Kiln House

by

Fleetwood Mac

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As a collective group, the original Fleetwood Mac (Peter Green, John McVie, Mick Fleetwood, Jeremy Spencer) had talent to burn. When they added a young kid with roots in Texas blues (Danny Kirwan), it would become an overpowering all-star lineup. Try and find another band with three scorching lead guitar players who were also adept as singers in their own individual right. Regretfully, the price they paid for so much abundance was seen in the reshuffling of their lineup: it seemed like they couldn't stand to be together (on stage or in the studio) for too long. With this literal game of musical chairs, it's amazing that they completed the projects that are their legacy.

When founder Peter Green split for a religious retreat in 1970, Kirwan and the circus showman-like Spencer remained. It was hard to live up to Green's overwhelming authority and expectations (especially as a blues perfectionist), and there is no doubt that the others felt intimidated by him. Freed of the personality challenges, the result was Kiln House, a disc that is a mother lode of riffs, tributes, and all-out joyfulness. Jeremy and Danny really led each other to new displays of vibrato magic and chunky chord displays that made it a 'different' sound. More importantly, the vocals (especially Spencer's eclectic identity changes) make this more approachable, and there is background help from a future player, Christine Perfect (McVie).

Spencer's composing skills were rejuvenated with a variety of styles, including his recognized bottleneck work and piano, and the other band members (McVei and Fleetwood) also received credits. The tunes start off with the Elvis-splashed "This is the Rock," a nifty shuffle that reminds us about the heart of the matter of this thing called rock 'n roll. With an off-beat percussion tumbling away, "Station Man" displays the group's superb voices against challenging squawks of slide and lead, and salsa-thick chords that literally chomp away like a hand saw through wood. This was one of my favorite "mystery" songs that I vowed to identify when I first learned about the magic of FM music.

Jeremy always enjoyed displaying a variety of alter egos on stage, and he keeps the engine stoked with a couple of humorous numbers, including the country-western "Blood on the Floor" and the raucous, sneering "Hi Ho Silver," with writing credits to "Fats" Waller and Ed Kirkeby. (I just saw Paul McCartney do "Silver" at a reunion visit broadcast in the Cavern in Liverpool, and it's a crowd-pleaser.) Going back to rock's early influences, he and Danny buzz on guitar as Buddy Holly and the Crickets get a salute with "One Together," and a song kindly credited to Holly's mother, "Buddy's Song." I'm sure the town of Lubbock, Texas, appreciated the acknowledgement of their late native son.

When Danny Kirwan took the microphone to sing, he could be charming and mild, or tough and aggressive. On "Jewel Eyed Judy," he does both, and the guitars sting and burn with pain from a broken heart. His guitar playing was really something to admire, especially with his wah-wah splashes and laser-beam lead lines that offset Spencer's fire on "Tell Me All the Things You Do. " Both men show delicate touches on "Earl Gray," and throughout this entire set, Mick Fleetwood toned down the drumming in the more muted style that he would use with the future incarnation of the band in the '80's and '90's. With chimes and a romantic chorus behind him, Spencer sails off with a final Holly-like vocal on "Mission Bell," perhaps indicating the blues and bravado of Fleetwood Mac would soon be transitioning to a more mainstream sound. In fact, his departure was soon to follow.

If you liked the Beatles and Abbey Road for its range of ideas and terrific guitar licks (like "Golden Slumbers"), then Kiln House should be its complement. All bands face a transition phase, and these guys made it safely to the other shore with this set. With the turmoil(s) that this band faced, they only could have done this once in their careers; thankfully, it has kept its listening appeal.