The 500 - #182 - Self-Titled - Fleetwood Mac

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #182
Album Title: Self-Titled
Artist: Fleetwood Mac

Genre: Soft Rock, Folk Rock, Pop

Recorded: Sound Studios (Van Nuys, California)

Released: July, 1975
My age at release: 10
How familiar was I with it before this week: Fairly well

Is it on the 2020 list? Yes, at #237, dropping 54 places
Song I am putting on my Spotify Playlist: Landslide

One of life’s lessons is that sooner or later we are proved wrong. For whatever reason – assumptions, misinformation, indoctrination or an over-reliance on familiarity – can lead to an oops moment. Hearing the truth can be embarrassing or unsettling. Call it learning – which is a good thing.

I was reminded of this while reviewing this week’s record by Fleetwood Mac – the British/American rock band whose pleasing music became one of my pop favourites.

For nearly half a century, the classic line-up has comprised founding member Mick Fleetwood (drums), John McVie (bass) and his one-time wife, Christine McVie (keyboard/vocals), Lindsay Buckingham (guitars/vocals) and Stevie Nicks (vocals).

Fleetwood Mac in 1975, (l-r)J.  McVie, C. McVie, Nicks, 
Fleetwood, Buckingham.

So entrenched were these names in my mind, along with their style of soft folk pop-rock, that I thought for many years Fleetwood Mac had been ever thus.

To my chagrin, I learned at a house party in the early ‘80 that , Fleetwood Mac was originally a British Blues band, formed in July, 1967, when drummer Fleetwood and vocalist Peter Green left John Mayall's Bluesbreakers (#195 on The 500) and paired their talents with slide guitar Jeremy Spencer and bassist Bob Brunning.

By September of the same year, Brunning was replaced by John McVie. Green suggested the rhythm section of Fleetwood and McVie combine their last names to christen the band. Rumour has it that Green said to the duo: "I'll probably end up quitting this band, too, so you might as well name it after yourselves."

Fleetwood Mac in 1968, (l-r) McVie, Spencer, Green and Fleetwood.

The revelation that the Fleetwood Mac I thought I knew -- with female vocalists and soft rock harmonies -- was originally a blues rock band for eight years blew my teen-age mind. It took some persuasion by Dave Robinson, older brother of my high school friend Gomer, that I was, shall we say, in error as we drank beer in his townhouse, listening to the album, Unleashed In The East, by British heavy metal band Judas Priest.

Side One of Unleashed In The East concludes with a song with the unusual title of The Green Manalishi (With The Two-Pronged Crown). It was a favourite among my head-banging compatriots, even though we had no idea what a Manalishi was and why it might be green.

"That's originally a Fleetwood Mac song," Dave told me as he took a swig of beer, and perhaps a hefty puff of a cigarette or joint.

"What?" was my incredulous response.

"Yep, Fleetwood Mac used to be a heavy rock band, before they added the Americans -- Buckingham and Nicks."

I remained dubious, until the song ended and he took the record off the turntable.

"See", he said pointing to the label, "It was written by Peter Green. There is no Peter Green in Judas Priest. He was in Fleetwood Mac.

Label for Unleashed In The East, featuring The Green Manalishi,
composed by Peter Green.

The self-titled Fleetwood Mac record on The 500 was released on my tenth birthday, in 1975. It was the group's tenth record, and sixth since (true to his word) Green left in 1970. It was the first to include the two Americans, Lindsay Buckingham and Stevie Nicks. The pair, who were also romantically involved, had been performing as a duo in the California area for a few years and had released their first, and only, record two years earlier. John McVie wanted to add Buckingham as a guitarist after hearing him in the studio recording some demos. Buckingham agreed to join, but only with Nicks as part of the package.

Buckingham Nicks album cover (1973).

Fleetwood Mac had already transitioned to a softer, less bluesy sound in 1973, with the release of their seventh studio record, Penguin. Christine McVie, wife of John, officially joined the band in 1971 for the record Future Games, but had contributed piano parts prior to becoming a full-time member. With the new (now considered classic) line-up set, the band relocated from England to California and entered the legendary Sound City Studios.

Sound City Studios in the 1970s.

The group's previous album, Heroes Are Hard To Find, had been a disappointment commercially. However, fortunes changed with the addition of  "the Americans" -- despite many heated clashes between Buckingham and John McVie during the recording of the self-titled record. It spawned three Top 20 singles and went on to sell eight million copies. It would also establish Fleetwood Mac as one of the most successful bands of all time and set the stage for 1977's Rumours (#26 on The 500).

Rumours album cover -- we'll get to this one in about
two and a half years.

I am a fan of so much from Fleetwood Mac. I delight in their Peter Green, blues rock roots, Green Manalishi included, and the incredible harmonies and musicianship that came with their classic line-up.

Historical fact: Green eventually ‘fessed up that a Green Manalishi was a fictional representation of the inherent evil in money -- he had made the word up because it sounded menacing.

The 500 - #183 - Red Headed Stranger - Willie Nelson

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #183
Album Title: Red Headed Stranger
Artist: Willie Nelson

Genre: Outlaw Country

Recorded: Autumn Sound (Garland, Texas)

Released: May, 1975
My age at release: 9
How familiar was I with it before this week: One song

Is it on the 2020 list? Yes, at #237, dropping 54 places
Song I am putting on my Spotify Playlist: Blue Eyes Crying in the Rain

Album cover for Willie Nelson's Red Headed Stranger (1975).

As has been documented numerous times in this blog series, I am a huge fan of concept albums -- those records whose individual tracks hold a larger meaning when listened to as a whole. My favourites include 2112 from Rush; The Lamb Lies Down on Broadway from Genesis; Misplaced Childhood from Marillion; and Operation: Mindcrime from Queensryche. A few of my other favourites have even made The 500 list, including The Who's Tommy; David Bowie's The Rise and Fall of Ziggy Stardust; Elton John's Captain Fantastic and the Brown Dirt Cowboy; and Pink Floyd's The Wall.

A selection of concept records from the Progressive Rock genre.

Colour me surprised on learning that concept records had been recorded by country artists. Released in the spring of 1975, Willie Nelson's Red Headed Stranger was hailed by critics as one of the best from both the outlaw country genre and as a concept record. Rolling Stone Magazine listed it at #26 in its October, 2022, article, The 50 Greatest Concept Albums of All Time. (I covered the outlaw country genre in detail in my 2023 post about Nelson's 1978 record Stardust.)

Album cover for Willie Nelson's Stardust (1978).

Red Headed Stranger tells the story of a preacher, turned fugitive, who is on the run in the American southwest (Texas to Colorado) after killing his wife and her lover. The titular character then wanders aimlessly from town to town in an alcoholic haze of self-loathing, riding a black stallion while toting behind him the pony of his deceased wife. There is plenty of room for metaphoric interpretation based on that image.

A shot from the film adaptation of Red Headed Stranger.  Nelson, as the

titular antihero, riding his stallion while towing his late wife's pony – ,

loaded figuratively and literally with the baggage of his past.

There is a shift at the midpoint of the record. The story could be interpreted as an allegory for "The American Dream". The Stranger continuing his westward quest, seeking a fresh start to his life. He meets a new love in Denver and the music becomes noticeably more upbeat, with some songs written in a buoyant waltz time. The final track is the instrumental Bandera. However, the song that precedes it, Hands On The Wheel, suggests that redemption for The Stranger has been found in the heart of a woman who loves him unconditionally.

"And I looked to the stars,
Tried all of the bars,
And I've nearly gone up in smoke.
Now my hand's on the wheel,
I've something that's real,

And I feel like I'm going home."

Red Headed Stranger absolutely wowed me. I listened to it perhaps a dozen times in the week leading up to this posting. In future, when I talk about my favourite concept records, this album will certainly be among them. There is something stirring and beautiful in the album's simplicity. Much like the wide open vistas so typical in a western movie, Red Headed Stranger is sparse and uncomplicated, with lots of space for contemplation and interpretation -- none of it hurried.

"Some day when we meet up yonder
We'll stroll hand-in-hand again
In a land that knows no parting
Blue eyes crying in the rain."

The 500 - #184 - The Immaculate Collection - Madonna

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #184
Album Title: The Immaculate Collection
Artist: Madonna

Genre: Pop

Recorded: Multiple Studios (1983-1990)

Released: November, 1990
My age at release: 25
How familiar was I with it before this week: Very

Is it on the 2020 list? Yes, at #138, moving up 46 places
Song I am putting on my Spotify Playlist: Justify My Love

In the summer of 1994, at the age of 28, I was in the best shape of my life. I worked out religiously at a gym and biked or roller-bladed nearly everywhere. I played hockey two or three times a week, even in the summer. It was a time when I was at my vainest, buying “fashionable” clothing and tanning, which gave my pasty English complexion a healthier-looking glow.

Tanning beds have fallen out of fashion -- but studios were ubiquitous
in the 90s -- a sneaky hack for Canadians hoping to look more Hollywood.

I was also trying to become more cosmopolitan, taking up photography and digging deep into my pockets for a good-quality camera and even dark-room equipment. Intensifying the “new me” project, I began collecting classic movies on video cassette (a fool's errand in retrospect), and decided to broaden my music-listening habits. My snobbish music pretenses involved eschewing pop songs, dismissing them as pablum for teeny-boppers. Now that I was maturing, I was more open to listening to all manner of music, especially albums and songs suggested by the eclectic group of restaurant co-workers with whom I worked.

At a road hockey tournament in the summer of 1994.

One of my favourite co-workers was an effervescent and riotously funny waitress named Kelly Maynard-- (I mentioned her in my December, 2022 post about The Grateful Dead's Anthem Of The Sun (#288 on The 500).

A busy restaurant is a high-stress environment and successfully navigating a packed house on a weekend night has a way of bonding people. Consequently, the crew sweating it out in the kitchen and those appeasing hungry customers out front became a tightly-knit social group who partied as hard as they worked. When there was a chance to blow off steam with a trip to a downtown club, a pre-arranged staff event or at a house party, you took it. These gatherings were energized by the presence of Kelly -- a fearless, gregarious extrovert who could get the most reluctant among us laughing, dancing or singing.

Out on the town with Kelly (left) and fellow co-worker Kari.
I snapped this during my camera-hobby phase. (May, 1994).

Kelly was also a Madonna fanatic and it was she who worked tirelessly to get me to appreciate the Queen of Pop. At the time, Madonna was on hiatus following her incredibly successful 1993 tour, The Girlie Show, in support of her fifth studio record, Erotica. The day after the release of Erotica (October 20, 1992) Madonna's controversial coffee table book Sex, hit the shelves. The 128-page tome featured adult-themed photographs featuring nudity; soft-core pornography; and simulated sex acts, including sadomasochism. For decades, Madonna has had a knack for inserting herself into the pop culture conversation. As I wrote in my June, 2021, post about her album Ray Of Light (#367 on The 500), "Madonna, much like David Bowie, has managed to stay ahead of the curve by being the curve.

Sex hit bookstore shelves wrapped in 
protective Mylar packaging.

I am not sure if Kelly lent me her cassettes or if she made me copies. Regardless, I ended up owning Erotica and The Immaculate Collection (Madonna's first Greatest Hits Collection). Both got plenty of play on my headphones during workouts, bike-rides and roller-blading excursions. I'd also take them with me to sessions at the now-shuttered, but masterfully named Sun Your Buns tanning studio on Wharncliffe Road in my hometown of London, Ontario.

Album cover for Erotica, the firth studio record for Madonna.

I'm not sure if it was maturity, or the repeated listens, or buying into Kelly’s unbridled enthusiasm for Madonna, but I started to relinquish my music snobbery and gain a better appreciation for The Queen of Pop. I remember being particularly enamoured with the track, Justify My Love -- one of two new songs added to the 15 established hits on The Immaculate Collection. Composed by pop music contemporary Lenny Kravitz, it marked another shift in Madonna's ever evolving sound. It was her first venture into trip-hop -- a genre that blended psychedelia with hip hop and electronica.

Madonna and Kravitz backstage at the Video Music Awards in 2018.

It was a nostalgic delight lining up this blog to relisten to The Immaculate Collection all week. TIC presents, in chronological order, Madonna's biggest hits – from her debut single, Holiday (1983), to her smash, Vogue, which appeared on the 1990 album, I'm Breathless, which was, in part, a soundtrack to the film Dick Tracy (in which she also starred).

I'm Breathless album cover, featuring Warren Beatty, as Dick Tracy,
and Madonna, as Breathless "The Blank" Mahoney in the film Dick Tracy.

I'm still in touch with Kelly, although like many of my collegial relationships from the ‘90s, we connect mainly through social media. In August, 2017, Kelly helped arrange a 25th reunion of the Kelsey's Restaurant crew from 1992-1995. About 20 of us arrived for a night of ‘90s music, cocktails and memories. We could not help notice that the serving staff were all younger than 25, but they let us wander through the front (dining room) and the back of the house (kitchen), snapping photos, laughing and sharing stories. I am glad we got that opportunity. The restaurant plaza was demolished in 2020 to make way for new retail outlets.

A group photo on the steps that led to the
"deck" at Kelsey's South - London, Ontario
Saturday, August 12, 2017.

Those four years at Kelsey's Restaurant in the ‘90s somehow feel as if they happened last month and, simultaneously, a lifetime ago. It is remarkable how much we bonded during that time -- a random group of strangers figuring out how to "adult" their fast-approaching thirties. There are touchstones that will trigger my memories of that time -- and the music of Madonna is certainly one of them. Thanks, Kelly, for making me a fan.

A collage of photos from our time at Kelsey' - Christmas 1993.