Customer Reviews

Mystery to Me

5 star:		(24)
4 star:		(27)
3 star:		(9)
2 star:		(0)
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First off, this is where Welch really shines on this album.

His Emerald Eyes and Hypmotized are his strongest efforts from his tenure with Fleetwood Mac - save for Future Games and Sentimental Lady.

Christine McVie adds some of her unmistakeable pop charm with Believe Me, Just Crazy Love, The Way I Feel, and Why.

But this is Welch's spotlight album.

He rocks out on some tracks as well such as City, Miles Away and Somebody.

The band also does a cover of For Your Love, a song made famous by The Yardbirds.

Bottom Line: The album is the peak of the band's middle years and the peak of Welch's input with the band. Classic stuff on here folks!

The exact point at which Fleetwood Mac went from blues-rock towards sunny California-style pop is hard to pinpoint. But you could say that when Jeremy Spencer disappeared from the band to join a religious cult, not to mention leader Peter Green retiring into a drug-induced seclusion, Fleetwood Mac needed to carry on, even if that meant changing their musical approach. In the early 1970s, Fleetwood went through personnel changes galore, with Mick Fleetwood & John McVie the only constants from the original lineup. Christine McVie had officially become a permanent part of the group, but she was still a newcomer basically.

An American by the name of Robert Welch was the unofficial leader by the time of 1973's MYSTERY TO ME, which even with its sound even further removed from the Mac's blues-rock beginnings, it still failed to turn a profit. In fact, a standing joke around Warner Brothers was that Fleetwood Mac's albums made enough money to pay their electric bills. While in a few short years Mac would soon be able to do more for Warners than that, with MYSTERY TO ME they were still journeymen at best.

Welch, who would go on to solo success with hits like "Sentimental Lady" & "Ebony Eyes", dominates the album by writing 7 of its 12 songs. Not all of them are winners, but those that are include "Hypnotized", "Somebody" & the early concert standard "Emerald Eyes". All of these songs have a certain sexiness to it that is only helped by the snaking rhythm that powers these songs. They also prove that Welch had a good chance of making it as a solo artist, even if it only lasted a short while. Welch also sings on the cover of the Yardbirds' classic "For Your Love", which was from when the legendary blues-rock pioneers started their journey towards pop that would lead Eric Clapton to depart the group. The Mac's version is a likeable one, but it doesn't exactly threaten the Yardbirds' chance of retaining it for their own.

Christine McVie takes up the slack on 4 more songs that predate the bouncy pop that would soon become her stock in trade on the Mac's classic work. "Believe Me", "Just Crazy Love", the all-too-short "The Way I Feel" & the closing ballad "Why" prove McVie as the band's saving grace whenever they came up short on an accessible song that could make a good hit single. She also sings lead on Welch's "Keep On Going", which is one of the songs that doesn't quite add up.

MYSTERY TO ME, in essence, was basically just another entry in Fleetwood Mac's extended transitional period that saw them winning next-to-nothing in the way of commercial success. Creatively, they were still in a holding pattern, just beginning to get the hang of the new pop sound that would help make them one of the biggest-selling bands in music history. After the 1974 follow-up HEROES ARE HARD TO FIND, Bob Welch left the group to go solo, as did lead guitarist Bob Weston. The remaining 3 members of the Mac then moved to California, where they heard an album by a duo named Buckingham-Nicks. Enchanted, they enlisted the duo to join the group. They recorded their self-titled 1975 album & the rest, as they say, is music history. After that, Fleetwood Mac's success would be a mystery to no one.

Nothing against Lindsay Buckingham or Stevie Nicks (who have alot of awesome music out to begin with), but I personally liked the Bob Welch-led set with FM. It was not so polished and radio-friendly; instead it had an innocent glaze to it that was made to appreciated in scope, rather than individual "Hit Singles". To give credit where credit is due, Mr. Welch really started carving out the pop-ish legacy that FM would later generate worldwide with the entrance of Buckingham/Nicks. "Hypnotized" is crafted so well both in sound and lyrics that it makes one wonder how it was not further recognized or appreciated. "Emerald Eyes" is gifted too, with riffs that are reminiscent of Eric Clapton. The blues roots that FM started in their 1960s debut was still kept alive here, with "Why" as a clear example. Christine McVie shines magically here with "The Way I Feel" .... a truly raw/honest telling from the heart that makes me sit back in complete every time I hear it; her piano playing is stronger than ever (to anyone who might doubt her ability) and nearly Carole King-like in nature. Mick's drumming and John's bass were always the foundation to the band's craftsmanship, and this album is no exception or disappointment to that fact. All the songs travel in warp speed to the consciousness .... when a track begins at a slightly slow pace (such as "Believe Me") the moment changes to a highly-charged follow-up in musicianship that makes the listener free and willing to dance around a bit.

One week ago, I was one of you...a fan of FLEETWOOD MAC, RUMOURS and TUSK that had never delved into the band's past catalogue. I had heard rumors of good stuff, sure, but never really gave it a listen. Then "Hypnotized" suddenly appeared on my AOL Radio one day and I was like "OK, I love 'Sentimental Lady' and it's time to give the Bob Welch era a chance."

I'm glad I did. This album is absolutely wonderful. Welch had his weaknesses--he's not the strongest singer and his guitar playing is forgettable--but the man could write songs. McVie more than makes up for him in the vocals department, though, and Bob Weston is just incredible on this album. So good that I'm surprised the fans on here don't talk more about him. His lead work is just amazing--both on electric and in an amazing acoustic solo on "Keep On Going." He makes every song far richer than it otherwise would have been. John McVie is his standard great self on bass and Mick--well Mick is solid, but not at his best here.

The songs are wonderful and will appeal to all (in my opinion) who like the similar pop of the group's Buckingham/Nicks period. Trust me...I worshipped Lindsey before hearing this--but an open ear will grant these songs the due they deserve.

The truth--and I'm only beginning to fully appreciate this--is that John and Mick apparently were unbelievable judges of talent. Throughout their career, they associated themselves with tremendous guitarists, vocalists and songwriters--and that's why they've lasted as long as they have.

Don't cheat yourself. Find "Hypnotized" and "Emerald Eyes." See how stunningly beautiful McVie was pre-commercial success with songs like "Why," "Way I Feel" and "Believe Me." It's musical, it's experimental, it's bold, it's artistic. And it's no longer a MYSTERY TO ME.

"Mystery To Me" is almost unquestionably the best album Fleetwood Mac had made up to that point, and fares well in comparison to the later Buckingham-Nicks material, making it one of the best albums in the group's entire career. It has been called the "Rumours" of the Welch era, and there is some truth to this--the production is crisp and professional, and at least half the cuts are top quality. Welch takes the primary songwriting helm, offering up pop gems like "Emerald

Eyes" (with its building, circular chorus), the classic "Hypnotized" and the rocking "Miles Away" (with some scintillating guitar by Bob Weston). His lyrics here tend to the mysterious and spiritually-tinged, with a slightly cynical edge (as in "Miles Away") to balance it out. McVie offers up four of her finest songs to date, all of which show her style reaching rapid maturity and providing the blueprint for her work on "Fleetwood Mac" and "Rumours": "Believe Me" and "Just Crazy Love" are two catchy pop-rockers that foreshadow massive hits like "Say You Love Me" and "Don't Stop", while "The Way I Feel" and "Why" are tender, heartbreaking ballads that feature her voice at its warmest. "Why", the album's closing number, is one of the best Fleetwood Mac songs ever and worth the price of the album all by itself; it is an equal signature work to "Songbird". Indeed, both "Hypnotized" and "Why" were considered strong enough to stay in the group's setlist as late as 1978. The overall mix of serious but catchy pop-rock found in "Mystery To Me", with lyrics that mix eerie mysteries (the Welch tracks) with relationship turmoil (Christine was already having problems with her husband John, and it shows in "Believe Me" and "Why"), does indeed sound like the formula that made the group's late 70s albums such mammoth successes. It should have been more popular at the time (although it was their highest-selling release in the US up to that point), and remains underrated to this day--although the fact that it is not an overplayed, over-discussed behemoth is part of its charm. There are two or three filler cuts ("Forever", "Somebody") which could have been left off the album (at 48 minutes, it was lengthy for the days of vinyl), but overall it and "Bare Trees" prove that the group was capable of putting out some fine music during this period.

Fleetwood Mac veered all across the musical spectrum from the churning blues created by the group's mysterious founder, Peter Green, to the crystal visions that blinded FM programmers of the Buckingham-Nicks era. In many ways, Mystery to Me stands as an anomaly in this body of work.

Recorded shortly after the less than amicable departure of the self-destructing genius Danny Kirwan, Bob Welch and Christian McVie imbue this recording with wit and charm. The sound and the songs are less hard-edged and more mellow than on any other Fleetwood Mac recording, and it deserved to be judged on its own merits not for the lack of blues and psychedelic jams on earlier recordings. Though some attribute the sound to the fact this album was recorded on the Rolling Stones Mobile Unit, it's more likely that the personalities of this line up just happened to mesh.

Bob Welch infuses some jazzy west coast guitar into his songs along with his breezy vocals and clever lyrics on cuts such as Hypnotized and Emerald Eyes. Christine McVie really shines, both as a singer and songwriter. Forever, one of the few collaborations between McVie and Welch, offers a glimpse of what might have been a great songwriting duo. Mick Fleetwood and John McVie demonstrate once more why they deserve serious recognition as one of the greatest rhythm sections ever, laying down superb drums and bass that seamlessly propel these songs.

Listening to this CD always improves my mood and it's the perfect balm for the Sunday afternoon blues.

Yesterday I asked my stockbroker, 28, whether he liked and what he knew about Fleetwood Mac. He admitted 2 years ago that he'd grown up with his parent's music, and generally buys music he remembers from their (large, like most affluent folks born in the 50s) collection.

He admitted only owning the "Greatest Hits" collection from 1998--a single disc covering the 1975-1998 era, but twitched when I mentioned songs like "Oh Well" and "The Chain". I had a new project!--suggest the best works from the 'Time Before Fleetwood Mac's second lp called "Fleetwood Mac"'(their first release was also titled that) that would shower him in pixel dust with the glory of the way-WAY-bygone years.

Of the 17 numbers I scrunched down to, 5 Bob Welch songs got included ("Angel" was co-written by Christine McVie). 2 are from "Mystery To Me"--'Emerald Eyes' and 'Hypnotized'. The latter is my top choice for best Fleetwood Mac song, any lineup, ever. It's the feel of the song,the playing, the lead singing, and Christine's backup singing, AND the production (I've heard other versions in and out of studio by them), even more than Welch's words, that made me stamp 'Hypnotized' a singluar, stellar,untouchable Classic piece of music, any genre.

"Mystery To Me" has a host of other bright (but not as quite as powerful)lights, including a forceful, acknowledging-of-forerunners version of Graham Gouldman's "For Your Love" (first recorded by the Yardbirds), and Christine McVie's first star sparkle song "Just Crazy Love", (foreshadowing her better known, equally warm and endearing songs on "Fleetwood Mac (75)" and thereafter).

Oh--of the 12 non-Welch songs I suggested to my broker to hook in, 5 were by Peter Green, 1 each by Christine, Lindsey and Danny, 2 band works ("The Chain" and "Tell Me All The Things You Do", an Elmore James blues, and a cover of the Donnie Brooks late 50s hit "Mission Bell" to lighten it up.)

As the body of work on "Mystery To Me" remains uncompiled, as do it's flankers "Bare Trees", "Kiln House, "Penguin" and "Heroes Are Hard To Find", I suggest you get each before the lawsuits over rights get settled and they disappear for all time and appear in bits and smurges on something like "Greatest Hits Volumes 4-6: The Non-Hits".

I stumbled across this little gem (my vinyl copy) cleaning out a cabinet last weekend. Even though I'm a big Buckingham/Nicks fan, "Mystery to Me" will always be my favorite Fleetwood Mac album, yet it pre-dates all the record-breaking records that followed.

The raw creativity is unbelievable, particularly for the early seventies. Ironically, this may explain why it didn't sell more copies. The timing and rhythm of most of the tracks make this collection stand out from other music being released at the same time. In most bands you would attribute the percussion and bass (writers McVie and Fleetwood) for defining and holding the rhythms, but clearly the Bobs (Weston and Welch, on guitar) and Christine Perfect McVie (keyboards) were way out there too. I'd love to know who to credit, but thats probably better left to Fleetwood Mac historians.

Its amazing when you think about what happens when talented but otherwise unknown musicians are grouped with Mick Fleetwood and John McVie. First was Peter Green, one of the finest "British Blues" performers of his time ("Peter Green's Fleetwood Mac"), before leaving the band and fading away. Next, (some might disagree) "Mystery to Me" seems to have been the high water mark for Welch and Weston as well, before they left the band. And everyone knows what happened when the unknown duo of Buckingham-Nicks were hired. In a way, the Bobs may take credit for paving the way for (by leaving) one of the greatest pop bands in music history.

"Hypnotized" is a hugely undervalued drug song. I would put it up there with the Byrds "Eight Miles High," and the Beatles "Lucy in the Sky." "Emerald Eyes" and "Just Crazy Love" are two great songs about infatuation. The album ends with my favorite of Christine McVie's many wonderful soft ballads, "Why." And "The City" is a legitimate predecessor to the indy/alternative work that was so popular in the 90s.

Anyway, with "Mystery to Me," its all good. If you want to take a very worthy sniff of where all that creativity was lurking before the McVies and Mick Fleetwood went on to sell 100 million copies, don't cherry pick "Mystery to Me." Buy the whole album. I highly recommend you do.

Although eventually becoming THE seminal band of the 70's and 80's, FM started out in the blues tradition of many artists of the era. Although strong (if not commercially successful) work was generated from the early period of FM, they are better known for the more commercial (and I believe inferior) output, peaking with "Rumours".

For some reason, "Mystery to Me" has not received the acclaim I believe is due, and it is unfair. "Rumours" may have paid the bills, but "Bare Trees" and "Mystery to Me" showed some of the breadth of the band through different periods. Going through time reveals some of the truly interesting (and sometimes sad) individuals who contributed to the discography. These include Kirwin, Spencer, Green and Weston and Bob Welsh, heavily featured on "Mystery to Me".

I love this CD. It finds its way to the deck once a month or so, which is impressive, as I have 1500 or so CD's and regularly cull out the ones that aren't listened to to keep the collection manageble. Some of the other reviews list the strengths and weaknesses of the CD, but in deference to some of those comments, one of my favorite songs is one of the most lambasted: "Keep on Going". The lyrics are strong, the beat is driving with an interesting intro and the solo guitar work is crisp and astute. Why don't people like this song as well as "Emerald Eyes" or "Hypontized". Got me.

Like "Bare Trees", this is a must have. If you think the late 70's culminated with "Rumours", you will probably be dissapointed by both these albums. I wish FM would have renamed themselves after Nicks/Fleetwood joined, as they were a very different band after that. Not better or worse, just different. Get it today.

I view post Green/Spencer-pre Buckingham/Nicks FM as a band that was willing to try different things. They could rock hard, be a little spacey and create really beautiful ballads. Usually melodic and servicable, if not great, lyrics. I thought they fit in as one of the progressive bands of the era, with Traffic, The Who, Jethro Tull, ELP and others. On this album, there are hits and misses. The hits are very good, especially "Believe Me", "Hynotized" and Christine's ballads on side 2. But it's...uneven. The primary 4 players were joined by Bob Weston, who adds some interesting guitar licks.

At the time, the band was faltering commercially. I have always wondered about that. I am guessing they had very little push behind their albums. Given that the audiences were pretty open to different kinds of music, their prior success in their early days and the fact that every album had at least one or two radio-ready songs, it surprised me that FM did so badly in the early 70s.

I like FM with Lindsey and Stevie. But there was always something special about the band when they had more than one guitar player, whether Green and Spencer, Kirwan and Welch (they're my favorite pair) or Welch and Weston.