Legendary (Chris and Paris (BW) Review

[michelej1]

Tony Stewart, NME, 29 January 1977

SUCCESS BREEDS success, states a music biz maxim, and under the altruistic banner of Services To The Public, any record company which has old or new product even vaguely related to a triumphant act releases it immediately.

Here we have the two exemplary extremes of this policy in operation as a result of Fleetwood Mac's incredible rise in popularity over the last two years. The brash Sire label in America have unearthed an LP by Christine McVie, immodesty proclaimed it as The Legendary Christine Perfect Album, and for good measure stamped "Featuring FLEETWOOD MAC'S SUPER-STAR vocalist" on the shrink wrapper.

Actually it's a dreadful record which Christine may have preferred to leave buried in her past.

Capitol, however, play the game more subtly. On their hands they have a rock band called Paris, and Big Towne, 2061 is their second album since they formed two years ago. Promotion for these LPs has not been heavy, even though the group's creative fulcrum is former F Mac guitarist Bob Welch, and the bassist is one Glenn Cornick, previously of Jethro Tull and his own dismal outfit, Wild Turkey.

Perhaps there was a danger of inter-group jealousies emerging if Capitol had chosen to promote Paris on the strength of Welch's reputation, when there's another relatively well-known player in attendance. Instead they decided to play safe, and left the press to pass on any relevant information.

But all Fleetwood Mac enthusiasts should be warned that neither of these albums is a bargain, or even faintly related to the mother band in either style or quality.

As lead vocalist with Chicken Shack Christine McVie (nee Perfect) was the most well known girl to emerge in the 60s British Blues Boom, but apart from the classic 'I'd Rather Go Blind', this album does very little to enhance her reputation.

She wrote three tracks on the set, and has a co-credit with guitarist Rick Hayward (later with Savoy Brown) on a fourth. The rest of the material, even if not treated as such, is standard blues fodder, like Williamson's 'Crazy 'Bout You'. The feel of the album is rock 'n' roll, with Ms McVie sounding uninspired vocally, backed by an equally listless ' crew of musos that included her now estranged husband, John, guitarists Danny Kirwan (ex-F. Mac) and Top Topham (former Yardbirds), drummer Chris Harding and bassist Martin Dunsford.

Originally released in 1970 Christine, as they say, went on (thankfully) to better things.

Paris, on the other hand, is the band Bob Welch formed with Cornick after his stay with Mac when he played an essentially stabilizing role. For a guy who once had so much creative energy and instrumental ability his talent now seems to be uselessly channelled into just another HM cliche.

He's the prominent writer with the group, and has merely dredged up banal guitar chordings and repetitive lyrics, invited Cornick and drummer Hunt Sales to viciously hammer them into shape. They've contrived only one characteristic – to lavishly use synthesiser scores over the whole mindless brew.

More unfortunately only one cut, 'Slave Trader', has Welch excelling on guitar, whereas usually he leaves the numbers inconsequentially without any astute instrumental embellishment.

Shame, but it'd appear that the only musical satisfaction to be had is with the real thing, Fleetwood Mac.

[aleuzzi]

It's a brutally honest review--from a mid-70s pop perspective. Most people who picked up Fleetwood Mac (75) and Rumours would NOT understand or appreciate the Christine Perfect record. What's more, though it has merits not addressed in this review, it doesn't show off Christine at her best, a fact she was all-too aware of upon its re-release.

The Paris record: never heard it! I really need to.