Fleetwood Mac - Say You Will
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Artist: Fleetwood MacBrand: REPRISE
Edition: Music CD
Audio: English (Original Language)
CD Release Date: 2003-04-15
Music Label: Reprise / Wea
Soundtracks:
- What's The World Coming To
- Murrow Turning Over In His Grave
- Illume (9/11)
- Thrown Down
- Miranda
- Red Rover
- Say You Will
- Peacekeeper
- Come
- Smile At You
- Running Through The Garden
- Silver Girl
- Steal Your Heart Away
- Bleed To Love Her
- Everybody Finds Out
- Destiny Rules
- Say Goodbye
- Goodbye Baby
Music reviews of Say You Will
Music Review: overblown "comeback"--Lindsey's schtick is very tiring here
Rating: 2 Stars
It seems that a lot of people have hard feelings about the idea that this album was released as a Fleetwood Mac album to increase hype/ commercial potential, but the fact is, it's undeniable. Come on folks, how can you be so blind?
It's no secret whatsoever that Lindsey pined for god-knows-how-many years over his never-released "Gift of Screws" album--he speaks of it himself on 1997's "The Dance" CD in the intro for "Bleed To Love Her", a song that was originally intended for "Gift of Screws" (as was "My Little Demon", which also turned up on "The Dance"). That was ALL the way back in 1997--now look here, over 5 years later we get the studio version of "Bleed To Love Her", & "Bleed" is certainly not the only track that dates back that far--"Red Rover", "Come", "Say Goodbye" (& more) were all originally intended for "Gift of Screws" & Nicks doesn't appear to be on any of them. Additionally, it seems clear that certain of Stevie Nicks' tracks (most of them?) are solo project outtakes as well (or material she never may or may not have intended to use, but dug out for this project). Now, don't get me wrong--if they want to put this album out under the name of Fleetwood Mac, that's understandable. It's not like this kind of thing has never been done in the music business before--heck, one of Lindsey's idols, Brian Wilson, had an album intended to be released as a solo album with the title of "Brian Loves You" back in 1977, but, similarly, it ended up being released as a Beach Boys album retitled "The Beach Boys Love You". Even in the Mac's own history, supposedly 1987's "Tango In The Night" was originally to be a Lindsey Buckingham solo album. So, fine--they wanted to release it as Fleetwood Mac.
What really matters though is the quality, and quite a number of people really seemed to fall for the hype of "new Fleetwood Mac", because this is a very seriously flawed album. Lindsey is EXHAUSTINGLY recycling his bag of tricks on here. If you think what he's doing on here is "new", clearly you haven't been paying attention. It's not that he doesn't have any worthwhile ideas on the album, however, the album finds Lindsey, to a very large extent, desperately trying to compensate for incredibly slight songwriting--he tries using an extremely dense, overcooked sound, & meticulous, painstaking arrangements--most blatantly, he annoyingly plasters extended, repetitive, "intense", show-off-y guitar solos onto TRACK upon TRACK upon TRACK--"Murrow Turning Over In His Grave" & "Come" both have interchangable solos at the end that go on for OVER A MINUTE on each track--"Miranda" also has a song-ending solo that's not quite that long, yet is ludicrously out-of-place. Granted, he used this song-ending-guitar solo trick even on "Go Your Own Way" all the way back in 1977, but there, at least, he had a decent tune. And that's a huge problem here--Buckingham does not have a solid foundation to work from on these tracks I've just mentioned, & his dense arrangements/ guitar solos come off as bombastic, & are an attempt to mask ultra-poor songwriting. "Murrow Turning Over In His Grave" features Buckingham singing/ mumbling in an unconvincingly "paranoid", tuneless way in the verses, & with "Say Goodbye", it's as if he's intentionally trying to make the vocal melody as dull as possible, & he rushes through the lyrics as if he's embarassed by them. "Come" features, yet again, his annoying, "paranoid" singing of a basically melody-less melody, & he reuses his trick of having a super-quiet part with an ear-blastingly loud part--he did this type of thing to much better effect on songs such as "Tango In the Night" and "This is the Time", the latter of which is from his 1992 album "Out of the Cradle". He also tosses in some speaker-hopping on the vocals, another one of his trademarks, as if that's going to help in this context. "Miranda" is a super-weak track--it has his usual paranoid/ insecurity-themed lyrics head-scratchingly matched to a displeasing, upbeat tune that has him yet again reusing his "Big Love" riff, & tosses in an annoying, harmonized chorus. So folks, this is NOTHING new for Buckingham AT ALL--if might be a shade less familiar if you tuned a total deaf ear to Buckingham's solo output, but unless you stopped paying attention to the Mac after "Rumours", this stuff should reek of familiarity, & in this case, it's a bad thing since he's using the tricks to annoying effect & to try & mask a painful roadblock in songwriting. I don't have anything against his finger-picked/ arpeggiated, "Never Going Back Again"-style acoustic guitar playing, but the nice acoustic parts on "Come" & "Say Goodbye" end up getting smothered by all of the negative aspects of the respective tracks. He does pull off one strong track in this vein--the manic, 6/8 time "Red Rover" is very hard to get a handle on, but it's arresting--it's a good showcase of his massively-tremoloed acoustic guitar, & it has an effective, soaring buildup, & he doesn't mercilessly drag the tune out.
On his remaining tracks, Buckingham does set aside his "insane" style in favor or a straightahead pop-rock sound, and he does come up with the catchy, nicely-harmonized "Peacekeeper", but there'a also the incredibly slight love song "Bleed To Love Her" (again dragged out with a long solo & additionally marred by that annoying "splat"-y drum sound or whatever it is), an incredibly slight "statement" with "What's the World Coming To", and the pleasantly listenable but rather dull "Steal Your Heart Away".
So, basically, Buckingham wasted a massive amount of effort with this, & by trying so hard, he actually ended up making things worse.
Thankfully, Nicks' tracks are more consistently pleasing--the arresting "Smile At You" actually jumps out at you--& she's in strong voice too. Granted, Buckingham had heavy involvement on Nicks' tracks, but still, overall her tracks hold up way better than his. He does give a nice touch to the enjoyable "Thrown Down", adding some dreamy guitar (along with some looping synth, yet another of his trademarks), & even the rambling, minimalist "Illume" is effectively moody & nicely anchored by the wavering-back-and-forth-between-two-notes chorus. Still, her tracks are highly problematic as well, although at least they aren't so GRATING. She didn't even write the music for "Running Through The Garden", yet it still manages to start off sounding like a clumsy, washed out version of the previous tune, "Smile At You", & overall, it's a generic, unexciting uptempo track with Lindsey, yet again, trying to lift it up with his "thrilling" guitar soloing. The title track, an upbeat love song, is also dull, additionally marred by the annoying children's chorus-vocals at the end. "Silver Girl" is nicely tuneful, but there's no denying that musically, it sounds like "Thrown Down" at a slower tempo, & then "Destiny Rules", another ear-catching tune, sounds like "Thrown Down" again, this time at a slightly quicker tempo, & it's quite rote & marred by some weak lyrics. The closing tune, the dull "atmospheric" "Goodbye Baby", ends the disc in weak fashion.
All that said, this is an enormous mess of a "comeback" album, & by putting the Fleetwood Mac tag on it, I think a lot of people got brainwashed. This isn't even close to a great album. With Buckingham badly out of control, & Nicks in rather rote form, the album, despite the occasional bright spots, is very much a chore to get through. It adds insult to injury knowing that Buckingham has better material from what was to be his "Gift of Screws" album--the ballad "Down on Rodeo", for instance, is clearly better than many of the tracks that he DID include on here. Unless you're a total Buckingham worshipper, or a die-hard Nicks fan who's extremely forgiving of Lindsey's indulgences, it's absolutely incredible that anyone would love this album.
Description of Say You Will
2003 album featuring both Stevie Nicks & Lindsey Buckingham, the first since 1987's triple-platinum Top 10 'Tango In The Night' & first release since 1997s 'The Dance'. The band also features John McVie & Mick Fleetwood plus guests artists, Sheryl Crow, Christine McVie, & Dave Palmer. This limited edition includes an exclusive bonus enhanced CD with four tracks, 'Love Minus Zero/No Limit', ' Not Make Believe', 'Peacekeeper' (live from AOL sessions), & 'Say You Will' (live from AOL sessions), along with behind the scenes footage, packaged in a digibook. Reprise.Given their overarching history, Fleetwood Mac's 15-years-after studio reunion seems as unlikely as their initial, era-defining nova of success. Even cynics leery it's just another geezerfest payday should find this stripped-down edition of le Mac Classique (singer/songwriter/keyboardist Christine McVie opted out) bristling with a wealth of fresh, ambitious musical ideas. The responsibility for that creative renaissance rests squarely on the delicate shoulders of Lindsey Buckingham, more involved and motivated than he's been in any Mac project since the monumental Tusk. His crypto-folk structures and adventurous, Brian Wilson-inspired sonic textures are anything but predictable, illuminating "Miranda," "Red Rover," "Come," and even the mildly pedantic harangue "Murrow Turning Over in His Grave." With Christine McVie's poignant pop sense out of the mix, Stevie Nicks steps up with solid songcraft that rises beyond "Ilume"'s expected folk-mysticism to encompass other melancholy, age-defying feats like "Silver Girl," "Smile at You," "Goodbye Baby," and the title track. That duet with Buckingham argues that their vaunted creative axis may have lost its personal friction only to spin ever freer. And, like firm ground beneath the feet, it's too easy to take for granted the legendary Mick Fleetwood/John McVie rhythm section that gave the band its very name. Cut to its core dozen tracks, it's an album that easily stands comparison to their mega-platinum past. --Jerry McCulley
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