Anyway, it's 'I Love Another Woman' ooh those unimaginative song titles , and it's a real creepy tune, with echoey bass and deep rumbling guitars and lots of subtlety.
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It's perhaps the only song on the whole album that stands a wee bit above your average barroom band quality, and things like that make me wonder Just an accident. Background blues music for easy listening.
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Easy listening? Don't get in unless you're a blues fanatic! You know, I've heard quite a lot of blues records in my life, but this is the ONLY one on which four songs namely, the covers 'Dust My Broom', 'Doctor Brown' and 'Coming Home' and the Spencer 'original' 'Need Your Love Tonight' begin with exactly the same standard blues chord sequences and have exactly the same melody, intonation, vocals and partly lyrics.
Four songs, get it? If this is what Peter Green understood as a hardcore blues band, well More specifically, why couldn't Eric Clapton ever fullfil his dream of finding such a band in either the Yardbirds or Cream? If you still don't understand this, go listen to this album. Not that it's bad. In parts, it's even enjoyable.
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And there's not a nasty or just plain bad tune to be found for miles around. But all of them are so uniform, so friggingly similar to each other and so unpromising in their entirety that one could only imagine what a band with, say, a dozen of suchlike albums would look like. In my opinion, this album's a plain gift to bluesophobs: only a totally diehard blues fanatic could ever appreciate it. As a live show, this stuff probably worked; after all, Fleetwood Mac did gain immense popularity in Britain even back then, based on their live program.
But the records suck! Not that I have anything against an entire album of blues covers, mind you. But with this particular record there are specific problems which make it significantly worse than even their debut one. First of all, this time the band really doesn't give a damn about whether the tunes sound different from each other or not: most of them are taken at the same boring mid-tempo, with just a couple really slow ones and a couple faster ones, and most have exactly the same arrangements, plainly inherited from John Mayall's Bluesbreakers where most of these guys came from: moody keyboards, saddened horns and thrashing drums.
And the production hasn't improved even a single bit from their debut: they still sound as if they completely ignore the possibilities of a recording studio. Some of the songs, like I've already said, are so similar that you hardly notice the breaks.
Second, like I also already said, none of the band members are virtuosos: they do maintain a highly professional and technically flawless blues sound, but there's absolutely nothing to distinguish them from either most of their contemporaries or most of their predecessors. Everything's as bland and insipid as possible. Yes, even including Peter Green's guitar: the only thing he tries to do with it is to emulate his blues heroes as close as possible - and it eventually becomes painfully unbearable.
Actually, it becomes unbearable from the very first track 'Stop Messin' Round', an 'original' with, as usual, new lyrics set to well-known melodies and doesn't stop being unbearable until the very end. The fact that they tried to diversify the sound by adding some more horns and pianos doesn't help at all - in fact, they only succeeded in making it even more close to the Bluesbreakers' sound.
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Except that the Bluesbreakers at least tried to vaguely experiment with their arrangements; the horns on Mr Wonderful , in contrast, sound as if they were taken from a sound library. And the murky production doesn't even let them sound like a real big band; nope, it just sounds like the same home-brewed band with the horns and pianos tacked on as an afterthought.
The good news? Well, aside from the fact that you can easily put this record on at a party or while 'dusting your broom', there's just a couple of songs which could hold your attention, both belonging to Green: 'Love That Burns' is a slow, sad and horns-smothered wailing which at least stands out from the pack by the very fact that it's slow, sad and horns-smothered, while the instrumental 'Evenin' Boogie' features the only lead guitar chops on the record that could be called inspired.
I mean, it's fast, somewhat aggressive, and, for once, the horns really interact with the slide guitar part and result in an interesting and invigorating sound.
The closing number, 'Trying So Hard To Forget', is also tolerable - suitably moody and featuring tasty harmonica work. Although, to be honest, it just kinda rips out of the general scheme and pattern of the album; as such, it's just a weak John Lee Hooker pastiche. Apart from that - get yourself some Muddy Waters or Elmore James, friend. If you're a great fan of Mac, get it for the album sleeve which features Mick Fleetwood standing half-naked and posing before the camera like an idiot. But boy does that cover stand at odds with the album material.
British blues band idol on parade in America; not the wonderfullest of wonders, but at least they're decent enough.
Amazingly, while the Peter Green incarnation of Fleetwood Mac was probably their weakest and least original music-wise, it has nevertheless since become legendary - the truest and grandest of all British blues bands, etc. Anyway, this has resulted in just about a couple million official and half-official releases of the band's live shows from different locations and different periods; they are certainly most endearing to blues aficionados and Peter Green fans, but generally, I'd bravely unclam my mouth and state that they're just fucking up the band's official discography - you never know now what's an 'official' release and what's a bootleg, not to mention that many of these 'official' releases go out of print in the twinkle of an eye, as well as heavily overlap with each other.
A mess, in other words - just visit the Fleetwood Mac official site and you'll see. This here forty-five minutes little rec is, as of the year , the last 'totally official' release of one of such events - capturing Fleetwood Mac on January 25th, , at a relatively small venue in Los Angeles where they were opening for Zappa and the Mothers. Essentially, this only goes to show that the re-issuers were at the end of the rope.
Fleetwood Mac -- The Dance: Piano/Vocal/Chords
The setlist is small just nine tunes , so that they leave in every single moment of every single pause and even include a two-minute sequence of the band tuning up 'Tune Up'! Go figure! The sound quality doesn't exactly suck, but is no great shakes, either: the vocals are particularly muddled up at times. And, lastly, they don't really do anything significant except for 'Albatross'; not that they had anything truly significant written by the time, but still, I'm kinda disappointed.
That said, I must remark that the band really felt much more at home on stage than in the studio. Maybe it's just because the sound isn't diluted by all the boring nasty trumpets - just a regular two-guitar attack, sometimes turning into a three-guitar attack Kirwan is already in the band, and Spencer alternates from guitar to piano depending on the tune. At times they do degenerate into boring, completely generic blues jams - the seven-minute version of 'Need Your Love So Bad' is particularly excruciating, with its ultra-slow tempo and Green just engaging in good, but non-outstanding guitar licks that any blues player with enough self respect learns to master after several years of playing.
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But when the tunes are shorter and more compact, the produced effect is far more satisfactory, like on the vibrato celebration of 'If You Be My Baby' and Kirwan's 'Something Inside Of Me' - funny, the guy's composition is far more bluesier than anything he'd done since. They probably let him join the band only on condition of bringing in more blues! Five out of ten tracks, however, do stand out due to various factors. And then, of course, Jeremy gets to shine with his 'mini-program'.
In concert, the man had two beloved subjects: engaging in 50's boogie covers and displaying a particularly gross and obscene treatment of the lyrics in the numbers played actually, Jeremy was just bravely 'uncensoring' the original messages contained in ninety percent of the blues numbers; I don't find that a great heroic deed, but it was probably considered to be so at the time, and who am I to argue? Sometimes he used to combine both of his passions in one song; here, he prefers to dissect them.
I suppose Robert Plant was a huge Spencer fan around or so. And for an encore, Spencer has his go at Jerry Lee Lewis' 'Great Balls Of Fire': the vocal impersonation isn't all that successful I far prefer his completely authentic Carl Perkins impersonations on Kiln House , but the piano work is immaculately copying the Killer, and the fast pace of the all-time great boogie is at least a groovy relaxation after all the snail-paced blues numbers on here. And, of course, he changes the 'I wanna squeeze you like a lover should' line to 'I wanna screw you Or it's just blatant stupidity, whichever one of the two you prefer.
In conclusion, I'll just pronounce a wise, even if kinda limited, dictum: everybody needs a live Fleetwood Mac album, but this one's definitely not the best thing to pick up at first go. If you're really interested in the band's Sixties' blues sound, you're well advised to stick to this album and screw the first two ones. This isn't exactly a compilation - it does recycle some numbers from both the debut album 'Looking For Somebody' and Mr Wonderful 'Stop Messin' Round', 'Coming Home' , but essentially it's a collection of singles, and that means that not only does it feature some material you won't find anywhere else, it also features good quality single material.
As far as I know, they released another album like this called English Rose - maybe the British analog for this one or vice versa ; however, the track listing for it doesn't look more entertaining than on Pious Bird , mostly the same singles, so I don't know which buy's the better. Anyway, English Rose seems to be out of print, so forget about it and stick to this pseudo-compilation.
I'd say that there are two songs on here which make the album an essential buy for any Fleetwood Mac fan. These are the mystical blues 'Black Magic Woman', later made famous by Santana, and the gentle instrumental 'Albatross'. The production is deep and all-encompassing, the tonality is what I'd call 'subtly minor', and Mick chooses a very tricky time signature, although I don't really know if the fast part of the song really suits the general atmosphere.
This is what I call 'adding on some edge'. As for 'Albatross', it ain't blues at all; it's an atmospheric, almost 'psychedelic' tune, with a very tender and loving guitar tone and soft hushing percussion beats - as far from a generic blues composition as could be. Both credited to Green, by the way, although I wouldn't be surprised if they were credited to Danny Kirwan - their dreamy, hypnotic atmosphere fits in perfectly with his style on Then Play On.
Then again, Fleetwood Mac was always known for the huge influence which certain band members always had on the others, so maybe Danny was just a faithful disciple of Green, after all.
This is also suggested by the fact that the only composition credited to Kirwan, the B-side 'Jigsaw Puzzle Blues' has nothing to do with the Stones' 'Jigsaw Puzzle' , is a fairly tolerable, but completely inessential hardcore blues instrumental in the style of early Green. What a bummer. Funny enough, some of the blues material on here is also listenable - like the ridiculously orchestrated 'Need Your Love So Bad' that wonderfully manages to combine straightforward blues with MGM-type string arrangements strange that so few people have tried this, before or after , or the two collaborations with bluesman Eddie Boyd 'The Big Boat' and 'Just The Blues' , where Eddie's voice and fluent piano playing is what makes the numbers really shine through.