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Speaker 1: Ridiculous Crime is a production of I Heart Radio. Oh,

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Speaker 1: Elizabeth Dutton, so damn good to see you. Darren Burnett.

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Speaker 1: What are you doing here? Oh? I was just looking

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Speaker 1: for plaid socks? Um? Did you had a question for you?

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Speaker 1: Go ahead? Did you know what's ridiculous? I do? I do?

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Speaker 1: Stop talking? I do? What is that? There's a guy? Now?

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Speaker 1: First of all, I'm going to go a little bit.

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Speaker 1: I'm going to change things up a little bit. This

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Speaker 1: is not a mash up. I'm sorry, I'm buckled this energy.

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Speaker 1: This dude in Florida, he was like perusing Facebook, ridiculous

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Speaker 1: the end now and he's looking in the this like

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Speaker 1: Rockdale County Sheriff's office has a Facebook page and he's

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Speaker 1: poking around and they listed their most wanted list for

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Speaker 1: November and he was bummed because he wasn't on it.

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Speaker 1: Almost wanted people just like gift they were asking for.

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Speaker 1: There wasn't like Amazon work list, like we need croqueys.

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Speaker 1: And now they they had like their most wanted lists

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Speaker 1: people of people, most wanted criminals And he's like, I'm

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Speaker 1: a criminal. I live in this county. I have broken

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Speaker 1: the law. What's up? I'm top ten quality right here,

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Speaker 1: come on, don't give me this o your number twelve.

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Speaker 1: Instead of just like turning to you know, the people

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Speaker 1: in his home and saying, guys or you know, sitting

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Speaker 1: you know, turning to the people the bar, I'm so sad.

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Speaker 1: Uh No, Instead he posted on their on their wall

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Speaker 1: and said how about me? Quote? How about me? And

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Speaker 1: he wasn't being like tongue in Cheeka. No, he was like,

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Speaker 1: hey man, I'm a criminal. And so then they responded

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Speaker 1: and they said, quote, you are correct, you have two warrants,

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Speaker 1: were on the way and they went and arrested him.

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Speaker 1: He's like, now I feel better. Yeah, So his social

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Speaker 1: media addiction led to him blowing his cover. They also

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Speaker 1: then they posted, we appreciate you for your assistance in

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Speaker 1: your capture. So yeah, and then then their their statement

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Speaker 1: on it was our top ten is compiled based off

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Speaker 1: the severity of the charges. Only by not being on

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Speaker 1: this list does not mean our fugitive unit is not

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Speaker 1: looking for you. If you have an active warrant, why

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Speaker 1: do they clarify that? They don't need to say that.

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Speaker 1: I know right, So anyway, the dummy clause what about me?

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Speaker 1: All right? What about you? He's the ultimate like, that's

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Speaker 1: a pick me. But the guy version he wanted to

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Speaker 1: feel special, he wanted isn't even lights. So that's ridiculous.

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Speaker 1: I'll hand you that. Yeah it is. You don't have

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Speaker 1: to tell me it is ridiculous. Well, if you got

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Speaker 1: a second, yes, I got a story for you of course. Okay.

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Speaker 1: Did you know there was once to Fleetwood Max at

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Speaker 1: the same time and neither one included Stevie Nicks or

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Speaker 1: Lindsey Buckingham. Just still though, that's like, if you get

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Speaker 1: hit in the head, you see two Fleetwood Max at

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Speaker 1: the scene exactly, They're coming at you, Tusk. This is

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Speaker 1: Ridiculous Crime A podcast about absurd and outrageous capers, heists

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Speaker 1: and cons. It's allways nine, murder free and ridiculous. Elizabeth.

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Speaker 1: I've got a hell of story for you, I hope.

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Speaker 1: So in this story, by the way, I mean I

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Speaker 1: I came all the way down here, I got dressed, Yeah,

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Speaker 1: showed up at work. I noticed you You're you're wearing

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Speaker 1: your best robe and swim flippers. Yeah, this is a

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Speaker 1: good look. So um. This story, by the way, it

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Speaker 1: came to us, or came to me rather from a

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Speaker 1: tip from a friend of producer Dave's no way, yeah, dude,

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Speaker 1: Andy Shay or Andy, So thank you Andy, we appreciate

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Speaker 1: thank you. And now this story is well, let me

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Speaker 1: just set the table if you don't. Now you know

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Speaker 1: I love the seventies, Yes, I do too. Yeah, we

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Speaker 1: share a love for the seventies. And like when I

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Speaker 1: read about these news stories and I go doing investigations

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Speaker 1: and do some research, that everything is wilder than I expect. Absolutely,

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Speaker 1: it just it's like, oh, it starts with the headline

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Speaker 1: and then it just spirals into madness, right, and then

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Speaker 1: it's the whole decade. It doesn't matter which year you pick,

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Speaker 1: it's I'm like, oh, seventy two was a wild no, no,

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Speaker 1: the whole And also it was interesting. It's like, you know,

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Speaker 1: like I watched a lot of Barney Miller, for instance,

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Speaker 1: and I use that it as a metric for the

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Speaker 1: seventies because of the different crimes that show up and

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Speaker 1: how people are and how they react to people in

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Speaker 1: the expectations. And it's interesting to me is how drunk

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Speaker 1: everybody was just lightly toasted. And it was a joke

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Speaker 1: like this person has been drunk at work for twenty

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Speaker 1: years and everybody knows it right, and it's just like,

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Speaker 1: imagine what that's like if her a whole, like all

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Speaker 1: the adults are just lightly buzzing on piles alcohol. Yeah, exactly. Well, anyway,

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Speaker 1: it led to a lot of bad decisions ultimately, but

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Speaker 1: this is not about bad seventies decisions. This is about

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Speaker 1: the seventies driving people batty. Okay, right, does that make

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Speaker 1: does it make sense? What I mean by batty is

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Speaker 1: like you know, bats in the belfry, Like you're like,

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Speaker 1: why would it be? Why would you do that? Like

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Speaker 1: this just makes no sense. Anyway. Now I'm gonna have

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Speaker 1: a I'm gonna have actually set as I told you,

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Speaker 1: set the table, and then as I you know, get

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Speaker 1: into the seventies, we'll go first, start with a little

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Speaker 1: appetizer and a moose bush as you and the French

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Speaker 1: would say. Right, do you know about supergroups? Se supergroups? Sure? Yeah,

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Speaker 1: like Crosby, Stills, Nash and Young. Okay, well, the seventies

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Speaker 1: is when this kicks off. In fact, Crosby, Stills, Nash

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Speaker 1: and Young is considered basically the first super group. And

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Speaker 1: then I love them, but yeahs songs you like or

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Speaker 1: albums like you just like? I like it all I

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Speaker 1: love Neil Young and so you know, I love and

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Speaker 1: I love Crosby Stills Nash so kind of works together.

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Speaker 1: And then put peanut butter in the chocolate and you're like,

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Speaker 1: she Sam, there it is. Well, that's a very common

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Speaker 1: They found that that marketing works for a lot of people.

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Speaker 1: They are like, oh, I like this one. I like

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Speaker 1: that when you start putting them together. Supergroup, Yeah, well

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Speaker 1: like Traveling will Berrious that was that was gonna be

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Speaker 1: one example. I had um belbav de Vaux. Now you

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Speaker 1: know right now, okay, another one for you, Temple of

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Speaker 1: the Dog or Audio Slave some of the same. That

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Speaker 1: Temple of the Dog album is good. Yeah, right, like

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Speaker 1: I will, I will stand firm in that that is

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Speaker 1: a good album. You know. It's another basically supergroup led Zeppelin.

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Speaker 1: They were all in different groups and Yardbirds and I

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Speaker 1: don't know British bands like this well, but there's apparently

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Speaker 1: a band of Joy was a band at that John

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Speaker 1: Bonham and Robert plant rooined together. Whatever. So my favorite

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Speaker 1: example though the supergroup is the Highwayman. Yes, Johnny cash

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Speaker 1: Waylon Jenny's and Chris Christopherson's kidding me. Yeah, well, I

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Speaker 1: want to tell you the story of another supergroup list.

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Speaker 1: It's called The Mask Marauders. You ever hear of the

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Speaker 1: Mask Marauders? Well, um, we'll pull from the pages of

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Speaker 1: the underground newspaper and culture outlet The Seed for a

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Speaker 1: music review dating back to nineteen nine, so I can

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Speaker 1: really uh let you into the world of the Mask Marauders.

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Speaker 1: You're ready. Quote the newest Escalation and the never Ending

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Speaker 1: rock Hype is an album called The Mask Marauders. You'll

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Speaker 1: notice a tone They're coming in hot now. That was

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Speaker 1: in response to Rolling Stones magazines Pure Purple Prose about

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Speaker 1: the supergroup. They had already written a review, and in

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Speaker 1: the Rolling Stones review they wrote, quote it can truly

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Speaker 1: be said that this album is more than a way

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Speaker 1: of life, It is life heavens. Yeah, you can hear

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Speaker 1: the hype now. Why you may be asking Zaren why

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Speaker 1: such effusive, over the top praise for this group no

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Speaker 1: one had ever yet heard of it? Is it a

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Speaker 1: nepotism thing? Well, it's because of the lineup. The lineup

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Speaker 1: reportedly was John the Lennon of the Beatles, Mick Jagger

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Speaker 1: of the Rolling Stones, Paul McCartney also the Beatles, and

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Speaker 1: Bob Dylan of Bob Dylan. I never heard of this,

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Speaker 1: That's the whole point. So its supposed to be like

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Speaker 1: a secret underground recording that they did, a bootleg record,

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Speaker 1: off brand, off label, they got together, recorded and a

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Speaker 1: recording existed. Tell me again, is this so John Lennon,

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Speaker 1: Paul McCartney, Mick Jagger, Bob Dylan, that many egos in

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Speaker 1: one room and it doesn't create a supernova and just

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Speaker 1: like the gravity just sucks into the doors, come flying

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Speaker 1: and yeah. Well the Rolling Stone called this bootleg record

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Speaker 1: the album of the year or the record of the year,

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Speaker 1: the distinction. But the album drops in nineteen nine. Okay,

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Speaker 1: right to cross these selves national has already happened. People

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Speaker 1: were like, oh my god, imagine what another supergroup and

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Speaker 1: then boom, they get this as a super People are

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Speaker 1: going nuts. So they're going to their local record stars,

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Speaker 1: like when can I get the Mass Marauders album. They're like,

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Speaker 1: what do you mean? You saw the Rolling Stone review?

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Speaker 1: Like oh yeah, yeah, Like when don't you gonna get it?

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Speaker 1: We'll let you know, man, And then the next day,

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Speaker 1: hey man, and they need the Mass Marauders. Bro will

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Speaker 1: tell you when it shows up. They're they're getting like

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Speaker 1: hassled about it. You know, it's also getting hassled about

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Speaker 1: it Warner Brothers. Warner Brothers is like, um, you know,

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Speaker 1: they keep hearing about this group that apparently has members

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Speaker 1: that they have signed. They're like, wait a minute, we

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Speaker 1: should be knowing about this. What's going on? And so

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Speaker 1: then they do a bidding war to buy this album.

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Speaker 1: So it was a bootleg. It didn't. It was not.

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Speaker 1: It was not. It wasn't on studio dollars. So normally

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Speaker 1: a recording will be like, hey, we'll give you the

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Speaker 1: money to record your album and then we own the

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Speaker 1: masters and all that justn't done that way. The masters

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Speaker 1: suddenly are created as this bootleg recording got it because

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Speaker 1: I was just wondering, Like in the reviews, they usually

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Speaker 1: tell you who the music publisher, like who's exactly? So

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Speaker 1: they just reviewed this bootleg album and they and the

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Speaker 1: demand grows and they have to make it a legit.

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Speaker 1: It was like the Gray album from like where Danger

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Speaker 1: Mouse went out and he takes the jay Z and

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Speaker 1: the Beatles matches. That makes this album. So he couldn't

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Speaker 1: release that one. He legally was not allowed to. But

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Speaker 1: imagine if he could because Warner Brothers says, hey, we'll

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Speaker 1: release them. That's essentially what happened right now. November ninety nine,

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Speaker 1: after Warner Brothers wins the bidding war amongst all the

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Speaker 1: other labels, this album comes out, It gets released legitimately,

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Speaker 1: and it has this really modest cover because it's like, oh, there's,

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Speaker 1: as you said, these big egos. Who gives you how

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Speaker 1: are you gonna list them? You're going to get the

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Speaker 1: big picture. So they have nothing, there's no there's no

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Speaker 1: names on the album. It's just this bland cover. But

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Speaker 1: everybody knows like, oh, it's like this wink of like, oh,

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Speaker 1: that's pretty cool that they did themselves right. So there's

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Speaker 1: this power of hype and mystery all coming together. The

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Speaker 1: Mass Marauder album sells a hundred thousand copies right makes

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Speaker 1: it onto the Billboard charts. In the liner notes, there

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Speaker 1: is though a kind of like winking nod, like hey,

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Speaker 1: let's let people in on it. And they are like

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Speaker 1: and I quote leading experts and now estimate the music

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Speaker 1: business is currently hype and the Mass Marauders, bless their hearts,

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Speaker 1: have gone far beyond that. Yeah, people, it's all sorry.

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Speaker 1: They had crossed basically the Rubicon at this point, and

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Speaker 1: the Rolling Stone reviews, right, they had been faked. They

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Speaker 1: were not a real review. There was no initial album.

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Speaker 1: The Rolling Stone. They put out this like review of

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Speaker 1: an album that never existed to make fun of the

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Speaker 1: fact that people are so into the hype, and then

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Speaker 1: the hype becomes something and then they end up making

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Speaker 1: an album actually comes outrank review that they Mick Jagger,

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Speaker 1: John Lennon and Paul mcgartney, Bob Dylon. They were never

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Speaker 1: in the studio together. Your read was spot you know this,

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Speaker 1: And so the album this joke, this travesty, this travish

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Speaker 1: yam mockery, it becomes legally a questionable because once the

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Speaker 1: Warner Brothers finds out it's not actually who they paid

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Speaker 1: for talking fraud, right, right, So how did they get

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Speaker 1: this band hoax past Warner Brothers? And how did you

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Speaker 1: get past all the music lovers everyone's supposed be supposed

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Speaker 1: to be the coolest people who know about this, like

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Speaker 1: impersonators on the record? Are they impersonators on the actual

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Speaker 1: record that people thought? Okay, well, I'll explain, okay, okay,

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Speaker 1: I like to get right to the heart of it.

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Speaker 1: Is music mine? Well, Okay, it starts with Rolling Stones.

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Speaker 1: As I told you, the Rolling Stone writers, they did

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Speaker 1: a fake review and Grail Marcus remembered, right, and I quote,

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Speaker 1: it was late. I was tired and I've been sitting

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Speaker 1: around talking with my friend about how stupid all the

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Speaker 1: then so called super session albums were so grayl He

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Speaker 1: wants to make fun of these cash grab supergroups, right,

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Speaker 1: So he's like, how how do we do that. He's like, well, basically,

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Speaker 1: let's see, I'll just come up with one. So he

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Speaker 1: invents the Mass Marauders and so he gets the you know,

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Speaker 1: he takes from Terry Southern U a Terry Southern novel

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Speaker 1: called The Magic Christian that becomes his pen name. So

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Speaker 1: he writes the review as T. M. Christian, right, and

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Speaker 1: then so that's like his first little wink. And then

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Speaker 1: Grail Marcus goes and he writes up his review and

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Speaker 1: he shows it to Jan Winner. It's like late at night. Dan,

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Speaker 1: He's like, hey man, look what I did. And he's

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Speaker 1: like Jan Winners like, oh man, this is hilarious. So

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Speaker 1: the publisher of Rolling Stones like, we got to do

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Speaker 1: more of these. He's like, how many can you get

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Speaker 1: before we do our next edition, like I don't know,

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Speaker 1: so they start writing up more. Grail writes a ton

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Speaker 1: of fake reviews right now. In October eighteenth, nine nine

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Speaker 1: issue A Rolling Stone comes out, they run the first

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Speaker 1: review of the bootleg album from the Mass Marauders, and

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Speaker 1: Grail recalls later and I quote again, it was just

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Speaker 1: an attempt to say this is stupid, and let's make

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Speaker 1: it even stupider. So it's likely hit the gas on

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Speaker 1: it right now for those who may be a little

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Speaker 1: suspicious and in on the joke. There were plenty of

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Speaker 1: winks and nods, as I told you earlier. But in

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Speaker 1: the other Liner Knows, there's things like they talk about

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Speaker 1: how the album was recorded in a small town near

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Speaker 1: the site of the original Hudson Bay Colony in Canada,

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Speaker 1: so it's all pressed trying to be like a big

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Speaker 1: pink Yeah, there you go. Nice. So they all of

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Speaker 1: a suddenly have other oddities in there because apparently Paul

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Speaker 1: McCartney sings Mammy the Al Jolson songs, How did anyone

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Speaker 1: think this was real? Big Jaggers sings a song I

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Speaker 1: Can't get No Nookie. So yeah, now obviously you're you're on.

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Speaker 1: None of us is true, and uh, but they now

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Speaker 1: still have to make this album. Someday somebody's singing as

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Speaker 1: Paul McCartney singing, Mammy, there is somebody singing as Mick

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Speaker 1: Jaggers singing, I can't get no nookie. So how do

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Speaker 1: you do this? Well, if you don't give a you know,

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Speaker 1: you already said, look, we don't care about propriety, right,

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Speaker 1: So Graham Marcus and the Rolling Stones guys were like, look,

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Speaker 1: you know, we're already way ahead of y' Allso they

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Speaker 1: just run with it and they're like, look, we gotta

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Speaker 1: get this album out. So they hire some friends from

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Speaker 1: a Berkeley area band and the band is Cleanliness and

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Speaker 1: Godliness Skiffle Band, and they're like, so they hire their

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Speaker 1: friends and they record a bunch of sessions and they

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Speaker 1: again give those master tapes to Warner Brothers, and Warner

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Speaker 1: Brothers puts it out, and that's and them not knowing

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Speaker 1: at the time. Right. So then that undergone newspaper that

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Speaker 1: I told you about before the seed, they wrote the

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Speaker 1: real review of the fake album that pretty much unmasked

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Speaker 1: the mass marauders, right, So they note that this was

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Speaker 1: done by members of the band Cleanliness and Godliness Skiffle

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Speaker 1: band like they even named the Small Berkeley band. They

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Speaker 1: do it good. They're like, who did and I quote

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Speaker 1: a fair stations of Dylan and Jaggers. They want to

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Speaker 1: be like the music lover's music lovers. Now this grand

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Speaker 1: hoax finally gets revealed, and so now we are wondering

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Speaker 1: are there gonna be charges of fraud filed against these writers?

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Speaker 1: Wonder Brothers is like, you know what, Look, we're not

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Speaker 1: in the business of selling truth. We're in the business

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Speaker 1: of selling records. We sold records there for us. As

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Speaker 1: long as they don't lose money, there ye no charges filed.

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Speaker 1: And if you were curious about any of this, you

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Speaker 1: can go on eBay and I found the I Can't

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Speaker 1: Get No Nookie single, I couldn't find Mammy and I

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Speaker 1: go I did find I Can't get So they released

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Speaker 1: them as singles too, just as exactly forty five records.

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Speaker 1: You can get a forty five record thread on there,

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Speaker 1: drop the needle on here at yourself. Now to bring

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Speaker 1: things full circle, as you pointed out, there were the

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Speaker 1: Traveling Wilberries, which means a beatle that did create a

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Speaker 1: supergroup with Bob Dylan. So George Harris and Bob Dylan

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Speaker 1: don Was and Tom Petty they'll get together booms and

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Speaker 1: now you get your don't forget and of course Royal.

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Speaker 1: So there it is. That's amazing. That's our moves. Bush

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Speaker 1: a main course. Yes, well let's take a little break.

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Speaker 1: I'm want to refresh myself and then we'll get deep

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Speaker 1: into it. Alright, Elizabeth, I've promised you the entree of today. Yes,

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Speaker 1: I'm so excited for this. Talk in your napkin. Girl,

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Speaker 1: it's about to get sloppy. It's okay. Now, did you

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Speaker 1: know that Fleetwood Mac, which is the star of our show,

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Speaker 1: is not named after Mick Fleetwood. It's not. It's not

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Speaker 1: named after Christine McVie either. I thought that's what it

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Speaker 1: was like, Fleetwood Mac. Like I've always lived under the

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Speaker 1: assumption that. I mean, I don't think about it often

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Speaker 1: at all, but like if you ask me, wait, so

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Speaker 1: did they call themselves Fleetwood Magnetic? We really need someone

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Speaker 1: the Fleetwood have been here? No, and also make Fleetwood

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Speaker 1: didn't change his name to match, which is another possibility.

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Speaker 1: And I was like, no, I just assume they've been

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Speaker 1: in England. They're like, hey, we're Fleetwood Mac, Christine and Halen.

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Speaker 1: They come to America get famous. They're like, hey, Lindsay,

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Speaker 1: Stevie joined us and then boom blow up. I didn't ever,

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Speaker 1: but that's not their story. Like apparently it's from a

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Speaker 1: song written by somebody else who later joined the band.

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Speaker 1: And they're like, yeah, that's Fleetwood Mac. So that was

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Speaker 1: lyrics and the song was the name of a song. Yeah,

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Speaker 1: I'll explain it to you. It comes in. Yeah, it's

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Speaker 1: a whole thing. So I am embracing myself to this one.

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Speaker 1: Well Fleetwood Mac. As you know, it's hard to define, capture,

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Speaker 1: wrap your arms around. It's just a ball of mess

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Speaker 1: and energy and desire. Chaos exactly. It's a little chaos engine, right,

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Speaker 1: but also it sounds legendard to capture. It starts as

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Speaker 1: a blues band and it changes. I mean it's it's

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Speaker 1: like four bands and one right now, just to kind

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Speaker 1: of like let people know how wild the band is.

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Speaker 1: Like people think of Stevie Nicks, and we're gonna talk

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Speaker 1: about Stevie Nicks because I got a little story for

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Speaker 1: you about Stevie Nicks. You're ready, witch, I'm ready. So

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Speaker 1: this story is about a million dollars worth of cocaine,

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Speaker 1: Hitler's train and learning how to be coke with your butt.

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Speaker 1: You're ready. You want to know why you shouldn't do coke.

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Speaker 1: Here's why Exhibit B and Exhibit CE. Alright, Elizabeth, if

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Speaker 1: I said the word cocaine, then I said, Stevie Nicks.

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Speaker 1: You would next say, of course, and the other ones

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Speaker 1: I would say, is but cocaine because known for this

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Speaker 1: and what do I mean by buck cocaine is it

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Speaker 1: refers to the time when Steven Knicks firs joint Fleetwood mix.

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Speaker 1: She was She was a good girl. She was not

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Speaker 1: someone who's doing a lot of drugs. She gets into

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Speaker 1: the fast life. She's like, hey, I like this cocaine.

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Speaker 1: This stuff so alright, come sitting next to me. Cocaine Now.

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Speaker 1: She loved it so much she burns all like a

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Speaker 1: dime sized hole in her septum. Right, So those is

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Speaker 1: like unable for her to do the snorting she wants.

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Speaker 1: But she's like, but I still love the cocaine, So

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Speaker 1: how do I get it into my body? She's like, well,

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Speaker 1: I do have this personal assistant. They have to do

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Speaker 1: what I asked him to do. So they came up

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Speaker 1: with an ingenious and I say ingenious, loosely way to

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Speaker 1: get the cocaine into a system. Do you know how?

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Speaker 1: I do know how. I'll let you share. That was it.

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Speaker 1: She had the assistant blow it up for tutor. Yes, exactly.

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Speaker 1: She got like a straw right right there in the

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Speaker 1: poop shoot and then I don't know. This is the

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Speaker 1: part of that makes sense to me, is so you

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Speaker 1: loaded up in the straw on one end and then

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Speaker 1: like I guess, like hold it in balance and then

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Speaker 1: insert the straw and then blow. Yeah. I was trying

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Speaker 1: to work out the dynamics anyway, she reverse siphoning of gasoline. Yeah,

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Speaker 1: but it just seemed like do you want to get

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Speaker 1: it in the middle of the straw? So I mean

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Speaker 1: you're going it was I think you probably loaded at

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Speaker 1: the front end of the straw in there just cramp,

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Speaker 1: just shove it and ram it on it like sneezer.

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Speaker 1: You had that moment you're like and you like suck

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Speaker 1: it back in. Well, no, I think you take a

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Speaker 1: deep breath with your thumb over it and then you

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Speaker 1: blow into the but you don't want to put too

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Speaker 1: much air and then it's sprays back out at you.

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Speaker 1: I'm now I'm overthinking what happened? Okay, so but like

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Speaker 1: one of those like um fireplace, what's that called for

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Speaker 1: stokers from? What are those things called the accordion? Stoker bellows, bello,

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Speaker 1: there you go, thank you producer. Day just but then

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Speaker 1: it's like too much pressure and then it all shoots

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Speaker 1: back up and everyone's cocaine ever in a fine dust. Well,

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Speaker 1: keeping the fine dust aside for a second. The I

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Speaker 1: promise you Hitler's Hitler's train, right, So there's another reason

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Speaker 1: why not to do cocaine. When they were traveling in

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Speaker 1: Europe doing a tour, they're like, we need We're doing

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Speaker 1: so many drugs, we can't risk it, and we need

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Speaker 1: a place to be able to be ourselves. So but

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Speaker 1: also we're decading in seventies and full of ourselves. We

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Speaker 1: need something plush. We can't just have a tour bus.

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Speaker 1: Let's get a tour train. So they rented a rain

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Speaker 1: carriage and pretty awesome. Yeah, they're traveling around like the Netherlands, France.

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Speaker 1: You know how I feel about trains. I knew you

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Speaker 1: would like this. I was like, you know, who's gonna

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Speaker 1: really appreciate this. So they go and they're like, okay,

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Speaker 1: we need something luxurious. And then because it's Germany and

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Speaker 1: the Netherlands and France, people are like, oh, we got,

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Speaker 1: you know, plenty of trains, and so they get one

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Speaker 1: and they hire this train and it's supposed to take

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Speaker 1: them around the continent do all the blow they want.

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Speaker 1: Turns out the train had been Hitler's personal carriage, right,

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Speaker 1: So it's outfit with all these decaded gold fixtures, velvet curtain,

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Speaker 1: a lot of read well appointed divans. You know, it's

406
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Speaker 1: just really right. Everything is the way Hitler liked it,

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Speaker 1: and it included in the rental price of this train carriage.

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Speaker 1: Came a personal attendant. He was this really old German Man,

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Speaker 1: old Elizabeth. He had once been Hitler's personal assistance. That's

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Speaker 1: exactly like, that's the kind where where was your dad?

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Speaker 1: Where were you in the war? Literally, so that's what

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Speaker 1: cocaine can do for you. Anyway, So we're not here

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Speaker 1: to talk at cocaine. They We're here to talk about

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Speaker 1: battling Fleetwood. Manup, okay, the original lineup for Fleetwood Mac.

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Speaker 1: I didn't know this. I had to look it up.

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Speaker 1: It's also a point of debate. Apparently, people look say, no,

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Speaker 1: this is when it was the original lineup. This is

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Speaker 1: the original lineup, but as best as I can determine,

419
00:22:14,160 --> 00:22:18,240
Speaker 1: the original lineup was Peter Green, Danny Kerwin, Jeremy Spencer,

420
00:22:18,320 --> 00:22:21,120
Speaker 1: John McVie, and Mick Fleetwood. And they had a manager,

421
00:22:21,160 --> 00:22:23,520
Speaker 1: Clifford Davis, who was really involved, who was the co

422
00:22:23,800 --> 00:22:27,760
Speaker 1: founder of the band. Okay, okay, so Mick Fleetwood was

423
00:22:27,800 --> 00:22:32,000
Speaker 1: an original member, original member. Maybe that song Fleetwood Mac

424
00:22:32,160 --> 00:22:34,560
Speaker 1: was about him. Oh, I'll explain it. Don't let that

425
00:22:34,640 --> 00:22:40,320
Speaker 1: dango out there. I'll give you plenty of clue. Okay. Now,

426
00:22:40,720 --> 00:22:42,600
Speaker 1: the things start well for the band. They're in the UK.

427
00:22:42,760 --> 00:22:45,760
Speaker 1: They're doing this like you know, blues revival sound, and

428
00:22:45,800 --> 00:22:48,600
Speaker 1: this is like the late sixties now nineteen seventy. Peter

429
00:22:48,640 --> 00:22:50,639
Speaker 1: Green's like, look, guys, I'm out. It's not doing what

430
00:22:50,680 --> 00:22:53,159
Speaker 1: I thought we're gonna do. So a year later, Jeremy

431
00:22:53,160 --> 00:22:55,520
Speaker 1: Spencers like, look i'm out too. I'm gonna go do

432
00:22:55,600 --> 00:22:58,200
Speaker 1: my own blues thing. Cliff Davis is like, okay, well

433
00:22:58,240 --> 00:23:00,480
Speaker 1: that's no problem. Hires two new cats. He it's Bob

434
00:23:00,520 --> 00:23:03,159
Speaker 1: Welch and Christine Mcvighe to join the band. So Christine

435
00:23:03,240 --> 00:23:06,520
Speaker 1: mcvige comes in starts to really shape the sound. And

436
00:23:06,520 --> 00:23:09,000
Speaker 1: now this is also kind of a difficult time for

437
00:23:09,040 --> 00:23:11,440
Speaker 1: the band though, because Mick Fleetwood's like, you know, who

438
00:23:11,440 --> 00:23:13,800
Speaker 1: are we? What are we becoming right on the precipice

439
00:23:13,800 --> 00:23:15,760
Speaker 1: of success? What do we need to do to break

440
00:23:15,760 --> 00:23:18,800
Speaker 1: through in America? So now in nineteen seventy three, we

441
00:23:18,840 --> 00:23:21,600
Speaker 1: have two original members of the band left, John McVie

442
00:23:21,600 --> 00:23:24,240
Speaker 1: and Mick Fleetwood. We've got the new members Bob Welch,

443
00:23:24,520 --> 00:23:26,840
Speaker 1: he's on guitar and vocals. We've got Christine McVie on

444
00:23:26,920 --> 00:23:30,879
Speaker 1: keyboards of vocals, and Bob Weston on guitars and vocals.

445
00:23:30,880 --> 00:23:35,840
Speaker 1: Because it's the seventies band, Isn't Mick Fleetwood like nine

446
00:23:35,840 --> 00:23:38,680
Speaker 1: ft tall? It's really really tall. Yeah, I think it's

447
00:23:38,680 --> 00:23:40,480
Speaker 1: like nine ft two. I had a painting boss, so

448
00:23:40,560 --> 00:23:42,359
Speaker 1: I used to go over to his house and like

449
00:23:42,359 --> 00:23:44,680
Speaker 1: while he poured himself a morning cocktail and he would

450
00:23:44,720 --> 00:23:47,520
Speaker 1: he would watch this um like I don't know. It's

451
00:23:47,520 --> 00:23:50,280
Speaker 1: like a PDS like we if you donate this year,

452
00:23:50,280 --> 00:23:52,560
Speaker 1: we'll give you this special and it was of it

453
00:23:52,640 --> 00:23:55,639
Speaker 1: was like a boomer like made gift pasket. And so

454
00:23:55,880 --> 00:23:59,359
Speaker 1: you get like the Fleetwood Mac performance, but the USC

455
00:23:59,600 --> 00:24:02,639
Speaker 1: marching band for Tusk and that's yeah for Tusk. And

456
00:24:02,680 --> 00:24:05,120
Speaker 1: so we had to watch before we before we could

457
00:24:05,160 --> 00:24:07,480
Speaker 1: leave the house. He had to hear TuS. I got

458
00:24:07,480 --> 00:24:09,639
Speaker 1: to hear the band. Do you think that that was

459
00:24:09,720 --> 00:24:12,320
Speaker 1: like one of those PBS things in like the early

460
00:24:12,440 --> 00:24:16,199
Speaker 1: nineties when Clinton had the whole dumb up completely, just

461
00:24:16,280 --> 00:24:22,040
Speaker 1: as a hangover of that Our sound, Our moment in

462
00:24:22,080 --> 00:24:29,520
Speaker 1: the morning breakfast. So the h in true Fleetwood Max style,

463
00:24:29,600 --> 00:24:31,640
Speaker 1: things are going well but also a little bit stressy

464
00:24:31,720 --> 00:24:34,960
Speaker 1: and messy. Right, So what happens is, you know, something

465
00:24:34,960 --> 00:24:38,280
Speaker 1: else very Fleetwood Mackie, an extra marital affair breaks out.

466
00:24:38,520 --> 00:24:43,480
Speaker 1: Now Bob Weston has an affair with Nick Fleetwood's wife,

467
00:24:43,520 --> 00:24:46,399
Speaker 1: Jenny Boyd, and the affair, obviously meant to remain secret,

468
00:24:46,520 --> 00:24:49,640
Speaker 1: does not remain secret. Mick Fleetwood learns about his wife

469
00:24:49,680 --> 00:24:52,520
Speaker 1: cheating with his new guitar player, and he's like, oh,

470
00:24:52,600 --> 00:24:55,000
Speaker 1: he's destroyed by the double betrayal. Right, He's like, I

471
00:24:55,040 --> 00:24:57,560
Speaker 1: want to quit my tour, I want to quit the band,

472
00:24:57,640 --> 00:24:59,399
Speaker 1: I want to quit the marriage. I just want to

473
00:24:59,480 --> 00:25:03,240
Speaker 1: quit everything, right, big emotional guy. So manager Cliff Davis

474
00:25:03,280 --> 00:25:05,320
Speaker 1: is like, oh man, this is this is not good.

475
00:25:05,400 --> 00:25:07,359
Speaker 1: Everybody I got band members asleep and he wants to

476
00:25:07,359 --> 00:25:09,160
Speaker 1: break it up or right on the edge of success.

477
00:25:09,480 --> 00:25:11,040
Speaker 1: So he thinks about it for like, I don't know

478
00:25:11,119 --> 00:25:13,639
Speaker 1: thirty seconds. He's like, I got it. I got a solution,

479
00:25:14,280 --> 00:25:16,760
Speaker 1: and so he goes on, I'll just browbeat mc fleetwood.

480
00:25:16,840 --> 00:25:20,520
Speaker 1: He's emotional. I'll threatened him. He's like, So Cliff Davis

481
00:25:20,520 --> 00:25:22,560
Speaker 1: goes to Mick and he's like, if you blow this tour,

482
00:25:22,720 --> 00:25:25,920
Speaker 1: you'll never get another chance. And Mick Fleetwood's like, oh man,

483
00:25:26,160 --> 00:25:28,879
Speaker 1: he's ambitious, he's young, he needs this. So he listens

484
00:25:28,880 --> 00:25:31,639
Speaker 1: to his manager, he considers his options, and then he

485
00:25:31,720 --> 00:25:34,440
Speaker 1: calls Bob Weston. He goes, look, you're fired. And then

486
00:25:35,280 --> 00:25:37,480
Speaker 1: he goes and he calls the tour manager. He's like,

487
00:25:37,520 --> 00:25:40,520
Speaker 1: cancel the tour. So he just do exactly what he

488
00:25:40,560 --> 00:25:43,679
Speaker 1: wanted to do. So there's twenty six dates left on

489
00:25:43,720 --> 00:25:46,840
Speaker 1: this schedule, right, manager Cliff Davis calls the tour manager

490
00:25:46,920 --> 00:25:49,720
Speaker 1: just says, look, do not counsel the dates, don't don't

491
00:25:49,760 --> 00:25:51,960
Speaker 1: tell call anybody. We're on the hook for all this.

492
00:25:51,960 --> 00:25:54,360
Speaker 1: This will kill us. Right, McK fleetwood's gonna go home.

493
00:25:54,400 --> 00:25:57,720
Speaker 1: He's having a family trouble, so he starts brainstorming more.

494
00:25:57,720 --> 00:26:01,200
Speaker 1: He's like, look, I don't need McK fleetwood. I'm Fleetwood

495
00:26:01,280 --> 00:26:04,359
Speaker 1: Mac right. So he decides I can just hire people.

496
00:26:04,560 --> 00:26:06,960
Speaker 1: So I have the legal right to do that because

497
00:26:07,000 --> 00:26:09,200
Speaker 1: I co founded the band and I owned the rights,

498
00:26:09,240 --> 00:26:12,280
Speaker 1: and he's had these contracts because it's like bad music

499
00:26:12,320 --> 00:26:16,400
Speaker 1: business of the sixties and really manipulative contracts. I'ld rely

500
00:26:16,440 --> 00:26:20,119
Speaker 1: like own the right to their ability to publicly perform music,

501
00:26:20,200 --> 00:26:23,159
Speaker 1: you know, like yeah, weird coming tacts right, So he

502
00:26:23,240 --> 00:26:25,160
Speaker 1: goes to the band. He goes, look, Mick Fleetwood's going

503
00:26:25,160 --> 00:26:26,880
Speaker 1: back to the UK, and he's just a little mad

504
00:26:26,880 --> 00:26:29,200
Speaker 1: with you guys, but hell cool out. So why don't

505
00:26:29,200 --> 00:26:31,359
Speaker 1: you guys keep going, I'll hire a new Mick Fleetwood.

506
00:26:31,359 --> 00:26:33,600
Speaker 1: And they're like, you can't do that, bro, We're not

507
00:26:33,640 --> 00:26:35,760
Speaker 1: doing it. It's like, look, do it or you're out

508
00:26:35,760 --> 00:26:38,800
Speaker 1: of the band. And they're like, well what band? Are

509
00:26:38,840 --> 00:26:40,879
Speaker 1: we still a band? He's like yeah, we gotta finish

510
00:26:40,880 --> 00:26:44,080
Speaker 1: twenty six dates and like oh. So they get together

511
00:26:44,119 --> 00:26:45,840
Speaker 1: have a little like chit chat about and they're like, no,

512
00:26:46,000 --> 00:26:49,280
Speaker 1: we're not doing it. Blow Cliff. Cliff was like, all right, fine,

513
00:26:49,320 --> 00:26:51,720
Speaker 1: I can I'll get a whole new band. So he

514
00:26:51,840 --> 00:26:55,440
Speaker 1: hires a whole new Fleetwood map right, and he tells, you, guys,

515
00:26:55,680 --> 00:27:00,360
Speaker 1: you got twenty six dates. Let's hit becomes a band

516
00:27:00,920 --> 00:27:03,720
Speaker 1: before you went that cover band, before they're famous. Now

517
00:27:04,160 --> 00:27:07,399
Speaker 1: there's a problem with this because when he hires the

518
00:27:07,440 --> 00:27:10,400
Speaker 1: new band, he tells them your Fleetwood Mac. You guys

519
00:27:10,440 --> 00:27:14,320
Speaker 1: are just you know, tour musicians. Mick Fleetwood's gonna be

520
00:27:14,359 --> 00:27:17,480
Speaker 1: back on tour. And that is as you know, we

521
00:27:17,600 --> 00:27:20,600
Speaker 1: in the story industry, we call that a lie. They

522
00:27:21,240 --> 00:27:23,800
Speaker 1: they there was no meat Fleetwood coming back, so they

523
00:27:23,840 --> 00:27:26,280
Speaker 1: were they were hired under the idea that this was

524
00:27:26,359 --> 00:27:29,600
Speaker 1: a temporary fix. They didn't know that they were Fleetwood.

525
00:27:29,720 --> 00:27:32,200
Speaker 1: They were not told you're now Fleetwood. They were scabs

526
00:27:32,560 --> 00:27:36,040
Speaker 1: and they were not even well placed skes. So Cliff Davis,

527
00:27:36,080 --> 00:27:38,280
Speaker 1: so he's focused on the band's momentum. That's the only

528
00:27:38,320 --> 00:27:40,640
Speaker 1: thing that matters to him. Quality was job number two.

529
00:27:40,760 --> 00:27:42,960
Speaker 1: He was like, look, as far as we keep everything rolling,

530
00:27:43,000 --> 00:27:45,800
Speaker 1: how it's rock music, How hard could this be? You know,

531
00:27:45,800 --> 00:27:47,919
Speaker 1: I headed the g string. I don't know. So Cliff

532
00:27:47,960 --> 00:27:50,480
Speaker 1: Davis He's like, Okay, this is my band, and he

533
00:27:50,520 --> 00:27:53,359
Speaker 1: would explain it to anybody and uh, I'll explain it

534
00:27:53,400 --> 00:27:56,720
Speaker 1: to you. I quote from Cliff Davis. I've always been

535
00:27:56,760 --> 00:27:58,840
Speaker 1: the leader of the band, as much a lot of

536
00:27:58,840 --> 00:28:01,919
Speaker 1: people over the years. If constructed. The Fleetwood Mac is

537
00:28:02,119 --> 00:28:06,480
Speaker 1: Fleetwood and McVie. Fleetwood Mac was a song written by

538
00:28:06,520 --> 00:28:10,360
Speaker 1: Peter Green when he was with John May. All Okay,

539
00:28:10,480 --> 00:28:12,480
Speaker 1: that's like his whole like, it can't be there. It's

540
00:28:12,520 --> 00:28:15,320
Speaker 1: not about Mick Fleetwood. It's about me me, and so

541
00:28:16,280 --> 00:28:19,080
Speaker 1: he then like, since it's about this Peter Green song.

542
00:28:19,280 --> 00:28:22,400
Speaker 1: This was also part of the contract aspect because Christine

543
00:28:22,440 --> 00:28:24,760
Speaker 1: McVie had a contract with him which he first joined

544
00:28:24,760 --> 00:28:28,800
Speaker 1: the band. So to get around the new Mick Fleetwood

545
00:28:28,840 --> 00:28:32,600
Speaker 1: that is created, Mick Fleetwood is left with only one recourse,

546
00:28:32,720 --> 00:28:36,760
Speaker 1: which is legal. He's like, let's start filing contracts. You

547
00:28:36,800 --> 00:28:41,440
Speaker 1: love lawyers, so uh well, I don't. I don't really

548
00:28:41,480 --> 00:28:44,680
Speaker 1: know this band, but the maybe some of these names

549
00:28:44,720 --> 00:28:47,000
Speaker 1: will be familiar to you. You know music better than

550
00:28:47,040 --> 00:28:49,960
Speaker 1: I do. The new Fleetwood Mac was like one cat

551
00:28:50,040 --> 00:28:54,520
Speaker 1: named Elmer Gantry. I know it from the movies. I

552
00:28:54,520 --> 00:28:56,920
Speaker 1: don't hear a person right now. That's not his real name.

553
00:28:56,920 --> 00:28:59,440
Speaker 1: His mom and named him Dave Todd. Dave Todd and

554
00:28:59,440 --> 00:29:03,480
Speaker 1: then there's cur Be Gregory, Paul Martinez, a cat named

555
00:29:03,520 --> 00:29:08,120
Speaker 1: John Dave or David Wilkinson. And then there was Craig Collingay.

556
00:29:08,280 --> 00:29:13,040
Speaker 1: This band goes out of Sleetwood Mac. The band is

557
00:29:13,040 --> 00:29:16,120
Speaker 1: set to do their first shows in January February nineteen

558
00:29:16,240 --> 00:29:21,400
Speaker 1: seventy four. Right now, first show they're gonna do. It's Pittsburgh, Pennsylvania. Now, Elizabeth,

559
00:29:21,800 --> 00:29:24,040
Speaker 1: I would like you to close your eyes and picture

560
00:29:24,040 --> 00:29:29,320
Speaker 1: it and check one to three. Check your backstage. You're

561
00:29:29,320 --> 00:29:32,200
Speaker 1: working as a concert promoter. The seventies have been good

562
00:29:32,240 --> 00:29:35,800
Speaker 1: to you. Your friend is a newly self minted music producer,

563
00:29:35,920 --> 00:29:38,160
Speaker 1: Rich Angler, and he's the one who's called you in

564
00:29:38,240 --> 00:29:40,240
Speaker 1: to help with this new show. You spot your friend

565
00:29:40,360 --> 00:29:42,920
Speaker 1: Rich Angler, moving fast backstage. You want to flag him

566
00:29:42,960 --> 00:29:45,000
Speaker 1: down and ask about the timetable for the show. You

567
00:29:45,040 --> 00:29:46,600
Speaker 1: hope to have a few minutes alone with the band

568
00:29:46,640 --> 00:29:47,960
Speaker 1: so you can ask them, abou didn't you last the

569
00:29:48,000 --> 00:29:50,280
Speaker 1: many changes for the set or a request for their

570
00:29:50,280 --> 00:29:52,840
Speaker 1: stage package. You wanted all to go so well for

571
00:29:52,880 --> 00:29:56,040
Speaker 1: your friend rich Now Angler just recently started this new

572
00:29:56,080 --> 00:29:59,360
Speaker 1: concert promotion business, as you are well aware, and you

573
00:29:59,440 --> 00:30:01,880
Speaker 1: know that he's nervous about everything, So you let him

574
00:30:01,920 --> 00:30:04,880
Speaker 1: streak past you. You don't interrupt. You're figuring he's handling something.

575
00:30:05,160 --> 00:30:07,640
Speaker 1: You'll catch him later. But then you see him stop

576
00:30:07,680 --> 00:30:10,080
Speaker 1: dead in his tracks, and you he pauses to talk

577
00:30:10,080 --> 00:30:12,680
Speaker 1: with the man. You recognize his Cliff Davis, the manager

578
00:30:12,720 --> 00:30:14,440
Speaker 1: of the band that's about to go on, and you

579
00:30:14,560 --> 00:30:17,800
Speaker 1: hear Angler asked Cliff Davis, where the hell is Fleetwood Mac?

580
00:30:18,480 --> 00:30:20,840
Speaker 1: But you just saw the band in their dressing room.

581
00:30:20,840 --> 00:30:22,920
Speaker 1: In fact, you're sure of it, and you saw Anglers

582
00:30:23,000 --> 00:30:25,480
Speaker 1: speak with them earlier, so he should know they're here.

583
00:30:25,560 --> 00:30:28,040
Speaker 1: What is he asking? Where's Fleetwood Mac? Then it all

584
00:30:28,080 --> 00:30:29,840
Speaker 1: makes sense to you when you hear Angler tell the

585
00:30:29,840 --> 00:30:32,360
Speaker 1: manager Cliff Davis, I don't know what the hell you

586
00:30:32,400 --> 00:30:34,640
Speaker 1: think you're polling, but that's not Fleetwood Mac in the

587
00:30:34,760 --> 00:30:38,960
Speaker 1: dressing room. Who the hell are those bozos? Bozos? I

588
00:30:39,080 --> 00:30:42,640
Speaker 1: love calling people both. Cliff Davis keeps insisting that those

589
00:30:42,680 --> 00:30:46,960
Speaker 1: bozos are indeed Fleetwood Mac. So Angler knows the band personally,

590
00:30:46,960 --> 00:30:49,760
Speaker 1: he's he's loves the he's friends with the band. This

591
00:30:49,800 --> 00:30:51,880
Speaker 1: is his first show. He hired them knowing it would

592
00:30:51,920 --> 00:30:54,120
Speaker 1: be a success because Fleetwood Mac would go out there

593
00:30:54,120 --> 00:30:57,080
Speaker 1: and hello, Pittsburgh and knock it at dead right. He

594
00:30:57,600 --> 00:31:02,040
Speaker 1: needs that, not these bows. So Rich Angler tells Cliff

595
00:31:02,080 --> 00:31:04,440
Speaker 1: Davis he doesn't know, like what you can get away

596
00:31:04,480 --> 00:31:06,840
Speaker 1: with in the UK, but this is Pittsburgh, man, and

597
00:31:06,880 --> 00:31:10,120
Speaker 1: they don't go for that. Queen's English bollocks. Three River

598
00:31:10,240 --> 00:31:13,520
Speaker 1: City man. Rich Angler he tells the manager of the

599
00:31:13,600 --> 00:31:16,560
Speaker 1: so called Fleetwood Mac they ain't going on my stage,

600
00:31:17,040 --> 00:31:19,040
Speaker 1: and Cliff Davis is like, yeah, they are, I got

601
00:31:19,160 --> 00:31:23,000
Speaker 1: a contract and so rich is like, I don't know

602
00:31:23,000 --> 00:31:25,000
Speaker 1: what to do about that. I'm knowing this business. So

603
00:31:25,760 --> 00:31:28,280
Speaker 1: he loses his cool. He gets emotional. He takes a

604
00:31:28,360 --> 00:31:31,320
Speaker 1: swing at Cliff David. He is like, yeah, haul's off,

605
00:31:31,400 --> 00:31:33,520
Speaker 1: decks him right. The Cliff Davis is pretty quick. It

606
00:31:33,600 --> 00:31:35,600
Speaker 1: barely hits him because this is not the first time

607
00:31:35,600 --> 00:31:38,840
Speaker 1: someone has wanted to punch. Cliff David ready for the swing,

608
00:31:39,160 --> 00:31:41,440
Speaker 1: so he dodges the first punch. He gets caught by

609
00:31:41,480 --> 00:31:44,360
Speaker 1: the surprise second and while Rich Anglers standing over going

610
00:31:44,440 --> 00:31:47,120
Speaker 1: that's Pittsburgh's son. You're like about to try to calm

611
00:31:47,160 --> 00:31:49,000
Speaker 1: him down, and then you're like this real fist fight.

612
00:31:49,200 --> 00:31:52,120
Speaker 1: Rock and roll babies, this is what's happened in Pittsburgh,

613
00:31:52,280 --> 00:31:55,760
Speaker 1: but security runs over, breaks it up, and Angler throws

614
00:31:55,800 --> 00:31:58,080
Speaker 1: up his fan his hands in disgust and he's like,

615
00:31:58,120 --> 00:32:00,360
Speaker 1: look fine, let him on stage. I don't give a

616
00:32:00,400 --> 00:32:03,880
Speaker 1: flying fig. It's their reputation you're ruining, not mine. Ten

617
00:32:03,920 --> 00:32:08,360
Speaker 1: minutes later, pretend Fleetwood Mac takes the stage. Band starts playing.

618
00:32:09,240 --> 00:32:11,520
Speaker 1: They know the hits, They played the songs right, you know,

619
00:32:12,240 --> 00:32:14,160
Speaker 1: and they played the new songs off the new album,

620
00:32:14,280 --> 00:32:17,120
Speaker 1: and surprise, surprise, they actually sound good. It sounds like

621
00:32:17,280 --> 00:32:20,080
Speaker 1: Fleetwood Mac. And you catch up to Rich Angler and

622
00:32:20,080 --> 00:32:22,640
Speaker 1: you're happily surprised to hear him say to look at

623
00:32:22,680 --> 00:32:24,840
Speaker 1: that the band, whoever the hell they are, not have

624
00:32:25,040 --> 00:32:28,720
Speaker 1: bad You're like, oh, went went well for him? Like kiss,

625
00:32:28,720 --> 00:32:31,280
Speaker 1: he was so nervous. But you joke that the audience

626
00:32:31,360 --> 00:32:32,880
Speaker 1: must be like, I don't know, zonked out of their

627
00:32:32,920 --> 00:32:35,880
Speaker 1: head on goofball pills. What's the deal? Are they high

628
00:32:35,880 --> 00:32:39,120
Speaker 1: on the maui wali because this is clearly not Fleetwood Mac.

629
00:32:39,240 --> 00:32:40,960
Speaker 1: But England just looks at you, like, where do you

630
00:32:41,000 --> 00:32:44,480
Speaker 1: get these references? Have been injecting doobies? Are they? Are

631
00:32:44,480 --> 00:32:47,520
Speaker 1: they on the tie sticks? So Fleetwood Mac, you know,

632
00:32:47,680 --> 00:32:49,960
Speaker 1: they're like I guess Pittsburgh doesn't know what Fleetwood Mac

633
00:32:50,000 --> 00:32:52,800
Speaker 1: looks like. And just this sounds like the crowd is

634
00:32:52,800 --> 00:32:55,560
Speaker 1: cool with the show, but the real heads recognized this

635
00:32:55,600 --> 00:32:57,320
Speaker 1: band is not Fleetwood Mac. And then you go and

636
00:32:57,360 --> 00:32:59,240
Speaker 1: they demand their money back, and Angler doesn't want to

637
00:32:59,280 --> 00:33:02,240
Speaker 1: have problems, so he gives out the refunds. Everything's cool,

638
00:33:02,640 --> 00:33:06,280
Speaker 1: onto the next show. Now, after a short break, I'll

639
00:33:06,320 --> 00:33:08,560
Speaker 1: tell you how this all goes really badly and turns

640
00:33:08,600 --> 00:33:32,440
Speaker 1: into a legal nightmare. Alright, Elizabeth, I left you in Pittsburgh, Pennsylvania.

641
00:33:32,560 --> 00:33:34,680
Speaker 1: Did leave me in Pittsburgh. I'm gonna pick you up

642
00:33:34,720 --> 00:33:38,560
Speaker 1: there and we're gonna travel onto Potsdam, New York. All right,

643
00:33:38,840 --> 00:33:43,760
Speaker 1: that's upstate New York. Yes, in Potsdam, New York, the

644
00:33:43,760 --> 00:33:47,080
Speaker 1: fake band they play another show. This one's kind of

645
00:33:47,080 --> 00:33:49,680
Speaker 1: intended like it's like a Broadway show, like on the

646
00:33:49,760 --> 00:33:51,760
Speaker 1: road before you hit Broadway. They're supposed to kind of

647
00:33:51,760 --> 00:33:55,560
Speaker 1: get because the next tour date is New York City

648
00:33:55,840 --> 00:33:57,800
Speaker 1: and they've got to be on point for New York.

649
00:33:58,480 --> 00:34:01,440
Speaker 1: So they play pots Day. Things go well, and then

650
00:34:01,760 --> 00:34:04,000
Speaker 1: they get to New York on schedule. This is gonna

651
00:34:04,040 --> 00:34:07,120
Speaker 1: be rock. Journalists are there and they've already heard rumors

652
00:34:07,160 --> 00:34:12,560
Speaker 1: about the Pittsburgh show. It's filtered out, and now they

653
00:34:12,600 --> 00:34:15,120
Speaker 1: know there's some fake band pretending to be Fleetwood Mac.

654
00:34:15,160 --> 00:34:16,839
Speaker 1: And they're like, we got to see this for our show.

655
00:34:17,280 --> 00:34:19,000
Speaker 1: And some of them they know Cliff Davis, so they

656
00:34:19,000 --> 00:34:20,840
Speaker 1: call him up there like I need an exclusive interview.

657
00:34:20,840 --> 00:34:23,200
Speaker 1: I'm gonna need the story on this, and yeahh come

658
00:34:23,239 --> 00:34:25,920
Speaker 1: on to the hotel. Right the Cliff Davis tells some

659
00:34:26,040 --> 00:34:28,759
Speaker 1: rock journalists, right, this is my band. I've always been

660
00:34:28,760 --> 00:34:30,920
Speaker 1: the leader of the band as such. And so they're like,

661
00:34:31,000 --> 00:34:33,160
Speaker 1: well what, yeah, but does this Fleetwood Mac? It is

662
00:34:33,200 --> 00:34:35,799
Speaker 1: if I say it is, right, so, and then he

663
00:34:35,840 --> 00:34:38,200
Speaker 1: adds that he goes back to his previous lie, which

664
00:34:38,239 --> 00:34:41,799
Speaker 1: is Mick Fleetwood. He flew home for family troubles, right,

665
00:34:41,800 --> 00:34:44,759
Speaker 1: and he's like telling everybody he flew to America in January,

666
00:34:45,120 --> 00:34:48,000
Speaker 1: God is gotten some problems, flew back and he'll be

667
00:34:48,320 --> 00:34:51,279
Speaker 1: back soon. He's just give him some time, give them

668
00:34:51,320 --> 00:34:53,840
Speaker 1: made a little air. Now the show must go on

669
00:34:54,040 --> 00:34:57,239
Speaker 1: right right now, Everybody's like, yeah, okay, man, Cliff Davis,

670
00:34:57,360 --> 00:34:59,600
Speaker 1: your band. I guess this is the new Fleetwood Mac.

671
00:34:59,640 --> 00:35:03,239
Speaker 1: Until it kicks back right New York City show goes off. Now,

672
00:35:03,360 --> 00:35:06,879
Speaker 1: remember that half good momentum coming out of Pittsburgh kept

673
00:35:06,880 --> 00:35:10,239
Speaker 1: going into Potsdam. But right before the show, half an

674
00:35:10,280 --> 00:35:12,120
Speaker 1: hour before they're supposed to go on to New York City,

675
00:35:12,160 --> 00:35:14,120
Speaker 1: Elmer Gantry comes out goes, I don't have a voice.

676
00:35:14,200 --> 00:35:17,480
Speaker 1: I've just lost my voice. The concert promoters like, what

677
00:35:17,520 --> 00:35:19,000
Speaker 1: are you talking? What do you mean you have to

678
00:35:19,040 --> 00:35:21,200
Speaker 1: tell you would have known this hours ago. Yeah, it

679
00:35:21,320 --> 00:35:24,560
Speaker 1: just happened right, So, like apparently Cat loses his voice

680
00:35:24,600 --> 00:35:27,239
Speaker 1: totally gone. So no one knows what to do. They

681
00:35:27,280 --> 00:35:29,680
Speaker 1: call up like basically the lawyer and like, the way,

682
00:35:29,760 --> 00:35:31,239
Speaker 1: what do we do? We I would get back the

683
00:35:31,239 --> 00:35:33,400
Speaker 1: money to all thirty people are here and it's like, no, no,

684
00:35:33,480 --> 00:35:36,239
Speaker 1: not giving back any money. Um, here's what we're gonna do.

685
00:35:36,320 --> 00:35:38,239
Speaker 1: Just have the band go out and make an announcement

686
00:35:38,280 --> 00:35:40,680
Speaker 1: and then that meets our contractual obligations. And they're like, Okay,

687
00:35:40,719 --> 00:35:42,480
Speaker 1: that's what we're gonna do. So they go out and

688
00:35:42,520 --> 00:35:45,160
Speaker 1: they they have this. By the way, the opening act

689
00:35:45,239 --> 00:35:49,080
Speaker 1: for this show is Kiss. So the crowd is how

690
00:35:49,120 --> 00:35:53,640
Speaker 1: big is the venue is this see Academy. It's like

691
00:35:53,840 --> 00:35:55,920
Speaker 1: it's a hold of like five thousand people. It's like

692
00:35:55,920 --> 00:35:57,920
Speaker 1: a pretty big floor, you know, kind of like fillmore

693
00:35:57,960 --> 00:36:00,680
Speaker 1: is what I was imagining. I didn't actually, I'm sorry.

694
00:36:00,760 --> 00:36:03,200
Speaker 1: If they had like tour insurance that they would have

695
00:36:03,280 --> 00:36:05,680
Speaker 1: to I don't know. Yeah, I'm sure they have all

696
00:36:05,680 --> 00:36:08,520
Speaker 1: of the riders and back and requirements and and like

697
00:36:08,560 --> 00:36:10,960
Speaker 1: you know, the aspects of like you must cancel by

698
00:36:11,000 --> 00:36:15,440
Speaker 1: this and this percentage of refunds. So they were opening

699
00:36:15,600 --> 00:36:18,520
Speaker 1: Kisses opening, Yeah, so they have they have Kiss hotting

700
00:36:18,600 --> 00:36:20,759
Speaker 1: up the crowd and they've got the lawyer going. And

701
00:36:20,760 --> 00:36:22,960
Speaker 1: then go out there and tell them they we're not

702
00:36:23,000 --> 00:36:28,719
Speaker 1: going to do full makeup Kiss full makeup, Yeah, like

703
00:36:29,239 --> 00:36:34,239
Speaker 1: on the high boot, all leather, white tongues, hang Gene

704
00:36:34,280 --> 00:36:37,120
Speaker 1: Simmons is making everyone in the first row pregnant. Yes,

705
00:36:37,440 --> 00:36:41,920
Speaker 1: so yeah, it's just Fleetwood Mac and that is a

706
00:36:42,239 --> 00:36:46,799
Speaker 1: crazy lineup. Yeah, right, So pretend Fleetwood Mac follows Kiss

707
00:36:46,880 --> 00:36:49,239
Speaker 1: on stage with whatever's whatever is left on stage for

708
00:36:49,280 --> 00:36:51,839
Speaker 1: them to perform, and the band tries to carry on

709
00:36:51,880 --> 00:36:54,880
Speaker 1: with an overly long instrumental set that the crowd has

710
00:36:54,920 --> 00:36:57,640
Speaker 1: been worn. Look, the lead singers sick, guys. So we're

711
00:36:57,640 --> 00:37:01,000
Speaker 1: gonna just do like a jam if that's cool. But

712
00:37:01,040 --> 00:37:02,840
Speaker 1: if you don't want to hear that. You've got fifteen

713
00:37:02,840 --> 00:37:05,480
Speaker 1: minutes to go ask for a refund. So eight hundred

714
00:37:05,520 --> 00:37:07,160
Speaker 1: of the thirty four under people go and ask for

715
00:37:07,200 --> 00:37:09,799
Speaker 1: a refund. I'm out, I'm New York. I got other

716
00:37:10,000 --> 00:37:11,960
Speaker 1: better things to do than here a thirty minute jam.

717
00:37:12,360 --> 00:37:13,960
Speaker 1: A lot of people like I really want to hear Hi, man,

718
00:37:14,120 --> 00:37:16,520
Speaker 1: I've been waiting to hear Fleetwood Mac. So they sit

719
00:37:16,560 --> 00:37:19,640
Speaker 1: down and listen to the jams or whatever. Now New

720
00:37:19,680 --> 00:37:22,040
Speaker 1: York rock journalists are there, and the music press, for

721
00:37:22,080 --> 00:37:25,239
Speaker 1: an entirely different experience, want the scoop all right, right,

722
00:37:25,520 --> 00:37:27,279
Speaker 1: They're like, where the hell's Fleetwood Mac? And who are

723
00:37:27,320 --> 00:37:32,319
Speaker 1: these Boswood Mac? So they write their stories, stories get

724
00:37:32,360 --> 00:37:37,480
Speaker 1: written published. A filter across the Atlantic reads the story

725
00:37:37,520 --> 00:37:41,239
Speaker 1: freaks out because remember once again precipice of success, like

726
00:37:41,280 --> 00:37:43,600
Speaker 1: they are about to go huge and they lose it

727
00:37:43,640 --> 00:37:47,360
Speaker 1: on just this is a terrible story. So he started

728
00:37:47,400 --> 00:37:48,880
Speaker 1: immediately getting on the phone and going I had no

729
00:37:48,920 --> 00:37:50,480
Speaker 1: idea what's going I didn't know the band was still

730
00:37:50,480 --> 00:37:52,040
Speaker 1: on tour. I'm over in the UK. How can they

731
00:37:52,080 --> 00:37:54,400
Speaker 1: be on tour without me? And everyone's like, yeah, I

732
00:37:54,600 --> 00:37:57,520
Speaker 1: totally get to your pist. So then cloth Davis is like,

733
00:37:57,719 --> 00:38:00,480
Speaker 1: what's he saying? What's Cliff Davis do? Is like, told you?

734
00:38:00,760 --> 00:38:03,479
Speaker 1: He sues him. So he sues Mick Fleetwood, you gotta

735
00:38:03,520 --> 00:38:05,960
Speaker 1: stop saying that I owned the band. You you can't

736
00:38:06,000 --> 00:38:08,680
Speaker 1: say what you're saying. So he then tells Mick Fleetwood

737
00:38:08,719 --> 00:38:12,200
Speaker 1: he cannot perform as mic as Fleetwood Mac. He cannot,

738
00:38:12,320 --> 00:38:15,040
Speaker 1: you know, record as Fleetwood Mac. He owns it and

739
00:38:15,400 --> 00:38:18,160
Speaker 1: fleet and Mick Fleetwood's like, no, no, no, that that

740
00:38:18,280 --> 00:38:20,960
Speaker 1: that's not how this goes. We have a whole different agreement.

741
00:38:21,000 --> 00:38:23,880
Speaker 1: So they start going and countersuing each other losses are

742
00:38:24,320 --> 00:38:27,520
Speaker 1: becomes a whole nightmare. Rolling Stone covers all of this,

743
00:38:28,120 --> 00:38:32,359
Speaker 1: going to the contemporaneous coverage from Rolling Stone, quote, when

744
00:38:32,480 --> 00:38:35,680
Speaker 1: is a Fleetwood Mac not a Fleetwood Mac? Although there

745
00:38:35,760 --> 00:38:38,200
Speaker 1: is a band called Fleetwood Mac currently in the midst

746
00:38:38,200 --> 00:38:40,000
Speaker 1: of a two and a half month US tour, that

747
00:38:40,080 --> 00:38:43,600
Speaker 1: question is puzzling some promoters, some fans, and Warner Brothers.

748
00:38:44,040 --> 00:38:46,320
Speaker 1: So to answer this question of what makes a Fleetwood

749
00:38:46,320 --> 00:38:49,319
Speaker 1: Mac of Fleetwood Mac, the rock magazine spoke with the

750
00:38:49,320 --> 00:38:51,400
Speaker 1: manager Cliff Davis, and everyone wants to get to the

751
00:38:51,400 --> 00:38:54,320
Speaker 1: bottom of this mystery and Cliff Davis says, and I quote,

752
00:38:54,719 --> 00:38:56,480
Speaker 1: I want to get this out of the public's mind.

753
00:38:56,480 --> 00:38:59,120
Speaker 1: As far as the band being Mick Fleetwood's band, the

754
00:38:59,160 --> 00:39:02,320
Speaker 1: band is my band. The band has always been my band.

755
00:39:03,520 --> 00:39:06,920
Speaker 1: Band manager. This is some like Minuto level stuff, just

756
00:39:06,960 --> 00:39:12,640
Speaker 1: a rotatum in as are six under sixteen. This wasn't

757
00:39:12,719 --> 00:39:15,879
Speaker 1: enough because he wanted to really squash any Mick Fleetwood's power.

758
00:39:16,000 --> 00:39:19,200
Speaker 1: So Cliff Davis ads, I just decided it was time

759
00:39:19,239 --> 00:39:21,680
Speaker 1: to change the band, certainly on stage, and that's what

760
00:39:21,960 --> 00:39:24,279
Speaker 1: I did. I've always been thought of the leader. I've

761
00:39:24,280 --> 00:39:26,200
Speaker 1: always thought of picked who was going to be in

762
00:39:26,320 --> 00:39:30,799
Speaker 1: it and who wasn't. I decided to keep Mick, how

763
00:39:30,880 --> 00:39:33,960
Speaker 1: decent of him. Yeah, So this wasn't obviously the full story.

764
00:39:34,040 --> 00:39:36,680
Speaker 1: So going back to the pages of Rolling Stone, and

765
00:39:36,719 --> 00:39:40,000
Speaker 1: I quote Bob Welch, the American guitarist who joined Fleetwood

766
00:39:40,000 --> 00:39:42,280
Speaker 1: two and a half years ago when original member Jeremy

767
00:39:42,280 --> 00:39:45,520
Speaker 1: Spencer found god in Los Angeles, denied the whole David's

768
00:39:45,520 --> 00:39:48,279
Speaker 1: story at Presstin was in route to England to meet

769
00:39:48,320 --> 00:39:51,560
Speaker 1: with Fleetwood, the Nick Vee's Weston and lawyers to straighten

770
00:39:51,640 --> 00:39:53,920
Speaker 1: the whole matter out. So now we're going to get

771
00:39:53,920 --> 00:39:56,200
Speaker 1: into more of the counter sing. Yeah. As far as

772
00:39:56,239 --> 00:39:59,200
Speaker 1: Mick Fleetwood's take on this whole debaclest he always kept

773
00:39:59,200 --> 00:40:00,839
Speaker 1: it short in the press. Is much as possible, Mick

774
00:40:00,880 --> 00:40:02,960
Speaker 1: would tell the press of the day and I quote

775
00:40:02,960 --> 00:40:05,040
Speaker 1: the last thing we needed. It was also the most

776
00:40:05,040 --> 00:40:07,920
Speaker 1: preposterous thing we've ever heard in the greatest betrayal from

777
00:40:07,920 --> 00:40:09,719
Speaker 1: one of my own that we could have imagined. He

778
00:40:09,800 --> 00:40:13,200
Speaker 1: keeps going with the emotional. So then we have the

779
00:40:13,239 --> 00:40:16,040
Speaker 1: band's label, Warner Brothers once their take on the two

780
00:40:16,120 --> 00:40:20,399
Speaker 1: Fleetwood Max which one do they have? Right? They've got

781
00:40:20,400 --> 00:40:23,960
Speaker 1: business interest to consider right now. And I quote from

782
00:40:24,040 --> 00:40:27,359
Speaker 1: Rolling Stone. At Warner Brothers in Burbank, Don schmitz Ley,

783
00:40:27,800 --> 00:40:30,839
Speaker 1: executive director label management, has been on the case. I'm

784
00:40:30,880 --> 00:40:32,560
Speaker 1: in the midst of trying to find out who has

785
00:40:32,600 --> 00:40:35,840
Speaker 1: exclusivity on the name. He said, until then the record

786
00:40:35,880 --> 00:40:39,080
Speaker 1: company can do nothing. So they legally cannot until they're

787
00:40:39,080 --> 00:40:43,279
Speaker 1: it's determined who is Fleetwood Mac. It goes on like this,

788
00:40:43,480 --> 00:40:46,080
Speaker 1: and uh, lawsuits are going back and forth. We're in

789
00:40:46,120 --> 00:40:48,480
Speaker 1: mid seventy four right, so a court steps in from

790
00:40:48,520 --> 00:40:50,600
Speaker 1: the UK side. The UK High Court rules at the

791
00:40:50,640 --> 00:40:54,080
Speaker 1: band to be granted an injunction that prevents manager Cliff

792
00:40:54,160 --> 00:40:56,800
Speaker 1: Davis from putting his fake Fleetwood mac out there. Like,

793
00:40:56,880 --> 00:41:00,960
Speaker 1: clearly you're in so how's this an issue? But in

794
00:41:00,960 --> 00:41:03,680
Speaker 1: the exciting world of contract law, that was not enough.

795
00:41:03,800 --> 00:41:08,560
Speaker 1: So Fleetwood finds that Cliff Davis's contract still does preclude

796
00:41:08,600 --> 00:41:10,879
Speaker 1: him from being able to legally record and put out

797
00:41:10,920 --> 00:41:14,359
Speaker 1: albums and sell them. So there's injunctions going back and forth.

798
00:41:14,800 --> 00:41:18,280
Speaker 1: Davis controls performance rights for Christine McVie, so they can't perform,

799
00:41:18,280 --> 00:41:20,840
Speaker 1: which he's in it. Then he has recording rights on

800
00:41:20,920 --> 00:41:24,279
Speaker 1: Mick Fleetwood, so everything's all blocked up. Mc fleetwood goes

801
00:41:24,360 --> 00:41:26,160
Speaker 1: to Los Angeles and it's like, maybe we can record

802
00:41:26,200 --> 00:41:28,640
Speaker 1: a new album. They do. They call it Heroes Are

803
00:41:28,680 --> 00:41:32,319
Speaker 1: Hard to Find and then the group that's the name

804
00:41:32,320 --> 00:41:36,240
Speaker 1: of the album they put it out. Okay, mccliff Davis,

805
00:41:36,239 --> 00:41:39,080
Speaker 1: being an English bulldog, he sues from the UK. He's like,

806
00:41:39,080 --> 00:41:40,880
Speaker 1: you can't just put it out in America because they

807
00:41:40,880 --> 00:41:42,680
Speaker 1: don't sell it in UKA. They just sell it and

808
00:41:42,719 --> 00:41:44,600
Speaker 1: he's like, look, you have a UK law will come

809
00:41:44,640 --> 00:41:46,960
Speaker 1: for us in America down to the U S courts

810
00:41:47,440 --> 00:41:51,160
Speaker 1: essentially is the challenge, right, So he Thence files a

811
00:41:51,239 --> 00:41:54,440
Speaker 1: fresh lawsuit and cites his contract with Christine McVie. So

812
00:41:54,960 --> 00:41:58,320
Speaker 1: Cliff Davis just stays filing paper right now, the battling

813
00:41:58,320 --> 00:42:00,719
Speaker 1: Fleetwood Max. They continue to start kele and swipe at

814
00:42:00,719 --> 00:42:03,080
Speaker 1: each other in court, and this goes on and on.

815
00:42:03,160 --> 00:42:05,440
Speaker 1: But apparently some of this vitriol may not have been

816
00:42:05,480 --> 00:42:09,000
Speaker 1: real at all, because I found a twenti seventeen BBC

817
00:42:09,239 --> 00:42:13,080
Speaker 1: radio interview where the aforementioned Elmer Gantry spoke out on

818
00:42:13,120 --> 00:42:18,520
Speaker 1: the matter. Elbert so Elmer said, Cliff Davis, he approached them.

819
00:42:18,520 --> 00:42:19,920
Speaker 1: He said, Hey, I want you guys to form a

820
00:42:20,040 --> 00:42:22,439
Speaker 1: new band that would be called Fleetwood Mac. He said

821
00:42:22,480 --> 00:42:25,359
Speaker 1: new band Fleetwood Max. So that was clear. But at

822
00:42:25,400 --> 00:42:28,000
Speaker 1: first they were down because they thought Mick Fleetwood was

823
00:42:28,040 --> 00:42:32,080
Speaker 1: gonna be in. So they were confused about new Fleetwood Mac.

824
00:42:32,120 --> 00:42:35,640
Speaker 1: But still Mick Fleetwood's I'm like, okay whatever. Now that's

825
00:42:35,840 --> 00:42:39,359
Speaker 1: also the what Mick told them. He told the replacements,

826
00:42:39,400 --> 00:42:41,279
Speaker 1: I'm coming back to be in the band with you.

827
00:42:41,960 --> 00:42:44,719
Speaker 1: So that contradicts everything because he's supposed to be all

828
00:42:44,760 --> 00:42:48,480
Speaker 1: angry about this. Gantry said in an interview, Mick Fleetwood

829
00:42:48,520 --> 00:42:50,359
Speaker 1: came to our house and we talked through the new

830
00:42:50,440 --> 00:42:53,120
Speaker 1: band and it all seemed fine. Mick said, well, I

831
00:42:53,160 --> 00:42:55,440
Speaker 1: can't actually come and rehearse with you. It was like

832
00:42:55,520 --> 00:42:58,360
Speaker 1: fairly imminent going to the America to tour, but if

833
00:42:58,400 --> 00:43:00,799
Speaker 1: you got a temporary drummer, I'll go and join you

834
00:43:00,880 --> 00:43:03,600
Speaker 1: for the tour. So he's like basically saying that Mick

835
00:43:03,640 --> 00:43:07,680
Speaker 1: told him the same planing Cliff Davis did. Apparently, either

836
00:43:07,760 --> 00:43:09,479
Speaker 1: Mick was a you know, he's in on the dupe

837
00:43:09,520 --> 00:43:12,200
Speaker 1: the whole time, or Elmer Gantry's memory is a little

838
00:43:12,239 --> 00:43:17,480
Speaker 1: like you know, or or none of these are reliable narrators.

839
00:43:17,760 --> 00:43:21,759
Speaker 1: Nobody remembers the truth right, But apparently Elmer Gantry did

840
00:43:21,800 --> 00:43:25,160
Speaker 1: say he and fake Fleetwood Mac went over potential set

841
00:43:25,160 --> 00:43:27,759
Speaker 1: list with Mick Fleetwood and he gave his approval to

842
00:43:28,000 --> 00:43:30,239
Speaker 1: the set list. So he was very well aware. So

843
00:43:30,320 --> 00:43:33,479
Speaker 1: this wasn't a surprise at all from what he said. Now,

844
00:43:33,520 --> 00:43:37,919
Speaker 1: whatever lies chaos, that's the Fleetwood Mac way. Now let's

845
00:43:37,920 --> 00:43:39,719
Speaker 1: get back to their album. Heroes are hard to find,

846
00:43:39,800 --> 00:43:41,680
Speaker 1: right that to support this album, they go out on

847
00:43:41,719 --> 00:43:43,480
Speaker 1: tour in America and they're like, what are you gonna

848
00:43:43,480 --> 00:43:45,480
Speaker 1: do about it? Bro? Come after us? Right, And he's like,

849
00:43:45,520 --> 00:43:48,320
Speaker 1: of course, but they have more problems and other members,

850
00:43:48,360 --> 00:43:50,680
Speaker 1: like the dude Bob Welch is like, uh, you know,

851
00:43:51,040 --> 00:43:52,680
Speaker 1: I don't want to leave the band. This is all

852
00:43:52,719 --> 00:43:55,000
Speaker 1: just getting into so much of a problem. I can't

853
00:43:55,040 --> 00:43:58,080
Speaker 1: do anymore. I have nothing left to give. That's a

854
00:43:58,120 --> 00:44:02,000
Speaker 1: literal quote. I have nothing to give. So the next year,

855
00:44:02,960 --> 00:44:05,719
Speaker 1: Mick Fleetwood he's in Los Angeles thinking about like doing

856
00:44:05,760 --> 00:44:08,120
Speaker 1: another album because he hasn't had like you know, he's

857
00:44:08,120 --> 00:44:10,160
Speaker 1: able to be able to record the album and release

858
00:44:10,200 --> 00:44:13,200
Speaker 1: it in America. Cliff Davis can't totally block him, so

859
00:44:13,320 --> 00:44:15,560
Speaker 1: he's messing around into studio trying to decide what to

860
00:44:15,600 --> 00:44:17,359
Speaker 1: do in a sound Engineers like, hey man, you guys

861
00:44:17,400 --> 00:44:19,600
Speaker 1: need to record here because we got this new board

862
00:44:19,640 --> 00:44:21,480
Speaker 1: and here you got to hear this new uh this

863
00:44:21,600 --> 00:44:24,120
Speaker 1: demo album I just recorded. So he puts on the

864
00:44:24,120 --> 00:44:26,800
Speaker 1: demo album to show off the capabilities of the studio,

865
00:44:27,239 --> 00:44:31,239
Speaker 1: and Mick Fleetwood, here's his future just appear in the air.

866
00:44:31,560 --> 00:44:34,880
Speaker 1: He's like, what is this? This debut turns out to

867
00:44:34,880 --> 00:44:38,440
Speaker 1: be an LP featured two young American talents, Stevie Nicks

868
00:44:38,480 --> 00:44:43,120
Speaker 1: and Lindsey Buckingham. So the next year they've reform as

869
00:44:43,160 --> 00:44:46,000
Speaker 1: the new Fleetwood Mat and that's the one that I

870
00:44:46,040 --> 00:44:51,000
Speaker 1: know about, right, So they record albums, they break through everybody,

871
00:44:51,160 --> 00:44:55,080
Speaker 1: you know, boom tusk, the whole bit, so Landslide shomers

872
00:44:55,719 --> 00:44:58,759
Speaker 1: now as the rest day is music history, and of

873
00:44:58,800 --> 00:45:02,919
Speaker 1: course cocaine and affairs, lots lots of affairs and lots

874
00:45:02,960 --> 00:45:06,920
Speaker 1: of like witchy woman spinning in shawls, lots of shawls

875
00:45:06,960 --> 00:45:12,560
Speaker 1: and campbells. Yes, incense and peppermint love it. So, Elizabeth Zar,

876
00:45:12,880 --> 00:45:17,040
Speaker 1: what is a ridiculous takeaway here? Ridiculous takeaway is the

877
00:45:17,280 --> 00:45:22,400
Speaker 1: music industry is a mess. Yes, and they love lawyers.

878
00:45:22,760 --> 00:45:27,040
Speaker 1: Oh yeah yeah, and everyone would benefit from mediation. Oh,

879
00:45:27,080 --> 00:45:30,920
Speaker 1: like it should have gone to a mediator. I just

880
00:45:31,000 --> 00:45:33,520
Speaker 1: love the fight over the name Fleetwood Mac. And I've

881
00:45:33,520 --> 00:45:36,520
Speaker 1: actually thought a lot about Fleetwood Mac being Mick Fleetwood

882
00:45:36,640 --> 00:45:39,799
Speaker 1: Christine mcviigh, like I if you said, zaren're gonna cut

883
00:45:39,800 --> 00:45:43,120
Speaker 1: off a finger if you can't, if you can't tell

884
00:45:43,160 --> 00:45:47,359
Speaker 1: us how fewood Like I love when we do these

885
00:45:47,440 --> 00:45:50,200
Speaker 1: kind of like oh you know, but like imagine being

886
00:45:50,200 --> 00:45:52,480
Speaker 1: in a situation like literally where someone's like I'm going

887
00:45:52,520 --> 00:45:55,400
Speaker 1: to cut off your finger. You can't can't tell me

888
00:45:56,000 --> 00:45:57,959
Speaker 1: how did I get to this place in my life

889
00:45:58,000 --> 00:46:00,759
Speaker 1: that this is happening. I'm like like a dock on

890
00:46:00,840 --> 00:46:04,000
Speaker 1: a lake somewhere and I don't know these anyway. Um,

891
00:46:04,200 --> 00:46:06,759
Speaker 1: did you ever get Did you rEFInd the song Fleetwood

892
00:46:06,760 --> 00:46:11,239
Speaker 1: Mac that Dude City wrote? No? I didn't even look.

893
00:46:11,360 --> 00:46:15,160
Speaker 1: What's it about? I assume Fleetwood Mac? Is it about

894
00:46:15,200 --> 00:46:19,040
Speaker 1: Mick Fleetwood being a mac being the Mac? Yes, it's

895
00:46:19,040 --> 00:46:23,080
Speaker 1: Fleetwood the Mac. Doesn't it doesn't compute like I didn't

896
00:46:23,080 --> 00:46:27,719
Speaker 1: believe because like this makes no sense. I treated this

897
00:46:27,760 --> 00:46:30,960
Speaker 1: story like skiing, right, like the first time I went skiing.

898
00:46:30,960 --> 00:46:34,640
Speaker 1: I mean, yes, I don't do it. What I mean

899
00:46:34,760 --> 00:46:37,200
Speaker 1: is that, like I found myself on top of a

900
00:46:37,239 --> 00:46:39,680
Speaker 1: mountain n ski before. I didn't know what to do.

901
00:46:39,760 --> 00:46:41,440
Speaker 1: I didn't take a lesson, I had no idea what

902
00:46:41,440 --> 00:46:43,600
Speaker 1: was going on. I just wanted to get through it,

903
00:46:43,680 --> 00:46:46,560
Speaker 1: so I said shut myself off. I started going got

904
00:46:46,560 --> 00:46:48,360
Speaker 1: faster and got crazier, and I just held on. And

905
00:46:48,440 --> 00:46:50,400
Speaker 1: suddenly I was at the bottom and I was like,

906
00:46:50,440 --> 00:46:52,400
Speaker 1: I made it through that. I don't know how. So

907
00:46:52,480 --> 00:46:55,520
Speaker 1: I didn't pause to ask what is this Fleetwood Max?

908
00:46:55,560 --> 00:46:57,880
Speaker 1: So I was just like a tree going past. I

909
00:46:57,960 --> 00:47:01,320
Speaker 1: was like I didn't hit that nice. So that's what

910
00:47:01,480 --> 00:47:03,719
Speaker 1: I got for you is a sensation. I can tell

911
00:47:03,760 --> 00:47:07,719
Speaker 1: you the sensation of that makes sense. Yeah, there's still

912
00:47:07,840 --> 00:47:11,839
Speaker 1: I'm just hey, there's Google. Look it up. I guess

913
00:47:11,880 --> 00:47:18,960
Speaker 1: that's that's my ridiculous little thing called Google. Well, you

914
00:47:19,000 --> 00:47:22,760
Speaker 1: can find us online. Ridiculous Crime about Twitter and Instagram.

915
00:47:22,880 --> 00:47:26,960
Speaker 1: Use Google. Twitter is from the discards Instagrams with the photos.

916
00:47:27,160 --> 00:47:29,359
Speaker 1: We put stories up there. Good for the jokes, and

917
00:47:29,440 --> 00:47:33,080
Speaker 1: you get sneak peaks of new weps on both emails

918
00:47:33,080 --> 00:47:35,160
Speaker 1: if you want, you can also tweet at us. But

919
00:47:35,239 --> 00:47:39,000
Speaker 1: if you email up, pick Ridiculous Crime at gmail dot com.

920
00:47:39,040 --> 00:47:47,600
Speaker 1: Thanks for listening. Ridiculous Crime is hosted by Elizabeth Dutton

921
00:47:47,640 --> 00:47:50,680
Speaker 1: and Zarin Burnett, produced and edited by Stevie Knick's personal

922
00:47:50,719 --> 00:47:55,200
Speaker 1: assistant Dave Cousten. Research is by Lindsey Buckingham Truther Marissa Brown.

923
00:47:55,560 --> 00:47:58,480
Speaker 1: Our theme song is by Thomas mac fleetwood Lee and

924
00:47:58,520 --> 00:48:02,800
Speaker 1: Travis fleet mac Wood Dutton. Executive producers are Ben Wilberry

925
00:48:02,840 --> 00:48:12,960
Speaker 1: Bolan and Noel Wilberry Brown. Disquiet Say It One More

926
00:48:13,000 --> 00:48:17,480
Speaker 1: Time We Dequeous Crow. Ridiculous Crime is a production of

927
00:48:17,480 --> 00:48:20,399
Speaker 1: iHeart Radio four more podcasts. To my heart Radio, visit

928
00:48:20,440 --> 00:48:23,319
Speaker 1: the iHeart Radio app, Apple podcasts, or wherever you listen

929
00:48:23,360 --> 00:48:24,360
Speaker 1: to your favorite shows.