Vintage, Original and Chicago Review

[michelej1]

Washington Post, March 24, 1978

Fleetwood Mac.

Just the name is enough to give record store owners the shakes and make Warner Brothers record executives dislocate their shoulders patting themselves on the back.

Fleetwood Mac is record sales calculated in zillions; it's every other song on the radio, giving new meaning to the term "FM"; it's sold out concerts and sold-out albums, a household name. Fleetwood Mac is Stevie Nicks, Lindsay Buckingham, Christine McVie, Mick Fleetwood and John McVie.

It wasn't always like that.

In the mid to late 1960s, Fleetwood Mac was one of England's premier blues bands, second in influence only to John Mayall's Bluesbreakers. (In fact, guitarist Peter Green and bassist, John McVie both played with Mayall). Fleetwood Mac was good but it wasn't particularly popular, especially in the United States. It's still good, but now it's also popular. Need we say more about it's popularity?

Yes

The music world is filled with Fleetwood Mac clones.

Possibly the biggest is Bob Welch, who once was the real McCoy (McMac?). Welch left the band to follow his own directions, and after floundering with a hard-rock band called Paris, he re-recorded "Sentimental Lady," a song he'd originally done with Fleetwood Mac. He also got Christine McVie and Lindsay Buckingham (his replacement) to produce the song and got everyone but Nicks to play on it. Viola - smash city. Welch's "French Kiss" (Capitol, ST 11663) so unds more like Fleetwood Mac than Fleetwood Mac, more, at least, than the Fleetwood Mac represented on three newly reissued albums.

Sire Records, the label that recently gave you the Dead Boys, and Richard Hell and the Voidoich now gives you Fleetwood Mac. Actually, three Fleetwood Macs - four, if you count Christine McVie's disasters, "The Legendary Christine Perfect Album" (Sire SR 6022).

We won't Any resemblance between these Fleetwood Macs and the current Fleetwood Mac is strictly in the way they spell their names.

"Fleetwood Mac - The Vintage Years" (Sire 2XS 6006) is a two-record set of very early numbers, most of which bear the stamp of leader and guitarist Peter Green. Beaides Green, the personnel includes guitarists Jeremy Spencer and Danny Kirwan, McVie and drummer Mick Fleetwood. All contribute, but the set belongs to Green.

There are only two familiar tunes here. One is "Albatross," the band's first American hit single and the theme song for the British television show "Top of the Pops." The other is "Black Magic Woman," which was written by Green as a blues piece and later Latino'd into a gold record by Santana. Other than that, it's catch as catch can.

The melodies, though, leave no doubt that the earlier Fleetwood Mac was a guitarband; and a blues guitar band at that.

If you don't believe "Vintage Years," check out "The Original Fleetwood Mac" (Sire SR 6045). The original Fleetwood Mac is Peter Green, Jeremy Spencer, John McVie and Mick Fleetwood. The album is subtitled "Rare and Vintage Recordings from 1967."

Rare they are, vintage - not quite. Keep in mind that Christine McVie's "Christine perfect Album" is subtitled "Rare and Vintage Recordings from 1969." As with wine, age alone does not a classio make.

Regardless of titles, "The Original Fleetwood Mac" offers more to the collector than "Vintage-Years." For one thing, all of these titles are previously unissued. For another, Christine McVie plays piano on several tracks - the first time her name appears on a Fleetwood Mac session. The guitar interplay between Green and Spencer is magnetic, and you can hear how the foundation was laid for the later arrival of Kirwan (and, even later, Welch). That was the year of "Surrealistic Pillow," "Light My Fire" and "Sergeant Pepper's Lonely Hearts Club Band."

Up against that lineup, these compositions stood little chance; but something was definitely happening.

What was happening really happens in "Fleetwood Mac in Chicago" (Sire 2XS 6009). This two-reocrd package was originally recorded in 1969 at the Chess Record studios in Chicago. On hand to help out were Otis Spann, Willie Dixon, Shankey Horton, J.T. Brown, Guitar Buddy, Honeyboy Edwards and S.P. Leary, a rather impressive passel of bluesmen. Marshall Chess himself produced some of the session and the licks fly hot and heavy.

But then, Kirwan was full-time and Spencer was gone, but Peter Green still called the shots. His commanding presence is everywhere, and he and Kirwan both benefit from the bona fide legends burning up the jams. Of the three reissues, "Fleetwood Mac in Chicago" is the real find, the Big Mac if you will.

Peter Green left the band soon after this, and Christine McVile joined. Bob Welch later replaced the departing Kirwan and Stevie Nicks and Lindsay Buckingham finally replaced Welch. The addition of the Californians changed Fleetwood Mac's still evolving thrust.

Fleetwood Mac on these three albums might as well be marketed under another name.

The music on them is completely different from anything the present-day Fleetwood Mac has ever produced. But a different name wouldn't capitalize on the household word as these do, whether this particular music makes it to that many households or not.

[sharksfan2000]

Thanks for posting - I needed a good laugh and this review was so lame-brained it had me cracking up pretty good!

Originally Posted by michelej1

But then, Kirwan was full-time and Spencer was gone, but Peter Green still called the shots. His commanding presence is everywhere, and he and Kirwan both benefit from the bona fide legends burning up the jams. Of the three reissues, "Fleetwood Mac in Chicago" is the real find, the Big Mac if you will.

Wow, I sure thought Jeremy Spencer played on this album (and quite well at that) - guess it must have been Peter Green doing a hell of a Spencer impression!

Originally Posted by michelej1

Bob Welch later replaced the departing Kirwan

Welch must have replaced Kirwan very gradually considering they were in the band together for a couple of years.

Originally Posted by michelej1

Christine McVile

That's either a hilarious typo or a rather harsh opinion of her value to the band

[michelej1]

And the Washington Post was thought to be one of the most reputable papers in the country, especially post-Watergate.

Michele

[chiliD]

Originally Posted by michelej1

Bob Welch later replaced the departing Kirwan

Hmm...it's weird you never see photos of Jeremy Spencer & Bob Welch together in that case.

Originally Posted by michelej1

and Stevie Nicks and Lindsay Buckingham finally replaced Welch. The addition of the Californians changed Fleetwood Mac's still evolving thrust.

And, Bob Welch was from where? Oh yeah, CALIFORNIA!!!!

AND HIS NAME IS SPELLED L-I-N-D-S-E-Y!!! I'm surprised you didn' t spell Bob's surname as "Welsh", since obviously that must be where he's from, since you didn't know he's a Californian .

Originally Posted by michelej1

Fleetwood Mac on these three albums might as well be marketed under another name.

As should the Washington Post...as, oh, how about "The Washington Fish Wrapper".

Ummm...well, if you're gonna get snotty about it, the Buckingham Nicks era Fleetwood Mac is REALLY the one that should've had a different name, since anything post-Peter Green had nothing to do with the band's origins.

[jeremy spencer]

Originally Posted by michelej1

Washington Post, March 24, 1978

Fleetwood Mac.


What was happening really happens in "Fleetwood Mac in Chicago" (Sire 2XS 6009). This two-reocrd package was originally recorded in 1969 at the Chess Record studios in Chicago. On hand to help out were Otis Spann, Willie Dixon, Shankey Horton, J.T. Brown, Guitar Buddy, Honeyboy Edwards and S.P. Leary, a rather impressive passel of bluesmen. Marshall Chess himself produced some of the session and the licks fly hot and heavy.

But then, Kirwan was full-time and Spencer was gone, but Peter Green still called the shots. His commanding presence is everywhere, and he and Kirwan both benefit from the bona fide legends burning up the jams. Of the three reissues, "Fleetwood Mac in Chicago" is the real find, the Big Mac if you will.

Peter Green left the band soon after this, and Christine McVile joined. Bob Welch later replaced the departing Kirwan and Stevie Nicks and Lindsay Buckingham finally replaced Welch. The addition of the Californians changed Fleetwood Mac's still evolving thrust.

Fleetwood Mac on these three albums might as well be marketed under another name.

The music on them is completely different from anything the present-day Fleetwood Mac has ever produced. But a different name wouldn't capitalize on the household word as these do, whether this particular music makes it to that many households or not.

Just for the vintage record. I was very much there at Chicago! IMO, the best thing I personally ever did with Mac. Actually for those seven or eight cuts of mine it wasn't Mac, it was just Mick and me, J.T. Brown and Willy Dixon! A super blast.

[sharksfan2000]

Originally Posted by jeremy spencer

Just for the vintage record. I was very much there at Chicago! IMO, the best thing I personally ever did with Mac. Actually for those seven or eight cuts of mine it wasn't Mac, it was just Mick and me, J.T. Brown and Willy Dixon! A super blast.

Yeah, I wonder what that reviewer was listening to? I agree, that's some of your best work during those years, Jeremy. I know that John McVie has said he didn't enjoy those sessions, but from the recordings, it sounds the the rest of you were having a great time. Did you feel extra-inspired playing with all those Chicago musicians?

[jeremy spencer]

Originally Posted by sharksfan2000

Yeah, I wonder what that reviewer was listening to? I agree, that's some of your best work during those years, Jeremy. I know that John McVie has said he didn't enjoy those sessions, but from the recordings, it sounds the the rest of you were having a great time. Did you feel extra-inspired playing with all those Chicago musicians?

I was very insired playing with those two musicians. J. T. especially. After all, he was Elmore James' saxophone player! He was full of stories and we spent a lot of time talking over coffee.
However, the 'rest of us' whoever that was, were not having such a great time. John didn't enjoy those sessions and neither did Pete. Dunno bout Danny. Mick just played the drums. The 'we's da blues and who are you whiteys?' vibe from the other black musicians, was apparently too thick to penetrate for Pete and John. The vibe was that these upstart whiteys like us, Clapton and the Stones and whoever were making big money on what they considered was their territory. Understandable in some ways, but a sort of reverse racism.
J. T. was more from the Christian old school and he didn't care, he was just as pleased as punch that this little English whitey was so enthusiastic about Elmore's music! So he and I, being bissfully and possibly willingly ignorant of the politically incorrect intrigue, just enjoyed ourselves. At the end of the day, it showed.
There you go, Sharksfan. That's it from my worm's eye perspective hindsight!

[doodyhead]

It si really great to hear your take on those sessions so long ago. You were really on during it and it showed.
About a year and a half ago I went to Chess studios in Chicago. part of the reason was to see the studio that you guys had gone into to play with the Chicago Blues People. It now is owned by Willie Dixon's family andd they are in the proces of making it a blues museum. There is some references to the Rolling stones and Ron Wood, who was not there during the Stones sessions left a guitar and a picture. Hilary Clinton left some japanese guitar that someone had given her. This is , of course in addition to real memorabilia.Since you were there and , I think, a part of Chess history, they may really appreciate any recollections or rememberances of your time there. The blues is not the provence of "The Hard Rock Cafe" or the Rock and Roll Hall of Fame, but the lives toucherd by and influencing others. I am not meaning to impose, it was just a thought.
I know I was influenced just as much by you as many a more storied a player. I sthill play Doctor Brown and Can't Hold Out like I heard it from you. Thanks for the memories

vinnie c

[sharksfan2000]

Thanks so much for your recollections, Jeremy. As you say, the vibe from the Chicago musicians was understandable but unfortunate. Glad that you and J.T. managed to leave that behind and just enjoy playing the blues. You turned in some great performances on that album!

[slipkid]

Originally Posted by sharksfan2000

Thanks so much for your recollections, Jeremy. As you say, the vibe from the Chicago musicians was understandable but unfortunate. Glad that you and J.T. managed to leave that behind and just enjoy playing the blues. You turned in some great performances on that album!

I hate to bring back an old post from four months ago, but I wanted to add something.


I wonder if the Rolling Stones are to blame for the animosity felt by the Chicago musicians towards FM. Back in '64, they too visited Chess records and recorded a few numbers that ended up on "12*5"(??). While on the pop/rock scale the Rolling Stones were/are average musicians at best, with Brian Jones probably the most talented at the time. On a blues perspective, they couldn't hold a candle to the musicians that were on the Chess label. So when FM comes five years later to do their session, they probably thought "here we go again". Suffice to say everyone in FM had chops to spare and held their own. J.T. Brown obviously embraced Jeremy Spencer rather quickly (and it shows). I've read in the "Jumping at Shadows" liner notes that Muddy Waters' band (sans Muddy) came out of their dressing room just to watch Peter Green from the side of the stage. So there was mutual respect in some circles. What I don't understand is why Buddy Guy didn't want to be a part of it. He does "Red Hot Jam", and that's it. Eighteen months later his band is on the "Festival Express" train tour with the likes of the Grateful Dead, the Band, Flying Burrito Bros.,and Janis Joplin. (That reminds me to dig out that DVD to watch Buddy's version of "Money", great stuff.)

Of course it could be just be the "you whities are taking our music, and making more money with it than we'll ever see" attitude.