The ongoing melodrama that is the past, present and future of Fleetwood Mac is nigh-on forty years old now.  While casual observers may credit (sic) main protagonists Stevie Nicks and Lyndsey Buckingham as the central figures in this black fairy-tale, the Mac’s internal struggles predate their mid-70’s entrée by several years.   

The band’s birth and initial rise has its roots in the British blues boom of the 1960’s and back then featured a young guitar wizard by the name of Peter Green.  Green’s slick invention and way with a melody gave rise to several classics over a relatively short period of time, that whilst steering clear of the heavier end of the scale (at that time in its genesis) their output had nonetheless a profound influence on the burgeoning hard rock scene.  Evidence of this may be seen by way of Rock heavyweights Judas Priest cover version of “Green Manalishi”, while in more recent times Aerosmith deemed the band worthy of respect at Joe Perry’s behest, and included live staple “Stop Messin’ Around” on the recent blues tribute album “Honkin’ On Bobo”.  It may be worth mentioning that this number was the only non-American track included on the album- high praise indeed from an act that know a thing or two about the blues.  Additionally, I feel there is a sound argument that the classic “Oh Well” afforded an AC/DC “in their pomp” the template to go on and create “Beating Around The Bush”.  Moreover, “Man Of The World” and “Albatross” are rightly attributed “household name” status, by rock fans and casual listeners alike. 

Where did it all go wrong then?  The legend has it that Green’s drink was spiked while on tour in Germany in the early seventies, and thus dealt the guitarist a huge psychological blow that pre-empted his departure from the band.  Tales of a Howard Hughes-style reclusive existence permeated the rock world until the old master ended his hiatus in recent years.  Nevertheless, Green’s initial retreat saw the band drift in shallow waters, creatively and inspirationally.  While musicologists may metaphorically speak of “two” Fleetwood Macs (i.e. the Green era and the Buckingham/Nicks era), ironically this was quite literally the case during the bands wilderness years, with two touring acts simultaneously headlining under the banner of the Mac moniker. 

Fortunately, the introduction of the famously romantically linked Californian duo saw a huge renaissance in the group’s fortunes, culminating in the mega-platinum success that was the “Rumours” album.  However, the melodious content was underscored by a lyrical unease which all-too-readily betrayed the internal strife and conflict which almost laid waste to the second incarnation of the band.  To say that bloodless incest was the order of the day may seem something of a contradiction in terms, however given the nature of the bed-hopping and partner-swapping exploits of all concerned, on reflection it may not have been a remark far off the mark.  In need of an album title, Stevie?  How about “Internal Affairs” for openers.     

And so the mega-selling behemoth rumbled on unstoppably until 1987’s “Tango In The Night”- a consummate exercise in both songwriting and production by one of the Rock-eras most underrated maestros, Mr. Buckingham, and as fine a MOR release that the decade produced, to these ears at least.  Regrettably though, by this stage the multi-talented Buckingham had had enough of the in-house strife and decided to call it a day to pursue a solo career.  Ensuing years gave rise to a downturn in fortunes for all concerned, and despite a highly successful reunion by way of 1997’s acoustic MTV-inspired outing “The Dance”, a full-blown reunion remained on hold for a further five years.  Thereafter, a chance encounter by Buckingham with group founder Mick Fleetwood, led to the former offering Mick a guest slot on his latest solo album.  Coincidently (?) bassist John McVie happened to be “in the area” and the three decided on an informal rendezvous, to catch up on old times.  As things were proceeding well, it wasn’t long before the seemingly inevitable happened and Rumours, as it were, of a Nicks re-entry to the ensemble proved correct.  

Although the Mac was minus long-term stalwart Christine McVie, the resulting opus “Say You Will” is a worthy inclusion to the band’s previously recorded output, showing that none of their inspirational magic or seamless technique has been lost.  On the other hand, the old wounds are never too far from the surface, as DVD release “Destiny Rules” reveals.  This package follows the band through the duration of the recording process and was edited from over 500 hours of footage, including several hidden cameras.  Stevie Nicks’ grand entrance into Buckingham’s home-cum-recording studio, shows her carrying an ethnic “Dream Catcher” the size of a rubber plant into the living room. She innocently asks, “Where can I put this?” and this preliminary installment of the formidable Nicks ego must have stretched Buckingham’s diplomacy to its limits. 

Interestingly, there are all sorts of contradictions apparent: for example, while Buckingham is willing to take a financial loss as the price of releasing a double album, Nicks, at the prospect of her receiving less than the perceived slice of the pie, reveals herself to be less the spiritual hippy-chick and more of a “Sharon Osborne in Leather and Lace”, by protesting “This isn’t about art!”  Yet there’s more to follow:  When Lyndsey corrects Stevie for an imprecise change of tense during the lyric-writing process, she reverts to her “flowers and bells” mode, and protests, “This is how I express the poet within”.  Superficial Californian Mystics Are Atrocious- and try singing THAT the next time you watch Mary Poppins. 

To be fair to Nicks though, both Fleetwood and McVie were also of the opinion that a double-set was a bridge to far, logistically, artistically and financially, and would have longer-term fiscal implications for the proposed World Tour, scheduled to follow the album’s release.  Nicks, in one of her more logical musings, makes the point that the disc should be aimed at the 10 – 25 year old age-group demographic.  Her fears that older fans simply don’t have the time to keep up to date on the events of the music industry, and that the release may escape the notice of the bands former audience would appear rational enough.  Additionally, she raises the question: what chance is there of a 30/40 something audience taking time out to indulge in an elaborate double album?  “They’re too busy raising kids and paying the mortgage” she claims, and to be fair, it’s not an unreasonable argument: her point being that in an industry dominated by Btitney-clones and Aguilera-alikes, is there really room in the market for a Fleetwood Mac double album? 

The three-against-one vote won out at the end of the day though, and the band decided to go ahead and release a single album- of EIGHTEEN SONGS!!!  Hilariously, Buckingham wastes no time in taking credit for the decision, and Mick and John, wise old heads that they are, tactfully allow their creative guru to claim the plaudits.  The ultimate irony of it all is that the album would have been a much stronger artistic statement if they had kept it to within a 12-song framework. That said, as a creative work, the album is largely flawless, and contains the wide-screen and Technicolor emotional landscape that has always been the hallmark of the group’s unique originality. 

For those interested in the innovative process involved in making a modern rock album, this DVD is a must-see, particularly when under-written by the curious inter-personal and lyrical dynamic that is part and parcel of the Fleetwood Mac saga.  Following on from the televised “Classic Albums” series, it appears that this “biography of an album” type release is now the order of the day.  Whether or not you are a fan of the Mac, it certainly makes fascinating viewing.  And if you are a fan, I’d recommend this as the ideal companion to “Say You Will”.  Certainly, if their live appearance last year in Belfast’s Odyssey was anything to go by, I’ve no hesitation in answering in the affirmative.  Long may they go on (even if in Stevie’s case its on and on and on and on and on…)