[aleuzzi]

Your review is pretty darn accurate.

BARE TREES is one of those great lost records that could have even been more than it was. There's a curiously muddled sound quality there that isn't apparent on Future Games or Kiln House--and not on Penguin. The silky, silvery spaciness of Future Games gives way to a thicker, harder sound. But there's something not quite right in the mix.

Both of Christine's songs are very good and show her growth as a songwriter. But she doesn't really sing either of them very well. She herself has acknowledged this. (This was an odd time for her, since she sang EXTREMELY well on the live-in-studio version of "Crazy 'Bout You Baby" and the early version of "Morning Rain" called "Start Again.") I think she was having an identity crisis and didn't know if she should be tough or delicate. If the tempo on "Spare Me" were picked up a bit (as it was in the live shows from 1972-76) it might have sounded a lot better. It sounds as if she's straining to reach the register on parts of "Homeward Bound," but instrumentally the piece is flawless. Only months later, on PENGUIN, Christine seems to have figured out how she wanted to present herself.

All of Kirwan's songs are a delight. "Child of Mine" and "Dust are my favorites" but all of them are effective. To think that "Trinity" was also created during this session and not included on the record!

Welch's tunes fit well, but neither of them are a patch on either of the tunes he cut for the previous record. "Sentimental Lady" is a charming tune--and its rendition there is better than on FRENCH KISS. But he still seems unsure of himself and somewhat lost in the mix. I think "Sentimental Lady" would have sounded more in context on FUTURE GAMES.

When you compare the musicianship on this record to other acts producing music at the time, it's no wonder that Fleetwood Mac kept afloat despite its internal turmoil. The band proceed with impeccable taste, never overplaying but always playing effectively and creatively.