Gimme five songs where Fleetwood Mac sucked(an article)
 

VivFox did not write this. It is an article I found on the web.

Gimme Five: Songs where Fleetwood Mac, well, suckedby Nick DeRiso

When looking for entries by Fleetwood Mac in Something Else! Reviews’ regular Sucks Series, there was plenty of blame to go around. After all, more than dozen different songwriters have moved through the band’s ranks.
It’s interesting to note, however, that as the band gets set to reform in 2013 with Lindsey Buckingham, Mick Fleetwood, John McVie and Stevie Nicks, you’ll find three of the four represented in the list we ultimately compiled — and the maddeningly inconsistent Buckingham shows up twice.

Throw in a bizarre offering from Danny Kirwan, and you’ve got a stunning list of misfires from a band that nevertheless reeled off an unbroken string of albums that earned at least gold status between 1973 and 1990.

If you were like us, you bought these records for the lacey mysteries of “Gypsy,” the pop perfection that is “Spare Me A Little of Your Love,” or the dark sexual danger of “Big Love.” But then … you found tucked away inside … songs like these …

“DANNY’S CHANT,” BARE TREES (1972): Dig that crazy wah-wah! Dude, no. Seriously. Filled with directionless, noodle-y solos and — though I guess this is no surprise — an oceanic, echo-filled group of … chants. Also of little surprise: This would be the final Fleetwood Mac project for composer Danny Kirwan, who was starting to act increasingly erratic.

What’s with early Fleetwood Mac and flameouts? It had only been a months since both Peter Green and Jeremy Spencer had vanished from the band. The word was, upon running into his replacement Bob Weston, Kirwan said: “Good luck. You’re going to need it.”

Bare Trees eventually went platinum anyway, but that was on the strength of a pair of songs that came from elsewhere: Bob Welch’s original version of “Sentimental Lady,” later a solo hit, and Christine McVie’s “Spare Me a Little of Your Love” — which became a concert staple in the mid-1970s. Weston, it’s worth noting, eventually ended up getting fired after sleeping with drummer Mick Fleetwood’s wife, starting a string of inter-band affairs, counter-affairs and counter-counter-affairs that would ultimately spark a creative zenith with 1977′s Rumours.

“SILVER GIRL,” SAY YOU WILL (2003): Lindsey Buckingham and Stevie Nicks were apparently at work on a side project when their songs suddenly morphed into the newest Fleetwood Mac album — and this is an example of that process failing to produce something measurably different from the worst of their solo work.

“Silver Girl” is a pastiche of Nicks’ worst tics: She’s coquettish when she means to be lonesome, whiny when she’s trying to be winsome. Also, at more than four minutes, this string of narcissistic, witchy-woman cliches just goes on and on — as does this endless fill-the-CD project, which could have been cut in half and been a better effort.

It didn’t help that Say You Will was the first Fleetwood Mac recording not to feature songs from Christine McVie since 1970′s Kiln House. She only appears as a backup singer on three tracks, all of which were originally done for the Buckingham solo project. Her absence brings into high relief the templated feel of moments like “Silver Girl,” something that makes the album seem longer than Tusk — and a whole lot less interesting.

“EMPIRE STATE,” MIRAGE (1982): After indulging in the sprawling, wildly expensive, weirdly effective double-album experiment called Tusk, Fleetwood Mac back slid into a comfy retro vibe for Mirage — and that’s no where better illustrated than this song.

Just what the world needed: Another paean to New York City. Check that — another paean to New York City with a disco beat. Sorry, check that again — another paean to New York City with a disco beat … several years after the disco fad had become passe. It bears mentioning, too, that this is coming from one of the bands that absolutely personified the California sound, the California lifestyle, the California look … the California ethos. They are about as New York as a screw-top bottle of Napa chardonnay.

Some of the blame for this particular mess can be laid at the feet of co-writer Richard Dashut, who apparently had a better touch on the other side of the glass — having co-produced every Fleetwood Mac studio album from 1977-87, not to mention a pair of Buckingham’s more highly regarded solo efforts. Spoiler alert: This isn’t Dashut’s only appearance on our list.

“THESE STRANGE TIMES,” TIME (1995): Let’s just say expectations had to be lowered for Fleetwood Mac’s 16th release. The record — produced by (whoops) Dashut — features neither Stevie Nicks nor Lindsey Buckingham, for the first time since 1974′s Heroes Are Hard To Find. Boy, were they ever: Replacements Dave Mason (Traffic) and Bekka Bramlett (Delaney and Bonnie’s daughter) would be gone within a year, but not before seeing Time fail to chart in the U.S., something that hadn’t happened to Fleetwood Mac since 1968′s Mr. Wonderful.

To be fair, however, this album-closing dirge wasn’t their fault. Lead vocalist (?) Mick Fleetwood, who provides the expected jungle rhythms over a vacuous, snoozy spoken-word oration, is credited as the co-composer here: “I look into my heart and see the light and not the dark, and how I am sad and wished I was in love … and this is hell, being caught between the dark and light.”

Oh, this is hell, alright. And it goes on for seven excruciating minutes — like listening to a particularly poor sermon given over the soundtrack from soft-core motel porn. To no one’s surprise, Buckingham and Nicks were back for the next Fleetwood Mac project.

“FAMILY MAN,” TANGO IN THE NIGHT (1987): Some mildly interesting guitar from Buckingham is embedded in the middle of this off-kilter, calorie-free throwaway, but that’s not enough — not nearly enough — to distract from every other awful thing going on here.

Replacing narrative and musical content with studio trickery, Buckingham — and Dashut, who receives both co-writing and -producing (dis)credit — throws everything up against the wall: Vocals that bounce from one side of your skull to the other, bizarre echo effects, a plinky synth, slowed tapes, sped-up tapes, those now now-patented banjo-y chicken-plucking asides. For all of their savvy, writing a good song might have been less work. Instead, they can’t come up with a lyric that doesn’t do much more than repeat “mother,” “father” and “I am what I am.” (Maybe Popeye can discern what any of this means.) Buckingham’s already used this beat, too — and to far better effect — elsewhere on “Big Love.”

It’s unclear if dread over having to recreate this dolled-up tripe on stage spurred him toward the decision, but Buckingham would vanish before the tour in support of Tango in the Night got underway — and the band, which continued forward with Billy Burnette and Rick Vito, didn’t bother playing it, either.

http://somethingelsereviews.com/2012...c-well-sucked/

Hilarious to think that the idea of having to perform Family Man live is what made Lindsey run away from the band at high speed.

Michele

The writer has nailed it....Family Man is a total mess

That's ridiculous, he ran away because of WISYA. ;)

Totally agree about Family Man, but I really love Empire State... I will concede I always found it strange they had a song about New York since they are so Californian, but regardless I think it's fun :cool: I'm not a big fan of TITN, so I'd be more apt to find fault with some of those songs.

Interesting that this article would suggest SYW should have been shorter when the argument was whether or not to make it longer... I really like SYW, but I have always felt that there wasn't much cohesion between Lindsey's songs and Stevie's - it's like they just decided to combine their solo efforts on one album. Which is strange because even though that's sort of how it's always been - each writer doing their own thing then bringing it to the table - the first few albums feel like complete, singular pieces. Maybe it's because they don't spend as much time together, e.g. the guys cutting new tracks this year?

I actually don't think Silver Girl is as terrible as everyone makes it out to be. The melody is nice, it's just some of the lyrics are a bit trite and cliche.

I hate Silver Girl yet love When I See You Again. I'm crazy I guess. lol

Well, I love When I See You Again.

So perhaps I'm the craziest of all.

Yes, That's How We Do It In L.A. certainly seems more his speed.

That reminds me of Lindsey and Christine in Randy Newman's video. Really fun.

Michele

This was fun. Awesome writing, and the guy clearly knows his Mac.

LOVE when i see you again..

You'll win prizes!

You just stare at the stairs because there are many things to stare at these days.. :thumbsup:

Bah! Family Man and Silver Girl are two of my favorite songs.

Matt

Survey says.

Michele

X

Family Man is probably the best Liddy Buck track on TITN and joins Love Minus Zero as the most beautifully produced Mac track since Gypsy.

Silver Girl is my least fav Stevie track on SYW, but I really like it. It synchs with my first or second fav Mary Gaitskill short story:

A shadow moves across her face
You cannot see her soul
Unless she lets you...
See her soul

I don't love Empire State but as you I'm one of the few fans that like that song. However I never found Family Man that bad or ugly. I just find it a commercial song.

I don't like Silver Girl either, as many of Stevie's recent songs with women names.

Like a turd knows the bottom of the toilet bowl.

Well, love may have been too strong :lol:, in comparison to all the songs on Mirage, I think it's a decent addition and fun. I love the layering of vocals in it.

As for Family Man, see apart from FM, I'm not a big fan of 80s music...(And apart from artists who had already begun in previous decades) To me, TITN and Family Man are very very 80s commercial.

I don't really have much of an opinion on Silver Girl, but I know I'd rather listen to SYW album than TITN album every time! :sorry::xoxo:

And the debate about what he sings in the background "rah-tah" or "f*cked up"........

My personal favorite part is where he chokes on the smog..

That's truly the ONE part that stops me from ranking this song higher. Otherwise, so utterly fragile and heart wrenching IMO.

I prefer to interpret it as: "And she stares at the stares.... there are many things to stare at these days."

Gives it a little more desolateness, even if that wasn't what she intended.

I agree with this guy..except for Family Man, which isn't that good of a song, but should be replaced by "Welcome to the Room Sara." That's TITN's clunker.

OK, as a fan of this song (which really means a lot to me lyrically), I can't stand it anymore and I have to ask..... just what is so terrible about this song? What is everyone objecting to? Is it the lyrics? The music? The production? Her vocal? I love the lyrics, and to me, this was one of the few songs on Tango that wasn't a bunch of 80's production trickery; it's one of the few that is produced as just a straight-forward rock song, with no fake vocal tricks, etc. I mean, I can actually HEAR a guitar! Unlike some of the other songs, where the music sounds like it was completely computer-generated, or others that are lyrically completely void of intelligence, like Family Man or You and I Part 2.

Does anyone else love this song but me?

Well, Ledgies, what are YOUR five songs?

Who's to say that isn't what was indeed written and hence misprinted on the lyric sheet :shrug:
I also prefer to interpret that stanza as such.

Over the years, judging from music reviews and people on fan boards, the general consensus has been the music and lyrics that are sub par based on her previous work, and Stevie's three songs were her weakest contribution to an album up to that time (She really did not write like 98 percent of Seven Wonders). Hey, it's art, and a matter of taste. If you love the song, good for you. :nod:

"My" five FM songs that suck to me?

Red Rover
Caroline
When I see you again
Paper doll
Come

There are several songs that I don't like, that (like the suck list) are not even in my Ipod, but I wouldn't say they suck, songs like:
No Questions Asked
Beautiful child (yes, sorry, I one of those martians that doesn't like this song)
Illume

OH DIANE

You and I Parts One & Two(I know it's 2 songs but I'm gonna list it as one so I can include Stevie's worst ever song with FM)
SILVER HURL

Save Me
Only Over You

There's more but he asked for 5.

I think the list is pretty accurate. But as much as I'd have preferred "Trinity" to "Danny's Chant," I don't think the latter song sucks.

My list (not including the other songs mentioned):

Welcome to the Room, Sara
No Questions Asked
She's Changing Me
Skies the Limit
Make Me a Mask

Red Rover and Come would be high among my favorite FM songs.

i can't really tell which songs would be the 5 that suck the most for me b/c i don't really listen to many SN or CM songs that i don't like, or Tango and Mirage for that matter. but some that would be high up on my list:

Sara
Family Man
Illume
Silver Girl
You and I (any part)

I agree that the article is well-written but would have been more complete with a dishonourable mention of Stevie's embarassments on Tango in the Night. In the context of Tango being a monster hit record, yet containing the worst penned and performed material of her career, it makes sense.

My worst 5:
When I See You Again
Welcome to the Room Sara
I'm a Road Runner
Family Man
Silver Girl

Then Play On, Kiln House, Future Games, Bare Trees and Mystery to Me were all solid records. White, Rumours and Tusk all hit it out of the park. Penguin, Heros, Mirage, Tango, Mask and Say You Will were not near as consistently good as the others. Time doesn't count. :)

The Second Time
These Strange Times
I'm a Roadrunner
Stand On the Rock
When the Sun Goes Down

I like it. It is heart wrenching.

Wow, hadn't thought of that interpretation. I can see that working, actually I like that more..

Last year we did a Least favoritie FM song contest. Hellhound on My Trail, When You Say, Thoughts on a Grey Day, I'm a Roadrunner, Empire State, Teen Beat, Ricky, The Second Time, Blow by Blow and Silver Girl all were in the top 10.

http://ledge.fleetwoodmac.net/showthread.php?t=48360

Teen Beat, I'm a Roadrunner, and Blow by Blow went onto the finals with Teen Beat barely winning.

http://ledge.fleetwoodmac.net/showthread.php?t=48469

I've never had a desire to listen to Behind the Mask or Time, but as far as the BN years go... (I feel it's a bit hard to rank pre-BN songs in the same manner because it's such a different sound)

My least favorite songs are all on TITN: Family Man, You & I - Part II, When I See You Again, Welcome to the Room Sara

Good point.

Here is my suck list for every era.

1968-69:

Nothing really sucks. All songs are part of a piece and all of the songs, some admittedly better than others, are marked by a genuine spirit.

1970:

Nothing sucks! Kiln House is perfection.

1971-74:

The Ghost, The City, Forever, She's Changing Me, The Derelict.

I'm a Roadrunner doesn't suck. It just doesn't mesh with the other tunes. Morning Rain suffers from a terrible vocal but the backing track is solid. Come a Little Closer is a fine song with a muddy arrangement.


1975-1987:

Empire State, Oh Diane, Ricky, Welcome to the Room.

1988-95:

All of Mask, except for Save Me. Paper Doll. Make Me a Mask. Dave Mason's Time songs.

1997:

Nothing.

2003:

Silver Girl. Goodbye Baby.

Anything and EVERYTHING that involves Lindsey and over-produced synthensizers (instead of the beauty and simplicity of just him and his guitar) i.e. Family Fan, Tango, You and I, Empire State, Come, Murrow and on and on....

Welcome to Room, Sara
Stand on the Rock...eeessssshhh
Everything on the cd Time