Time

October 1995 finally saw the release of a new studio album for the band, and for the sixteenth studio release we lost Stevie Nicks and Rick Vito, and gained in their place Dave Mason (former guitarist with Traffic) and Bekka Bramlett (daughter of sixties duo Delaney & Bonnie). They joined Billy Burnette and long-time members Christine McVie, Mick Fleetwood and John McVie to form another six-piece. Christine however had given up touring by this stage and was soon to quit the band, which collapsed altogether shortly after this release - before reuniting with the full Rumours line-up two years later on The Dance.

Back to this album though, and an open mind is required to listen to it - ie. don't be put off by the many negative reviews that you have no doubt read. You need to forget about Fleetwood Mac line-ups of old and remember that that is what they have always been about - constant change. The album scraped into the UK charts at #47, and didn't even chart in the US, but I feel this is probably due to lack of promotion and no single releases.

Billy Burnette delivers a more countrified sound on album opener, Talkin' to my heart, which he co-wrote with Deborah Allen and Rafe VanHoy. It's certainly a leap from anything he did on Behind the mask, although his vocals are instantly recognisable. Bekka's background vocals add a completely new sound to the band, who only ever had two female vocalists in its entire history until now, and the song itself is undeniably catchy and instant.

The first of five compositions by Christine McVie and husband Eddy Quintela is Hollywood (some other kind of town), which is another infectious vocal, that is unmistakeably Christine and an underrated gem that reminds me of some of her earlier work before Stevie Nicks joined the band. It is also evident from the lyrical content that she has had enough of the bright lights and wants to get out of the band. Blow by blow follows, which Dave Mason co-wrote and delivers like a catchy eighties rock track. It gives the band yet another new sound but it's welcome. Another version of the track had previously been featured in the 1994 World Cup.

Bekka Bramlett shows off her vocal range next on the Kit Hain composed Winds of change (not to be confused with the Scorpions song), which is a gorgeous country ballad that eases her nicely into the band. Her voice is powerful and flawless and I can't imagine why she hasn't become a massive star. Christine strikes gold again on I do, which was released as a promotional single only. Shame as it, along with a few others, deserved to be a massive hit.

Bekka then reveals her rocky side on Nothing without you, which she co-wrote with her father Delaney and Doug Gilmore. It's a show-stopping little country-rock number that is a massive grower. It then all gets serious on Dreamin' the dream, which she wrote with Billy, a beautiful tender ballad that has always been a stand-out track for me and could have been a #1 in my eyes. Stunning is the way I would describe her vocals on this.

Christine delivers another monster ballad on Sooner or later, another stand-out track, and the long instrumental fade-out at the end fills me with longing for more. Another immediately catchy track is I wonder why, a rock song that Dave gives a powerful performance on, aided by Bekka's glorious backing vocals. Nights in Estoril is just beautiful, and another credit to Christine on an album where she more than proves her worth without Lindsey and Stevie. It's sad that this is her last studio album with the band, but then who knows?

Billy delivers another great country rock vocal on I got it in for you, which is one of the heavier tracks on the album, and then Christine delivers her fifth and final performance with the goodbye song, All over again. It is absolutely gorgeous and another lost classic, even if it is tinged with sadness with her talking about 'finally breaking the chain', suggesting a clean break from the band.

These strange times is the album closer, which at over seven minutes is the longest track here. Written by Mick Fleetwood and Ray Kennedy, this is Mick talking about how bad his life is at this point and he gives reference to Peter Green on the line 'They said he was a man of the world'. Bekka's backing vocals and the mix of instruments make this a stunning track, which brings a lump to the throat and finishes the album on a completely different tone to how it began.

Strange then, that an album which is constantly reviewed in a negative light, and which Q magazine deemed no tracks worthy of downloading, is one where I have thoroughly enjoyed listening to every track on this occasion - and I have always been quite fond of it anyway, despite missing Stevie Nicks originally. Now I have come to realise that she is only part of an ever-changing chain and it is in fact Christine McVie who has proved to be a vital link during most of the changing periods. Bekka's contribution is stunning, and I'm sure another album with her, Dave and Billy would have gone down quite well. All in all, I think this is a totally underrated gem of an album that you have to give a chance to, and at least eight of the tracks would have been worthy singles.



Live At The BBC

We're in between studio albums again. In September 1995 a 2 disc, 36 track album was released called Live At the BBC which contained various BBC radio sessions recorded between 1967 and 1971 when the band was made up (in varying stages) of Peter Green, Jeremy Spencer, John McVie, Mick Fleetwood and Danny Kirwan. Many of the tracks featured were otherwise unavailable so I thought it definitely worth me reviewing.

The first disc kicks off with Rattlesnake shake, first broadcast on Radio One in April 1970. Peter Green jams his way through but at over seven and a half minutes long I was waiting for the end - I can't say I'm particularly looking forward to the two 24+ minute versions on the Live in Boston albums which I've yet to listen to. Sandy Mary is another Peter Green track, which was written for his girlfriend at the time and would have been the title track of the next Fleetwood Mac album if he hadn't left the band in 1970, suggesting that the band's sound would have gone in a more hard driving rock direction as oppose to the rock and roll direction they went with on Kiln House. You can really let yourself go with this one and drift into another world.

I believe my time ain't long, and we're back to the famous Elmore James riffs that Jeremy Spencer obviously loved. Then we are treated to Danny's haunting vocals on Although the sun is shining, which sound even more heart-wrenching live and acoustic. Only you is another Kirwan track, recorded in May 1970 for Radio One's Top Gear, it was also re-recorded for his last solo album, Hello there big boy, which I am desperate for a copy of. There's not much in the way of lyrics but the guitars are rocking. Jeremy Spencer then does his Elvis impersonation on the Baker Knight track You never know what you're missing, which is catchy and boppy and I like a lot on first listen.

One of Peter Green's biggest hits, Oh Well, is less than two and a half minutes long here but it's enough to rock the house down - although I'd have preferred more of this and less of Rattlesnake shake to be honest.He then shows his emotional side on a Fats Domino track (written by lloyd Price) called Can't believe you wanna leave, which is a blues-style rocker.

It all goes a bit fifties style then, and Jeremy Spencer's catchy Jenny Lee, followed by a rather good Conway Twitty/Jack Nance track called Heavenly, in which Jeremy sounds a bit like Elvis again. He then does a good take of the Everly Brothers classic, When will I be loved from 1959. Danny Kirwan goes a bit rock and roll then on When I see my baby, which he wrote himself but sounds like it could easily have been a massive hit in the late fifties. Jeremy's Buddy's song continues the theme on his tribute to the late Buddy Holly, and another track from Kiln House (Hi ho silver) is re-named here as Honey Hush, which is sung by Jeremy again and has more of a rockabilly sound.

I enjoyed all of that rock and roll, but I'm ready for some rocking guitars now. Instead we get a Son House track called Preachin' that Jeremy does practically on his own and is just a weird mix of eerie vocals and guitar playing, and probably my least favourite track of theirs so far since I've been doing these reviews. Peter Green returns then on Jumpin' at shadows, a haunting track that was included on the album The Original Fleetwood Mac. This is stripped back and heartbreaking. He then jams through a Robert Johnson track called Prechin' blues that doesn't really do much for me, and the first disc ends with the brilliant Need your love so bad, although the sound isn't as sharp on this one - which is a shame as it's one of my all-time favourite Peter Green tracks.

Disc two starts with Peter Green giving a good delivery of Long grey mare, a bluesy track from the debut album, with infectious guitars and drum beat. Sweet home Chicago follows, which is another Robert Johnson composition and features more upbeat vocals from Peter. The band all sound like they are having fun on this and giving the various instruments all thy've got. Then that all familiar Elmore James riff is back on a track of his called Baby please set a date. Jeremy does play it well but it sounds very samey.

Danny gives a good vocal on Blues with a feeling (credited to Little Walter, although according to Wikipedia it was written in 1947 by Rabon Tarrant), although it's not one of my favourites. The sound quality isn't great on Stop messing around, but it's a good fast performance by Peter and barely recognisable from the original. The interestingly titled Tallahassee Lassie (a hit for Freddy Cannon) is next and is pure rock and roll. It actually doesn't sound like Peter Green or Fleetwood Mac at all, but it's a good send-up all the same.

Jeremy is on his own now with a piano, and just Mick on drums, on the absolutely beautiful Hang on to a dream. Written by Tim Hardin, this really brings out Jeremy's soulful side and could just as easily be John Lennon singing. He then goes a bit Buddy Holly-esque on the track Linda, which is infectious as they come, and then he's back doing the blues on the Elmore James classic, Mean mistreatin' mama, although at least the riff is a bit different to the usual.

Peter on his own now on World keeps turning, a slow burning blues number that was included on the debut album. Then Jeremy does I can't hold out, which is a retitled version of Elmore James' Telephone blues and was also featured on Blues Jam at Chess. It's the same old riff but quite infectious. There's a rare Danny Kirwan track now called Early morning come, recorded for Radio One's Top Gear in May 1969, and I think this is the only place you will find this track. There isn't much in the way of lyrics and it's really only for completists like me, but the fact that it's by Danny has me more interested than I'd otherwise be.

A stunning version of Albatross is equally as mesmerizing and haunting (if not more) than the original. Looking for somebody follows, and Peter gives a heart-rending interpretation of this. Then he sounds almost morose on A fool no more (also from The Original Fleetwood Mac), which really does tug at the heart strings. Jeremy takes over then on a more stripped back and soulful version of Got to move, and then we come to Like crying, like dying (which features on Then play on merely as Like crying) where Danny's vocals and guitar compliment nicely with Peter's brilliant guitar work. It's nothing like the version on Then play on (which I absolutely adore) but still good. The final track is Man of the world, and Peter Green gives a hauntingly brilliant performance, and it isn't too far removed from the single version and a fantastic way off rounding off the album.

I'll admit I had to listen to this album in two sittings, but it's a purchase that I'm glad I made - and not just for the otherwise unavailable tracks. For the vast majority of the time the sound quality really is excellent, especially when you consider the age of the recordings, and it's a refreshing look at the original Fleetwood Mac band (plus Danny) that I am growing ever more interested in.



25 Years - The Chain (4-disc boxset)

In 1992 Fleetwood Mac released a 4 CD compilation covering their entire career up to that point. Named The Chain it features many of their best loved tracks along with some previously unreleased ones, some new remixes of old favourites and a few live recordings. It all comes in a nice black box with a thick booklet of photos, messages and trivia. A 2 CD version is also available.

CD1 starts with two new songs. Paper doll was written by Stevie Nicks, Rick Vito and John Heron and was originally recorded for the 1988 Greatest Hits album. I don't know why it didn't make it on there as it is catchy as hell and quite an upbeat little ditty. Love shines is a Christine McVie/Eddy Quintela composition that is sung nicely by Christine and has grown on me a lot over the years. It was released as a single in the UK to coincide with this album, although it could only reach #83.

Stand back is one of Stevie Nicks' most well-known solo songs now, and a live version that the band recorded in 1987 is featured on here. It was originally included on her 1983 album, The Wild heart (which I expect I will get to eventually) and you're better off with that version to be honest, although it is nice to have here. Crystal is then followed by an alternate version of Isn't it midnight, which being one of my favourites from Tango in the night I was excited to hear. I definitely wasn't disappointed and this version is poppier and funkier, but without losing any of its mystical charm. I love it.

After a couple of big hits from Tango in the night (Big love and Everywhere) and an album track from Behind the mask (Affairs of the heart) we get our third new song of the release. Heart of stone is another Christine McVie/Eddy Quintela song that is in the same soft rock vein as Love shines. It's another grower which rolls along at a nice pace and has an infectious chorus. A feast of classics follow that - Sara, That's all for everyone, Over my head, Little lies, Eyes of the world, Oh Diane and In the back of my mind, before we get a Lindsey Buckingham track that was actually an outtake from his solo album Out of the cradle. Entitled Make me a mask it is quite different from anything else on CD1, and is an eerie sounding song that is about as alternative as he gets. I like it but I doubt it will become a favourite of mine.

CD2 concentrates on the same era, starting with the gorgeous Save me. Then there is another Lindsey Buckingham composition called Goodbye angel, which was actually a leftover from the Mirage album from 1982 and is quite beautiful and dream-like. It would have sat very well on Mirage, but I suppose they couldn't include everything.

Most fans will know all about Silver springs and how it was famously (and foolishly) left off the Rumours album, despite being superior to a lot of the songs on there in my opinion. Well until this release it was only available as the B-side to Go your own way, so that was reason enough for anybody to buy this boxset at the time (of course you can just download the song now but we didn't have such modern technology in those days!). I think this is one of the most beautiful songs Stevie Nicks ever wrote or sang and would easily be in my all-time Fleetwood Mac top ten. Stunning is the word, and I love how it builds up until the chorus just repeats itself over and over at the end.

What makes you think you're the one and Think about me (both from Tusk) follow, and then we are treated to the full unedited version of Gypsy, with a more drawn out ending that adds a new element to an already classic song. You make loving fun is followed by a trio of alternate mixes of popular songs - Second hand news, Love in store and The chain. None of them are too different from the originals (I can't tell the difference on The chain) with Love in store being the best mix for me.

Another unreleased track from the Mirage sessions is Teen beat. Written by Lindsey with Richard Dashut it basically sounds like a jam session with the words "oh, oh, oh" repeated over and over again, along with Lindsey making various other noises. It's quite a funky track but it definitely didn't belong on Mirage. An alternate mix of Dreams doesn't differ too much from the Rumours original, although as it's my favourite song of all-time I know it inside out and can hear some subtle changes and it doesn't get to me quite as much.

Only over you (from Mirage) is followed by the version of I'm so afraid from Live and Love is dangerous (from Behind the mask). There is an alternate mix of Gold dust woman that sounds mellower than the Rumours version, but other than that there's not much difference. Then the CD ends with a live version of Not that funny, which is an edited version from the "In concert: Mirage tour 1982" video package. It's not that different from the version on Live though.

CD3 is mostly made up of classic tracks from the same era. Warm ways, Say you love me, Don't stop, Rhiannon, Walk a thin line, Storms, Go your own way, Sisters of the moon, Monday morning (from Live), Landslide and Hypnotized are all present, and then we get a nice previously unreleased alternate version of Lay it all down (originally from Future games). It's nice to hear a couple of Bob Welch tracks to remind people that there was life before 1975, and this new version of Lay it all down sounds a bit faster and more rockier, but just as infectious as the original.

Angel has become one of my absolute favourites since reviewing Tusk and is probably my favourite track from that album now, so it's nice to hear an alternate mix on here, even though it's hard to spot a lot of difference if I'm honest. Beautiful child also has an alternate mix, which is equally as haunting and beautiful as the original from Tusk. For me these remain two of Stevie Nicks' biggest masterpieces. The CD closes with three from Tusk (Brown eyes, Save me a place and Tusk) and two from Rumours (Never going back again and Songbird).

The entire Peter Green/Danny Kirwan/Bob Welch era (except those two Welch tracks on CD3) is squeezed onto CD4, with the first ten songs not sounding entirely different to their first Greatest Hits album from 1971. They are - I believe my time ain't long, Need your love so bad, Rattlesnake shake, Oh well (part 1) (original mono version), Stop messin' around, The green manalishi, Albatross, Man of the world, Love that burns and Black magic woman. Watch out is featured from Blues jam at chess, then we are treated to String-a-long, recorded in 1969 and from the proposed Jeremy Spencer EP. Written by Jimmy Duncan and Robert Doyle it sounds a bit like Buddy Holly and wouldn't have sounded out of place on Kiln house.

Unfortunately that is it from the Peter Green era, but we get Station man (from Kiln House), Did you ever love me (Penguin), Sentimental lady (Bare trees), and then Come a little bit closer and Heroes are hard to find (both from that album). A real treat is next in the shape of Trinity, although it is shocking that this is the only solo Danny Kirwan composition on here. This is a previously unreleased track that is a guitar filled stormer of a song with Danny's familiar vocal style. Why (from Mystery to me) rounds off the CD and the compilation.

Musically this boxset is faultless, but I feel the Peter Green era needed at least a whole CD, and the same for the 'in between' era (we definitely should have had a lot more Danny!). Two CDs could have nicely covered the Buckingham/Nicks era I feel, without leaving off any of the new tracks - which really is what I was interested in most. The case and booklet are lovely though, although if you can do without these and only want the new tracks then the 2CD version will probably suffice.