Fleetwood Mac

ARTICLE ABOUT Fleetwood Mac FROM New Musical Express, December 21, 1968

It is so nice to have a look back in time and read these historical texts from a time when these bands still were in their infancy. This band had already made their two first albums at the time, both released in 1968, and they were soon on their way to a fantastic career!
Read on!


Perfection before hits –
that`s the claim of Fleetwood Mac

says Richard Green

MOST groups hope and pray that their latest record will be a hit and are extremely disappointed if it does not become one. Not so, however, Fleetwood Mac even though their “Albatross” is flying high.
This odd situation stems from the quintet’s desire for perfection in their music and its need to always put out good records.
The newest member of the group, Danny Kirwan, who looks as though he is about to sit for his ” 0 ” levels instead of going on stage with one of the country’s biggest groups, told me about the Mac’s attitude before they left for an American tour.

No worry

“If this one hadn’t been a hit, we wouldn’t have minded because we’d have been able to look back, and say ‘that was a good record’, ‘he said confidently.” The last one,’Need Your Love So Bad,’wasn’t a big hit, but it sold quite well and was another good sound.”
Getting Danny to say something or express an opinion is quite difficult as he is a shy lad who is generally content to let others do the talking.
So I tried the old trick of attempting to loosen the tongue with alcohol. On Danny, that doesn’t come off.
Vainly hoping that he would be incensed, I asked him why Fleetwood Mac swear on stage and if he didn’t think it had an adverse effect on people’s opinions of the group.
He didn’t say anything for a while, then he looked up and commented: “They seem to like it. If Jeremy yells ‘——` or something, a cheer goes up. I don’t think it does any harm. If they like it, let them have it.”
He should have been in the diplomatic corps, but as he isn’t, I asked about the difficulty of having three lead guitarists. This time, the response was immediate and definite.
“It doesn’t work like that, you see,” he told me. “It’s not three lead guitars playing at the same time. We all have our own spots. When Jeremy’s playing, Peter and I don’t play the same, we stay in the background, then Peter has his go and then me.
“We don’t work things out before we go on, we just take our spots when it comes to it and we play what we want to play.”
He also talked about the Mac’s image as a group that plays mainly Elmore James numbers and little else.
“Only Jeremy plays Elmore James numbers,” Danny reasoned. “When he does his spot, he may pick one of his numbers or he may not, it depends. We’re gradually getting away from the Elmore James image and we won’t be playing his numbers much longer . . . unless Jeremy wants to.”
Fleetwood Mac’s current American tour is a long one, but “Albatross” and a couple of good LPs are around to keep their fans company until they return. When they do, it will be back to the gruelling slog of clubs and ballrooms.
“We seem to play in all the pubs that have clubs upstairs,” Danny agreed. “That seems to be our scene. It would be nice to play a few concerts, but that’s not really Fleetwood Mac’s scene.”

New scene

Danny was recruited to the ranks of Fleetwood Mac after being unable to find suitable musicians with whom to form his own group. How did he find fitting into a well-established outfit? Difficult?
“No, not really because, as I say, everyone has his own place and we don’t clash,” he replied. “At first, I found I had to concentrate more, but that was only because I’d been playing with little groups. Soon, I found I was in with things and the going was easy.”
First on the list of things to do when the group is back from America is to get another LP ready. And Danny told me a story about it which illustrates how free and unbound by strict rules they are.
“Peter and I have done most of the things for the album, and Jeremy’s not going to be on it.”
Noting my look of surprise and clevery guessing what I had in mind, he quickly added: “That doesn’t mean he’s leaving, be just doesn’t want to be on it. He may change his mind, then he will be.”


The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Fleetwood Mac FROM SOUNDS, October 28, 1972

There is a chance that I may change the name of this blog in the future, so I was wondering if you would like to help me with a new name? Something that would look good on a t-shirt, maybe? I have some ideas myself, but I don`t feel I have found the ultimate name yet. I don`t think it should contain the word “Article” as that would be kind of boring, and the word “Kerrang” is already taken. It`s hard….
Well, something that may be a little easier is to read this article from a very turbulent time in this band`s career. A lot of changes would eventually make this band end up in a very special place, so maybe all the turmoil was a good thing?
But please – don`t forget to name this blog – all suggestions can be written as a comment here, sent to my e-mail or posted in my Facebook-group.


The new Mac will never let you down

Interview by Steve Peacock

If you ever had those Fleetwood Mac, Chicken Shack, John Mayall Can`t Fail Blues that Adrian Henri used to sing about you`ll know all about the late sixties British bloose boom.
And the chances are, you`ll know a bit about the band called Fleetwood Mac in late 1972 as well. Two original members remain, Mick Fleetwood and John McVie; there`s Christine McVie (neè Perfect) from Chicken Shack; and there are the newest additions, Bob Weston and Dave Walker from Savoy Brown, another of the British Bloosers who surely would have made Henri`s song if they`d rhymed with anyone else. Bob Welch, from California, is the outcast, but then I suppose devious introductions can`t have everything.
Fleetwood Mac have been through some changes since halcyon days of the late sixties. They have, in Christine`s words, got off the blues, and the faces have changed as well. Peter Green left, Christine joined; Jeremy Spencer left, Bob Welch joined; and now Danny Kirwan (who Peter brought into the group after it had started) has left, and Bob and Dave have joined.
That last shuffle, says Christine, was “just one of those things. He wanted to do other things and it was a basically amicable thing where he wanted to leave and we basically wanted to say cheerio, you know? We were finding we couldn`t really work together so it had to happen. He was really more interested in recording and writing his own material – he was halfway through doing his own solo album anyway, so I presume he`ll finish that and go on doing that kind of thing.
“I don`t think he`ll ever want to go on stage again – really I don`t think he enjoyed that side of it very much. It was just a parting of the ways.”


Christine, Bob and Dave were sitting in their publicist`s office, fresh from rehearsing the new band, and very enthusiastic about the music they were making. They were a bit at a loss to say how the changes had affected the band, but Christine said: “One thing is that everyone seems to get on very well with each other now, an extremely friendly state of affairs which is nice, and I would imagine rather rare. A lot of bands seem to have problems about that. Musically the band seems to be a lot harder than it`s ever been, more positive.”
They`ve known each other from way back of course, and when Fleetwoods did a three-month tour of the States earlier this year Savoy Brown were there, too. As Bob pointed out, this made the changes easy: “Everyone is very much aware of what everyone else can do, and we were even before we joined up. We`d watched each other on stage and got to know each other, so all those preliminaries were out of the way before we started.”
Christine: “It`s not as if we did any auditioning or anything, we didn`t have to go through all that rigmarole of trying people out. We already knew who we wanted, and fortunately we were able to get `em.”
The new Fleetwood Mac will be back on the road in November, gigging in Britain for the first time in nearly a year. “The band hasn`t played in England for so long that it`s hard to know how people are going to react,” she said. “Or whether they`re going to turn up even. We really don`t know what`s going to happen, but from our side of it we`re confident we can put on a good show, so let`s just hope that England`s ready for a few more changes in the Mac.



“It`s funny, but that doesn`t seem to matter so much in America – they don`t go to see personalities so much, they go to see a band. If they come to see Fleetwood Mac they don`t seem to care all that much who`s in the band as long as it turns them on. If that happens they`ll give you the response.
“I think in England we`ll probably get people coming along out of curiosity as much as anything else, just to see what`s happening with the band now. And probably we`ll get a percentage of them coming along to pull us to bits like a lot of them do. It`ll be interesting whatever happens.”
It`s a strange thing, the way Fleetwood`s popularity in this country started to go down at the same time as it started to go up in America. That was about the time Peter Green left the band: “I think a lot of people probably found someone else to like then,” says Christine, “because he really was the mainstay of the band then.” Dave agreed: “I think it was down to the thing of audiences still liking guitar stars a lot, and Peter was a bit monumental.”
Christine: “I think it was with `Kiln House`, the first album after Peter left, that the record sales began to go noticeably down, like crossing off a few noughts, and our albums haven`t sold well in this country for a couple of years now. But in America that was the first one that really sold at all, and they`ve gone consistently up since then.
“Going back to what we were saying about audiences before, I think American audiences maybe do come to see personalities as well, but they`re far more aware of whether they`re enjoying themselves at a gig as well as anything else. They tend to create an atmosphere among themselves whereas I think English audiences want it all to come from the band, which puts a lot of strain on you. If you play badly over there though it`s just tough shit, because you`ve got everything going for you before you start.”
But obviously they`re hoping they`re going to make it in England again this time round. As Dave said rather wistfully: “I think for Bob and I it would be extra satisfying. America and the money is all very nice, but…”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Melanie, Roxy Music, Medicine Head, Jimmy Cliff, John Entwhistle, Paul Simon, Yes, Nick Mason, Steve Tilson.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.