30. Moving On (1973)
Fabulous curio from the Mystery to Me album. “Going On” by Bob Welch combined the voice of Christine McVie with the soul music of Philadelphia International Records at the time Arrangement for comparison: highly dramatic strings, dance floor drums.like nothing else Fleetwood Mac record it.
29. Give me a little of your love (1972)
If you want to trace the roots of the pop-rock phenomenon that sold millions of Fleetwood Macs, start with LP Bare Trees.at Lindsey Buckingham and Steve Nix When added, McVie’s beautiful Spare Me a Little of Your Love goes against the album’s more rocky tendencies and has a lighthearted mood.
28. Sad Angel (2013)
Despite lineup changes, internal conflicts within the band, and not releasing a standout album since 1987, Fleetwood Mac is still a stadium-filled live show. But if you want to prove that the contemporary Mac isn’t an exhausted creativity, try Sad Angel’s neglected four-track extended play from 2013—a taut, catchy Buckingham rock about his perennial theme Song: Knicks.
27. Black Magic Woman (1968)
Santana’s skinny, conga-heavy cover version is better known, but Fleetwood Mac’s No. 40 hit is darker, more raw and exciting. It feels live, as if someone hit a record during rehearsal; the mood is ominous, and there are frequent pregnancy pauses. Still, it’s commercial.
26. Only You (1982)
By far the least popular of the Buckingham/Knicks-era classic Mac albums, Mirage has some hold mode about it – Tusk’s experiments are gone, expensive-sounding soft rock abounds – but it Contains some truly hidden gems, including McVie’s sweet, ephemeral ode to her soon-to-be-ex, soon-to-be-late fiancé Dennis Wilson.
25. People of the World (1969)
The Mac’s original and increasingly troublesome frontman Peter Green saw the listening public as a shoulder to cry on. In hindsight, the song was perhaps more disturbing than it seemed at the time, with a beautiful tune, an almost ascetic arrangement, and a dreadful lyric: “I only wish I had never been born.”
24. Future Games (1971)
1971’s Future Games’ title track was rescued from obscurity by the “Almost Famous” soundtrack, showing how Welch’s arrival rocked Fleetwood Mac.subsequently Overridden by MGMT, It’s a charming, sprawling, rock-filled summer afternoon song full of harmonies and lyrics in a laid-back hippie mystery style.
23. A little closer (1974)
The standard claim is that the arrival of the Knicks and Buckingham changed the Fleetwood Mac, but in McVeigh’s majestic Come a Little Bit Closer – a hidden gem in 1974’s Hard to Find – the band listened to It looks like they’re already gearing up for a musical shift: it can easily join the rumors.
22. Green Manalishi (with double-pointed crown) (1970)
Thundering grotesque – Greene sings in creepy falsetto as he is haunted by the power of “spread around and make me do what I don’t want to do” – the green Manalishi is both a signpost on the road to heavy metal and like Pink Floyd’s Long-Suppression vegetable manthe sound of the psychological wreckage caused by LSD washing away in rock music.
21. Little Lies (1987)
Many superstars of the ’70s struggled with the pop scene of the ’80s. If Fleetwood Mac was rocking at the start of the decade, by 1987, thanks to songs like Little Lies, which McVie co-wrote with her then-husband Eddy Quintela, they seemed almost as bossy as they were rumored to be. While the keyboardist singer is keen to emphasise its blues roots, to others it sounds like impeccable pop.
20. The Seven Wonders (1987)
Bombarded by prescription sedatives, Knicks barely present during night tango: Her credit in the Seven Wonders comes down to substituting a word in a presentation by writer Sandy Stevens. But her vocal performance in this ’80s AOR masterpiece is astounding, as if she totally agrees with the choir’s allusions to death.
19. Hypnosis (1973)
Post-Green, the climax of the pre-Buckingham/Knicks era, hypnotically captures Fleetwood Mac in transition. There’s still a distinct blues presence on the guitar and vocals, but the overall sound is smooth, intoxicating, and sunny, a departure from the supernaturally obsessed lyrics. While still in the UK, here they sound like they’re already in LA.
18. Big Love (1987)
It’s a hugely successful single, and “Big Love” has a faint hint of darkness and unease that undercuts its breathy sampled sound and ostensibly colorful nighttime mood. Buckingham’s voice sounded miserable for a lingering swing single. The acoustic guitar interjections and electronic rhythms are fidgety; the guitar solos are fiery.
17. On My Head (1975)
1975’s self-titled Fleetwood Mac’s first single was an improvement on the kind of sweet mid-tempo song that McVie had quietly contributed to their album for years. Her precognition is still intact: she’s writing about Buckingham, and it’s far from the last time a bandmate will provide a songwriter’s theme.
16. Golden Dust Girl (1977)
As if the romantic entanglements depicted elsewhere weren’t emotionally distressing enough, the rumors ended with a description of a cocaine overdose. Gold Dust Woman provides more evidence that the album can set the bleak themes in a very captivating way; that is, the instrumental ending is very dark.
15. Tusk (1979)
Hypnotized by the New Wave, and Talking Heads in particular, Buckingham took the rumored follow-up down some unexpected paths, especially in its title track, which includes a chaotic, paranoid hybrid of a marching band, Whispers and screams, and a leg of lamb being beaten with a spatula. Weird and weirdly convincing.
14. Landslide (1975)
One reason Fleetwood Mac exploded in the mid-’70s was that their new songs echoed their fellow baby boomers, whose hippie optimism and youthful enthusiasm had been eroded by other issues: marriage, divorce, parenthood. “Can I handle the four seasons of my life?” ponders the Knicks’ stunning ballad Landslide. “Even children get old, and I am getting old.”
13. You Make Love Funny (1977)
To add to the rumored relationship confusion, You Make Love Funny features McVie’s husband John playing bass on a song praising her romance with the band’s lighting director. Her claim that it was actually about her dog was one of rock’s weakest lies. It really doesn’t explain the choir’s sigh, the glow after sex.
12. Albatross (1968)
Fleetwood Mac’s solo UK No 1, Albatross has its roots in the fantastic instrumental music of the 1950s – especially Chuck Berry’s Affectionate — but its immaculately calm vibe seems very 1969, in keeping with the post-60s psychedelic decadence. Plus, it transcended its era, becoming a hit again in 1973, and then a relaxing collection and commercial soundtrack for years.
11. The Window Sill (1979)
After McVie’s lovely opener, Over & Over, Tusk’s second track plunges listeners into the album’s strangeness. Arranged in a different way, it might sound like a rumored acoustic that never looks back; here, Buckingham’s beautiful melody progresses at breakneck speed, accompanied by a low-key, out-of-tune electric guitar, and the harmonies are drowned out by echoes , almost non-existent.
10. Chains (1977)
The Chain is stitched together from parts of old songs, including a track already featured on the Buckingham Knicks’ 1973 album of the same name. However, its plot structure still works: the moment the famous bass riff comes along is always exciting, no matter how many times you listen to it.
9. The Gypsies (1982)
Beginning in 1978, at the height of Fleetwood Mac’s hedonism, Gypsy found Knicks eager to look back on her life before her fame. When they recorded it on Mirage, her memory was sharpened by the death of her high school friend Robyn Snyder Anderson. The result is wistful, warm and touching heartbreak.
8. Oh Well, Part 1 (1969)
In Fleetwood Mac’s fictional alternative history, Green and guitarist Danny Kirwan maintain psychological balance as they refine the hard-hitting sound of 1969’s awesome Then Play On and kick off a wave of zeppelin-style hard rock success in America. Oh Well Part 1’s raucous, super-powerful riffs suggest it may have happened.
7. Ryannon (1975)
Rhiannon introduces one of Nicks’ featured songwriting tropes: depicting a mysterious but desirable woman for whom the adjective “witchy” may have been invented (and possibly through the song to project Nicks’ own cape-spinning stage role). The music is understated and atmospheric, and Buckingham’s guitar riffs are perfect.
6. Silver Spring (1977)
Silver Springs was removed from rumors due to time constraints, but remains one of the Knicks’ greatest songs, her confident mask of Dreams influence cracked, and jealousy, pain, and dreadful curses emerge, all with a prescient warning to Buckingham: “My voice bothers you.”
5. Sarah (1979)
Sometimes Tusk’s experiments included strange sounds and marching bands; other times it was more subtle. Six and a half minutes long, Sarah is a Knicks ballad that becomes dreamily inflated. Charming, sexy, and opaque, it’s clearly about the Knicks’ friend marrying Mick Fleetwood, but it’s also easily a passionate affair ending.
4. Don’t Stop (1977)
A glimmer of optimism amid rumored romantic angst? Maybe. McVie’s “Don’t Stop” is actually the voice of a departing wife gleefully telling her ex to cheer up, but its jogging beats and chorus are so uncanny and infectious, the song is so perfect, As far as it counteracts the unhappiness that caused it.
3. Everywhere (1987)
With the Knicks largely inactive, McVeigh’s songwriting went into overdrive on Night Tango. Everywhere is just an incredible song, its enduring power thanks to a post-80s album that still sounds close to Rumours.
2. Go Your Own Way (1976)
Perfect pop is distilled from passive-aggression, and according to Buckingham, the Rolling Stones’ Street Fighter. The verse creates tension, and the chorus and beautiful guitar solo are cathartic. However, Knicks wasn’t happy with her ex’s description of her: “I wanted to kill him in the past.”
1. Dream (1977)
The crowning glory of Fleetwood Mac’s oeuvre and the pinnacle of 70s Los Angeles studio sound; said to be so out of place by punk, it’s been parodied endlessly for the past 20 years. Sure, the melody is irresistible, but the lasting power of Dreams comes from the way the lyrics, which essentially tell Go Your Own Way from a different angle, are at odds with everything else on the track – Knicks’ sleepy delivery , the laid-back rhythm, the hazy mix of acoustic strums, backup lead guitar, and electric piano—turning their rage into dismissive screws—you shrug, turning resentment and bitterness into something refined.
