Bonnie Waters 
This one is too serendipitous to keep from fulfilling dual purposes. Cameron Crowe’s autobiographical ‘Almost Famous’ is not only his finest film and one of the very best of its era (or in rock-flick history), it also yielded one of the mightiest compendiums of compiled classics this side of ‘Forrest Gump.’
Six points about The Alternate Mirage as we continue deep diving into Christine McVie’s recorded past:
1. I know all they did was flip the back cover to the front and vice versa, but I can’t help but smile at the sight of the band’s rhythm section whenever they’re posed with their namesake moniker. It’s why I prefer the ’75 white album display over the iconic shot for the LP that followed it.
At last: a new Fleetwood Mac album!
New, that is, for this ongoing deep dive into the discography of the late great Christine McVie, following 10 posts dedicated to things she did to keep busy after the Tusk tour of ’79-’80.
That’s when we last found the most famous Mac-ateers all in the same room, sounding like cocaine as much as looking it and rapidly getting on each other’s nerves (again). A healthy break was needed — and maybe should have lasted longer?
[A wider shade of confusion.]
Revisiting A&M Records No. 19
Procol Harum: ‘Procol Harum’ (Sept ’67)
The way I alphabetically see it, this toppermost Beatles parody falls not under R for the Rutles but A for ‘All You Need Is Cash,’ as that’s the actual title of the mockumentary that premiered on NBC and then BBC2 five days apart in March ’78. Just as easily could file under B, however — for bloody brilliant.
[What a groovy time they were having.]
Revisiting A&M Records No. 18
Tommy Boyce & Bobby Hart: ‘Test Patterns’ (Sept ’67)
Thought you’d encountered the worst movie musical ever when Peter Frampton and the Bee Gees starred as ‘Sgt. Pepper’s Lonely Hearts Club Band’ in ’78? You ain’t seen nothin’, Billy Shears — a pronouncement applicable to this misbegotten mishmash in myriad ways, considering it was pulled from theaters after two weeks in late ’76, rarely to be witnessed since.
There was a time, so soon after their ascendency to superstar status, when the most enduring incarnation of Fleetwood Mac was on such good terms with former frontman Bob Welch that it remains baffling why he was left out of their Hall of Fame induction and acrimony ensured for decades.
Ok, yes, the fact that he sued them in ’94 for unpaid royalties probably had lots to do with that snub. Rewind to November 1981, however, when this star-studded set was captured at West Hollywood’s world-famous Roxy Theatre, and you’ll find they were rarely chummier.
The keen eyes and ears of @all.the.records summed up this phase of my already-leagues-deep dive into Christine McVie’s discography in a comment on the previous installment in this series: ‘The takeaway I’m getting from these most recent … posts is the members [of Fleetwood Mac] worked on a lot of songs or records during some downtime in FM in the early ‘80s.’
I’d go a step further, actually: non-Mac downtime work became the band’s new standard operating procedure post-Tusk.
For reasons I really ought to turn into a memoir, I maintain a deeply abiding and psychologically unhealthy passion for music and movies from 1979-80, my 10th year on this mostly blue marble.