Fleetwood Mac - Stop Messin' Round ( S1.2 )

 Multitracking, a common studio technique, was not used: "[T]here is a full density of sound that ... is a result of having recorded the full band and guest musicians as one unit. No overdubs", he adds. In a 1999 interview, Vernon singled out "Stop Messin' Round":

The records we made [for Blue Horizon] were a fairly good representation of that kind of excitement [but] probably we never actually really captured the live performance in a studio – with the exception of "Stop Messin' Around" from the Mr. Wonderful album.

"[Early Fleetwood Mac] zeroed in on two things—B.B. King and Elmore James—and they played the shit out of that music. They had the sound of B.B.'s [1965] Live at the Regal album down almost as good as B.B. did!"

—Carlos Santana, Universal Tone (2014)

Fleetwood Mac biographer Donald Brackett describes the approach on Mr. Wonderful as "the straight goods in terms of gritty white blues within a traditional format" and the material as "pure scintillating blues, rough in form and raw in content". Critic Richie Unterberger sees it as an attempt to emulate the sound of the Sun Studio in Memphis and Chess Studios in Chicago, where many of the classic electric blues songs were recorded. However, he describes the overall album sound as "rushed, raw, and thin".

Chicken Shack co-founder and bassist Andy Silvester recalled Green as a perfectionist, who advised Fleetwood on his drum parts. At Green's request, Silvester played Fleetwood a Jimmy Reed song: "[I played Reed's] 'My Bitter Seed', which just had this amazing groove to it: the tempo was really slow and yet it shuffled along with a lot of swing ... it just flowed [but Fleetwood's drumming] already had that".

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