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Live Recording
Fleetwood Mac: Bob Welch (vocals, guitar, vibraphone); Christine McVie (vocals, keyboards, Arp string synthesizer); John McVie (bass); Mick Fleetwood (drums, percussion). Additional personnel: Pete Kleinow (pedal steel guitar). Recorded at Angel City Sound, Los Angeles, California in July 1974. Although this was Bob Welch's last album with the band he had worked with since 1971, it sounds like he's at his peak. Pared down to a foursome for the first and (as of 2002) only time since the addition of Danny Kirwan, both Welch and Christine McVie contribute some of their finest songs. Bolstered by sympathetic self-production and imaginative, often aggressive arrangements that include brassy horns on the title track (a blatant but failed attempt at a hit single), the album is one of their most cohesive yet diverse. Welch continues his fascination with UFOs in a sort of follow-up to Mystery to Me's "Hypnotized" called "Bermuda Triangle" and even heads into a spacy Hendrix "Third Stone From the Sun" groove on "Coming Home." Christine McVie is in wonderful voice on her own ballads like "Prove Your Love" but outdoes herself on the magnificent "Come a Little Bit Closer," a stunning track whose grandeur is heightened by strings and McVie's majestic piano. It's a hidden classic and pedal steel by the Flying Burrito Brothers' Sneaky Pete Kleinow is an unexpected and perfect addition to the album's most fully realized tune. Welch's folk-pop "She's Changing Me" is one of his most upbeat, memorable melodies, offset by the rocker "Silver Heels" and his closing "Safe Harbor," a knowing nod back to Peter Green's atmospheric work on "Albatross" and his contributions to Then Play On. McVie's haunting rocker "Bad Loser" is reinforced by the propulsive rhythm section of Mick Fleetwood and John McVie, both adding tense bite to even the most tender of ballads. Welch left soon after the album's release, and the group went on to bigger and better things, but Heroes is a minor gem that retains its effortless pop charms and contains some buried jewels in the extensive Fleetwood Mac catalog. ~ Hal Horowitz When Fleetwood Mac cut 1974's HEROES ARE HARD TO FIND, the band had been winnowed down to a quartet. American singer-songwriter Bob Welch rounded out the British trio of John McVie, Mick Fleetwood and Christine McVie. Having just won a court battle with an old manager to keep the rights to the band's name, the Mac recorded eleven songs that took them far beyond their blues roots. Welch and Christine McVie split all the songwriting and the result was a record populated by murky songs (Welch's "Angel," and "Bermuda Triangle") with occasional shards of wry optimism shining through (the title track and "Come A Little Bit Closer," both penned by McVie). McVie and Welch occasionally swapped places. Welch gives his normally drawling vocals a brighter, Beach Boyish tone on "She's Changing Me" and Christine McVie takes the mike for the sinister rumblings of "Bad Loser." HEROES was Welch's last album with Fleetwood Mac, and the brooding style of singing and composing that he brought to the group helped redefine its sound, paving the way for Lindsey Buckingham and Stevie Nicks, who joined the Mac on their next album.
Q (7/93, p.106) - 3 Stars - Good - "...the experimental side [of the band] continues to appeal, with some songs almost sketches--melodic murmurs in the murk of dense, moody guitars and lyrics dealing with dreams, spells and mysteries. An understated but still interesting sideshow..." Heroes Are Hard To Find Music Fleetwood Mac Heroes Are Hard To Find Songs Heroes Are Hard To Find Music Review Average Rating: (4 out of 5 stars)   Great Old Fleetwood Mac! This is the last of the Bob Welch Fleetwood Mac albums and I'm partial to Bob. So, that's why I think it's one of their best. It stands up well to Then Play On, Mystery to Me, Bare Trees, and Future Games. Submitted by robertapotter (DuPont, WA, USA)  Was This Review Helpful? Yes No
Bringin' the goods under pressure Being that they were fighting for their careers in the courts, Fleetwood Mac came through with an EXCELLENT album of "space pop". From the horn-laded soulful title cut by Christine McVie that opens the album (why it wasn't a radio airplay staple at the time is a mind-boggler), to Bob Welch's "Safe Harbour", an obvious nod to Fleetwood Mac founder Peter Green's instrumental "Albatross", the album takes one on a journey into many stylistic realms. Welch perfects his spacy jazz tinged songwriting ("Angel", "Coming Home", "Bermuda Triangle", "Born Enchanter"), a style he'd been contributing since he joined the band. Christine McVie continues her usual magnetic love songs in the same style that she'd soon find major success with ("Prove Your Love" & "Come A Little Bit Closer"...featurng the late Sneaky Pete Kleinow on pedal steel guitar). Welch & McVie even found that they were influencing each other's songwriting...with McVie's Welch-sounding "Bad Loser" and Welch's McVie-sounding "She's Changing Me". There's no filler here...a strong album throughout. Submitted by Steve (Long Beach, Ca) Was This Review Helpful? Yes No
A Definite Low Point For Fleetwood Mac Hot on the heels of 1973's superb MYSTERY TO ME, Fleetwood Mac returned the following year for the last time with Bob Welch and an album of largely forgettable music. Christine McVie's title track and "Come A Little Bit Closer" save the album from being a total loss. Aside from "Bermuda Triangle", Welch's six tunes here are possibly the weakest he ever wrote. "Angel", (not the song of the same title that appeared 5 years later on TUSK) "Silver Heels" and "Born Enchanter" are shining examples of a songwriter that's running out of steam. It's easy to see why the band parted company with him after the release of this record. Submitted by Chuck K (Essex, IA, USA) Was This Review Helpful? Yes No
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