Love” is a great rock tune. “Same Old Blues” is an epic at over 8 minutes long. I even like the cover of “Knock On Wood.” Blasphemy? Perhaps.
  9. Neil Young & The Bluenotes, This Note’s For You – The 80s were terrible for Neil Young. He first showed signs of creative life on 1987’s Life with Crazy Horse. Then he did a 180 and put out a horn driven blues album. The blues has always been a great showcase for guitar and I love Neil’s playing on this album. I even bought the live album of this tour, put out 30 year later (Review: Neil Young, “Bluenote Cafe” (Live)). “One Thing” is the ultimate breakup song. “Married Man” is a funny upbeat track. Whether he’s playing a mellow, sad blues or a horn-drive rave up, this is a fun record. The blues will always win out for me.
  10. Roger Waters, Radio K.A.O.S. – My college roommate Drew and I may be the only two people in the world who bought this album. I really dug the title track. Clapton plays guitar on this album and joined the tour as well. If you ignore the bizarre narrative, you can really get into songs like, my favorite, “Who Needs Information,” or “Home.”
  11. Queen, A Kind Of Magic – My college roomies and I were big fans of the Sci-Fi thriller, ‘Highlander.’ This is basically the soundtrack to that film with the addition of “One Vision” which I think was from anther movie. Queen was on the downturn in America, but this is a bunch of great music. “Who Wants to Live Forever” is a great ballad. The production is very much “of its time” but this was the first sign Queen would come back from Hot Space. 
  12. CSNY, American Dream – Neil Young committed to CSN that he’d record another album with them, the first since the live album Four Way Street, if Crosby could get clean. After the much publicized police chase and incarceration, Crosby emerged clean. The bill came due for Neil. People’s expectations were for Deja Vu 2.0 and yes, this album disappoints from that perspective. I loved the title track and bought the album. Crosby’s “Compass” is a wonderful, confessional track. I love Stills and Young working together and have since the Buffalo Springfield. They spark up a little guitar battle in “Drivin’ Thunder.” Stills shines for me on “Glad That You Got It Made.” Graham Nash’s “Never Say Goodbye” is a tune that used to make me mist up. It’s gorgeous.

I get that many of these might not be your cup of tea. You never know… you might discover something you like in this pile of records. If there are “guilty pleasure” albums for you out there, let me know what they are in the comments as I may want to check those out. I’m open to anything during this time of social distancing!

Stay safe and healthy out there! And remember, as the Who sang, “this (really) is no social crisis…this is you having fun” listening to music.

 

How The Biggest Bands In the World Reacted Musically to Punk Rock in the 70s

~ kcorsini ~ 19 Comments

Punk.jpg*Image from the internet and probably copyrighted

I don’t know why, but I’ve been thinking a lot about that whole Grunge era in the 90s lately. I think the whole Grunge thing was the last musical movement that I actually got caught up in. On my first date with the Rock Chick, back in my swashbuckling bachelor days, we actually talked about music and she said, “I hate that Kurt Cobain destroyed everything that came before him.” That was sadly a very true statement. When Cobain came along – and lets face it, it wasn’t just him, there was an army of bands who came with him & Nirvana, like Pearl Jam, Alice In Chains, the Smashing Pumpkins and Soundgarden (to name a few of my favorites) – he laid waste to everything that came prior.

The Rock Chick went on to say that day, “I liked some of those hard rock, hair-metal bands like Motley Crue, Van Halen and Cinderella. You just don’t hear that kind of music any more.” Talk about love at first conversation. This was our first date! My heart throbbed, but enough of that mushy stuff. It wasn’t only those “hair bands” who bit the dust in the wake of Grunge, everybody went down. Billy Joel crawled off to write symphonies. Bruce Springsteen decided he was John Steinbeck with a guitar. Grunge shook rock and roll to its foundation. Grunge was rock and roll stripped of its artifice, more primal and visceral in nature. Gone were drum machines and synths… enter guitar, drums and a whole lot of angst. No hair spray or frankly, bathing needed.  The Rock Chick, ever adaptable, did morph into a huge “alternative” rock fan, the offspring of Grunge if you will. One door closes, another opens as the saying goes.

Of course, this isn’t the first musical wave to rise up and challenge the established order. Punk rock, which one could describe as the pierced, demented grandfather of Grunge, was just as primal and visceral, if not way more so. Both punk and Grunge, to my uneducated ears at least, seem to strip away layers of polish that had accumulated on rock and roll and get it back to that four or five guys (or gals) in a garage bashing out tunes kinda vibe. Punk, rather than express the angst of Grunge, had more of a social protest angle to it. Punk bands, especially out of England were protesting the economic and social conditions they found themselves in and it challenged the somewhat complacent rock establishment. There was an almost nihilistic bent to it that made it dangerous. Of course, I was really, really late getting on the punk bandwagon…

Here in the middle of America, we didn’t hear a lot of punk music on the radio… Not even American punk from New York like the Ramones made it on the radio here. I can remember in the late/mid-70s sitting on the couch at the house one Sunday night and my dad was watching 60 Minutes. They did a segment on the English punk movement. They showed a bunch of young kids, a little older than I was, with safety pins piercing their nose or cheeks. They had Mohawk hair cuts and wore a lot of leather. They were all slamming violently into each other on the dance floor, not unlike a rugby scrum. My father, whose sensibilities on everything are firmly rooted in the 50s, looked over at my brother and I with a look that I now realize can only be described as… fear. I felt that he had the strong urge to jump up and cover my brother’s ears and perhaps backhand me… Looking at me, in his mind’s eye, he probably saw my hair morphing into a Mohawk… a safety pin springing magically out of my cheek. He knew how drawn I was to rebellion.

For my part, I was just as terrified. The 60 Minutes crew shot the live footage at the punk concert – a Sex Pistols’ show – and didn’t do anything to mix the sound. It sounded like harsh, frightening noise with a crazed singer screaming at people. They didn’t play any studio stuff. The old farts on that show just marveled at Johnny Rotten singing “God Save the Queen.” They actually had subtitles to highlight what I’m sure they considered subversive lyrics. This was a sign of the coming apocalypse… To me, it just sounded awful. I need a little melody. It took me years – like 20 years – to finally buy a Clash album. It was a revelation. I quickly picked up the Ramones and the Stooges. Those are some of my favorite punk rock bands. At last, I finally picked up Never Mind the Bollocks, from the once scary (to me) Sex Pistols only about 10 years ago and it’s awesome. Very simple, straight forward guitar rock. As Lou Reed said, “One chord is fine. Two chords is pushing it. Three chords and you’re into jazz.” But as my friend Doug told me once, “Every punk rocker knows Lou Reed is an asshole.”

Punk rockers challenged the established rock acts that were already ensconced on the top of the world, the Rock Stars. Rock n roll had gotten bloated. There were Art Rock bands doing 15-minute, multi suite tracks like Rush or Yes, that almost had more in common with classical music than rock and roll. There were strings and overly polished production. Rock had gotten fat and comfortable. Along came punk to shake things up, and thank God it did. Instead of destroying everything that came before it like Grunge, a curious thing happened… the established rock bands, for lack of a better word, absorbed the energy and vibe. Although I’ll admit some of the artists ignored punk: Dylan had found Jesus, Bowie was over in Berlin doing his thing, Steely Dan’s jazz-influenced bubble never burst and hard rockers like Black Sabbath and AC/DC didn’t change a thing. But so many rockers were influenced by punk.

I’ve compiled the following list of some of my favorite band/artist reactions to the punk movement. At the time I’d have hardly known the stylistic change in music came from punk rock, but you live and learn.

  1. Queen, News Of The World – Queen was just coming off two albums of long, complicated music (A Day At the Races, Night On the Town) and were already considering a shift to shorter, more stripped down tracks. While recording News, the Sex Pistols were in the next studio… Freddie Mercury ran into Sid Vicious (who he had been calling Sid Ferocious) and Sid asked, “Have you succeeded in bringing ballet to the masses yet?” Queen, and Freddie especially had been the target of the punk’s ire, and he replied, “We’re doing our best, dear.” Queen went into the studio and delivered a stylistically adventurous LP with tighter, shorter tracks. Sure, “It’s Late” was six and a half minutes long, but what a guitar riff. The crowning glory was Freddie and Brian May’s double-single response to the punks – “We Will Rock You” (their statement of purpose) and “We Are the Champions” (Freddie’s fuck you to them). The lyrics, “no time for losers, ’cause we are the champions” were pretty clear.
  2. The Rolling Stones, Some Girls – The Stones totally absorbed the punk ethos on this album. Of course on tracks like “Miss You” they also absorbed the disco thing too. Mick always picked up on what was now, and Keith keeps them centered and connected to their roots. Songs like “Lies,” and especially “Shattered” were stripped down with rocking guitar. No strings, no fat, just awesome. On “Respectable,” they even mocked the punk’s criticism, “Well now we’re respected in society, We don’t worry about the things that we used to be.”
  3. The Who, Who Are You – No one was more disturbed by the punk’s criticism than Pete Townshend, who saw a lot of the early Who in the punks. Who Are You was seen as a return to form for them, with loud guitars and bombastic drums. Townshend’s title track was directly addressed to the punks, “who the fuck are you?”
  4. Pete Townshend, Empty Glass – So obsessed with the punks was Pete, he continued to write songs about them on his first “proper” solo album. “Rough Boys” sounds like he wants to be friends with them. On “Jools and Jim” he complains, “they don’t give a shit Keith Moon is dead.” From his interviews lately, it sounds like Pete doesn’t care either…
  5. Neil Young, Rust Never Sleeps – Nobody dug the punks as much as Neil Young did. The punks seemed to wake Neil from the torpor he was under at the time. The first half of this album was acoustic but the second half is a bunch of blistering guitar workouts. He revamped a heavily bootlegged “Sedan Delivery” and speeded it up so it was very punk. Both the opening and closing, variations of the same song, “Hey Hey, My My” were addressed to Johnny Rotten.
  6. Iggy Pop, New Values – Iggy’s first band, the Stooges was highly influential on the punks… not as much as the Ramones as I understand it but even now hard rock guys from the Red Hot Chili Peppers to Guns N Roses cite Raw Power as an influence. I didn’t hear it until a few years ago and yes its great. I wouldn’t have understood it at 13. With all that adulation how could Iggy not jump on the punk bandwagon and release this album, collaborating with old Stooge, James Williamson and Scott Thurston who believe it or not ended up in the Heartbreakers. If you can’t beat ’em, join ’em Iggy.
  7. Bruce Springsteen, Darkness On the Edge of Town – Springsteen had been locked in a legal battle with his first manager since Born To Run. He was already pissed off so the punk ethos probably fit the songs he was writing. If you listen to The Promise, the box set for Darkness, many of the tunes sound like the natural progression from Born To Run, but Springsteen opted to only include dark, guitar-centric tracks here. Sonically it’s miles away from his breakthrough album and remains one of my favorites… well, it remains amongst almost every Springsteen fan’s favorites.
  8. Billy Joel, Glass Houses – Like Springsteen, Joel coopted the punk energy and took a stylistic left turn from his previous album, the E-Street-ish 52nd Street. Punchy, guitar-driven tracks like “You May Be Right” and “Sleeping With the Televison On” dominate the album. Like Iggy, if you can’t beat them, absorb them!
  9. Fleetwood Mac, Tusk – Lindsey Buckingham was so afraid of repeating himself after Rumors, and so enamored with the “fuck it” attitude of the punks he decided to take Fleetwood Mac in a totally different direction. I love Tusk, although it was seen as a failure at the time. I’m sure the band struggled as Stevie was delivering songs like “Sara” and Christine McVie with “Over and Over” and Lindsey countering with the punky “It’s Not That Funny,” or “What Makes You Think You’re the One.” Buckingham took a lot of liberties with the record and it makes it all the more interesting.
  10. Paul McCartney & Wings, Back To the Egg – McCartney is the most confounding entry here. I really liked Back To the Egg, McCartney’s attempt at doing more upbeat rock and roll again. I think he really wanted to absorb some of that punk energy but he just couldn’t commit to it through an entire album. I thought “Old Siam Sir” was rocking. But Macca just can’t help himself, he’s gotta go with soft, gauzy ballads like “Arrow Through Me.” I look at this one as a lost opportunity. But hey, it’s McCartney, he can do what he wants.

As I sit here, only 1/3 of the way through the annual “Dry January” I can’t help but think I need a little punk energy to get me going… If you feel that way during the doldrums of winter, put one of these albums on and see where it takes you.

Cheers!

Bummer News: Fleetwood Mac Tells Lindsey Buckingham To Go His Own Way

~ kcorsini ~ 6 Comments

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*Picture taken from the Rumors record sleeve and is probably copyrighted

“I know there’s nothing to say, someone’s taken my place…” Fleetwood Mac, “Second Hand News” composed by Lindsey Buckingham

“I heard the news today, oh boy,” that Lindsey Buckingham, lead guitarist, songwriter, producer and vocalist for Fleetwood Mac was fired by the band in early April. He’s apparently being replaced by guitarist and former Heartbreaker Mike Campbell who played on some of Stevie Nicks’ solo albums and has a connection with her, which is nice I guess. I’m glad Mike has found a job, he’s too talented to sit at home. Also named as a replacement for Buckingham was Neil Finn of Crowded House fame. He sings and plays a little guitar. This isn’t the first time Buckingham has left Fleetwood Mac. He quit in 1987 right before the tour in support of Tango In The Night. At that time he was replaced by Rick Vito (guitarist) and Billy Burnette (vocals/guitar). When he quit in ’87 I remember my friend Stormin’, who was as dejected by the news as I was, saying, “Not only did the fucker quit, the band made him look good by replacing him with not one guy but two.” It appears they’ve done the same thing again… Stormin’s wisdom rings true today.

I am bummed to hear this news. In the immortal words of Rodney King, “Can’t we all get along?” Joe Strummer always said, “never underestimate the chemistry of those particular (five) people in a room…” Lindsey was so much more than a guitarist/vocalist in the Mac. He did more to shape the sound of Fleetwood Mac than anybody else. Like any great player he seemed to elevate the folks around him. I remember when he left the first time. He said after breaking up with Stevie Nicks, his job was to come in and produce her songs, to make them better, and it wasn’t something he was particularly inclined to do after their acrimonious split. Oh, well. Tom Petty once said that only Buckingham can get Nicks’ songs to sound the way she wants them to. Many people think of Fleetwood Mac as being “mellow.” I prefer to think of them the way Buckingham does… that they were more melodic than most bands, but they still rocked. Hell, even my college roommate Matthew, whose entire record collection at the time consisted solely of heavy metal records (I’d never seen that much Kiss) had a few Fleetwood Mac albums.

I guess I shouldn’t have been surprised by the news. Even in the photos above, from the Rumours record sleeve, he’s standing apart from the band in half the pics. Of course, the same could be said for Mick Fleetwood, who as drummer has been one of the few constants in the band, so I might be reading into this. Lindsey always comes across in interviews as somewhat arrogant (which is probably earned) and pissy (probably not earned). I have to keep reminding myself, that this is a band who have had as many line-up changes as Yes. In the mid 70’s there was even a “fake” Fleetwood Mac out on tour. Lawsuits were filed. If you think about it, this has been a band whose music is largely about love, heartbreak and breaking up… and they’re a band that has kind of been perpetually breaking up their entire career.

The band was originally formed in the late 1960s by former John Mayall’s Bluesbreakers’ guitarist Peter Green. I’m kind of hopeful that the inclusion of Mike Campbell in the new line-up means they might actually return to some of those older blues tracks on the upcoming tour. It’d be a great way to spotlight Campbell’s virtuoso guitar work. Green only lasted in the band around three years before he left due to mental illness. It’s said he has schizophrenia. Later, one of the other guitarists in the band, Jeremy Spencer left to go out and get a magazine and never came back which sounds like an uncle of mine. They found out a few days later he’d joined a religious cult. You can’t make this shit up. They had to fire another guitarist, Danny Kirwan because of alcoholism. If you’re in a band with John McVie and you drink so much you get fired, you’re drinking too much. And this is a site half-named for Kentucky whiskey. Bob Welch, who’d help steer them into some small bit of mainstream popularity with songs like “Sentimental Lady” and “Hypnotized” left to pursue a solo career. Keyboardist Christine Perfect had to marry John McVie just to get into the band…

It was after all that turmoil, while the band was looking for a new producer, a new studio to record in and a new guitarist that producer Keith Olsen played them the Buckingham Nicks album. They immediately tried to hire Buckingham as their new guitarist/vocalist and he agreed on the condition they include his then girlfriend Stevie Nicks in the band. The rest, as they say, is history. The Fleetwood Mac album from 1975 was the Mac’s biggest seller to date. The follow up, 1977’s Rumours, their masterpiece, is one of the biggest selling albums of all time. It was so amazing they relegated one of the best tracks, “Silver Springs” to a b-side. The chemistry of Buckingham, Nicks, John and Christine McVie, with Mick Fleetwood was undeniable, lightning-in-a-bottle. Along with the Eagles they defined the late-70s California sound.

During those heady days, the two romantic relationships in the band, the McVie’s and Buckingham/Nicks broke up. Drummer Mick Fleetwood ended up getting divorced from his wife and had an affair with Nicks. Ah, the ’70s. I’ve heard Fleetwood Mac’s music described as the recording of an orgy, but I’ve never been to an orgy and can’t really say. Surprisingly, all of that romantic turmoil didn’t break up the band. What almost broke up the band was the pressure to repeat the success of Rumours. 

Heavily influenced by what was happening in punk rock, and perhaps as a way to confound the expectations, Buckingham took control of the recording of the follow-up, the double LP Tusk. He recorded some of the tracks at home in his bathroom, he liked the echo. It was a sprawling experimental mess and I love it. It sold four million copies, which is pretty good for a double-LP, but when compared to their previous success it was considered a failure. Mick Fleetwood drove out to Buckingham’s house and said, “Well, I guess you blew it.” I know the 70’s were a crazy, druggy time, but how many bands had the brass balls to release a lead single featuring a marching band (“Tusk”). Nicks’ and Christine McVie’s songs were more traditionally “Mac-ish” but I love all the left turns Buckingham took with his songs on Tusk.

After that everybody, including Fleetwood, decamped to do solo albums. Lindsey’s first solo album, Law And Order continued the experimental side he showed on Tusk and was recorded in a matter of days. Stevie Nicks’ solo work had the most success. They finally reconvened in 1982 for the more pedestrian Mirage. That album was seen as a “play-it-safe” move for them but it was a huge success, selling three million copies (which was less than Tusk, but expectations had finally come down). After that everybody went back to their solo careers. I thought that was it for the Mac at the time. They were victims of their own success. Buckingham was particularly unhappy with Mirage, he felt they’d played it too safe. He didn’t want that to be the last statement of that incarnation of the band. He pulled everybody back together for 1987’s Tango In The Night but bailed before the tour, as mentioned above.

Fleetwood Mac petered out after that… It was’t until 1997’s live record, The Dance, that the five members from their heyday got back together. Alas, it was short-lived when Christine McVie bowed out due to an intense fear of flying. She retired to the English countryside to garden. The band continued as a foursome and released the strong, but overlooked and overly long Say You Will in 2003. Christine McVie rejoined the band in 2014 with a bag full of new songs to record but neither she or Lindsey could coax Stevie to come into the studio with them… She said being in a room for a year, arguing with these people didn’t sound like much fun. Stevie preferred to focus on her solo career. Finally, tired of waiting for her to come around, Buckingham and McVie released a new album as a duo but John McVie and Fleetwood were the rhythm section. (Reviewed here, LP Review: Lindsey Buckingham & Christine McVie; By Any Other Name, Still Fleetwood Mac).

And so now, this month, they’ve fired Buckingham. They got an award from MusiCares just a few months ago and he was with them. I guess that’s Fleetwood Mac for you… here today, fired tomorrow. Rumor has it they were disagreeing on the details of the new tour – Mick Fleetwood wanted to revisit some of their older stuff and some of the Buckingham Nicks tracks, versus doing a “greatest hits” tour. I’m sure the story will eventually emerge. I guess now they’re going to tour with these new guys. I’m excited to see how they utilize Mike Campbell but I’m a little thrown by the Neil Finn part of the equation. I don’t know much about Crowded House, they’re outside my musical experience. I can’t see them ever recording in this incarnation especially considering Stevie’s attitude toward recording. While I’m sad to be writing this mini-obit for this incarnation of the band, thank God it isn’t an actual obit for one of the members.

If we’ve learned anything from Fleetwood Mac’s long and tumultuous history, there’s a good chance we’ll see Buckingham patch things up with the band in a few years and return to the fold. At least I hope so…

Cheers!

 

 

 

LP Review: Lindsey Buckingham & Christine McVie; By Any Other Name, Still Fleetwood Mac

~ kcorsini ~ 6 Comments

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Well, at least this time I spelled Lindsey Buckingham’s first name correctly, with an “e” and not an “a,” with my apologies to Mr. Buckingham for screwing that spelling up in my review of the first single…

Ah, Fleetwood Mac… In the last half of the 70s, they were huge. It’s impossible to overstate this… Their music was everywhere. I can remember in the summer, as a kid, before I could drive, my mother who was eager to get us out of the house so she could dip into the cooking sherry and lay on the couch, would take us to the local swimming pool and drop us off. We’d spend all day splashing around in the pool, playing games, going off the diving board and throwing our Nerf football around. I can remember the whistles going off for the hourly “Adult Swim.” We’d jump out of the cold, clear water and flop down on the warm cement, lips practically blue from the cold water. As I lay there, warming in the sun like a sea lion I can remember hearing Fleetwood Mac. “Dreams” was almost always piping over the speakers and the rhythmic drums seem to match my heartbeat. Or you’d hear the bizarre guitar signature of “Go Your Own Way.” “Over My Head” was another tune I can remember hearing at the pool quite a bit. It’s weird how my memories are all tied to songs and music.

We all loved Fleetwood Mac. One of my early college roommates, Matthew, showed up to college with his crate of records. His collection was all metal and hard rock: Kiss, Van Halen, Led Zeppelin, some Pink Floyd (which wasn’t metal, but Matthew was an herbal enthusiast). And of course, he had a couple of Fleetwood Mac albums. Hell, I even had Steve Nicks’ fine first two solo albums. Ah, Stevie, I like to think of her as the Mistress of a Generation.

Other than Yes, I can’t think of a band who’ve had more lineup changes than Fleetwood Mac. Even before the Buckingham-Nicks era, they went through a string of guitarist, from founding member and former John Mayall guitarist Peter Green, to Bob Welch, Danny Kirwan and Jeremy Spencer. Christine McVie, who’s maiden name was Christine Perfect, whose been a stalwart in the band, wasn’t even an original member. She had to marry the bass player just to join. It wasn’t until everybody except Mick Fleetwood (drums), John McVie (bass) and Christine McVie (vocals/keyboards) were left that the Mac had to recruit the dynamic duo of Lindsey Buckingham (guitar/vocals) and Stevie Nicks (vocals/Wiccan imagery). Buckingham and Nicks brought an interesting chemistry to the band and they just clicked.

What was really intriguing about Fleetwood Mac during their golden era, was they had three talented singers and songwriters. Christine McVie wrote sometimes saccharine love songs, but Buckingham tended to push her into edgier material. Buckingham was ever the experimentalist. Some might say the Mac was a mellower band but I heard Lindsey say one time, “we weren’t mellow so much as melodic.” Under all his experimentalism Lindsey was a closet Beach Boys circa ‘Pet Sounds’ fan and a similar vocal harmonizing came into play in Fleetwood Mac. Then you had Stevie Nicks who brought a spacey, witchcrafty, hippy vibe to the whole affair. The push and pull of all these writers/singers was anchored by the solid rhythm section Fleetwood and McVie provided.

The success of ‘Rumors’ followed by Lindsey’s left turn on ‘Tusk,’ an album I still love to this day, put more strain on the band than even the break up of the main romantic relationships within the band and Lindsey decided to split in 1987 after ‘Tango In the Night.’ The three writers had all started solo careers by then, Steve Nicks being the most successful. The Nicks/Christine McVie version of the band brought in 2 guitarists just to replace Lindsey and recorded the awful ‘Behind The Mask.’ Eventually everybody left. It wasn’t until 1997’s live record, ‘The Dance’ that the golden-era line up reunited. The reunion was short lived when, due to massive fear of flying, Christine McVie retired to the English country side to garden. The band carried on with Buckingham and Nicks at the helm and recorded the oft overlooked LP, ‘Say You Will,’ which, while flawed, was still a great record. It was a tad overly long. And I would say, they missed Christine McVie  as a counterpoint to Buckingham and Nicks.

A few years ago, cured of her fear of flying, Christine McVie rejoined the band. They did a number of concert gigs and things looked like they might be rolling. Buckingham, McVie and the rest of the band except Stevie went into the studio. It seems Christine was sitting on a huge stockpile of songs. Gardening wasn’t the only thing she was doing out there in rural England. Buckingham always seems to have a surplus of songs. The band recorded an album’s worth of material but try as they may, they couldn’t get Stevie back in the studio. She wants to focus on her solo career. Nicks is under the deluded impression she’s going to recapture her early 80s massive popularity. She’s stated she didn’t think she’d ever record any new music with Fleetwood Mac again, which is career limiting. She says being in the studio isn’t any fun anymore. Sigh…

Buckingham and McVie decided, what the hell, we’ll release what we’ve got. Careful not to alienate Nicks, instead of calling this a Fleetwood Mac album, they are calling it Buckingham-McVie, but make no mistake this is a Fleetwood Mac album, just without Stevie. I hope Stevie comes to her senses and comes back. Her longstanding love/hate relationship with Buckingham may be a factor here. Tom Petty has said he’s tried to produce Stevie Nicks records but he never knows where she’s coming from. He went on to say, the only person who really gets what Stevie wants to do in the studio is Lindsey Buckingham. It’s like me and the Rock Chick, we finish each other’s sentences. And likely, if she left me for say, Joe Walsh, I could probably still finish her sentences. Although I doubt I’d produce her records… if she made records, but I digress.

I like this new Buckingham-McVie record. I’ve always liked the chemistry between those two. It isn’t fraught with the emotionally damaging baggage that Buckingham and Nicks have. The vocal harmonies, the beautiful guitar work is all still here. I would describe this as a great beginning of this incarnation of the band, but there are flaws here. “Love Is Here To Stay” is one of those Buckingham acoustic guitar workouts, where he speed plays his acoustic guitar and harmonizes over it. I don’t think anybody else in the band is even on the track… it should have remained a solo Buckingham song. On McVie’s end, “Game of Pretend” is so saccharine as to be diabetes inducing. It’s really cringe-worthy. It starts off well enough with just Christine and a piano, which I dig, but then they crank up the schmaltz.

Those two songs aside, there is a lot to like here. The more I’ve heard of “In My World,” the first single, the more I like it. The guitar solo that ends the album on the atmospheric “Carnival Begin” is spectacular as is the song itself. “Feel About You” is one of those quintessential poppy, catchy Christine McVie songs. It stays in your head. The opening track, “Sleeping Around the Corner” is a tune that was a bonus track on Buckingham’s last solo record, which feels like cheating, but this version is far superior and it’s obvious he reworked the track quite a bit for this incarnation. Lindsey has a tradition of reworking older tracks – “Don’t Let Me Down Again” was a Buckingham-Nicks LP track that he repurposed for the Mac 1980 live LP. “Bleed To Love Her” is another track he pulled from the live ‘The Dance’ for ‘Say You Will.’ Sometimes a tune just isn’t done right the first time.

“Lay Down For Free” is a great Lindsey track. It’s another from the catchy-as-hell category. Christine McVie, who loves to write love songs, has a great one with “Red Sun.” She sings about being in a sunny place, watching the sun go down over the water while missing someone special. I think we’ve all been there. Fleetwood Mac at their best always sang about emotions that we can all relate to. I would have liked to have heard a little more aggressive drumming from Mick Fleetwood, but then again, I’ve always dug the drums, and his drumming in particular. I was hoping for a real rocking tune, like “World Turning,” the first track Christine and Buckingham ever wrote, but the closest they come is “Too Far Gone” which rides along on a great, almost Stones-y Buckingham riff. It is the one song they uncage Fleetwood’s drumming. There are several percussive breaks in the tune. It’s the most upbeat thing here. It’ll be a fun song to hear live.

While I like this LP, at 10 songs, it certainly leaves room for two or three great Nicks tracks. I think this might have been a true classic record if Nicks had showed up. As it stands it’s not a great Fleetwood Mac album but it’s certainly a really good one. It reminds me of the oft maligned 1982 album, ‘Mirage.’ I hear echoes of “Hold Me” in some of McVie’s tracks. And for the most part Buckingham doesn’t get too far out there on the experimental side, much like ‘Mirage.’ Yes, ‘Mirage’ was an LP where these guys mostly played it safe, but damn if it doesn’t have some great songs.

If you dig Fleetwood Mac, or if you’re weird like me and you dig solo Buckingham albums, you will like this album. If your record collection is all metal, and you have one or two Mac albums, you’ll likely dig this album too. If you don’t dig the Mac, I’d probably warn you off this one. These are master songwriters practicing their craft, and that is always enjoyable. In fact, that’s how I’d describe this album – not life changing but damn enjoyable. This could be the start of a whole new Buckingham/C. McVie era in the band, and I think that would be very interesting indeed. I would say, come back Stevie, you can make it through a studio session with Lindsey. He probably still completes your sentences…

Cheers!

 

 

The First Single From Lindsay Buckingham & Christine McVie: “In My World”

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I always dug Fleetwood Mac, we all did. My heavy metal college roommate had all metal music and oddly, two Fleetwood Mac albums. I was a little young for ‘Fleetwood Mac,’ the first LP to feature the dynamic duo of Lindsay Buckingham and Stevie Nicks. I remember  hearing practically every song on ‘Rumors’ at the swimming pool over the loud speakers when I was kid. Those songs were everywhere. I always felt like Christine McVie was the unsung hero in that group. Who hasn’t sat up late at night, after a break up, weeping to the song “Songbird”?

In the 80s, Lindsay Buckingham called it quits to pursue his curious solo career. The “classic” line up reunited for the live LP, ‘The Dance’ twenty years after Lindsay’s departure. That reunion was short-lived as Christine McVie developed an intense fear of flying and “retired” to her country English manor home to putter in her garden. A few years ago she got over it and rejoined Fleetwood Mac, and was welcomed with open arms, I might add, for an extended tour.

Having been on the sidelines for so long, she was raring to go. Apparently she was sitting on a stack of songs, a backlog like George Harrison had after being stuck behind Lennon and McCartney. After the tour it was time to head to the studio. Christine had the songs and Lindsay always has songs. The problem it seems was coaxing Stevie Nicks back into the studio. Stevie is under the mistaken impression she’s going to recapture the solo glory of her ‘Bella Donna’ days. Ah, Stevie… I like to think of her as the Mistress of a Generation.

Lindsay, Christine along with Mick Fleetwood on drums and John McVie on bass went into the studio without Nicks. They have apparently had the songs that make up this record in the can for quite some time. Tired of waiting for Stevie, somebody just said “fuck it” and they released the LP under Buckingham and McVie’s name. I guess they didn’t want Stevie to think they’d moved on without her and it’s always nice to leave the door open.

Yesterday, the first single from this new album came out, “In My World.” I have to admit I’m scratching my head a little bit. It’s not a bad song, it’s just not a first single. Its a mid tempo, understated thing. Coincidentally I listened to Dan Auerbach’s new solo single, “Shine Me On,” and with its bold acoustic guitars bumping up against his vocals and a nice electric guitar riff, he sounds more like “Go Your Own Way” than “In My World” does.

I expected this album to be like the 1997 Fleetwood Mac LP helmed by Buckingham and Nicks, “Say You Will,” in that each singer/songwriter would take the lead vocal/songwriting duties. I didn’t expect it to be a duets album. I did expect perhaps some harmonizing between Lindsay and Christine, as they done within Fleetwood Mac on songs like “World Turning.” I guess I was thinking Robert Plant and Alison Krauss type harmonies. Lindsay and Christine have a great vocal chemistry and I would have liked them to explore that a bit more, and who knows, maybe they do on other tunes. You won’t however, find those harmonies on this song. It’s all Lindsay. If Christine plays on this song, I don’t hear her. Not even keyboards.

As I said, it’s a good song. I had to listen to it a number of times (thank God for the patience of the Rock Chick, as I hit “repeat” again and again) and it’s definitely catchy and it definitely grows on you. It’s a grower not a show-er. This song could have easily been lifted off Lindsay’s solo album, “Gift of Screws.” That record is his only solo album recently that has instrumentation outside an acoustic guitar and percussion from him slapping the body of his guitar. Lindsay’s into that cascading acoustic guitar thing. This is a straight forward, mid tempo song. It has a very Fleetwood Mac vibe set to a more modern feel. The lyrics are mostly upbeat with Lindsay singing about all the bad things that won’t happen “In My (his) World.” And lets face it, to him, it’s Lindsay’s world, we all just live in it.

The actual LP, creatively titled “Lindsay Buckingham & Christine McVie” will come out in June. I’ll have more thoughts on the album then. For now, kick back and enjoy the single. It’s as close as we’re going to get to a full fledged Fleetwood Mac album for a long time…

Artist Lookback – John Mayall’s Blues Breakers: The Guitar Hero Trilogy 1966-1967

~ kcorsini ~ 7 Comments

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Ah, the blues. I must admit, when it comes to classic rock, my first love was and always will be the Rolling Stones. I picked up ‘Some Girls,’ my first album ever and it was the beginning of a life long obsession. The Rolling Stones, in many ways, were a gateway drug for me into the broad array of rock music in the world. The Stones led me to Zeppelin, then to the Beatles, Black Sabbath and beyond. It wasn’t long before I was in the basement of seedy used record stores looking for out of print Faces albums or Springsteen bootlegs. I made my friend Doug go to a used record store in a strip mall in Dallas after he’d just broken up with a girlfriend so I could look for the out of print Buckingham Nicks LP… a trip he still hasn’t forgiven me for, although it may be his unpleasant memories of that trip unrelated to “Buckingham Nicks.” I wasn’t musically sophisticated enough to understand what the root of my musical infatuation was. I didn’t understand that the common thread that links all the music I love is the blues.

By the 1960’s the blues was an underground music in the United States, segregated like so much was, in the black community. It took some groovy English youth to rediscover and reawaken interest in the blues in the States. Much of what came out of the British Invasion was what is now described as “blues rock.” There were so many key figures, people you don’t hear about any more, that were critical to that early blues rock movement.  Alexis Korner was a guy that was at the center of a lot of it and he helped fan the flame of blues in London. If time travel is ever invented, you’ll know where to find me… 60s swinging London.

Another name that I don’t hear much any more is John Mayall, leader of the intrepid Blues Breakers. I posted about these British blues rock pioneer’s American cousins, the Paul Butterfield Blues Band, who were also 60s era masters of the blues, a few months ago. In the comment section, Moulty58 (whose blog, The Future Is Past is phenomenal, check it out) mentioned Mayall and the Blues Breakers. In the ensuing conversation he mentioned the album Mayall did with Peter Green, ‘A Hard Road.’ The only Mayall & the Bluesbreaker album I’d ever heard or heard of was the masterpiece, “Blues Breakers With Eric Clapton.” Could I have missed something? As a musical spelunker, I pride myself on owning anything I consider critical in music. Oh sure, I have some blindspots, like say, jazz, but I own most the LPs in the “Must Have” canon. I’m that weird guy who buys the live solo Gregg Allman albums or the solo Lowell George of Little Feat LP… Maybe I have a problem, but as Van Morrison sang, “it’s too late to stop now.” Perhaps I needed to give Mayall’s catalog another look.

In retrospect, John Mayall’s Blues Breakers could be looked at more as a musical collective than a band. They changed personnel more often than Yes, and that’s saying something. Almost every band has a connection to the Blues Breakers. Just on bass guitar alone, John McVie, Jack Bruce and Andy Fraser of Free fame all played with them. On drums, amongst a large number of people, Mick Fleetwood and Aynsley Dunbar both played with Mayall. I think Dunbar played in every band ever… I think he was even in Journey for a while. Mayall actually sang, played keyboards (mostly piano), guitar and harmonica. The thing about the Blues Breakers that is probably the most remarkable is the guitar talent that went through this band. Not only did Eric Clapton play with them but so did Peter Green (Fleetwood Mac), and a very young Mick Taylor (The Rolling Stones). Those are just the big names. Rick Vito (Fleetwood Mac) and Jimmy McCulloch (Wings) also played with the Blues Breakers, just to name a few. Paul Butterfield even shows up playing harmonica on one album. It’s quite an impressive roster. It seems if you were a British rock band in the 70’s and needed a player, you looked no further than the Blues Breakers. It was like a British Prep school for guitarists.

I quickly began an investigation of the Blues Breaker’s catalog and found that I had indeed missed a couple of essential LPs, beyond “With Eric Clapton.” There are really three albums that I consider “essential” for blues or blues rock fans. As you might guess, it’s the three albums featuring the three greatest of the Blues Breaker’s guitarists. With all due respect to fans of “Blues From Laurel Canyon,” which does feature Mick Taylor, I consider that a John Mayall solo album. The Blues Breakers moniker had been abandoned by that time. Without further adieu, here are the three John Mayall and the Blues Breaker’s LPs every fan should check out:

Blues Breakers With Eric Clapton (1966)

When Eric Clapton, who judging by his autobiography was an enormous twat, left the Yardbirds because they were veering away from his “blues purist” view of music, there was a lot of speculation about what he’d do next. He joined the Blues Breakers and their popularity began to soar… just as that looked like it was going to peak, Clapton runs off to Greece with a group calling themselves “The Glands.” They must have been a group of teenage boys with a wanker name like that. Jeez, Eric. Anyway, he realized he’d made a mistake and came back to rejoin Mayall and the Blues Breakers. This album was the result and it’s a tour de force. I love Cream, but I truly think this was the best lead guitar playing of Clapton’s career. He plays with a strength and confidence I rarely hear. This album is considered a blues rock milestone. I read in Rolling Stone magazine that this record and Clapton’s solo LP, “From the Cradle,” taken together are Clapton’s greatest blues achievement. It’s hard to argue. The instrumental “Hideaway” is simply amazing. “What’d I Say,” the Ray Charles cover is inspired. “All Your Love” is the perfect blues tune. Clapton does his first vocal on Robert Johnson’s “Rambling On My Mind” one of his first and best Robert Johnson covers. Clapton split after this record to form Cream with Jack Bruce (also a Mayall alumni) and Ginger Baker. It’s a shame we don’t have more of Mayall and Clapton together, because it’s one of the greatest albums of all time.

A Hard Road (1967)

How do you replace a messianic guitarist (well, they did used to scrawl “Clapton is God” as graffiti) like Eric Clapton? You find Peter Green. I don’t know anybody outside of Ozzy Osbourne (Randy Rhoads, Jake E Lee, Zakk Wylde) with a nose for guitar talent like John Mayall. I was surprised when I first heard this record that the Blues Breakers, despite line up changes and losing Clapton didn’t miss a beat. This is a great blues/blues rock album with inspired guitar work. The Peter Green penned instrumental “The Supernatural” is worth the price of the LP alone. I may be crazy but I hear the seeds of “Black Magic Woman” in that tune. Great, great guitar work. Green’s guitar sound is different than Clapton’s and this may sound weird, but I almost feel like Peter Green’s guitar sounds… well, sadder. The guy really conveys emotion in the way he plays. Where Clapton was more powerful, Green is more expressive. Just one man’s opinion, and I don’t play guitar. I absolutely love the Elmore James’ cover, “Dust My Blues,” and the incendiary slide guitar Green plays. They also do two great Freddie King covers, the instrumental “The Stumble” which is another stand out and “Someday After While (You’ll Be Sorry)” that blew me away. “It’s Over,” the opening track is a great John Mayall penned tune as well. This is just a spectacular album that I never heard about. You definitely hear the seeds of Peter Green’s Fleetwood Mac on this album, which makes sense because after this record Peter Green, John McVie and Mick Fleetwood split to form Fleetwood Mac… I guess the formula in the 60s was, do one album with Mayall, split and form a legendary band of your own… At least there was some additional material Peter Green recorded with Mayall that turned up on the remastered, “bonus track” version of the album that came out years later.

Crusade (1967)

What do you do when you’ve lost not one, but two legendary lead guitar players. Apparently if you’re John Mayall you discover a teenage Mick Taylor. I had always known Taylor had gotten his start in the Blues Breakers but I’d never dug deep enough to check out his record with them. Actually, he stuck around for three albums, unlike Clapton and Green, before being recruited to join the Stones as Brian Jones’ replacement. “Crusade” is just another blues rock classic in the same vein as it’s two predecessors. The album kicks off with “Oh Pretty Woman” (not the Roy Orbison tune) and it’s again as if nothing has changed with the band. Although I will say I can tell Taylor’s guitar is different than Green’s. Mick Taylor had such an amazingly melodic way of playing the guitar. Even on these blues recordings I can hear how his lead guitar would mesh with Richard’s ragged rhythm guitar. There’s an instrumental on here “Snowy Wood” which is just fabulous playing (do I hear “Can You Hear Me Knocking” here?). Mayhall had employed a horn section on his previous LP, but never this prominently, they’re all over this record. I like the sax, harmonica interplay on “Man of Stone.” I love, love the version of “I Can’t Quit You Baby” the old Willie Dixon tune that was also done by Led Zeppelin and years later the Rolling Stones, post-Taylor. “Driving Sideways” sounds like a tune a blues band would open a show with… This is just another great blues guitar album.

If you’re a fan of the blues, blues rock, Cream, the pre Buckingham Nicks Fleetwood Mac or the glory years of the Rolling Stones, there is a hell of a lot to like here. A lot of people own ‘With Eric Clapton’ and if you enjoy that record I can’t more highly recommend ‘A Hard Road’ and ‘Crusade.’ Mayall went on to have a long, storied career but other than ‘Blues From Laurel Canyon’ you’re not going to find better blues/blues rock than these three albums. Any fan of guitar will absolutely fall in love with these albums.

This isn’t cry in your beer blues, this shuffle around, chooglin’ music. Pour yourself something strong, dark and murky and start moving, baby!

Cheers!