Fleetwood Mac – Penguin

More Fleetwood Mac

More Penguin

xxxxx

  • With two seriously good Double Plus (A++) sides, this was one of the better copies we played in our recent shootout  
  • This early Reprise LP is a huge step up from most – this copy is full-bodied, smooth and musical – classic Fleetwood Mac sound
  • One of my favorite songs on the album is one of Christine McVie’s best from this period, Did You Ever Love Me – on this pressing it’s rich and sweet exactly the way it should be
  • “Fleetwood Mac’s first album made after the departure of Danny Kirwan features the additions of guitarist Bob Weston and singer Dave Walker… This album gave Fleetwood Mac its best U.S. chart showing yet…”

This is the rare copy that strikes the right balance between richness and texture. So many copies sacrifice one for the other, but not here. Fully extended on both top and bottom, with big bass and plenty of energy, this pressing is getting Penguin right. 

On the best pressings, the sound is positively JUMPING out of the speakers in a way that is completely unexpected. We often talk about the size of the soundfield on a particular pressing, side to side, bottom to top, and even more often about the energy found on one copy relative to another. On this copy, we were surprised by a Penguin that was bigger and more energetic than most of the pressings we heard in our shootout.

What the best sides of this Fleetwood Mac classic from 1973 have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the Tubey Magic that was on the tapes in 1973
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with the guitars and drums having the correct sound for this kind of recording
  • Transparency, resolution and freedom from smear

No doubt there’s more but we hope that should do for starters. Playing the record is the only way to hear all of the above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Size and Space

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

We often have to go back and downgrade the copies that we were initially impressed with in light of such a standout pressing. Who knew the recording could be that huge, spacious and three dimensional? We sure didn’t, not until we played the copy that had those qualities, and that copy might have been number 8 or 9 in the rotation.

Think about it: if you had only seven copies, you might not have ever gotten to hear a copy that sounded that open and clear. And how many even dedicated audiophiles would have more than one of two clean British original copies with which to do a shootout? These records are expensive and hard to come by in good shape. Believe us, we know whereof we speak when it comes to getting hold of top quality pressings of Classic Rock albums.

One further point needs to be made: most of the time these very special pressings just plain rock harder. When you hear a copy do what this copy can, it’s an entirely different – and dare I say unforgettable — listening experience.

What We’re Listening For on Penguin

  • Energy for starters. What could be more important than the life of the music?
  • Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
  • Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Remember Me 
Bright Fire 
Dissatisfied 
(I’m A) Road Runner

Side Two

The Derelict 
Revelation 
Did You Ever Love Me 
Night Watch 
Caught in the Rain

AMG Review

Fleetwood Mac’s first album made after the departure of Danny Kirwan features the additions of guitarist Bob Weston and singer Dave Walker. By now Bob Welch and Christine McVie were the dominant forces in the band, and all traces of blues-rock were gone, replaced by Welch’s hypnotic melodies and McVie’s romantic sentiments married to uptempo pop tunes. This album gave Fleetwood Mac its best U.S. chart showing yet, but the wonder is that this phase in the band’s career wasn’t even more popular.