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A spacy, mellow record that sounds heavily influenced by the Laurel Canyon folk-rockers of the era, Future Games has long been the stoner’s Mac album of choice. With bassist John McVie’s wife Christine added on keyboards and California-bred singer and guitarist Bob Welch newly installed as Kirwan’s songwriting foil, this is the album that ditches Fleetwood Mac’s blues-rock roots. What was it about life in Fleetwood Mac that caused its frontmen to seek oddball religious solace?
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Hard to tell what might have come next, since shortly after this album’s release, Spencer suddenly quit the band mid-tour, running off with a notorious cult known as the Children of God. With Green’s sudden departure, his fellow singing guitarists Jeremy Spencer and Danny Kirwan pick up the slack, but Spencer’s unabashed love of ’50s R&B and rockabilly and Kirwan’s taste for Nick Drake-like folk-rock melancholy mesh somewhat awkwardly. Quite likely the most underrated album in the Fleetwood Mac canon, 1970’s Kiln House intriguingly catches the group in a period of transition. The set also includes all of the Green-era band’s other classic singles, the achingly beautiful instrumental “Albatross,” the nine-minute epic “Oh Well (Parts 1 and 2)” and “Black Magic Woman.” Yes, Santana had the hit, but it was originally a Fleetwood Mac song. This 20-track CD supplants the 1969 singles compilation The Pious Bird of Good Omen by adding two hard-to-find but essential singles recorded in 1970 just as Fleetwood Mac’s blues-rock-oriented first lineup was crumbling, “Man of the World” and “The Green Manalishi (With the Two-Prong Crown).” The latter was original frontman Peter Green’s musical farewell note, a nightmarish drug-induced vision written and recorded shortly before he left the band to join a religious cult and largely give up music. The Best of Peter Green’s Fleetwood Mac (Blue Horizon Records 2002) Let’s rectify that with a countdown of the essential pre-Buckingham Nicks Fleetwood Mac albums. But it seems like only the Mac’s 1975-’87 period, when Lindsey Buckingham and Stevie Nicks were fronting the band and they were scoring massive hits, has penetrated the consciousness of today’s bearded youth, with their earlier incarnations largely unknown. Less than two years after the release of Tusk, Nicks dropped her solo debut, Bella Donna, kicking off the most successful of all the solo careers from Fleetwood Mac.įollow Far Out Magazine across our social channels, on Facebook, Twitter and Instagram.For the last couple of years, Fleetwood Mac have been the latest vintage soft rock band to become fashionable among the sort of college students who still frequent used record shops.
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Nicks didn’t follow through on her threat to leave the band, but she did begin seriously eyeing a solo career. I wasn’t even told that until after the record was done, and then I liked the title even less.”ĭespite her threats, Nicks was outvoted and Tusk became the album’s title. “That went right over my little prudish head. “I don’t recall it being Mick’s joke about a …,” she trails off. There were even rumours that Mick Fleetwood wanted to call the album Tusk as a reference to phallic humour, something that Nicks didn’t get when it was presented to her. But even with the diverse material, Nicks threatened to walk out on Fleetwood Mac if they put out their next LP as Tusk. Nicks’ material on the album, including the wistful ‘Storms’ and wonderfully silky ‘Sara’, were at odds with Lindsey Buckingham’s angular punk-inspired pieces like ‘The Ledge’ and ‘Not That Funny’. “There was nothing beautiful or elegant about the word ‘tusk,’” Nicks is reported as saying, according to The Ringer‘s oral history on the LP 40 years after its initial release.