Then Play On

Fleetwood Mac

album cover

British Chamber Blues

A case can be made for Fleetwood Mac as the most important band in rock history. The quintet led by drummer Mick Fleetwood and bassist John McVie made an impact in two distinct eras, first as one of the leading acts of the British blues-rock explosion of the 1960s, and then, with a different lineup, as purveyors of sun-kissed California pop in the mid-'70s. That second period, epitomized by Rumours, was when the band hit commercial paydirt; its several hit albums brought joy to millions, and bankrolled experiments (Tusk) that pushed pop toward a grandeur few have attempted. Between these two towering peaks are a handful of near-classics, like the gloomy and downcast Bare Trees or the pop-leaning Heroes Are Hard to Find. Think about other rock bands who've had productive second acts: Very few have left this much rewarding—and remarkably varied—music behind.

The elegant Then Play On is one masterpiece of the early, blues-leaning incarnation of Fleetwood Mac. But it's hardly a typical blues record. It's more like chamber music with blues undertones, played by white Brits who walk in the shadow of the Beatles and understand that their version of the blues will not have the rhythmic drive of, say, anything on Chess records. At times, this music does strive for the urgent propulsion of great blues—on guitarist Peter Green's "Show-Biz Blues," it takes only hand claps and tambourines to get the revival tent rocking. "Rattlesnake Shake" is even more minimal—just a serrated-edge rhythm guitar triggers each vocal eruption. But it's not all party time, as there's a deep vein of contemplative music here: Danny Kirwan's tunes are cast in lachrymose tones, which invoke the blues as more a feeling than a sound. Among Kirwan's contributions is a stately instrumental, "My Dream," that unfolds like a series of secretive diary entries.

Some critics say Then Play On missed reaching its potential audience because it didn't swagger enough, didn't go where other blues-rockers (notably John Mayall's Blues Breakers; see p. 484) were going. But that's also its strength. These are thoughtful, often fragile songs. They're governed by understatement, filled with taciturn gestures played by a group of musicians who are more intent on creating a collective effect than a great solo. In a way, Then Play On is a last gasp of hippie idealism. Not long after this, the Me Decade pursuit of individual glory began.

Genre: Rock
Released: 1969, Warner Bros.
Key Tracks: "Closing My Eyes," "Show-Biz Blues," "My Dream," "Oh Well"
Catalog Choice: Bare Trees; Heroes Are Hard to Find
Next Stop: Ten Years After: Shhhh
After That: Savoy Brown: Raw Sienna
Book Pages: 283–284

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#1 from jeff erickson - 12/27/2008 7:54

why is Rumours not on here!!!!!!!!!!!!! every song on that album is incredible

#2 from tom moon - 12/30/2008 11:01

Jeff:

listening to the various incarnations of Fleetwood Mac, I was constantly surprised by the quality of the work. I feel Bare Trees (from the Bob Welch era) is an incredible album, as is Then Play On as are the first few titles with Stevie Nicks and Lindsay Buckingham. I also love the Buckingham/Nicks record, and when doing research for the list, I found that the album titled Fleetwood Mac was as engrossing as Rumours and actually offers a more interesting window into the band and its history. Obviously Rumours is an accomplished and well-known work; my thinking was that many of its fans might not know the equally astounding work(s) that came before it.

Thanks for your interest!

1000 Recordings To Hear Before You Die

Then Play On

Fleetwood Mac

British Chamber Blues

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