This does the reverse, and transforms an almost official piece of American art. More often, we’re used to hearing somebody finding the moody shadows of a happy thing. But it uses no minor chords, which defined the song as it was. What’s needed is defiance, which is what Best Coast provides with “Rhiannon.” Like so many of these cover versions, it borrows Mick Fleetwood’s drum groove the register and tone of Bethany Cosentino’s voice comes reasonably close to Stevie Nicks’s, minus some witchiness. It made about four and a half very good records - if you combine “Fleetwood Mac” and “Rumours” with the best of everything else - using dry, wakeful rhythm grandiose emotional bloodletting and rich long-tone vocal arrangements.
(Since sputtering out in the ’90s, the band has reunited a few times, but without forward purpose.) It changed lineups frequently, in big and small ways. What’s the spirit there, exactly?įleetwood Mac was a strange entity. “Just Tell Me That You Want Me,” with 17 tracks by 17 artists - mostly indie-ish, rock and electronic, many-striped, individually produced and organized into a whole by Randall Poster and Gelya Robb - has Fleetwood Mac as its subject. Too much of this makes you gag.īut here’s such a tribute album that might claim your attention for a little longer. The respecters move respectfully toward the respected, suggesting that they are - all in their own way, of course - carrying on a similar spirit for new ears. (The producer Hal Willner has created more than his share of the exceptions.) Sometimes they want to be liked by the wrong people: those receiving the tribute, not the audience. They age badly or aren’t worth a second thought.
With few exceptions, multi-artist tribute albums are irritatingly patchwork, too sympathetic or too perfunctory, overthought or underthought. “Just Tell Me That You Want Me: A Tribute to Fleetwood Mac” (Hear Music)
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