Live In Boston - Remastered: Volume One ()

This is an easy review to type. If your own vision of Fleetwood Mac involves any Americans being involved to make the kind of Mac music you like, then you should skip this whole series of discs. However, if you're interested in hearing what a firebreathing dragon of a band can do with a few Gibsons and a dilapidated PA, then run, do not walk to the nearest outlet and buy this. The guys were on the verge of conquering the New World, probably very successfully, until young Peter went away. After Peter left, his two wing-men lost the plot, then lost their minds. Then the fire breathing dragon roared no more. The incindiary guitarwork captured here is so fluid and intense, it's likely not the work of humans at all. This is perfection. Buy it.

Buckingham Nicks ()

I discovered this album some 30 years ago and have been through numerous copies of it ever since. I upraded my vinyl copy in the late 70's/early 80's and have been preserving it by only playing it when I copied it to cassette. So, why all the fuss? Simply put, this is one of the finest records I have ever heard. Being a primarily hard rock and progressive fan, I normally shunned music that wasn't loud and aggressive. One night I heard this at a party and was completely mesmerized by it. Once I saw the cover, I was smitten by Ms. Nicks and bought the album shortly after. In the years since, it has become one of my top 5 albums of all time. Nothing they did with the Mac or as solo artists comes close to this music. They managed to capture the raw essence of youth, passion, innocence and truth in their performances here. Timeless is a word that is way overused, but it's the only word that fits. While they continued to write stellar material later, the break-ups, the drugs and the money robbed even the best of those songs of their core. This music is pure, like the first snow on a winter day. Completely untouched by the ravages of fame and fortune, with no egos or record company pressures, it flows from their hearts to the ears of the listener. Simply a rare gem, lost to the world for far too long.

Behind The Mask ()

Embarrassingly underrated and overly abused by (mostly American) fans, this is the last truly great Mac album. The European fans got it right, making this album a huge success in the UK and on the Continent. Rightly so, because it's a very good album. Most of the criticism seems to come from the Society of Buckingham Stalwarts (SOBS), who believe that without him, there can be no Mac. This album proves them wrong. The dual guitars/vocals of Vito and Burnette, as well as the songs they supplied make for a well balanced album. In Rick Vito, the band found an excellent lead player, bluesy,vibrant and capable of a myriad of styles. His tone and feel hearken back to the Peter Green days more than Buckingham's. The songs run the gamut from bluesy to country rock, with more than a dash of pop thrown in as well. In a way, this album gives one an excellent overview of all the band had accomplished over it's prior 22+ year history. This album is eclectic in the way Tusk tried to be, but more successful than that effort. Sure, there are some songs that aren't quite as good as others, but the overall result is a very consistent and cohesive effort. Too bad the band couldn't have stayed together a little longer and done another album or two with this line-up. The one consistent factor in Mac history has been the ability of Mick Fleetwood to find quality guitar players. This album and line-up is no exception to that legacy. There was a Mac before Lindsey and there will be a Mac after Lindsey. This album proves that beyond a shadow of a doubt. The Tango In The Night Live video is a great example of how good they were in concert. If you are a Mac fan, you owe it to yourself to check this out. If you aren't a Mac fine, you should check it out anyway.

Penguin ()

Another overly maligned entry from Mac's mid-era. While not as strong or consistent as some of their other albums, it's far from a bad album. Before tearing it apart, one needs to know a little about their situation at the time. Management decided that they needed a front man to liven up their stage show. They lured vocalist Dave Walker from their frequent touring partners, Savoy Brown. Fleetwood Mac didn't want him, had never written anything for a lead singer and were at a loss with exactly what to do with him. The two results, the excellent "Derelict" and the ok cover of "Road Runner" are his only moments of participation on the album. He's a gritty blues singer, joining a band that didn't play gritty blues. It's a mystery why they chose him of all people to front the band. He was an excellent frontman for SB, but the Mac were quickly leaving their blues legacy behind them at this point. A shame he was treated so poorly by all involved. However, Bob Weston is another story altogether. His smoking bursts of molten guitar on "Revelation" are the hottest licks in Macs long history. His contributions were to get even better as time passed. Too bad he couldn't have avoided the affair with Mrs. Fleetwood, this would have been an excellent line-up to see in concert. His work here is good, but nothing like the fire he brought the "Mystery To Me" album. Christine continues to develop her patented love songs, which would soon be an essential element on all the MOR Mac albums of the mid-70's and beyond. Welch's mystical style comes to the fore on this album and would grow increasingly on each subsequent release. The album may not be one of my top 5 Mac releases, but it's not the steaming pile of dung others would lead you to believe either. Considering the situation at the time of its recording, it's a pretty fine little album.