
Gawd, not this thing again.
I confess: My deep dive into Christine McVie’s discography that began soon after her death last December has been stalled for far too long by Rumours.

Gawd, not this thing again.
I confess: My deep dive into Christine McVie’s discography that began soon after her death last December has been stalled for far too long by Rumours.

I suspect you may have some questions.
‘Wait … didn’t you just write about this album a month ago?’
Yes. Well … sort of. In a way. But also … no, not really.
‘Is that a different cover? I don’t remember Mick looking like that, or staring directly at the camera.’
Your memory serves you well. This is the ‘alternate’ version of Fleetwood Mac’s self-titled ‘75 breakthrough.

At last: success for Fleetwood Mac!
Finally my sputtering deep dive into the enduring work of the late Christine McVie has reached its crucial turning point, the classic that ushered in new hires Stevie Nicks and Lindsey Buckingham for the 10th lineup of this revolving-door talent collective, not even a decade old by the summer of ‘75, when their own self-titled ‘White Album’ debuted. With it came the longest lasting, most influential, scene-shapingly famous form of what remains an endlessly amorphous entity.

Before my slow-drip deep-dive into the career of the late Christine McVie sinks into her most famous and overly analyzed phase, starting with Fleetwood Mac’s transformative breakthrough of ‘75, I think it’s worth taking a two-years-prior detour into this barely buried treasure. Frankly, Buckingham Nicks, a highly accomplished debut that bafflingly bombed and got the duo booted from Polydor, looms almost as large in the Mac legacy as touchstones that came before or after it.

I did say at the close of my last post in this chronicle of the career of Christine McVie that the most beloved version of Fleetwood Mac was just about to emerge.
But not quite yet. First there needed to be a tour behind Heroes Are Hard to Find, their best-charting LP thus far in the States yet still a marginal success they view with some disappointment. All four members — Mick, the McVies and Bob Welch — sense an imminent shakeup.

I can understand why even ardent Fleetwood Mac fans find it difficult to say they genuinely like this ninth album, the fourth and last to feature Bob Welch — and the first recorded as a quartet, since Bob Weston got the boot after boinking Jenny Boyd. She was Mick’s wife at the time, after all.
Music My Mom Taught Me #1 : Given this Sunday’s Hallmark holiday, here comes a series of posts today-and-onward revisiting the roots of my musical knowledge, as handed down by my still-hip mother, Candace, with deep gratitude.