All copyrights hereby acknowledged. It took two men to replace him — Billy Burnette of the Memphis musical family and session man Rick Vito. He was a fan of the original band as led by Peter Green and had seen them live in Whereas on Tango in the Night you could hear no shortage of electronic percussion, here Fleetwood and McVie shine and gel particularly well with Vito on his Love is Dangerous and Stand On the Rock, two of the strongest numbers on the album. As far as writers went, the band seemed content to let the new lineup gel by collaborating more on composing than earlier incarnations.
Vito largely seems to hide behind his colleagues, duetting with Nicks on the rocker Love is Dangerous and accompanying her on acoustic for closing track The Second Time. He gets to do some rockabilly with Burnette on When the Sun Goes Down but shines particularly well in his own right on Stand On the Rock, easily the best song on the album after Love is Dangerous.
Perhaps this meant that Mac were effectively having music written for them now, and Burnette seems content to hide behind these hit-manufacturing types but they add an important edge to the album nonetheless with In the Back of My Mind and Hard Feelings adding a particularly dark feeling to the album despite weak lyrics in places. The band badly needed a break from Spanish guitar sounds with an eighties sheen and Burnette, Vito and Ladanyi between them gave them that.
Christine McVie churned out a couple of run-of-the-mill commercial numbers with then husband Eddy Quintela both enlivened by Vito and on her ownsome contributed the haunting title track, one of her rare dark moments of sweetly dismembering the subject with a welcome one-off return by Lindsey Buckingham on acoustic guitar.
In short the album is an excellent one, blending styles and moods and scenarios, recognisably Fleetwood Mac but with a shade of something new and bringing drums, bass and electric guitar back to the fore where they belonged. Estimated between Thu. Estimated delivery dates - opens in a new window or tab include seller's handling time, origin ZIP Code, destination ZIP Code and time of acceptance and will depend on shipping service selected and receipt of cleared payment - opens in a new window or tab. Delivery times may vary, especially during peak periods.
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Behind the Mask by Fleetwood Mac on Spotify
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How Fleetwood Mac Moved on With ‘Behind the Mask’
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The other new song on the album, "No Questions Asked," wasn't even released to radio in the United States that I can tell. The inch version Warner Bros.
At the time, this was unreleased in the U. Location: Bozeman.
Location: Massapequa, NY. The singles from Behind the Mask : U. You might think that, with back-to-back numbers, they were released simultaneously. But they were issued several months apart; "Save Me" hit radio in March , and "Skies the Limit" was issued in early July On the Hot , "Save Me" peaked at 33; it would prove to be Fleetwood Mac's last American top 40 single on the main chart.
Both singles were also issued on cassette with "4-" prefixes. Serviced to FM rock in the U. By the time "Hard Feelings" was serviced as another possible single, radio had basically lost interest; it didn't make any Billboard chart. It certainly never came out on Selected non-U. W with "Lizard People" on the flip. All the live tracks, I think, come from the soundtrack of the Tango in the Night videocassette, which was recorded at the Cow Palace in San Francisco in December I'm not sure if "Lizard People" has ever been issued in the United States.
Location: Vancouver. I had heard bits and pieces of Behind the Mask on the Chain boxset, but I never bought the record when it came out -- I just had a feeling Fleetwood Mac wouldn't be any good without Lindsey on board. I finally listened to it for the first time this week, and it didn't change my mind.
It's not unlistenable, but it's the definition of mediocre. The other members of Fleetwood Mac, talented though they are, just didn't have the strong vision needed to create a great record. I felt the early 70s records suffered somewhat from the same problem though there's a lot more good music on those albums than I realized , but at least in those days the band was young and fresh -- on Behind the Mask they sound tired and stale.
The new recruits don't bring anything interesting to the table, and I don't know why so much space is given to them -- why not focus the whole record on Christine and Stevie, the band's familiar voices and proven hitmakers? Then again, maybe they weren't really up for it. Stevie doesn't sound as ragged and burned out as she did on Tango in the Night, and she manages one good song that Lindsey could have done something with "Affairs of the Heart" but, as she does all too often on her solo albums, she just sounds like a rock chick with a weird voice on this record -- she doesn't seem to be in touch with anything magical anymore.
Christine's songs feel forced, as songs usually do when their authors are running out of inspiration, and her material always needed good production to bring it to life, which it doesn't get here -- the album has that awful late 80s digital sound. It is interesting that, as someone pointed out, the album feels more like a collaborative effort than the last couple of Fleetwood Mac albums had, with more vocal interplay between the members, but there's no one piloting the ship either.
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- 25 Years Ago: Fleetwood Mac Release ‘Behind the Mask’ Without Lindsey Buckingham.
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Question: did any of you see Fleetwood Mac on the tours for this or Tango in the Night? Squealy , Oct 1, Roscoe , Oct 1, Location: Atlanta, GA. After hearing it, I just felt is was mediocre. I hope others found it a better record than I did. GreenDrazi , Oct 1, Location: Ireland. To be honest, I didn't buy this one for years either. It's pretty generic stuff, which is the first time you could say that about a Fleetwood Mac record. Christine is still churning out the goods but with Buckingham no longer around, the production is significantly weaker. The new boys seem to have assisted Nicks in the sense that her songwriting contributions are more focused than on Tango, even if they are far from her best efforts.
The new boys, Burnette and Vito, bring some characterless guitar playing, dull solos and dull songwriting. There's about four or five decent tracks here and the rest isn't remotely memorable. As someone else once said, Burnette and Vito had double the guitars of Buckingham but half the talent.
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