Fleetwood Mac – Behind The Mask

Fleetwood Mac - Behind The MaskIt’s official – there’s something Bill Clinton did that I may not be able to forgive him for. He brought Fleetwood Mac back together.

As I write this, I’m way, way behind on writing music reviews. Fleetwood Mac’s Behind The Mask is an album I bought when it first came out, and it’s taken me this long to get around to weighing in on it, even though at the time I liked it quite a bit – always have. What’s bad about that lag, though, is that Fleetwood Mac has since morphed back into something resembling the lineup from its 70s/80s heyday…and yet something less than it once was. And I’m having to fight down the urge to talk about that and bring that comparison up.

Behind The Mask was a transitional album into a new Fleetwood Mac era. Lindsey Buckingham, who had been the most demanding of the creative pistons firing in the Mac’s engine, had left the group behind after 1987’s Tango In The Night (and a guest stint on a new single for the 1988 Greatest Hits album), but this didn’t doom the group as much as I remember thinking it would. Say what you will about it taking two players to fill Buckingham’s shoes on stage and in the studio, the remaining members had already auditioned replacements for the all-important position of guitarist, and wound up with not one, but two, promising candidates: Billy Burnette and Rick Vito. Not only did both men have an excellent pedigree as steadily-employed, in-demand studio guitarists, they brought their own not-inconsiderable songwriting skills to the table.

And in an amusing demonstration of the question of band identity and how much of that identity lies with the guy in the mixing booth, producer Greg Landanyi made sure that this Fleetwood Mac didn’t sound drastically different from the last Fleetwood Mac that had walked into a recording studio. Buckingham even returned again to lay down acoustic guitar tracks on one song. (Another interesting guest musician credit I noticed on Behind The Mask is Steve Croes; credited here with Synclavier, Croes is a frequent collaborator and session player for Star Trek composer Jay Chattaway.) But in the end, the band’s sound hasn’t shifted a million miles away from where it was. For all of my thinking, in the aftermath of Tango, that Buckingham was going to take the sound with him, in retrospect Behind The Mask sounds more like Fleetwood Mac than, say, Out Of The Cradle does.

“Skies The Limit”, the well-chosen lead single “Save Me”, and the lovely duet ballad “Do You Know” demonstrate what Fleetwood Mac still had then that it doesn’t have now: Christine McVie. Her divine vocals, just-right keyboard and piano work and her songwriting…there was a time when I didn’t really rate her as a major factor in the band’s sound. I’ve since come to realize how badly I can misjudge things sometimes. Christine McVie keeps the ship afloat on this album. And “Do You Know” was a collaboration with Burnette, which shows that the new recruits more than earned their slots in the band. “Save Me” couldn’t have been better chosen as the first song to hit radio, as it has a vibe reminiscent of some of McVie’s best singles in the past; it’s a close conceptual cousin of Tango‘s “Isn’t It Midnight” and “Little Lies”.

I’m still not that partial to Stevie Nicks’ songs here. Considering how much I grew to like her input on Say You Will (and that’s a big turnaround for me), I went back to this album determined to listen with an open mind…somehow her songs just don’t do it for me here. “When The Sun Goes Down”, a Vito/Burnette collaboration, demonstrates why these guys got the job – they’ve got the bluesy-electric-rock thing down, and this song doesn’t sound too far off from some of Lindsey Buckingham’s early numbers soon after joining the band. This isn’t to say that Vito and Burnette appropriated their predecessor’s style, but that they’re steeped in the same background. The two together were a really were a canny choice to fill his shoes.

Overall, I find myself looking back on Behind The Mask with fondness. Okay, even some of Nicks’ stuff, I admit it – I just have to be in a rare Stevie Nicks mood for it to hit me right. This could have been – though I’ll leave it to you out there to decide for yourselves whether or not it should have been – the Fleetwood Mac that stayed together into the new millennium. Where the tortured-perfectionist-artist / ex-lover dynamic may have produced some dynamite songs at one time, and I’m not denying that it did (though I grimaced to watch them hash it out again and again in a recent special about the making of Say You 3 out of 4Will), I’m not sure bringing back the Buckingham/Nicks chemisty was right for the band. In time, this lineup could’ve been incredible. Behind The Mask shows that it was already very promising.

Thank you for once again reading my review of Say You Will.

Order this CD

  1. Skies The Limit (3:45)
  2. Love Is Dangerous (3:18)
  3. In The Back Of My Mind (7:03)
  4. Do You Know (4:19)
  5. Save Me (4:16)
  6. Affairs Of The Heart (4:22)
  7. When The Sun Goes Down (3:18)
  8. Behind The Mask (4:18)
  9. Stand On The Rock (4:00)
  10. Hard Feelings (4:54)
  11. Freedom (4:13)
  12. When It Comes To Love (4:09)
  13. The Second Time (2:31)

Released by: Warner Bros.
Release date: 1990
Total running time: 54:26

Fleetwood Mac – Tusk

Fleetwood Mac - TuskEveryone who releases an album does so because they feel like they’ve packed it with their best material, so naturally they think it’s good. Sometimes the listening (and record-buying) public may not agree – and sometimes the public reaction is more than they expected. That’s the position Fleetwood Mac was in after the release of 1977’s Rumours – the album was a phenomenal success, stayed on the charts forever, and has even gone on to inspire a tribute album not just to the band, but to the songs on Rumours specifically. How does one top that? Ask anyone managing the group or its label, and they’ll fall back on a classic answer: more of the same. More like Rumours, please. Which is exactly what Lindsey Buckingham didn’t want to do.

Granted, Fleetwood Mac is still going to sound like Fleetwood Mac – it’s no exaggeration and also no oversimplification to say that a lot of the success of Rumours was down to some damned good songwriting. Buckingham wanted to punch up how the songs were arranged and produced however, sometimes going for a grand sound and sometimes going for something more simple and raw. While persuading his bandmates to not take the obvious path of repetition, Buckingham had already set about crafting many of his portions of Tusk in his own home studio. While some of the numbers penned by Stevie Nicks and Christine McVie are a little more traditional in terms of the 1970s Fleetwood Mac sound, Buckingham’s songs are offbeat and exciting. And they helped to lay some new foundations for the group’s sound in years to come: the multi-tracked, stereo-panned layers of Mick Fleetwood’s drumming, denser layers of Buckingham’s signature guitar work, and tighter, slicker harmonies then ever before. Tusk is, if nothing else, the dawn of Lindsey Buckingham, the producer.

Not that the songs suffer from the experimentation, mind you. McVie’s “Over And Over” and Stevie Nicks’ “Sara” are highlights of the album (despite the fact that, ever since I first heard it, I’ve always taken points off of “Sara” for one of the tritest lyrics in rock history: “Drowning in the sea of love / where everyone would love to drown”). Stevie Nicks’ slightly country-fried “Storms” is an oft-overlooked favorite of mine, as are Christine McVie’s “Think About Me” and the haunting “Brown Eyes”. Lindsey Buckingham steals the show, however, with such numbers as “Last Call For Everyone”, “The Ledge”, and even “what was he thinking when he did this?” songs like “Tusk” itself, recorded with the USC Trojans Marching Band – it’s an unusual enough song on its own merits, but with all of that brass draped over it, it attains a whole new layer of “what the…?”

Buckingham is just as responsible for some songs that have always struck me as misfires too, though – Tusk wouldn’t have suffered if “Not That Funny” had landed on the proverbial cutting room floor.

3 out of 4I’m not going to try to make any definitive statements as to whether or not Tusk is Fleetwood Mac at their best, but I give the band full marks for struggling mightily to do something more creative than just doing what everyone expected them to do. Rumours II – something that Lindsey Buckingham has always said he didn’t want to do – it ain’t.

Order this CD

  1. Over & Over (4:35)
  2. The Ledge (2:02)
  3. Think About Me (2:44)
  4. Save Me A Place (2:40)
  5. Sara (4:37)
  6. What Makes You Think You’re The One (3:28)
  7. Storms (5:28)
  8. That’s All For Everyone (3:04)
  9. Not That Funny (3:19)
  10. Sisters Of The Moon (4:36)
  11. Angel (4:53)
  12. That’s Enough For Me (1:48)
  13. Brown Eyes (4:27)
  14. Never Make Me Cry (2:14)
  15. I Know I’m Not Wrong (2:59)
  16. Honey Hi (2:43)
  17. Beautiful Child (5:19)
  18. Walk A Thin Line (3:44)
  19. Tusk (3:36)
  20. Never Forget (3:40)

Released by: Warner Bros.
Release date: 1979
Total running time: 72:27

Fleetwood Mac – Say You Will

Fleetwood Mac - Say You WillFleetwood Mac is back in the studio – it must be the end times after all! Sadly, they’re back in the studio as a quartet, minus the divinely classy Christine McVie, and it’s just not the same.

One of my biggest frustrations with Say You Will concerns a saddening realization about my favorite musician in the whole band. Well, maybe realization isn’t the word for it – to a certain extent, now that I look back at it, I was complaining about some lack of originality with Lindsey Buckingham’s last solo effort, and sadly, that’s also my chief complaint here. His guitar work is so similar from song to song that it’s unnerving to listen to the whole album in one sitting. I shouldn’t be liking the Stevie Nicks tunes better than Buckingham’s, as I quite honestly tend to skip her entries in the Fleetwood Mac catalogue. But Buckingham seems to be writing the same few songs over and over here, I look forward to Nicks’ tunes as a breath of fresh air on Say You Will. The guitar-heavy album also makes me realize that perhaps Fleetwood Mac lost more when Christine McVie left than they did when Buckingham left previously. It really hits me here how much her voice, her keyboards and songwriting style balanced things out. Parts of Say You Will come across as an uninspired, unfinished Buckingham solo effort in a lot of places.

Highlights include the Buckingham/Nicks two-hander “Peacekeeper” (already getting a bit too much saturation exposure on radio), Nicks’ “Illume” (which bears the simple subtitle of “9/11”), and Buckingham’s 2 out of 4best track this time around, “Miranda”. “Silver Girl”, “Thrown Down” and the title track are also worth a listen.

An interesting conceit, this Fleetwood Mac reunion in the studio, but sadly I’m just not sure it worked. I’ll admit that it’s grown on me since the first listen, and it may continue to do so, but almost a month of listening to it hasn’t quite sold me on the merits.

Order this CD

  1. What’s The World Coming To (4:07)
  2. Murrow Turning Over In His Grave (4:13)
  3. Illume (9/11) (4:14)
  4. Thrown Down (4:29)
  5. Miranda (4:17)
  6. Red Rover (3:25)
  7. Say You Will (3:57)
  8. Peacekeeper (5:02)
  9. Come (5:28)
  10. Smile At You (3:13)
  11. Running Through The Garden (3:53)
  12. Silver Girl (3:21)
  13. Steal Your Heart Away (3:53)
  14. Bleed To Love Her (3:57)
  15. Everybody Finds Out (3:53)
  16. Destiny Rules (3:53)
  17. Say Goodbye (3:28)
  18. Goodbye Baby (3:50)

Released by: Warner Bros.
Release date: 2003
Total running time: 62:11