Fleetwood Mac

Fleetwood Mac Sm Ea 1Fleetwood Mac Sm EaFleetwood Mac Sm Ea lblFleetwood Mac Sm Ea lbl 2Fleetwood Mac Sm Ea red lblPaying homage to Fleetwood Mac’s 1975 self titled album with this cover design.

Fleetwood Mac Sm Ea white lbl

Following the 1975 2 LP bootleg Will The Real Fleetwood Mac Please Stand Up? (SODD 02) Smilin’ Ears in 1978 offered another radio broadcast double set, this time from the East Coast nine months and for some fans, a rather large uncomfortable change later: The Macs in transition to a massively successful pop band with the help of their new members Buckingham and Nicks. It should be noted that their ex-member Bob Welch, by the time this bootleg came out, was heading into the exact same direction. 


Side 1: I’m So Afraid (4:45) / Oh, Well (2:50) / World Turning (8:32)
Side 2: Just Like You Used To Be (3:40) / Green Manalishi (4:37) / Homework (3:27) / World In Harmony (3:27)
Side 3: Station Man (5:40) / Spare Me A Little  (4:34) / Rhiannon (6:17) / Why (3:55)
Side 4: Landslide (3:23) / Over My Head (2:55) / Green Manalishi (5:42)

Is “Green Manalishi” really on here twice?


Original source, from a torrent attempting to reconstruct the complete performance:

Fleetwood Mac
September 23, 1975
Trod Nossel Productions & Recording Studios
Wallingford, Connecticut, USA – originally broadcast by WPLR-FM, New Haven, CT

“This is a combination of 4 different FM-sourced recordings. This show has circulated widely but all versions I’ve heard have been incomplete – missing either the beginning or the end. And because most recordings are from rebroadcasts, they do not include the opening announcer from the original broadcast. The content was rebroadcast in many forms, with and without some of the applause and spoken intros. In fact some spoken intros were re-recorded before rebroadcast to rework statements like “from our new album” when it wasn’t new anymore. The quality is very good to excellent FM, with tape hiss and minor FM transmission noise in some spots but nothing too bothersome. The minor glitches that were previously in the song transitions have been cleaned up. Some major dropouts in “Oh Well” and Green Manalishi” now are spliced from one of the alternate sources, etc.

01 [0:23] announcer intro
02 [3:59] Get Like You Used to Be
03 [6:02] Station Man
04 [4:52] Spare Me a Little
05 [6:39] Rhiannon
06 [4:06] Why
07 [3:44] Landslide
08 [3:05] Over My Head
09 [5:04] I’m So Afraid
10 [3:07] Oh Well
11 [5:34] Green Manalishi
12 [8:46] World Turning
13 [3:59] Blue Letter
14 [7:08] Hypnotized
total – 66:28


FM Sin City 77

FM Sin City 77 b

Matrix: MAC 1-A/B/C/D – I have only ever seen this with Ruthless Rhymes labels.

It appears that the song “Monday Morning” is missing from the set list, so this is not the complete concert after all.

From a recent needle drop torrent share: “This is in my opinion one of the finest Fleetwood Mac shows ever put on tape. Not only are you getting the group in its prime while riding high on the “Rumours” tour, you are getting a heartfelt, genuine performance as well. The entire group is at peak, with Stevie Nicks as a standout. She has never sounded better. She catapults both “Dreams” and particularly “Rhiannon” into the stars. The girl is on fire, and it shows.  …this double boot LP along with the Jethro Tull title “A Sack Full Of Trousersnakes” sold out very quickly and was repressed several times. All copies of this show ran just fast enough to make the performance sound a little sick. I’ve corrected the speed to make the the album pitch properly. Even though this was just by a small amount, it makes a huge difference in the sound quality.”


Later re-issued as TAKRL 922 by squeezing most songs on two sides and dropping “World Turning” and all of side 4:

Fleetwood Mac PTCoAngels

Fleetwood Mac PTCoAngels b

Unlike the original, a bootleg you can barely give away these days.


Aladdin LV 1977 ad

FM Sept 3 77

FM live in Seattle on September 3rd that year. Photo by Bill Hansen.


Personal memory: We only had one store in my old hometown that carried boots, “Red Star”, a communist/socialist book store in the old part of town. They got the 2LP set in and put it up on the wall, must have been late 1978 or in ’79 and I was interested but couldn’t afford it. A class mate of mine went in and listened to it and didn’t like it because it sounded like it was recorded in a small club. I thought “who cares, does it sound good, that’s all that matters”. You just can’t please everybody. … Strange that I even still remember this.

Track listing:

1. Station Man
2. Spare Me A Little Of Your Love
3. Rhiannon
4. Landslide
5. I’m So Afraid
6. World Turning
7. Don’t Let Me Down Again
8. Hypnotized

Source: KBFH recording from the Capitol Theatre in Passaic, NJ on June 7, 1975

Compare here:

Why the concert was then advertised as having taken place in Japan when it became part of the TAKRL 900 series is anybody’s guess. I believe the Mac didn’t tour Japan until December of 1977 on the Rumors Tour.

And then it was released for a third time by another of Ken’s side labels (with cover photos simply reversed):

In today’s digital age vinyl bootlegs then turned into something like this:

Remastered Edition
RMW 839

“32-bit declicked, denoised, pitch, phase and levels corrected from the 1979 LP on Excitable Recordworks 4515-1.

This is a mostly excellent-quality stereo FM-sourced recording; some static is present toward the end of the show. Excitable Recordworks was the second incarnation of the label previously known as Impossible Recordworks. This album is the third pressing from the same stampers. It was previously issued as “The Rockhoppers Live 1976” on Ze Anonym Plattenspieler ZAP 7858, and again in 1978 as “The Rockhoppers Live In Japan” on The Amazing Kornyfone Record Label TAKRL 902. It is reported variously as being recorded at the Capitol Theatre in Passaic, NJ in May 1975 (although it seems a bit strange that they would already be touring for an album that would not be released for another three months) and from a KBFH show from New Haven, CT on 11-20-75 (which seems more likely). I like the address listed for the label on the back cover – Legerdemain, USA (French for “sleight of hand”.)”

Fleetwood M will the real

Source: The Record Plant, Sausalito, CA on December 15 1974 as broadcast on KSAN-FM

01. green manalishi
02. angel
03. spare me a little
04. sentimental lady (false start) [not on the vinyl]
05. sentimental lady > future games > bob’s rap
06. bermuda triangle
07. why
08. believe me
09. black magic woman
10. oh well
11. pre-shake blues & band intros
12. rattlesnake shake
13. hypnotized

Bob Welch – guitar, vocals
Christine McVie – piano, vocals
Bobby Hunt – Hammond organ, clavinet, ARP synthesizer
John McVie – bass
Mick Fleetwood – drums


The title was based on an article written by Cameron Crowe that appeared in Rolling Stone that fall:

The Real Fleetwood Mac Stands Up
published in Rolling Stone, November 7, 1974 (by Cameron Crowe)

Los Angeles – Even amid their legal action against former manager Clifford Davis, Fleetwood Mac maintains a low profile. The group has had few hit singles or magazine cover stories in a quiet, seven-year career, yet their concert appearances draw a steady stream of loyal followers and at least seven albums have sold in excess of 200,000 copies.

Sitting in the living room of John and Christine McVie’s modest Laurel Canyon home, Fleetwood Mac (current lineup: Bob Welch, guitar and vocals; John McVie, bass; Christine McVie, keyboards and vocals; Mick Fleetwood, drums) is about as visually mild off-stage as they are on. There is little about their faded Levi’s and J.C. Penney shirts that even hints at rock & roll.

“I guess it’s just not our nature to have an image,” Welch, the band’s only non-Englishman, concedes. “At some point you just have to realize that you may never be Elton John. But then again, the point isn’t to sell a record to every man, woman and child on earth. Point is to have a career, do what you’re doing and do it well. Fleetwood Mac has done just that.”

For the past year, though, much of the band’s time has been spent in law offices, locking horns with ex-manager Davis. According to Fleetwood, Davis approached the road-weary musicians last year about yet another nationwide tour. Met with rejection, he assembled a new Fleetwood Mac and – claiming full rights to the name – booked a tour.

“We were all on holiday when we found out what had happened,” Fleetwood says. “Before the bogus band played too many dates, we had to physically get together and take legal advice. The impression Clifford had given was that he had every legal right to do what he did. We very soon found out, apart from morally having no excuse, there was no legal right.”

The band went to court and also to the studio. They emerged from the former with a restraining order that put a halt to the pseudo-Mac, and from the latter with their 12th album, Heroes Are Hard To Find. Still outstanding, though, is a final legal determination on ownership of the name.

The band agrees they have already won an important victory. “When things like this have happened,” Fleetwood says, “many bands haven’t had the stamina to see it through. It’s very easy to say, ‘God, it’s just not worth it.’ I’m sure Clifford never felt for one moment that we would stick this out. We manage ourselves now.”

So, Fleetwood Mac is on the road again, for the first time in a year. “Ironically, this is gonna be our vacation,” Fleetwood says, grinning. “It’s like we’ve forgotten what all the hassles were about…. We should have a lot of fund.”

Mick Fleetwood, along with John McVie, an original member, remembers the early club days when it was Peter Green’s Fleetwood Mac and the quartet also included double lead guitarists Green and Jeremy Spencer.

Their first album, Fleetwood Mac, topped the English LP charts, and a string of medium-sized British hit singles followed, including the original “Black Magic Woman.” Soon after, guitarist Danny Kirwan joined the group as a third lead, and a month later they cut their only million-selling 45, an instrumental called “Albatross.”

The band produced four more albums – English Rose, Mr. Wonderful, Fleetwood Mac in Chicago and Then Play On, their debut LP for Warner Bros. – before getting a taste of musical chairs in May 1970. Peter Green quit the band and began work on an instrumental solo album. It was titled, prophetically, The End of the Game; Green subsequently disappeared from the music business. For a replacement, the band added John McVie’s wife, the former Christine Perfect of Chicken Shack. Leaderless, they recorded the much acclaimed Kiln House. From there, it was off to America.

Spencer departed in 1971 – simply disappeared from his Los Angeles hotel room, later turning up in the ranks of the Children of God, a religious cult. Welch, a Californian who came from a background of Las Vegas showbands, filled the slot.

Fleetwood Mac’s next albums, Future Games and Bare Trees, displayed a brighter style and pretty melodies. Not long after Bare Trees, however, Danny Kirwan amicably left to pursue a solo career and was replaced by former John Baldry guitarist Bob Weston. The five-piece band lasted for two albums, Mystery To Me and Penguin (with the brief inclusion of ex-Savoy Brown singer Dave “Tell Mama” Walker on the latter). Now, with the release of Heroes Are Hard To Find, Weston is gone too.

But the real Fleetwood Mac is accenting the future – and right now that’s the tour, a 43-date swing that ends December 1st – with yet another addition, Doug Graves on keyboards. “We can’t complain,” Fleetwood says. “This band has always been able to work when we wanted to.”


Rockclassics elegymart says: “Here’s what I know about this show: It’s definitely from the Record Plant in Sausalito as Bob Welch references it in the intros on track 11. I’ve had this show from the “Will the Real Fleetwood Mac Please Stand Up” vinyl boot source since the 80’s. I’ve usually seen the date for this as 21 April 1974, but that doesn’t mean the January 1974 or 12 March 1974 dates are wrong. I’ve also have this show in a bastardized jumbled form as San Francisco, 1973. It was put out as a vinyl boot in the mid-70’s [called] Offhand (cat. no. FLAT 8225), and later reissued in 1978 as TAKRL 909. If you have either of these, you can pretty much junk them now that you have this d/l. Not only was the SF ’73 version a complete atrocity, it was also a mono mix. “Will the Real Fleetwood Mac Please Stand Up” was also released around the same time with the cat. no. SODD 002 and was also reissued in 1978 as TAKRL 24902 [with a very different cover – see below]. At the time, that would’ve been the version to get; a lot of the between-song banter is edited out. The false start to “Sentimental Lady” is also missing.  although it’d be nice to go back to the KSAN reels and really get the complete version without all that guesswork involved in the editing.”

From a torrent uploader:

“Fleetwood Mac—–1974-12-00-Record Plant, Sausalito, KSAN FM Broadcast, 2nd Gen. –Upgrade–

Friend, this show is well known for a long time,  since it´s in incomplete form on the old vinyl boot “Will the real Fleetwood Mac please stand up” & also broadcasted by KSAN-FM

While comparing my tapes with a recently downloaded version from here, I was very surprised to realize, that the quality of my Cassette is some better, more complete and has the songs in the right song order, compared to all other downloaded sources, I found so far!
My Cassette has a lot of talking to the crowd and KSAN Radio anouncements, missing in the previous uploads here!

Surprisingly, I also found out, by comparing my tapes,  that there is really a different F. Mac w /Bob Welsh show, in in similar sound quality from this period, existing, the other show is on the Japanese Boot CD ” Hypnotized” on the “pontiac” label, which gives as the source “rec. Ultrasonic Studios, Hempstead NJ. 1974” [that show took place on October 8th], with the Bonus Track “Hypnotized” from a 3rd, uncirculating, 1974 performance! (the easiest way to prove that these are 2 different shows, is to compare Bow Welsh´s long raps in the songs…) “


As “Offhand” on Flat Records:

VLUU L310 W  / Samsung L310 W



TAKRL says:

“Until overwhelming commercial success years later, this was the only Fleetwood Mac underground around. Side one is from the Pasadena Civic Auditorium, side two the BBC. Cover by Roy N. Oak. First issues have the penguin rampant back cover. The familiar Kornyfone cover design was finalized at this point and we rarely meandered from it after.”

A1 Battlesnake Shake/Underway 16:07 –  Comments: Date Performance: 1970-04-09 From Radio 1 In Concert. Recorded at the Paris Cinema, Lower Regent Street, London. First broadcast April 19, 1970 (P) 1970 BBC
A2 Tiger 3:25 – Comments: same as above
A3 The Green Manalishi 8:34 – Comments: same as above; Edited version of performance that appears on “Show Biz Blues: 1968-1970, Volume 2” CD

Comment from a reviewer on side 1: “This actually has good quality sound and performance.”
B1 Station Man 7:22
B2 Tell Me All Things You Do 18:42
Comments on side 2: “Side two is from the same mid-February ’71 show (2/19/71?) that has been circulating as a separate bootleg and has been listed as being from Swing Auditorium in San Bernardino – the band’s first show after Jeremy Spencer left, and including emergency replacements Peter Green & Nigel Watson (see this thread from last year: San Bernardino 1971). That would go a long way toward explaining why the band might have been a “train wreck” that show!”

“Note: Sound quality is “acceptable.” But God, the band is a train wreck here. Christine’s vocals sound horrid! She drolly introduces a song by saying “We’re gonna finish up here before they turn the power off on us or something…” “