George Starostin's Reviews



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Fleetwood Mac Attack <> (11.08.99)

I just read your entire Fleetwood Mac review section, and I enjoyed it immensely.

I am not a big fan of the blues-era, I like a bit of the Welch era and I'm a major Stevie fan :) I found your reviews to be fair and detailed....I loved the way you changed your mind on The Dance :)

Kathleen Keplar <> (29.05.2000)

Oh George...You referred to Buckingham's guitar technique as 'clumsy'. I loath the guy, hate his style, hate the way he sings, I even dislike that Rick Turner custom guitar of his, but 'clumsy' he ain't. He was originally a folk guitarist and a damned good one. A finger picking specialist. When the band moved to the USA due to legal reasons in the early seventies they were in desparate need of a guitarist. The Mac had always been a guitar sound based band. The mad Mick went touring the L.A. studios in search of a sound. The story goes that he was in a studio checking out someone else when he spotted Stevie Nicks singing behind a studio booth window. Thought, 'Pretty girl' and went on about his business. He saw who he had come to see and somehow ended up with a tape of Buckingham playing.  After a listen some time later he called back and said 'We want this guy.'  The studio guy said, 'He's got a girlfriend, he won't go without her.' Mick said, 'We'll take 'em both.' Great story, isn't it?

According to Mick, Buckingham had a difficult time converting his delicate and complicated finger style picking to the hard assed 4/4 stomp of militant R&R. That style you called clumsy is actually a very sophistacated hybrid technique. Buckingham is a very unique picker. I can turn the sound down and ignore his jitterery mannerisms and just watch his fingers for hours. I can't stand the guy, but I love those fingers. Anyone who plays guitar has to love 'em.

As for the rest of the band. I'm a rabid Stevie Nicks fan, (rabid as a 40 year old can be about such things anyway) Love her lyrics, love her stage presence, love that ragged gravel laced voice. But I admit she isn't what she used to be. Middle age is a bitch, I can vouch for that myself. Christine McVie, generic 'lady sings the blues' type. generic keyboardist, generic love song composer,  generic English lady.  Her ex-husband John... undoubtedly one of the best bassist of his generation. VERY underrated. Broad range and steady as a swiss timepiece. Quite a feat considering  the fact that he was one of the most pathetic alcoholics in R&R history. He's since cleaned up his act and is suppossedly the nicest and funniest of the R&R seniors class. John McVie was the one who inspired me to take up the bass. The riff was that beauty of a short solo on 'The Chain' from the Rumours album.

Now there's Mick. The Mad Mick is one of the elder statesman of  the classic 60s R&R era. A dyslexic drummer. No kidding, he's dyslexic. Overcame the handicap and made history. He's a genuine Rock-Soldier, nothing matters but the music and the performance. For him records were just the excuse to get back on the road  to perform. The Mac was always changing, falling apart but chugging onward. Mick had become the self appointed commander of this company, and even he admits today that he doesn't know when to quit. The early Peter Green days went defunct pretty quick. Mick pushed on. The Danny Kiwain period came and went, Mick pushed on. Bob Welch ( the first American member) came and went. Mick pushed on...Thank God, or we wouldn't have gotten the version of the Mac that most of the world knows today. The post Buckingham-Nicks period really sucks. When Buckingham was replaced by Rick Vito and that other What's-his-name, a clever critic said the band had acquired ' Twice the guitars and half the talent of a Lindsey Buckingham.'  That critic must be a closet picker himself. I love it!

I'd have to argue with you calling the Mac a second class act. I agree with you all the way that they didn't shake the foundations of music in anyway. But anyone who ever saw them live can vouch for them as a band. Fleetwood Mac roaring at full throttle was one of the most awesome spectacles in Rock history. And it wasn't effects that pulled it off. It was them!  The sound, the presence, the sweat, this was a true performance band. A rare bird during the Arena-band era of the 70s. The lyrics of Christine's love songs may have been banal most of the time, and Buckingham's quirky compositions may have left people scratching their heads later on, but this band was Rockin' in the true sense of the term. I won't go into discussing Stevie Nicks here, I believe she is deserving of her own space somewhere. But I think any Mac fan or critic would agree, her work was the real highlight of this band's classic moment in the sun.

With your rating system, I will agree that they don't belong in five star company. They're definitely a four star. But second class?  With that rhythm section and Buckingham's string work?  Stevie's lyrics and stage presence? The pure drive and longevity of the core of the band itself? This old blues dragon band was a first class act all the way.

And you called Buckingham 'clumsy'. Shame on you George.

Dmitry Svetozarov <> (30.11.2000)

It`s Elmore James (Peter Green`s ... and Mr. Wonderful ) Another albums -- are bullshit. I like Peter Green!!!

Kevin MacNutt <> (28.06.2001)

A bit hard on the Peter Green/blues period Fleetwood Mac, aren't we? I always thought they were a much better Brit Blues outfit than the often overrated Yardbirds or Bluesbreakers. Green, Spencer and Kirwan were the heart and soul of Fleetwood Mac and the band was never the same after their departure. I am well versed in the blues and still find all of the "Green" albums essential. On the other hand I thought you were a little too kind to Welch. Bob Welch's voice is very similar to that of Kermit the Frog and the only album that I hope to hear from that dull American is perhaps one where he singing 'Sentimental Lady' while being mauled by rabid squirrels. True, the title track to Future Games is both good (compared to the rest of the album) and way too long, so when I compiled some Mac for a friend, I shortened it to about 5:45, which makes it somewhat closer to listenable. While Christine McVie did some fine writing on Bare Trees, Kirwan saved that album. As far as Mrs. Scarrot and her cute poem goes, you almost want her to go into cardiac arrest, her inclusion on the album is so grating.  Everything from there until the 1975 self titled album to me is worthless. The Buckingham-Nicks era is competent and much like puppies, in which they are likeable, but you really get a little sick of people talking about how likeable they are (although the much touted Landslide is, if nothing, vomit inducing).  Of course after Mirage, I wanted to see Buckingham, Christine McVie and especially Nicks (soully on her solo carrer) join Welch in the rabid squirrel dance.

Glenn Wiener <> (26.02.2002)

Whether it was their early blues phase, the psychedelic overtones of Bare Trees, or the super pop group of the seventies and eighties, I seem to find most of Fleetwood Mac's efforts pretty consistent. Then again I don't have such obscure releases as Heroes Are Hard To Find, Time, and Penguin. Maybe my opinion would be different. However in rating Rumours, Fleetwood Mac, Tango In The Night, Bare Trees, and Mirage, I have to rate all of these discs as pretty solid if not overly spectacular. Well Rumours maybe has more defined songs, but it is a bit over played. I mean the songs there are good but nothing on the level of oh lets say the fab gang.

None the less, I feel Stevie Nicks is a bit overrated. Yes she has the mysterious stage presence and certainly has delivered several solid tunes. However, Lindsay Buckingham and Christine McVie are the unsung heroes of the band. I guess sometimes image is everything and thats why Stevie's solo star rose further than the others.

In general, Fleetwood Mac put out steady releases even if they went through their share of band personnel changes and all sorts of relationship issues. However, that was certainly their trump card especially on Rumours.

Steve Jouanny <> (06.07.2006)

Agree that latter Fleetwood Mac are nothing but a second-class (or third IMHO) pop/rock act. Everything about the later Mac seems insincere and calculated; they lack the soul of say, Stevie Wonder, the melodic gifts of the Beatles, the chops of any decent rock bands around at the time though they can write a decent, listenable song, which is what they're about I suppose. Agree with the adequacy rating, but I suggest that you drop the diversity rating down to 1. This is because you are measuring personnel diversity, and not musical diversity (inconsistent by your own criteria), which Fleetwood Mac neither possessed in their early days nor latter days. In their early days they rocked the blues out, and in their later days they stuck to mainly soft rock and pop-rock songs. That is in no way diverse. For christ's sake, you rate the Macsters as diverse as Zappa, which is pathetic AND incorrect.


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Jason Saenz <> (09.07.2004)

Mr, Wonderful, hmmmmm, sounds like something that I wouldnt want to get into. Let's take a quick glance at the cover, all I can think about is an allnight Cocaine binge, I bet the songs suck as well. Thanks for giving this album a low score, now I wont need to buy it to understand that it suck's.


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Doug Woodward <> (01.06.2003)

Now I don't know anything about this album, but I do know something about the song 'Albatross'. It apparently was a big hit in England at the time and all the elite rock and roll hipsters were enjoying it immensely,especially your man and mine, Mr. John Lennon. He wrote the song 'Sun King' in honor of the tracks composer, Peter Green. Listen to Abbey Road and you will hear the atmospheric similarities between the two.


bgreiser <> (11.08.99)

"Oh Well" not only inspired Zeppelin, but launched a thousand crunching blues riffs. The first three minutes roar mercilessly, then taper suddenly into a folk-classical meditation that slowly builds, and never fails to put me in the mind of a slow-motion medieval battle scene (not, as you said, an "acoustic shuffle;" that's what the Rolling Stone record guide says about the FIRST part of the song. If you're going to plagiarize, get it right). It IS a masterpiece. And, whoever Madge might be (does anyone really care?), the mixture of blues and psychedelia is chilling, the perfect compliment to a fat joint any night of the week. I agree with you on the fact that the lyrics can be grating, but the lyrics are not the point. It's like you advise new listeners of Dylan: ignore what is a touch grating, because what is great is really really great.

Check out the newly released Shrine 69, a live set from a night they were opening for Zappa. The ballads are beautiful, and the blues is hard. Sample lyric: "Gonna ride you on the floor/ Ride you on the bed/ Ride you lovin' mama/ Till this thing turns cherry red." Even Zeppelin was never THAT explicit.

Whatever happened to Peter Green, anyhoo?

Bob Josef <> (07.03.2000)

I think you underrate this record a little bit. Kirwan was asked to write half the album by Green quite unexpectedly, so he is a bit tentative. But I like even his earliest stuff. "My Dream" is the first of his stately, highly melodic instrumentals that just got better as time progressed -- that was really his niche. "Like Crying" is a nice little blues tune with great backing harmonies by Christine McVie. As for Green, he just simply came up with his best stuff here. "Rattlesnake Snake" is the most amusing blues song about masturbation ever written. And a big disagreement on "Oh Well" -- I think it's FM's first real masterpiece, totally riveting. A major error in the boxed set is including the single edit, which fades abut a minute into the instrumental coda!! One track they should have included in the CD reissue is his last single with the band, "The Green Manalishi." It's a very spooky blues rocker which puts stuff like "Rhiannon" to shame.

I too would lose the "Made" instrumentals. A total waste of time. Madge, by the way, was, according to Mick Fleetwood, "the ultimate Fleetwood Mac groupie." She probably deserved better than these noises.

Green became the first (but not the last) guitarist to leave the band because of mental illness after "The Green Manalishi."


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Bob Josef <> (07.03.2000)

I actually think that Spencer's tracks are tributes to 50's rock heroes, as opposed to parodies. And there is a difference. When the Beatles, for instance, came up with something like "Rocky Raccoon," one had a feeling they were doing so with a smirk on their faces and a bit of condescension towards the genres they were spoofing. Spencer, though, seems to have a genuine affection for the sounds of his influences. "Blood on the Floor," with its gory lyrics standing in contrast to the goofy country music and vocal, might be an exception -- it does sound like a joke on all those my-baby-done-left-me-and-done-me-wrong country songs.

But otherwise, he comes off as really sincere. He has a lot of fun with the rockers, and the two ballads, "One Together" and "Mission Bell" sound like something the Everly Brothers would have done. The latter was the first track from the album I ever heard, and it gorgeous, with those echoey harmonies (again, courtesy of Christine McVie.) Sappy? No, just joyful innocence.

Kirwan's stuff is indeed more ordinary. His weakness tends to be lyrics -- if I remember correctly, the lyrics of "Tell me All the Things You Do" consist entirely of the title! "Earl Grey" is nice, better than "My Dream." And I don't agree about "Station Man" -- I find it quite intense but not overbearing, and more great Christine harmonies.

If this had come out two of three years later, when the 50's nostalgia craze hit, this might have been a big smash. But 1970 was still early to go totally retro.

Craig Smith <> (09.10.2005)

In your review of Kiln House you state Peter Green left the band without notice and joined a religious sect. This is incorrect - it was Jeremy Spencer who quit while touring America after Kiln House and joined the Children of God.


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Bob Josef <> (07.03.2000)

Mellow, yes, but not boring. I love the ethereality of "Sands of Time" and "Woman of 1000 Years." The title track is the first example of Welch's indulgence in mysticism, and while it's a bit long, it's very haunting. As for "Lay it All Down," it sounds like Welch was trying to imitate Green, but it's the Biblical inaccuracy of the lyrics really annoys me (I study theology, so that's a real nitpick!). It sounds like Kirwan was paying attention to Spencer's stuff on the last album -- the countryeqsue "Sometimes" sounds almost like an outtake from it. He really did make great strides as a songwriter. "What a Shame" is OK, but a bit of a timewaster -- I prefer Danny's folksiness as opposed to R&B in my instrumentals. And I would agree that Chris's songs are prototypes for her future work, but they're OK. If I'm in a mood to relax, this is an album I enjoy putting on.

Mike Healy <> (30.03.2003)

A strange now as it may seem, the title track was apparently an FM staple hit at the time of its release. Sort of their own "Roundabout". And, funnily enough, the song has made appearances in a couple of recent movies. I first heard it in the made-for-cable movie If These Walls Could Talk 2 (during a section set during the early 70's), and then during a house-party scene in the movie Almost Famous (set in--you guessed it--the early 70's!). Sounds like some people haven't forgotten this song!

Jason Hernandez <> (25.04.2004)

My favorite Fleetwood Mac album. Maybe the songwriting per se isn't a standout, but that isn't everything. I don't know what's doing with the lyrics. Maybe they're terrible. I haven't paid attention and don't really want to because the SOUND of this record is so beautiful and puts across such a mysterious and sexual mood. This is music for night time.

As for comparisons, The Byrds might be a touchstone and some of this reminds of shoegazer bands like The Pale Saints, but it's just now dawned on me what this album REALLY reminds me of. The New Zealand band, The Bats. Their album Daddy's Highway, in particular.


Glenn Wiener <> (26.08.99)

Gee, you wonder why did he interupt the Creedence commentary and get onto Bare Trees. Well, the Nashville Agents Cook and Clifford have me hostage at my office and told me no more CCR reviews without their classic songs on them. Allright I'll stop being so silly! Truthfully, I was listening to this record on the way to work. And you know there is alot of special textures to this release. Some blues, rock, psychedlia, throughout the nine songs and one poem. Christine McVie's songs are the best of this bunch, but the varying guitar riffs on such on 'Bare Trees', 'Little Child Of Mine', and 'Danny's Chant' standout as well. Whereas, this recording obviously wasn't the commercial success of Rumours, it has that special creativity that makes it almost as enjoyable.

Charles Parkhurst <> (19.11.99)

'the ghost' is written, and sung, by Bob Welch, not Danny Kirwan

Bob Josef <> (07.03.2000)

The peak of the pre-Lindsey period, indeed. Danny comes up with his best stuff yet, although his weak lyrics really do nothing for the title track or "Child of Mine." "Dust" is better, mainly because he lifted the lyrics from an English poem. I like "Danny's Chant" because it's weird, and it rocks, and "Sunny Side of Heaven" is his best instrumental yet -- what a great melody! I do agree that "Spare Me" is the highlight, but I think you underrate it. It's very moving. "Sentimental Lady" comes in a close second -- Welch's best song, period. "Thoughts of a Grey Day" is indeed annoying, but that was Mick Fleetwood's idea. Which proves that drummers should stick to drumming?

Kirwan followed Green and Spencer into the realm of madness. Being in Fleetwood Mac certainly could prove hazardous to one's mental health.

Richard Williamson <> (06.01.2001)

just got this, tho i've seen it for a million years, its not bad, i haven't heard future games in a while, but i suspect this is a bit better, one for being a bit punchier, two for trying to connect a bit more w/earlier FM output. The Mick/John interplay is much more agressive and there are some very good guitar licks. The songs are weak, w/ 'Bare Trees', probably the best, Christine and Bob's songs are among their weakest - Christine doesn't really get better till Heroes.

These reviews are interesting although somebody is really missing the point about what Peter Green was all about. However, the assessment of the Mac as being second-rank band, even at the peak of their successes, ia perceptive. I think they were a little more fun and probably more creative as well as B band than when they got to the A list. BTW, I saw the Heroes band twice and they were quiote good - NOLA saw tghe Mac playw/Allmans in early days but was also victim to the 'Shitwood Mac' tours.Also, 'When the Sun Goes Down' by post-LB Mac is great altho it was an anomoly, & there are good songs on Time w/Dave Mason.

bill zizka <> (28.01.2001)

maybe you've never had to travel, but 'homeword bound' takes on a real meaning when you're sick of the road. and danny's guitar sends that point right home. and he is right on. listen to it when you're on the road and have had enough.

Bill Slocum <> (12.12.2003)

I can't say "classic" Fleetwood Mac begins here, either, as that would have to wait three years for the arrival of the Welsh Witch and her wanna-be-Brian-Wilson boyfriend. But Bare Trees is a prime offering from the band known as Fleetwood Mac before they became FLEETWOOD MAC.

It's kind of a surprise, because their two main driving forces had departed by this stage, Peter Green and Jeremy Spencer. My inclination is to say Bare Trees is a better album than any recorded with Green and Spencer, but I haven't heard all of them, so that would be wrong. This is a lot better than Then Play On, though, as majestic as that earlier prog masterpiece but tuneful and focused as well, very pop without being commercial. It's kind of a dry run for classic Mac, because you have the three-songwriter format being established, with Bob Welch going for spacey-Stevie territory, Danny Kirwan the rock-solid Lindsay role of band center, and Christine being Christine, only not as polished as later.

Bare Trees was Danny Kirwan's finest hour with the group. Like you say, it was his last hour as well. Danny got under the skin of his bandmates one night, according to Mick Fleetwood's autobiography, by quitting just before they took the stage and then waiting in the wings to deliver his criticisms of their shell-shocked performance after they came off two hours later. Danny didn't seem to like Bob much, and had a problem with the lack of blues-focus in the wake of Peter and Jeremy's departures. Like them, he went off to join an extreme religious cult, a sure sign of little-brother-syndrome.

But he's rock-solid here. I think "Child Of Mine" and "Sunny Side Of Heaven" are critical additions to the Fleetwood opus, and the title track is a killer guitar workout that recaps the best Mac had to offer in their early years, and pointing in a promising future direction they never went in. They really sound like a band on Bare Trees, churning through a funky, uptempo workout in which Mick and John McVie stand out but all have a chance to shine.

The best song on here is "Sentimental Lady," a lilting ballad with a driving undertow that would become a pop hit a few years later when Welch re-recorded it with the help of two stars named Stevie Nicks and Lindsay Buckingham, who knew how to show gratitude for their big break. I don't know where you get the trite lyrics rap from, George. What I hear is a very moving declaration of loyalty and affection to someone who's more a mother figure than a lover. I think this version outshines the Welch hit, because like the other tracks on the album, you can really hear it being played in the studio.

So if you like the Mac of Rumours and don't know where to go next after Fleetwood Mac and think Tusk a little dear, spare this a little of your change. It's a pleasant toe-tapper with many deeper oceans, and even with two of the three musketeers still to be heard from, a sterling example of the joy of Mac.

And how dare you rag on Mrs. Scarrot like that! Her little poem at the end is very sweet and a perfect capper for the autumnal though stubbornly pleasant mood of this album. (Not that the old lady wouldn't invite you in for a cup of tea after reading your scorching review of her poetry.) Love how you can hear her turning those pages while she recites those lines: "God bless ere perfect grey, grey day with trees so bare, so bare, but oh so beautiful..."


Steve Knowlton <> (04.02.2000)

According to Fleetwood's autobiography, Dave Walker was recruited to the band by their manager, who felt they needed a traditional "frontman" to be charismatic & energetic on stage: "Pittsburg, are you ready to rock?!"

Bob Josef <> (07.03.2000)

What a mess. Their most disjointed effort yet. The Mac had come up with a really unified sound on the last album, but here -- four songwriters, session men (including Green, yes)? The record is all over the place -- no continuity. Welch's two tracks are inferior rewrites of "Future Games," "The Derelict" sounds woefully out of place, and the cover of Jr. Walker's "Roadrunner" is indeed beyond bad (especially the "wah-wah-ooh" backing vocals from Chris and Welch). Chris's songs are indeed nice, but I would pick "Did You Ever Love Me?" as the best -- love those steel drums and the nice melody she and Welch came up with. And I do really like "Caught in the Rain," too -- very spacy and melodic, along the lines of Kirwan's best instrumentals.

Fortunately, this lineup did not last too long.

<> (12.07.2003)

Just found your website. Can't believe you panned Future Games. I loved all that dreamy Danny Kirwan stuff.

'Caught in the Rain' is a real gem. Yeah, Penguin is a mix, but the closing instrumental was wonderful.

Any updates on whether Peter Green was really there or not? Why no credit?


<> (11.07.2000)

Just wanted to put my two cents in on the review of Mystery To Me. Your right on the money. I agree with you for the most part although 'For Your Love' surpasses the Yardbirds version. 'Keep on Going' was written by Bob Welch. This is my favorite Welch era album.

I enjoy your reviews. Keep up the good work.


Steve Knowlton <> (04.02.2000)

That gaunt gentleman on the cover is none other than Mick Fleetwood, who does seem to enjoy posing almost naked (Mr. Wonderful.)

Bob Josef <> (07.03.2000)

Too much Bob Welch here. And he was finally beginning to run out of ideas. "Bermuda Triangle" rehashes "Hypnotized"; "Safe Harbour", "Future Games", etc.

Agreement about the peak tracks -- "She's Changing Me" has an intriguing country melody, and "Silver Heels" is about the only time he managed to be amusing and self-deprecating. As for Chris, her contributions to side 2 are pretty lame. But the title track is fun, with great lyrics. And a HUGE disagreement about "Come a Little Bit Closer." I love the sweeping strings, the beautiful lyrics, the piano. Where's your sense of romance, George?

Welch was at the end of the line here, and it shows. But if you think he was mediocre here, don't even bother checking out his solo albums.

Lee G. <> (22.11.2003)

I wanted to speak up in defense of Heroes are Hard to find. I did'nt think it was a disappointment but on the contrary a very welcome follow up to MTM. Yes, I am biased, I do like Welch's songs a lot, and yeah, he does dominate with 7 of the 11 songs. Yet, I DON'T find his extra presence tedious. You described his songs with terms like, "lethargic noodlings", " 'dreamy melody' with melancholic singing", but this is what I find so intriguing and very enjoyable. His reserved vocal style on "Coming Home" & "Bermuda Triangle" is done to nice effect and really complement these songs. Where as some have said they were just going 'around and around' and did anyone really want more of what they had been doing? I'll speak for myself, YES! I am very proud of the songs and period of Bob, Danny & Christine but will agree that maybe this incarnation of FM had run its course and maybe it was time for change. I just wanted to point out that myself and maybe some of the other fans were not at all dissatisfied with Heroes are Hard to Find or the pre-1975 Fleetwood Mac.


Bob Josef <> (07.03.2000)

Chris's songs are pretty wimpy here, except for the amusing, upbeat "Sugar Daddy." I suppose it's because she plays it on acoustic rather than electric piano. Electric piano can sound cloying if applied to melodies as overly sweet as Chris's can be sometimes (see "Warm Ways").

I think everything Lindsey and Stevie did here is pretty solid, though. "World Turning" turned out to be a great live number. "Landslide" is gorgeous, even if it has a weird melody, and I disagree about "Crystal." One man's "too long and boring" is another man's "soft, slow and hypnotic," I suppose. And, for all the changes, Lindsey's singing, songwriting and playing isn't all that far removed from Kirwan's at this point. Which isn't all that bad, as far as I'm concerned.

Glenn Wiener <> (23.10.2000)

The band delivers a nice pop oriented sound. Mcvie, Nicks, and Buckingham all balance each other out with consistent strong material. I agree with you that 'I'm So Afraid' adds a nice dark element to the record and 'World Turning' is a nice jam piece. Actually that song could have even been extended further but I guess the focus was a pop album. A definite winner.


Richard C. Dickison <> (04.06.99)

It is immaculate that's for sure.

But I still disagree with revolutionary. Sure they made the Eagles look like crap but that did not take much.

'The Chain' is great to me because of all the info you found out about the group later that adds to the darkness of this song. You can just hear them staring at each other with morbid hate while singing through gritted teeth. Even though they knew that they could not leave each other at that point, they were at their peak.

This group at least had enough intelligence to hang on long enough to make more albums, and I hate to say it but they should have disbanded after Lindsey left. What it all comes down to is that even though Lindsey in my mind made to band musically, this band was great due to the soap-opera life they were leading, the women being caught in a song writing loop did not help much.

I just could not even visualize Pete Townsend writing songs about how bad he was being treated by some other member of the group and The Who actually staying together for any length of time. These guys did it for three more albums after this, each picking on the other song after song!

I try to overlook the fact that this is almost a exact reflection of the album before but that is it's major draw back to me.

They broke that problem in the next album, but for some reason by then no one liked them.

Simon Hearn <> (08.09.99)

A classic pop/soft rock record yes - probably THE definitive soft rock record, but as for revolutionary or new - NO WAY. I am not really a fan of the mac, but I have to say Rumours is as perfect as they can get. Too well crafted for my liking, a similar downfall of the floyd, but a gorgeous piece of work never the less. 'The chain' is cool, but what about 'songbird' - the undiscovered gem in this particular goldmine. Class - but don't forget their back catalogue music fans.

Steve Knowlton <> (04.02.2000)

On "Don't Stop" Buckingham sings verse one, McVie verse two, and they sing verse three together.

"Gold Dust Woman" does put me in a medieval frame of mind as well.

Bob Josef <> (07.03.2000)

The annoying numbers are REALLY annoying. The low point is the "You Make Loving Fun": more of that wimpy electric piano, an irritating beat, and really lame lyrics. Not that one goes to the Mac for greatly insightful lyrics, but these are exceptionally dopey. "Oh Daddy" and "Dreams" are tedious and endless. "I Don't Want to Know" is so overly chirpy, on the other hand, that it induces major cringes. It was a tossup between this one and "Silver Springs" in the lineup, and they definitely made the wrong choice.

But the great numbers are GREAT. Buckingham's stuff is played well, and "Go Your Own Way" has the best lyrics he ever wrote. "Gold Dust Woman" (supposedly about cocaine addiction) is a much more haunting example of Nicks' mysticism than "Dreams," "Don't Stop" makes good on the promise of her stuff on Penguin, and "The Chain" is the darkest, most powerful thing from Fleetwood Mac since "The Green Manilishi." This one you believe.

Rich Bunnell <> (14.07.2000)

For the record, to my knowledge four of these songs don't get regular airplay on classic rock radio: "Never Going Back Again," "Songbird," "I Don't Want To Know" and "Oh Daddy." The rest have been half as played out as "Stairway to Heaven"(which is, to say, A LOT).

With the exception of "Don't Stop," though, I'm not really sick of any of them. Well, I'm sick of all of them, but less so than that song. These are really neat songs, maybe soft rock but fun, creative soft rock packed and filled smack-dab with hooks. "Dreams" is slammed by many for being repetitive, but in my opinion it's the kind of repetitive song that's good, one that repeats a single musical idea for four minutes while possessing a really neat, flowing melody with lots of cool little melodic ear-catching hooks (kind of similar to "Party Out Of Bounds" by the B-52's). "The Chain" is a classic hatred-under-pressure anthem, and "You Make Loving Fun," though I agree that the stringy funk riffs are stupid, is still a great McVie tune with gorgeous harmonies. "Go Your Own Way" is a classic, but the thing I find funny is that the basic melody is that of a slow, dopey country song, but what Buckingham did was take that melody, throw in some great guitar licks and a fast beat, and change it into one of the classic drive-down-the-freeway-with-the-top-down rockers of the rock era.

"Never Going Back Again" is the best of the lesser-known tunes (dinky Buckingham noodling, but melodic, catchy Buckingham noodling too), and "Songbird" is the worst of them. Sorry, but simple piano ballads are a type of music that only works 5% of the time, and the other 95% of the time it just winds up sounding boring and uninvolving (see "Angel" by Sarah McLachlan for further reference), and sadly this tune falls into that category. It's still a really good album and deserves an objective ten, though if I were to rate it based on how much I actually enjoy it and want to throw it on, I could only give it an eight. By the way, I usually find Stevie Nicks' voice stringy and annoying as hell ("JUST LIKE A WHITE WINGED DOVE! SINGS THE SONG SOUNDS LIKE SHE'S SINGING!!"....Uuhm...), but she manages to hide it on this album. ESPECIALLY on "Gold Dust Woman"-- what a song!

P.S. Today, in a two-hour period, I heard "Never Going Back Again" TWICE, on two completely different radio stations (one of which a bottom-feeding classic rock radio station that my dad listens to). So it actually does get airplay in America, George!! Unless those are the only two times it's ever been played.

Glenn Wiener <> (23.10.2000)

Its hard to really evaluate this record. I loved it when I was a mere teenager but rarely seem to play it as a thirty plus adult. The songs are all well crafted and again there is plenty of balance between loud, soft, and medium. Some creativity here and there but I I guess I appreciate a little more soloing in my music these days. Its good music but just not quite ear shattering.

<> (20.11.2000)

This one's worth owning for "Go Your Own Way" alone. The bitter lyrics, weird halting verses, and anthemic choruses mix wonderfully. And Mick Fleetwood's against the beat drumming adds so much to the texture.

Kevin Baker <> (27.12.2000)

I just got this album today.  I had heard most of the material off of it elsewhere, but this was my first listen to all of it at once, and what a listen.  This one has worked its way into my list of the top 5 pop albums of all time.  I'd rank it right behind Rubber Soul, with Between The Buttons, Please Please Me, and The Madding Crowd following.  (TMC is by Nine Days.  Arguably the best album of 2000, but The Better Life by Three Doors Down is great, too.  Both are worth a listen.)

But back to Rumours. 'Second Hand News' is a very bright, galloping song. It is also the first of many good "singalong" numbers on here. Next comes 'Dreams', which may be my favorite Stevie Nicks composition of all time. It definitely evokes a mood, but I can't quite pin down what mood. Whatever it is, I love it. The first time I heard 'Never Going Back Again', I thought it stank. Upon 2nd listen, it became decent, and now I quite enjoy it. It's a very enjoyable folky ditty, and a light note after the slightly melancholy Nicks number preceding it. Next up is a true pop classic, 'Don't Stop'. I have to admit, it is a perfect camapign song. Too bad Slick Willy had to go and ruin it for the 48% of the country that refused to vote for him, the intern-chasing, cigar-chomping, draft-dodging, and lying creep that he is. Less than a month to go.......But the song is really cool, and the stinging guitar parts really put the "power" in "power pop".  Plus, its another singalong-ish type. Then, what comes along but what is arguably the best "pop" song of the '70s? Yes, I mean 'Go Your Own Way'. An absolute classic, and a song I never tire of hearing. Honest lyrics (this one was written when Buckingham and Nicks were breaking up), excellent heart-felt vocals, and the aforementioned stinging guitar make for a great listen. And (all together now) you can sing along with it. Not being a fan of straight-out piano ballads, I didn't think I'd like 'Songbird'. But, it's just so.....gorgeous I can't help but enjoy it. I love 'The Chain'. A very pessimistic pop piece, but its almost an anthemic statement, and it captures an emotion that anyone who's ever been betrayed can relate to. and its.......singalong-ish! 'You Make Loving Fun' is decent, but it doesn't compare to the highest points on Rumours. Plus, Fleetwood Mac was not "funky", and elements of funk in their music just sounds rather corny. I hate 'I Don't Want To Know', plain and simple. It probably isn't bad, but it just gets blown out of the water by the stronger tracks in close proximity to it. 'Oh Daddy' is kind of dopey but passable. And then there is 'Gold Dust Woman'. A tremendous album ender, and I think I might have to retract my statement about 'Dreams' being Nicks' best song; this one gives it a run for its money. I get an image of a lonely woman on a moor in northern England when I listen to it. Like I said, a fabulous pop album, and a necessity for any fan of classic rock.

oTTo <> (08.07.2001)

We all know where FM came from, arrived and went to, instead of trying to be analytical about it, why not just spend some time, listen to the words, music, feelings etc and enjoy it, in my view, one of the best albums ever produced and I have bought it on tape (got nicked) 3 times on vinyl, 2 nicked, 1 damaged,  finally on CD and if that goes, I will buy it again.

Critics will come and go, Fleetwood Mac in the various guises will only ever be once, I know what I prefer to hear. Enjoy!

Dana <> (08.11.2001)

This album was released before I was even born, and yet some 24 years on I am able to recognise it as one of the most cohesive, balanced and well-crafted albums ever put together. There are some songs on it that I like more than others, some that on their own, I probably wouldn't like much at all (notably "Oh, Daddy", which, though I know otherwise, sounds in today's world a little like it was about child abuse). None of the songs on the album would be counted among my favourite songs of all time, I don't think. And yet I listen to Rumours nearly every day, and never push the skip button on my CD player. If you don't listen to the whole album, you lose something. My only complaint (having grown up among casettes and CDs), is that it is too short; and leaves me wanting more. The solution: I listen to it twice through.

Ben Kramer <> (29.10.2002)

An absolute pop classic! Let everyone be in denial about this album, but the bottom line is that this rules. Call me a pussy for singing along to 'Don't Stop' or 'Dreams' when they come on, but I can't help it. Everything is just so tight, so clean, and best of all, so catchy. It helps that I heard most of these songs on the radio prior to hearing the actual album, but nevertheless, that doesn't subtract from this album's classic value. 'Don't Stop' is one of the catchiest songs out there. 'Go Your Own Way' is the grooviest soft rock song out there. Well, maybe that honor goes to 'Second Hand News'. Hey! They're both on here! Wonderful indeed. 'The Chain' may not be the most emotional song ever, but it still hits you hard, and I love that bass solo in the middle. 'Songbird' is the only song where I don't bitch about McVie's voice, probably because it is beautiful as hell. Well, if Dylan's lyrics could compensate for his voice, couldn't that be the case for a McVie song? 'Gold Dust Woman' is neat too, though I don't hold it as highly as many people do. 'Dreams' is the song I hear on the radio most often (This is an estimate, I have a life, I don't count.), and I don't have a problem with that. 'Go Your Own Way' would probably be a better choice, but I can't complain. Besides, I've found myself singing along with Stevie on it (Hanging my head in shame.) . 'You Make Loving Fun' has McVie on lead vocals, and I can't stand when she sings"Do you beleieieiieieeieieieieive in miracles..." but otherwise, the song is one of the best disco songs around. It's better than the Bee Gees. Nothing really wrong with this album other than the fact that it is too lightweight to merit an exceedingly high grade, but 13 is definitely fair, and there's nothing wrong with that, is there?

Franco <> (05.06.2003)

Well, I really must say that this is the album I HATE the most. Yes, you read right. Actually I'm not the kind of guy who wastes such an important sentiment as hate for such a trivial thing like a pop album, the fact is that I read and heard only good things about this work and probably I was expecting something totally different, after all the Peter Green driven FM were a decent blues group. Being more likely into Psychedelia/Progressive/Underground stuff probably makes me biased towards this style, but when I heard this flat, meaningless, strawberry flavoured bubblegum-pop flick I couldn't help considering it sort of music for the typical not-too-smart teenage girls. I was evidently wrong cos in reality the whole world seems to be fond of it, and I'll never understand why. I've checked out different critics' opinions, and I've found out that there are only two things in musical world in which everybody agrees: That Hendrix is the greatest guitarist of all times and that Rumours by FM is a good album (some say it's just good other say it's great but anyway noone really trash it as I would). Add that it costed me 20&#8364;, that's an exaggerate price even for a good album IMO, and you'll understand why I have bad feelings towards this thing. This is really the only album that made me whimper sadly "I want my money back..." while listening.


Richard C. Dickison <> (04.06.99)

Well, if I were to pick the album I like best out of the whole Fleetwood Mac catalog....It's Tusk(or Tango).

Why????, read Lindsey Buckingham (aka guitar man he's good), he's here and he's all over this album.

Critics panned this one because they built this band up ( all about Nicks and McVie) and it was their own fault they could not see Lindsey's marvelous experimentation in this album.

They probably would have complained if the band had put out Mirage and not this album because it's obvious they did'nt like Mac doing the same style of albums as Rumors or Fleetwood Mac either.

Fickle bunch of flakes they are ain't they.

I still select Tango for my favorite short listen (Mac was always a little meloncholy and that was his/their goodbye album) but I want this album to hear Lindsey in all his glory.

Bob Josef <> (07.03.2000)

Well, they didn't make Rumours 2 (or Fleetwood Mac 3 -- come to think of it, those two are quite similar). It's Lindsey trying every idea in the kitchen sink. But the main problem is that his tracks are more idea than actual composition. I remember playing the title track for a friend of mine. He said, "That's a nonsong."

That's an interesting point. I mean, it's special effects, production experimentation. Which is OK, but it seems that these are fragments as opposed to fully fleshed out songs (wonder if he got this idea from the Beach Boys' Smiley Smile, which has the same problem). And his lyrics are basically worthless. But he can suck you in anyway, with the title track, "Save Me A Place," "Walk a Thin Line," because the sound is so compelling.

As for Nicks, the dull one for me is not "Storms," but the endless "Sara." This song did NOT need to be six minutes long, with that awful electric piano riff recycling until it drives good men mad. However, "Sisters of the Moon" does "Rhiannon" one better in the songs-about-witches department, and "Angel" is her best here -- it just oozes sexual tension. Very down and dirty, for Stevie. However, the only Chris tune that is even memorable is the bouncy "Think About Me." The rest is nice, but "Honey Hi" is her contribution to the "nonsongs" on the album, and there are only so many "warm" love ballads one can take.

Nicks was particularly upset that Buckingham dominated so much here, which was a major motivation for her to start a solo career.

<> (04.06.2000)

Calling Nicks' contributions to the album boring and lacking melody certainly has to be one of the more ludicrous things I've heard in a while. To be sure she's written better songs than "Sisters of the Moon", but how can "Storms" be called boring. The lyric may initially sound like a standard lovesong, but once you start digging into them, particularly the words sung near the end while the band softly whispers "Storm", you realize this is quite a remarkable piece. I particularly enjoy the musical arrangements, the layering of sounds that gives this piece an intensity and depth that only grows as the song progresses. The guitar of the intro builds into the tamborine which builds into the keyboards and organ which build into the base drum and the other instruments, etc.

The weak songs here are the ones that serve no purpose and do not offer much in the way of interesting lyric or interesting sound. I'm sorry, but I have to put "Save Me A Place" in this category. "Brown Eyes", "Honey Hi", "Never Forget", and "I Know I'm Not Wrong" are the weak pieces.

No one would claim that Tusk is better than Rumours. I certainly wouldn't. However, when it comes to pure listening enjoyment, to sitting down at the speakers and breaking down the sonic layers behind the songs, to appreciating the energy and freshness that permeates the music, I'd pick Tusk as my desert island disk any day.


Derick Adam Gross <> (12.12.99)

What is most disappointing about Mirage is the fact that it's just shadow of what could have been. I'm a big Lindsey Buckingham fan, and although I'll admit that his work on Tusk was erratic and very experimental, it had promise. It seems that on Mirage Lindsey was stifled as an artist by the other band members and the record execs. I've always wondered what 'Can't Go Back' would have been had Lindsey been given the green light to explore his abilities.

Unfortunately, and in my opinion for the first time since at least before the white FM album, Christine McVie was a disappointment. While I like 'Wishing You Were Here' a lot, it can't make up for 'Love In Store' and 'Only Over You', which abandoned any semblance of rock. 'Hold Me' I think is also a nice number, but because of Lindsey's touch.

Stevie Nicks is pretty good on this one, but I'd take 'Fireflies' over 'Gypsy' and 'Edge of Seventeen' over 'Straight Back' any day. I think she began taking her solo career more seriously than her career with the Mac at this point (and this is blatantly obvious on Tango), and this is a sad thing.

Overall, I don't listen to Mirage much because it's frustrating to think that it actually could have been better than Rumours had Lindsey been given half a chance.

Bob Josef <> (07.03.2000)

This one strikes me as a compromise between Rumours and Tusk -- more far out than the former, but not as quirky and experimental as the latter.

Lindsey's stuff is cute, but the lyrics are still really dumb. I mean, "Love is like a grain of sand/slowly slipping through my hand?" And "Eyes of the World" is actually based on a nursery rhyme. The music is great, but it's hard to get past the lyrics.

I agree that "Wish You Were Here" is an outstanding track -- stick to that acoustic piano, Chris! And "Hold Me" would have been kind of ordinary if Lindsey hadn't added his own special brand of idiosyncratic nuttiness to it. But I hate that annoying disco beat in "Love in Store," and "Only Over You" (co-written uncredited with her current beau, Beach Boy Dennis Wilson) just meanders without a melody.

And Stevie comes up with three goodies. Her solo career evidently reenergized her songwriting. They should not have edited "Gypsy" for the album -- the longer version on the boxed set has a great pickin' guitar solo from Mr. B. on the coda.

Glenn Wiener <> (23.10.2000)

I guess one thing I like about the pop era Fleetwood Mac is that they are consistent. Groundbreaking and revolutionary these guys will never quite be. However songs like 'Oh Diane', 'Love In Store', 'Book of Love', 'Wish You Were Here', and 'Hold Me' just seem to get me in a pleasant mood. Some nice instrumental effects exist on the above mentioned and other tracks as well.


Richard C. Dickison <> (04.06.99)

I have to say "Baaaaby Baaaby Baaaby" to quote Stevie from 'Welcome To The Room Sara'.

I don't think corporate greed did this band in, I think they did it to themselves.

Defending this album is on par with defending daytime soap operas, it just plain hurts.

But for some reason I like this album, I don't know why.

'Little Lies' was good for Christy, I liked 'Big Love' Oh,Oh,Ah,Ah and all, 'Caroline' is okay, and 'Seven Wonders' was their last decent song as a group. You pointed out the real dogs, 'Family Man' sucked, and 'Everywhere' went nowhere. I do think 'Welcome To The Room Sara' proved that Stevie is losing her voice from all that drug use.

Just say no Baaaaby, this album was basically a visit to all their separate solo projects on one album.

With all their egos and faults on full display, and their squabbling is finally breaking them up. "Tell me lies tell me sweet little lies".

That is really all left to say about the group, their next album left me cold, where their other albums had three or four high points usually due to Lindsey, it had maybe two if you scrounged for them.

I think two excellent albums (Fleetwood Mac, Rumours) and one good experimental album (Tusk) is fine for a group that was just good not revolutionary.

So farewell to a fine group who helped me survive the disco era, even Pink Floyd couldn't go on forever.

Even if they have not realised it yet. "They'll never match that beauty again".

Bob Josef <> (09.03.2000)

I don't really agree with you assessment of the album. I mean, it's commercial, but no more or less than any of the other Buckingham-Nicks era records (with the exception of Tusk). The production is indeed BIG, but I like it. But I would agree that Chris' stuff is pretty much a rehash of her earlier stuff melodically and lyrically. However, I think "Little Lies" is really good -- I like the rather contrary lyrics, that great synth hook, and like you, the harmonies.

As for Buckingham, "Caroline" and "Family Man" remind me a whole lot of his quirky Tusk songs. This, unfortunately, includes the rather sketchy lyrics. But "Big Love" is funny, and "Tango in the Night" (developed from a jam on "I'm so Afraid") is pretty spooky. Cool!

Agreement with you on "Welcome" -- Stevie begins to lose her sense of melody. But "When I See you Again" is a welcome, minimalist contrast to the rest of the album -- but then again, I also liked "Landslide" and you didn't. But it's no coincidence that "Seven Wonders" is the best of the three, since is was mostly written by her galpal and keyboardist Sandy Stewart. She had also co-written with Nicks on her Wild Heart album and put out a very Nicksian solo album on Stevie's record label. Nicks began increasingly relying on collaborators and outside songwriters. Wonder where her inspiration went.

Glenn Wiener <> (23.10.2000)

A little bit too synthesized in spots but overall the song quality is still very good. Again, Lindsay's songs are the best but the others are not too shabby.


Bob Josef <> (09.03.2000)

And I thought I was the only one who liked this album! Good show, George!

For me there are only three real clunkers on the record. Two of these are contributed by Burnette: "Hard Feelings" and "When it Comes to Love" plod along interminably. Ugh. And "Affairs of the Heart" has only slightly more melody than "Welcome to the Room...Sara." Again, it's no coincidence that Nicks wrote this one alone, and that her other three contributions (two written with Vito, one with Tom Petty's chief Heartbreaker, Mike Campbell) are much better. "Love is Dangerous" and "Freedom" really rock, and "The Second Time" is another lovely mostly acoustic ballad.

Vito's two rockers are indeed fun reminders of Kiln House, and "In the Back of my Mind" reminds me a lot of "Future Games" -- long, but very hypnotic and paranoid. And Burnette also pulls off a lovely duet with Chris with "Do You Know?" And Chris herself comes up with a real trio of winners. Unlike you, though, I really think the title track is pretty neat. I tend to like Chris when she gets darker.

The band got unjustly slammed for this album because of no Lindsey, but I think the Mac and producer Greg Ladanyi came up with a new, well-integrated band sound (unlike the next album) that relies more on straightforward guitar work and relatively toned down synths. And the record rocks in a more convention manner than anything since Bare Trees. But the prejudice against a Buckingham-less Mac was too much for them.


<> (29.12.99)

I think that TIME is the worst Fleetwood Mac album ever. When listening to it, you certainly start to miss Stevie's voice, and especially start to miss Buckingham's great arrangements and productions. The "replacements" in this album really don't replace Buckingham and Nicks. You start to realize what a good thing the Mac had before this album, even with their downfalls.

Bob Josef <> (09.03.2000)

An absolute disaster. The penguin hatching out of the egg on the cover, I suppose, was supposed to be symbolic of the "rebirth" of the band. However, a dead penguin would have been more to the point.

And the record has a lot in common with the last album which featured a penguin on the cover. This is even more disjointed than Penguin. The band members don't sound like they are working together at all (note that there isn't one photograph in the CD booklet that shows all six group members together at the same time), except for Burnette and Bramlett. But they hardly create the same sparks as Buckingham and Nicks did. Bekka is quite fetching, but her voice is ordinary, and it's not too surprising that one of her lead vocals, "Winds of Change" was written by a totally unknown outside songwriter.

Mason's songs sound like the same totally generic and boring rockers he was coming up with in the Seventies, and Burnette's could have been written by anybody. Chris's are totally uninspired, especially compared with her winners on the last album. For all practical purposes, these sound like mediocre tracks from her solo album -- Mason and Burnette didn't play the guitars on them.

The absolute bottom for the Mac. If there's even one positive review for this somewhere, I'd be amazed, and the album was the only FMac release to never make the US charts. To top it off, this version of the band (minus Chris) toured as part of a tacky "Can't Stop Rockin" 80's nostalgia tour with Pat Benatar and what was left of REO Speedwagon. Beyond pathetic.

Richard Williamson <> (06.01.2001)

time does have some good songs, but it really bogs down in the middle, it's certainly no worse than penguin or mystery to me or tusk or mirage, & lindsay buckingham on agood day is still having trouble catching the heels of dave mason, who had moe than his sgare of bad days, at mason's worst - mason had turned in worse and so had the mac - bekka is very tolerable replacement for stevie nicks. w/ abit of outside guidance to winnow out the chaff and tweal the good ones, thi s could have ben a much bigger record. Time still has more depth and honesty to it than Rumours even if it doesn't have the surface sheen.

Stephen MacDougall <> (07.01.2001)

I was reading your reviews of Fleetwood Mac albums, and came upon one error: Delaney Bramlett isn't dead.

Lee G. <> (22.11.2003)

I can't comment of Burnett or Bramlett, havn't heard these albums. However, I thought you might have been a little harsh saying that they lost the lottery with Bob Welch on board. He appears on two of the albums with Kirwan, Future Games and Bare Trees. You refer to Kirwan as a lotter winner but you really knock him down on Future Games whereas you did give some credit to Welch for the strong title track. Also, I thought "Lay It All Down" had a decent groove going and brought some rock to the album not that I didn't appreciate its typical mellow atmosphere. I don't know the biblical accuracy of the lyric but enjoy them as they are. Maybe this is just Bob's interpretation which he felt he could express doing the song. Christine offers a nice engergenic rock/pop song with "Morning Rain" and nice sentimental singing on "Take It All Easy". I just felt this was a balanced album with contributions by three talented songwriters.

Bare Trees shows all three with strong offerings, again Kirwan's great instrumtental "Sunny Side of Heaven" is Danny in one of his finest moments as a guitarest. Welch's "Sentimental Lady" features both great lyrics and superb melody. I felt both these songs were the jewels of the album both. Chris is terrific also, another fine pop song with "Spare Me A Little Love". All three contribute some good rock inspired tunes with Kirwan's "Bare Trees", "Child of Mine" and Welch's "The Ghost" and Chris's "Homeward Bound". Though Kirwan has the sronger presence, both Chris & Bob are equally as enjoyable to these ears. I just don't agree that Bob Welch could deemed as somehow losing the "lottery" for the band. I thought feel he was very beneficial to this band and only adds another enjoyable yet diverse style to FM's catalog. I felt it was very wrong that he was'nt acknowledge with the others at the R&RHOF induction ceremony. Bob, some of your FM fans support you and know that you wronged.


Richard C. Dickison <> (30.06.99)

Here is the album Clinton made happen. Well something good did come out of using "Don't Stop" as a theme song.

But have I got an idea for them, first Mick piss off Nicks again, you know how. Now, second Lindsey go and get Melissa Ethridge to join up while Stevie's back in Betty Ford. (Thats right folks take a good hard listen to Melissa's back catalogue, she's got the voice for this part.) Anyway that's my take on their future as a group. The weak link has been that they have lost their hard edge that was in their first three albums. They need to replace a singer/songwriter more than anything and make it someone who knows how to rock. Stevie has ruined her voice and she only has her self to blame. This amazes me due to my exposure to Janice Joplin but I guess the alcohol embalmed her vocal cords before it got too bad.

Bob Josef <> (09.03.2000)

Since the group members are now 50+, these performances could not possibly have the edge of Rumours, Tusk or Fleetwood Mac Live. But they make up for this with warmth, vibrancy and beautiful harmonies. Even if they were helped out by backing vocalists, the singing is marvelous. I could have done without "Dreams" and "Everywhere," myself, and "You Make Loving Fun" has not improved over the years. But, being three of their biggest hits, they weren't going to get away without playing them, I suppose. The new arrangement of "Say You Love Me" is OK, and "Big Love" is very exciting. "Silver Springs" is a delightful surprise. And I love the new songs. Lindsey's two have the best lyrics he'd come up with in years, and "Temporary One" totally redeems Chris after her losers on the last album.

Even if it's a one shot, it''s a far better close to Mac's career than Time.

Jenna P. <> (06.11.2000)

I, too understand that they can't move arond like they are in their early 20's...however, Their energy in that video was just as vibrant as ever. Mick looked like a proud father, Lindsey, despite excessive sweating, still has sex appeal and will always be the best guitarist in the music business, Stevie, while remodeling her look a bit, has been through alot of experiences, John never really moved that much, and Christine looks fabulous for her advanced age. Their energy is far from gone...I have the tape, and amazingly enough, can't tire of it.

However, I was born when the band split up, have never actually been to the concerts, or even met any of them...but I am working on that last one. I did see clips of earlier concerts...and while the moved alot more...when you are in your early to mid 50's...try doing a nonstop concert for almost 2 hours. I know my dad or mom couldn't do it, and they only had 2 months to rehearse. Take these points into concideration, and your page is a very good referance.

Jenna P. Age 13


Kevin MacNutt <> (26.09.2005)

I know neither John or Mick have really contributed much in the way of writing, although without Christine, this is nothing more than another Buckingham-Nicks album, just like the one they recorded in 1973. Since Mac actually started out as Peter Green's baby, continuing to call this venture "Fleetwood Mac" just because of Mick Fleetwood and John McVie is getting absurd. I would understand if the guys actually WROTE something once in a while, but to me they are no more than just session players who found a steady job. I guess if Fleetwood and McVie found themselves backing either Destiny's Child, a klezmer band or the Philadelphia Orchestra, those bands would instantly become Fleetwood Mac too? Anyway, I found Say You Will another boring child of Buckingham-Nicks, floating along on the same formula they perfected with Rumours and Mirage. YAWN!!! At least they have not decided to bring back Bob Welch.

<> (04.10.2005)

Good grief George, a 9 for The Dance, and now a 9... for THIS? Talk about a heart softening. This is definitely one of those albums that deserves to lose points for what you like to refer to as "a total lack of originality". Comparing it to forgiving AC/DC for endlessly recycling their riffs is a cheap shot--it's only forgivable when they're writing quality tunes and have the quality production to back it up, two things that are not always the case. As for Say You Will... Buckingham's schtick has grown utterly stale, and this album proves it again and again. His minute-long song-ending guitar solo deal has gotten beyond the point of annoying--he's got all kinds of annoyingly self-indulent, "orgasmic", I-don't-know-when-to-quit guitar wanking all over this album. His songwriting is consistently WEAK. He's straining with the lyrics, with lame, sexually implicative lines like "she never comes, she always goes". and the lyrics on his album-opening 'big statement' "What's The World Coming To" are ultra-slight and look like they were lazily tossed-off in about 5 minutes tops. You seriously think all of these songs have melodies and that there are no bad songs on the album? How can "Come" possibly fit this bill... It starts with a super quiet part containing annoying, "paranoid" singing of a tuneless 3-note "melody", and then pompously switches into an ear-splittingly loud part, as if he's trying to cover up for non-existent songwriting with production gimmicks that he's already used time and time again before, and failing. He's already done the exact same type of thing far more convincingly on "Tango In The Night" (the title track from that album), and with "Come", he sounds desperate. "Miranda" is super-weak with his usual paranoid/ insecurity-themed lyrics head-scratchingly matched to a displeasing upbeat tune where he yet again reuses the "Big Love" riff, and for "good measure" he tosses in an annoying, harmonized chorus. I'll admit the engagingly dramatic "Red Rover" does really work, and "Peacekeeper" is catchy and nicely-harmonized, if forgettable. As for Nicks, at least her songs aren't overall so grating, and there are some ear-catching moments such as "Destiny Rules", but even that sounds lazily underwritten and has weak lyrics. Seriously, "Thrown Down", "Silver Girl", and "Destiny Rules" all practically sound like rewrites of each other. "Running Through The Garden" starts off sounding like a clumsy, washed out version of the previous tune on the album ("Smile At You"), and it's a generic, unexciting uptempo track with Lindsey, yet again, trying to elevate it with his "thrilling" guitar soloing in places where it doesn't belong. Also annoying are the children's chorus-vocals at the end of the title track which is an upbeat-but-dull love song. Overall, this album is a real chore to get through--Buckingham is badly out-of-control, and Nicks is in rather rote form. I can't believe you're rating it so much higher than Tango In The Night which, despite some embarassing moments, sounds much much fresher and has more excellent music in its roughly 45 minutes than Say You Will has in over 70.


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Rick Jackson <> (19.07.2002)

Hi George,

I just read some of your reviews of Simon and Garfunkel as well as Fleetwood Mac ( Just a comment about your video review of The Dance: if you don't like the sound, get the DVD and a DTS 5.1 sound system (if you don't have one yet ...), the sound is great.

PS. What I really like in your reviews is that even if you don't like a song, you respect the music (in a "technical" sense) - that doesn't happen very often.

Regards from germany,


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