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Old 10-30-2014, 01:37 PM
michelej1 michelej1 is offline
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Default FM's 25 Greatest Tracks: Metro Weekly

Fleetwood Mac’s 25 Greatest Tracks

By Chris Gerard on October 29, 2014 Metro Weekly
http://www.metroweekly.com/2014/10/f...eatest-tracks/

Fleetwood Mac is back, and in a big way. Christine McVie has returned to the line-up for the first time since the band’s 1997 reunion, which culminated in the brilliant and massively successful live CD and DVD The Dance. The band has toured in recent years without McVie, but it never seemed complete – Christine McVie’s presence is crucial to the overall sound of Fleetwood Mac. The legendary super-group is currently on tour, and they will hit Washington, D.C. and the Verizon Center this coming Friday, Halloween night (perhaps the Welsh witch from “Rhiannon” will make an appearance). With the show on the horizon, it seems a good time to look back at some of the finest tracks of the band’s classic lineup featuring Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and of course the rock-solid bedrock behind the band’s sound, the towering drummer Mick Fleetwood.



This list doesn’t tell the entire Fleetwood Mac story by any means. The band already had a long history, with multiple lineup changes, by the time Buckingham and Nicks joined the collective for the band’s self-titled 1975 album. Fleetwood Mac started in the U.K. as a blues-rock band led by guitarist Peter Green. They hit #1 in the U.K. with the ethereal 1968 instrumental “Albatross,” and also scored with such classics as “Black Magic Woman” (later to be successfully covered by Santana), “Man of the World” (a #2 hit in the U.K. in 1969), “The Green Manalishi,” and the classic blues-rocker “Oh Well.” Guitarist Danny Kirwan was showcased on albums like 1970’s Kiln House and 1971’s Future Games. The Bob Welch era was especially productive, with seminal albums like Mystery to Me (1974) and Bare Trees (1972), and classic singles like “Sentimental Lady” and “Hypnotized.” The band also continued in various forms after the “classic lineup” fractured. After 1987’s Tango in the Night, Fleetwood Mac soldiered on following the acrimonious departure of Lindsey Buckingham, and released excellent singles like “Save Me” and “Skies the Limit” from the album Behind the Mask (1990). Two more studio albums followed: Time (1995), which was missing both Buckingham and Nicks and fared poorly in the charts, and 2003’s Say You Will, which had Buckingham and Nicks back in the fold but was missing Christine McVie.

The current touring lineup is by far the most successful incarnation of Fleetwood Mac both musically and commercially, so this list will focus on that “classic” era – from Fleetwood Mac (1975) through Tango in the Night (1987). Here are 25 of the finest tracks of Fleetwood Mac’s golden age, many of which we’ll hear on 10/31 as they bring their epic show to the Verizon Center.

25. Warm Ways (Fleetwood Mac, 1975)

Christine McVie’s elegant ballad “Warm Ways,” with its gentle melody, Lindsey Buckingham’s sparse and shimmering guitar lines, and Mick Fleetwood’s rolling drum fills was the first single in the U.K. for the new lineup of Fleetwood Mac. “Warm Ways” lives up to its name – the production is remarkably warm and rich, and McVie’s vocal, backed by graceful harmonies, is crystal pure and enchanting. “Warm Ways” wasn’t a chart success as a single, so it’s a bit of a hidden gem in Fleetwood Mac’s discography, but one that is well worth discovering.

24. Seven Wonders (Tango in the Night, 1987)

The second single taken from the band’s 1987 offering Tango in the Night, “Seven Wonders” is a Stevie Nicks track written by her frequent collaborator Sandy Stewart (who also co-wrote several tracks on Stevie’s 1983 solo album The Wild Heart, and dueted with Stevie on the Top 40 single “Nightbird”). Nicks was barely present during the sessions for Tango in the Night, preferring instead to send her band-mates demos for them to complete while she toured in support of her 1985 solo album Rock A Little. “Seven Wonders” only reached #19 on the Billboard Hot 100, but despite its lukewarm chart performance it’s classic Stevie Nicks. The song was given new life when Stevie performed it during the season finale of the acclaimed television series American Horror Story: Coven back in January of this year.

23. Not That Funny (Tusk, 1979)

Apart from the title-track itself, “Not That Funny” is the best of Lindsey Buckingham’s oddly twisted sonic experiments that make up a large portion of the Tusk album. It’s a strident rocker with a heavy beat, fuzz-toned guitar and an unusual but effective vocal by Buckingham. “Not That Funny” was released as the 3rd single from Tusk in the U.K., but not surprisingly, given its peculiar nature, it failed to chart. (The U.S. got Christine McVie’s more conventional pop-rocker “Think About Me” instead, and it clawed its way to #20.) “Not That Funny” is an idiosyncratic and acerbic track that burrows its way into your skull like a malignant alien hymn. Like many of Buckingham’s pieces on Tusk, there is a certain mad genius to “Not That Funny.” It’s most certainly a song that only Lindsey Buckingham could create.

22. Over My Head (Fleetwood Mac, 1975)

“Over My Head” was the first single from Fleetwood Mac’s self-titled 1975 album in America, and the first to feature Lindsey Buckingham and Stevie Nicks. It became the band’s first Top 40 hit stateside, reaching #20. Written and sung by Christine McVie with her usual grace and warmth, “Over My Head” is a lovely melodic mid-tempo shuffle that has been overshadowed by the group’s later smash hits, but remains an important milestone in Fleetwood Mac’s recorded history.

21. Storms (Tusk, 1979)

Stevie Nicks’ stunning ballad “Storms” was never a single, but it’s one of the standout tracks on the sprawling 2-LP Tusk¸a wildly diverse collection that veers from lofty ballads to immaculately produced pop to Lindsey Buckingham’s uniquely audacious and manic experiments. Nicks has several praiseworthy tracks on the album, including “Angel,” “Sisters of the Moon,” and the utterly exquisite “Beautiful Child,” but the solemnly beautiful “Storms” ranks as one of her finest. “Storms” is steeped in regret and melancholy. Nicks’ vocal performance is one of her loveliest, and the harmonies, while sparse, are delicate and sublime. “Storms” is a track of quiet yearning and beauty.

20. The Chain (Rumours, 1977)

Usually the opening number at a Fleetwood Mac show, “The Chain” has taken on significance as a representation of the band’s endurance through the highs and lows of their uniquely dramatic dynamic. “The Chain” is about a connection that is still strong despite the turmoil, the drugs, the affairs, and the acrimony that swirled around the band. In the end, a shared sense of purpose, a rock-solid determination and a unique pride in what they’ve created has kept Fleetwood Mac going, and “The Chain” is a testament to that. Written in bits and pieces by all of the members of the group, “The Chain” is notable for its heavy beat, tight harmony vocals and Buckingham’s use of a dobro. It was never a single, but has a prominent placement as the opening song on Side 2 of Rumours. “The Chain” is a staple on classic rock radio, and is unquestionably one of Fleetwood Mac’s signature songs.

19. World Turning (Fleetwood Mac, 1975)

“World Turning,” co-written by Buckingham and Christine McVie, is a raucous blues-rocker from the Fleetwood Mac album. The studio version features spirited vocals by Buckingham and McVie over a beguiling and complex guitar arrangement. As strong as the track undoubtedly is, the incendiary 7 1/2 minute live version featured on the deluxe reissue of Rumours has a fire and urgency that the studio recording doesn’t quite achieve. “World Turning” remains a fixture in Fleetwood Mac’s live performances, and is always a showstopper.

18. Little Lies (Tango in the Night¸1987)

With its exotic keyboard introduction and supremely catchy hook, Christine McVie’s “Little Lies” charmed its way to #4 on the Billboard Hot 100 as the 3rd single taken from Tango in the Night. Its video enjoyed prominent airplay on MTV. “Little Lies” was a world-wide smash, and helped Tango in the Night become the band’s second biggest selling album behind only Rumours.

17. Don’t Stop (Rumours, 1977)

“Don’t Stop,” another hit from the seminal Rumours LP, will forever be associated with the Bill Clinton/Al Gore presidential campaign. Written by Christine McVie and sung by McVie and Buckingham, “Don’t Stop” is an upbeat rocker with a powerfully optimistic view that cut through the haze of drama and chaos that often surrounded the band in its heyday. It’s a buoyant sing-a-long with some wicked guitar-work by Buckingham. “Don’t Stop” reached #3 on the Billboard Hot 100 as the 3rd single from Rumours, and remains one of Fleetwood Mac’s most famous songs.

16. Everywhere (Tango in the Night, 1987)

Another gem by Christine McVie, the spritely “Everywhere” was the 4th single from Tango in the Night. A mid-tempo number with a galloping drumbeat, shimmering keyboards and a charming vocal by McVie, “Everywhere” peaked at #14 on the Billboard Hot 100. Like most of Fleetwood Mac’s biggest hits, “Everywhere” was exquisitely produced, and sounds so fresh that it feels like it could have been released yesterday. “Everywhere” was one of the high points of the 1997 reunion concert memorialized in the CD and DVD The Dance.

15. Hold Me (Mirage, 1982)

Co-written by Christine McVie and British songwriter Robbie Patton, “Hold Me” was the first single from Fleetwood Mac’s 1982 album Mirage. It was a smash hit in the U.S., soaring all the way to #4, thanks in part to a video that MTV put into heavy rotation. The song is notable for the note-perfect, brilliantly arranged co-lead vocals by McVie and Buckingham, the dazzling harmonies in the chorus, and Buckingham’s beautifully fluid guitar-work.

14. Gold Dust Woman (Rumours, 1977)

“Gold Dust Woman” is one of Stevie Nicks’ signature songs, and one of the centerpieces of the band’s Rumours album. An ominous tune about a woman struggling through addiction and relationship woes, “Gold Dust Woman” is a powerhouse number that becomes truly epic when performed live. The studio recording features a frantic dobro part by Buckingham, and climaxes with maddeningly eerie vocal effects over an increasingly throbbing drumbeat. “Gold Dust Woman” is one of the reasons why Rumours is one of the biggest-selling albums of all time.

13. I’m So Afraid (Fleetwood Mac, 1975)

Lindsey Buckingham’s edgy, heavy rocker “I’m So Afraid” is his finest moment on the band’s self-titled 1975 album. It features a thunderous drumbeat and some truly virtuosic guitar-work. Buckingham was proving his worth to the band from the very beginning, as a singer, songwriter, musician and eventually de facto musical director. When performed live, “I’m So Afraid” is a behemoth that showcases Buckingham’s wildly manic energy and passion. It really sounds like nothing else in the Fleetwood Mac catalog.

12. You Make Loving Fun (Rumours, 1977)

Between all of the tormented lovesick tracks that make up much of Rumours, Christine McVie is responsible for two of the sunniest tracks: “Don’t Stop” and the jubilant “You Make Loving Fun.” Featuring McVie’s prominent electric piano, a hard-driving drum beat and a euphoric chorus, “You Make Loving Fun” was the 4th single from Rumours and reached #9 on the Billboard Hot 100.

11. Gypsy (Mirage, 1982)

The strongest track on Fleetwood Mac’s 1982 album Mirage is Stevie Nicks’ brilliant “Gypsy.” The arrangement, with its repeating arpeggio keyboard and guitar patterns, is genius. The production is outstanding even by Fleetwood Mac’s usual sterling standards. Nicks’ vocals are among her best, the lyrics have just the right air of mystery, and the ethereal backing vocals add just the right touch. The long fade-out features a wonderfully intricate guitar part by Buckingham. “Gypsy” is Fleetwood Mac at its best, all of the elements coming together to create something truly magical. As the second single from Mirage, “Gypsy” peaked at #12 on the Billboard Hot 100.

10. Big Love (Tango in the Night, 1987)

“Big Love” was first slated for a Lindsey Buckingham solo album until it was decided that Fleetwood Mac should issue a new album, and it was worked into Tango in the Night. It’s still largely a solo recording by Buckingham, who handles all of the instruments apart from Mick Fleetwood’s tribal drumwork. The vocals are also the work of Buckingham, some of them digitally manipulated and sped up. It’s a brilliant recording that reaches a frenetic climax. As the first single taken from Tango in the Night, “Big Love” was a major smash, reaching #5 on the Billboard Hot 100. Since Fleetwood Mac’s reunion tour in 1997, Buckingham has taken to performing “Big Love” as a solo piece to showcase his astonishing virtuosity on the acoustic guitar.

9. Silver Springs – Live version (The Dance, 1997)

Originally intended for inclusion on Rumours, Stevie Nicks’ “Silver Springs” was left off in favor of the relatively lightweight rocker “I Don’t Want To Know” because of concerns over time limitations. It ended up as the b-side to “Go Your Own Way,” and Nicks was reportedly furious over its exclusion. Time has been kind to the song, though. It is now featured as a bonus track on new CD issues of Rumours, and it is the absolute highlight of the 1997 reunion album The Dance. The tension between Nicks and Buckingham is palpable as Nicks balefully glares at Lindsey while singing the obsessive lyrics: “You’ll never get away from the sound of the woman that loves you. I’ll follow you down ‘til the sound of my voice will haunt you.” Utterly enthralling and powerful. It may have been missing from Rumours, but “Silver Springs” has gotten its due in the end.


8. Songbird (Rumours, 1977)

Christine McVie’s trademark song, this delicate ballad – recorded for the Rumours album solo by Christine on piano live at the Zellerbach Auditorium in Berkeley, California in order to capture the ambience of a concert hall – is often the final encore of the band’s shows. “Songbird” showcases McVie’s sweet, rich voice and her innate sense of melody; it’s 3 minutes and 21 seconds of poignant bliss. Although never a single, “Songbird” is one of the most revered classics in the Fleetwood Mac catalog.

7. Say You Love Me (Fleetwood Mac, 1975)

Christine McVie’s upbeat pop-rocker “Say You Love Me” was the 3rd U.S. single from the Fleetwood Mac album, and reached #11 on the Billboard Hot 100. “Say You Love Me” is one of the band’s most buoyant numbers, a sing-a-long with prominent piano and even a bit of banjo. McVie has shown over and over again that she is perhaps the most naturally gifted songwriter in the band when it comes to writing a winning melody, and “Say You Love Me” is a prime example. Since its release, “Say You Love Me” has been a standard part of Fleetwood Mac’s live performances, deservedly so. It’s pop music at its finest.

6. Sara (Tusk, 1979)

Released as the second single from Tusk (edited from the album version’s 6:22 down to a more radio-friendly 4:37), Stevie Nicks’ “Sara” reached #7 on the Billboard Hot 100. “Sara” is an epic tune, a stream of consciousness dreamscape that is lovely and beguiling. The song builds slowly and inexorably, becoming more passionate as it progresses. It’s a fantastic recording, with a loping shuffle beat and an expressive bass-line. Stevie’s vocals are among her finest, and the vocal arrangement is complex and hypnotic. “Sara” is an ambitious track, and in keeping with the risk-taking of the Tusk project it was released as a single despite not being obviously commercial in the traditional sense. As with the title track, it was the right move.

5. Tusk (Tusk, 1979)

After the glistening pop-rock that made Rumours such a massive success, it was a ballsy move to lead off their next album with this oddity… but it worked. “Tusk” is a cunning creation, with a powerful tribal drumbeat, a deeply resonant bass-line, manic vocals and a blazing horn section (by the USC Trojan Marching Band) that weaves in and out of the chaos. Lindsey Buckingham has always had a wildly experimental side, and he unleashed all his unhinged ideas on Tusk, usually to brilliant effect. “Tusk” is as odd a Top 10 hit as ever has been released (it hit #8 in the U.S.); and who can forget the thunderous finale of The Dance, as the USC Marching Band strode up through the audience onto the stage to perform this epic piece of song-craft with the band. “Tusk” is a profoundly unique single; there had been nothing like it before, or since. It’s a testament to Buckingham’s creative genius, and also to his boundless hubris.

4. Landslide (Fleetwood Mac, 1975)

Although never a single (until a live version from 1997’s The Dance was issued as the follow-up to “Silver Springs”), Stevie Nicks’ utterly sublime “Landslide” is one of the group’s most famous recordings. Lindsey’s masterful acoustic guitar work and Stevie’s gorgeous melody and vocals combine for one of those rare instances of pure musical heaven. “Landslide” is a beautiful expression of longing and regret. It’s been covered numerous times, but nobody can capture the magic of the original recording. “Landslide” is one of the cornerstones of Fleetwood Mac’s musical legacy.

3. Rhiannon (Fleetwood Mac, 1975)

“Over My Head” may have been Fleetwood Mac’s first Top 40 hit in America, but it was the follow-up single, Stevie Nicks’ classic “Rhiannon,” that set the band on the path to superstardom. “Rhiannon” is richly produced and expertly performed, with Buckingham’s restrained opening guitar lines, John McVie’s remarkably fluid bass-line, Christine McVie’s keyboard discretely following along with the main melody, and the always-steady Mick Fleetwood providing a solid foundation. “Rhiannon” has a mysterious vibe, appropriate for a song described by Stevie Nicks as being about a “Welsh witch.” The live performances of “Rhiannon” are often long and intense, with Stevie Nicks swirling around the stage during protracted improvisations. “Rhiannon” is a timeless classic and one of the great singles of the ‘70s.



2. Go Your Own Way (Rumours, 1977)

“Packing up, shacking up’s all you want to do…” Of all the songs that detail the ongoing internal strife, the love triangles and general chaos that defined the soap opera otherwise known as Fleetwood Mac, “Go Your Own Way” is perhaps the most pointed. It’s fascinating to think that these songs, especially on Rumours, were written about and inspired by fellow band-members who are performing on songs sharply critical of them. It’s one of the dynamics that makes Fleetwood Mac so intense and fascinating. “Go Your Own Way” became a Top 10 smash as the first single from Rumours. It’s a driving, intense rocker by Lindsey Buckingham that features some absolutely searing guitar-work.

1. Dreams (Rumours, 1977)

It’s remarkable to consider that Fleetwood Mac, one of the biggest rock bands in popular music over the past 40 years, has only hit #1 once on the Billboard Hot 100. They did it with “Dreams,” a spellbinding masterpiece written by Stevie Nicks and brought to wonderful life by the band and ace producers Richard Dashut and Ken Caillat. “Dreams” sounds remarkable nearly 40 years since its release – it’s a great song to show off a good stereo setup. The loping shuffle beat, the ethereal guitar lines, Stevie’s devastating vocals, and the note-perfect harmonies make for a masterpiece. “Dreams” is a heartrending piece about what could-have-been with a healthy dose of venom buried in the song’s dreamlike beauty (“But listen carefully to the sound of your loneliness, like a heartbeat drives you mad, in the stillness of remembering what you had… and what you lost”). It encapsulates the hard feelings and painful relationship dilemmas that surrounded the band during the peak of their success; it’s vindictiveness and hurt wrapped in a cloudlike gossamer shroud of beauty.
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Old 10-31-2014, 02:52 AM
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Book of Love, Eyes of the World, and Crystal are all better than Tusk. That's Alright, Straight Back, Sisters of the Moon are better than Seven Wonders. Only Over You, Love in Store, and Over and Over are better than Over my Head. Christine must like the word "over."
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Old 10-31-2014, 06:43 AM
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Lists like this annoy me, clearly they took just singles, correct?

There are some amazing songs that are deep cuts that blow many of these away.
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Old 10-31-2014, 09:08 AM
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I kept waiting for NGBA to show up. Sigh.
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Old 10-31-2014, 10:58 AM
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Great list - and Dreams is number one where it belongs!
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Old 10-31-2014, 11:02 AM
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Originally Posted by Wdm6789 View Post
Book of Love, Eyes of the World, and Crystal are all better than Tusk. That's Alright, Straight Back, Sisters of the Moon are better than Seven Wonders. Only Over You, Love in Store, and Over and Over are better than Over my Head. Christine must like the word "over."
The O's on my iPod always start off with three Chris songs. It's a happy little sequence.
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Old 10-31-2014, 11:39 AM
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It always amazes me when the sexist music snobs say "Fleetwood Mac was ruined when the women were let in" yet, looking at that list, Stevie and Christine are the dominant forces in making the Mac as successful as they were. Not diminishing Lindsey's accomplishments at all (they couldn't have done it without him) but it still makes me think.
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Old 10-31-2014, 12:14 PM
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I'm glad to have seen finally a list whose number 1 isn't "go your own way"
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Old 10-31-2014, 12:24 PM
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I kept waiting for NGBA to show up. Sigh.

Yes, Never Going Back Again is also better than Tusk. So is Family Man. Monday Morning is better than Tusk. Blue Letter is also better than Tusk.

Last edited by Wdm6789; 10-31-2014 at 12:32 PM..
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Old 11-01-2014, 05:27 AM
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Overall this is a good list. As is to be expected there will always be room for debate concerning what should and should not be included. Great to see some recognition for Warm Ways- yay!
btw Tusk totally deserves to be in the top 10 IMO!
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Old 11-01-2014, 07:50 AM
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Overall this is a good list. As is to be expected there will always be room for debate concerning what should and should not be included. Great to see some recognition for Warm Ways- yay!
btw Tusk totally deserves to be in the top 10 IMO!
I always thought Tusk is way overrated. That song really is not that good. All the other ones I listed in my other two posts are better than Tusk.
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Old 11-01-2014, 07:50 AM
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Although my list would be different, I did appreciate how the writer was specific in his explanations on why he liked the songs. "Dreams" a spell binding masterpiece - he got that one right.
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Old 05-20-2015, 09:20 PM
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Wednesday 20th May 2015 by Alexandra Pollard | Photos by Press, Splash, WENN Gigwise

http://www.gigwise.com/photos/100662...ranked#gallery


The 14 greatest Fleetwood Mac songs, ranked


From the very early days to the newly discovered demos

There aren't many bands who formed nearly half a century ago and are still headlining festivals today. There are even fewer whose music still sounds as fresh, unique and heartbreaking as Fleetwood Mac's.

From their early, all-male rock days before the arrival of Stevie Nicks, Christine McVie and Lindsey Buckingham completely transformed their sound, Fleetwood Mac have been making the sort of music you want to dance and cry to at the same time.

Ahead of their UK dates, we have ranked the 14 greatest Fleetwood Mac songs. It wasn't easy sorting through decades worth of material, but these, in our humble opinion, are the 14 greatest Fleetwood Mac songs of all time.

14. 'Someone's Gonna Get Their Head Kicked In Tonight': Probably the closest the band have ever come to sounding like Elvis, this is a bluesy, tongue-in-cheek ode to the youthful itch for aggression, from the band's early incarnation.

13. 'Planets Of The Universe': It's testament to the sheer brilliance of Rumours that this song, recorded as a demo during the making of that album, never made it any further. Thankfully, it was not only re-recorded in 2000 for Stevie Nicks' solo album, but its original demo version was also revealed a few years later. 13. 'Planets Of The Universe': It's testament to the sheer brilliance of Rumours that this song, recorded as a demo during the making of that album, never made it any further. Thankfully, it was not only re-recorded in 2000 for Stevie Nicks' solo album, but its original demo version was also revealed a few years later.

12. GYOW: The lyrics, which are somehow both liberating and stifling, document the frustrating contradiction of Lindsey Buckingham's relationship with Stevie Nicks - to an uncomfortably personal degree. Every time the lyric "shacking up is all you want to do" came up onstage, Nicks admits, "I wanted to go over and kill him. "

11. Angel: Inspired by the Welsh mythological folk story of Rhiannon - which Stevie Nicks only became aware of after writing the song of the same name. Despite its opaque literary backstory though, its lyrics are poignantly simple: "When you were good baby, you were very, very good. / I still look up when you walk in the room."

10. Over My Head': There's something beautifully soporific about this song's reverberating organ, which lurks modestly beneath Christine McVie's calmly defiant vocals. Though she's never confirmed it, the lyrics are said to refer to McVie's troubles marriage with the band's bassist John McVie - which ended a year after this song was recorded.

9. SYLM: Another of Christine McVie's biggest triumphs, 'Say You Love Me', with its punchy chorus and driving rhythm, helped the band's eponymous 1975 album to sell over 8 million copies worldwide.

8. Gypsy: The story that inspired this song is so moving it's probably best you just hear it in Stevie Nicks' words. "Before Fleetwood Mac, Lindsey [Buckingham] and I had no money, so we had a king-size mattress, but we just had it on the floor. Just that and a lamp on the floor, and that was it - there was a certain calmness about it. To this day, when I'm feeling cluttered, I will take my mattress off of my beautiful bed, wherever that may be, and put it outside my bedroom, with a table and a little lamp."

7. Oh Daddy: Christine McVie's lyrics have been rumoured to be about both Mick Fleetwood and Lindsey Buckingham. It's not really important though - in many ways the song's subject comes a distant second to the narrator's crushing lack of self-worth, summed up in the opening lyrics, "Oh Daddy, You know you make me cry / How can you love me? I don't understand why."

6. Landslide: Stevie Nicks' affectingly raspy vocals sometimes struggle to scrape the bottom notes - and somehow that just adds to the song's effect. As if she sat down and made it up on the spot, with no thought of range. It boldly tackles ageing, regret and loss, and needs only a simple guitar melody to pin it together.

5. Rhiannon: Sung in barely more than a beautiful, croaky whisper by Stevie Nicks - until the soaring chorus comes in that is - the song was written in ten minutes by Nicks before she joined Fleetwood Mac. Inspired by a novel called Triad she bought in an airport, she regularly used to introduce it with, "This is a song about an old Welsh witch."

4. The Chain: We're not sure we can ever forgive Formula One for hijacking this song's riff with such zeal that it's become synonymous with the incredibly dull sport of auto racing. Nonetheless, it's an angry, anthemic tirade against a failing relationship - "Damn you love, damn your lies" - with one of the best bass riffs in music.

3. Songbird: Heartbreaking enough to stop you in your tracks, the song was famously covered by Eva Cassidy , but it's Christine McVie's original that really hits home the sense of unrecquited adoration: "I love you, I love you, I love you, like never before."

2. YMLF: This song revels in its own naive sense of optimism - its lyrics speak of a newly found belief in magic and miracles, but veiled beneath a heavy sense of precariousness.

1. Dreams: From the moment that opening drum riff gives way to the wobbly guitar, this song has you right in the palm of its hand. When Stevie Nicks' voice soars into the falsetto of "It's only right", it's like a stunning, tear-inducing punch in the heart.
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Old 05-21-2015, 02:28 AM
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Originally Posted by Artemis View Post
It always amazes me when the sexist music snobs say "Fleetwood Mac was ruined when the women were let in" yet, looking at that list, Stevie and Christine are the dominant forces in making the Mac as successful as they were. Not diminishing Lindsey's accomplishments at all (they couldn't have done it without him) but it still makes me think.
Nobody says that. Usually people talk about how the women defined the band. I hate when minority groups and women make up BS to claim victimhood. I'm gay and a lot of gays do it too. But I guess everyone needs some sympathy. Especially fools. ��
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Old 05-21-2015, 03:58 PM
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lilyfee lilyfee is offline
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Originally Posted by gssmith View Post
Nobody says that. Usually people talk about how the women defined the band. I hate when minority groups and women make up BS to claim victimhood. I'm gay and a lot of gays do it too. But I guess everyone needs some sympathy. Especially fools. ��
Not true. While the general population probably think the Rumours lineup defines the band, there are also a lot of Peter Green or Bob Welch fans who think the Rumours lineup is too commercial in sound and over-hyped due to the personal drama resulting from the inclusion of women (usually with a focus on Stevie, i.e. because she slept around and went to rehab) in the band rather than the music itself. Often these people completely discount Stevie Nicks as a songwriter/human being with some level of intellect due to her witchy onstage persona and/or sex appeal and discount Christine by either neglecting her altogether or flat out refusing to acknowledge her contribution to the band's sound and success.

The sexism isn't always direct like, "The inclusion of women ruined the band," but it's more like Peter Green, Bob Welch and Lindsey Buckingham are all highly regarded as serious musicians, especially today as they age, whereas the women in the band might be commended for 1) their looks, or 2) their "witchy" or "light" mainstream hits, as though they put no serious work into crafting their own songs.

Tusk is often spoken of as an experimental album of Buckingham's creation, but in terms of the songs that most endure today, I really love Sara, Storms, Sisters of the Moon, Angel, and Beautiful Child! I think Stevie is not given enough credit for the way her songs transcend era through a combination of beautiful songwriting, universality and melodies that will stick in your head forever.

I'm surprised The Chain isn't higher on these lists... It is quintessential FM to me!
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