Recorded at was probably the lowest point, both professionally and personally (well, I suppose there were some lower personal lows to come, mostly involving people who weren't in the band when this was in the works), this effort by the Mac is mostly ignored and regarded as slight by almost everybody. Except me.

Although there is a fair amount of filler here-mostly courtesy of Bob Welch whose outer-space fixation had become a bit of an annoyance by 1974-many of these songs contain some of the strongest melodies and arrangements that Christine AND Welch ever did. Stripped down to a four-piece by this time, there's an resigned air of "Let's give it all we got one more time" on this one.

Bob Welch's best here, Angel, is a tad lugubrious but builds up a nice head of steam with an insistent chunck-a chunck-a rhythm guitar and gives this tale of another of his many ethereal inamoratas some serious weight...it presages the music his subsequent band, Paris, made. Silver Heels name drops Paul McCartney and Etta James and is a fun, rocking little number, and She's Changing Me has a nice melody and great BV's by Christine. Bermuda Triangle is a bit wan and murky but rocks agreeably enough.

And, of course, Ms. McVie is in very fine form, with the gorgeous Prove Your Love shining through. The title cut also has a nice melody and an air of confident grace; and Come A Little Bit Closer is another of those yearning love songs that made her reputation.

Heroes Are Hard to Find is no classic, but is a lot better effort than people gave it credit for. And of course, got lost in the shuffle when the Lindsey/Stevie tidal wave hit...if you're curious at all about pre-Buckingham/Nicks Mac, then by all means give this one a shot...it's an underrated gem.

The title of this album should have been switched with that of the previous, "Mystery To Me," if for no other reason than it's a mystery how the group kept going despite all the hassles they faced at the time. The strain shows, but both Chris and Bob met the challenge and wrote an album's worth of tunes that stick with the listener.

The overall sound is a bit murky, which should not be confused with "mystical" or any of the adjectives commonly associated with Bob's love of the paranormal. In the case of the title tune, this is a benefit; the blare of the backing horns annoys more than it complements the song. I should mention that Chris's song itself is quite catchy...it's the arrangement that is lacking. Three Bob Welch compositions follow, and two of them have postive impact. "Angel" is the hardest rocker he ever conributed to the Mac songbook, laced with a sense of longing and regret that should move any attentive listener. "Bermuda Triangle" is less effective, especially in light of similar offerings from Welch's personal songbook.

Chris scores her first direct hit on this album with "Come A Little Bit Closer," a gorgeous piano-driven tune with soaring strings and pedal steel. On the album's flip, "Bad Loser" kicks in with a feisty rhythm track and insinuating guitar licks, as Chris denounces the title character. "Prove Your Love" would have benefitted from a quicker pace, but the emotional impact of her singing adds a wistful resonance to a familiar theme.

Welch's songs from the "B" side are pretty good, though only "She's Changing Me" is a pleasant (almost country-rock) departure. "Silver Heels" has Pop hooks out the wazoo, though his voice isn't really suited to the task. "Born Enchanter" is jazzy mood music without a sense of direction. "Safe Harbour" closes the album with graceful instrumentation and haunting melody, not unlike Bob Weston's "Caught In the Rain," or even Danny Kirwan's "Sunny Side of Heaven."

"Heroes.." is more impressive as a statement of group solidarity and grace under pressure than as an album of Pop Rock...but the musical pleasure it provides can't be denied.

The release of Heroes Are Hard To FInd was a triumph for the band after an unbelievable two year period of upheaval. During the planning of a 1973 U.S. tour, Mick Fleetwood's divorce forced him to withdraw and the band agreed to postpone. Clifford Davis, the band's manager, claimed he owned the name Fleetwood Mac and booked the tour using a horrible London bar band. The real Fleetwood Mac sued and won, moving to Los Angeles to record this triumphant album. Listening to it from the perspective of appreciating the work of FM to come back at all and with a such a swagger in Christine McVie's title song was thrilling then and now. Unfortunately, the under recognized Bob Welch left the band after completing the excellent promotional tour. His unique style and songwriting were all over this amazing record. His dreamscape reworking of Elmore James' Coming Home, rhythmic Bermuda Triangle and jazz infused Born Enchanter gave a very diverse sound anchored by Christine's classic Come A Little Bit Closer. A very under recognized album by a gifted Fleetwood Mac line-up that deserved greater appreciation and a longer career.

This is one of my favorite Fleetwood Mac albums, a great selection of songs, a half-dozen of which could of/should of been hit singles. This album, as noted by others, came before the arrival of Buckingham and Nicks, but thanks to Bob Welch's contributions it still had a definite pop feel. Some real magic to be found here.

I am a huge Fleetwood Mac fan, and when I say that, I mean that I am a huge fan of the rhythm section of Mick Fleetwood and John McVie, and all of the talented musicians that they have drafted into their band over the last 40 years.

I own most of the band's studio output, but only recently picked up this album due to the fact that so many fans have been lamenting it for so long. All I have to ask is "what's wrong with everybody?" After giving this only a few listens, I have decided that it is my favorite album, only second place after the group's double-whopper TUSK.

This is by far the band's darkest and murkiest album, and the odd cover artwork emphasizes that fact. I guess most people don't expect 'dark' of Fleetwood Mac, but IMO it works here. I can honestly say that the only song on this album that I don't enjoy is Bob Welch's "Born Enchanter." Even if he is being tongue-in-cheek (which I sincerely hope he is), the song grates on my nerves for some reason.

I simply love the triple lineup of Welch numbers "Coming Home"-"Angel"-"Bermuda Triangle," leading directly into Christine's "Come a Little Bit Closer." And I think that "Prove Your Love" is a new favorite, as I can't seem to stop playing it.

The only reason I am giving this album 4 stars is because, like others have said, the production could have been better and "Born Enchanter" is rather annoying. However, I think the former problem can be improved upon with some remixing and remastering of the album. Get on those Fleetwood Mac reissues Rhino/Warner Bros!!!