Fleetwood Mac – Fleetwood Mac (Self-Titled, 1975) [Album Review]

Released in 1975, Fleetwood Mac, the band’s second self-titled album, marked a pivotal moment in Fleetwood Mac's history as it presented a transition from their blues roots to a more commercially successful sound that included a new lineup that featured Lindsey Buckingham and Stevie Nicks alongside remaining band members, Christine McVie, John McVie, and Mick Fleetwood. While everyone points to Rumours as their magnum opus, and from a sales perspective it is, Fleetwood Mac is a far stronger album with a slower overall styling that really embraced the mid-70s soft rock scene.

It’s important to note that this is the second eponymous album by Fleetwood Mac, the first being their self-titled debut release from 1968. While it is far from common to have two self-titled releases, given the lineup and structural changes of the music Fleetwood Mac had made with this 1975 release, it makes perfect sense as they were essentially relaunching the band.

While early 70s era Fleetwood Mac fans would undoubtedly have been perturbed with regard to Bob Welch’s departure, and another lineup change, the dynamic interplay between the remaining and new band members is remarkable. Buckingham's guitar work is masterful, blending intricate fingerpicking with powerful riffs, while Christine McVie's keyboards add depth and texture to the arrangements. Stevie Nicks' distinctive vocals soar on tracks like Rhiannon and Landslide, infusing them with emotive intensity. John McVie and Mick Fleetwood, however, should not be overlooked for a song is only as good as its rhythmic backbone; one in which these two master musicians constructed perfectly.

Naturally, the songwriters and musicians are the focal point of the record, but credit has to be given to legendary producer Keith Olsen who co-produced and engineered this release. His production style can be heard throughout, yet it doesn’t detract from Fleetwood Mac themselves. The result of this collaboration is an album that, so many decades later, remains a wonder, in and of itself, for it strikes a perfect balance between the raw energy of the band's live performances and the studio sheen that was characteristic of the era.

With well over 7 million copies sold, Fleetwood Mac was a monster of an album that would only be outsold by Tango In The Night (over 15 million), and Rumours (over 40 million), and has subsequently been reissued countless times. With almost 300 different known editions, it’s somewhat impossible to declare which version is the best. Therefore, this is one time when I appreciate the lossless Apple Music stream for I need not concern myself with tracking down the very best version as my ears have already told me that I thoroughly enjoy the edition delivered via the streaming service.

Should I wish to further entangle myself, however, in different versions, the 2004 remaster and 2018 Deluxe Edition are also available on Apple Music, but in briefly comparing them I find that I prefer the release labelled with 1975 as the published date. It, coincidentally, is also the release containing the Dolby Atmos version of the album; a mix that I don’t feel compelled to listen to for this album is beautiful in the original stereo mix. Interestingly, however, it isn’t an Apple Digital Master, for that particular labelling has been given to the 2004 remaster. The problem I have with that edition is that it is mastered too loud, whereas my preferred edition, which is shared below, is lovely and smooth with a warmth that one would usually expect from an analogue medium.

Your preferred version, however, may differ from mine but I have found my preferred edition and any further exploration would only cause additional confusion, particularly when you factor in the Atmos release and the plethora of physical counterparts. The good news is that you too can sample the available editions, via streaming, and decide for yourself as to which digital version is more pleasurable. But first, join me as I take a look at the songs that make up this exceptional release.

Monday Morning opens the album with an infectious upbeat tempo that sets the stage for the entire album. Buckingham’s vocals are divine and are amongst his greatest vocal performances.

Warm Ways shifts the tone somewhat, but the mellower lush presentation, following Monday Morning, isn’t a shock to the senses as Warm Ways has an inviting atmosphere. While it isn’t Christine McVie’s strongest song, Warm Ways has a lovely musical accompaniment that is perfectly suited to the era and her vocal styling.

Blue Letter is an energetic rock number with Buckingham on vocals. It may not have been written by any member of Fleetwood Mac, but this Michael and Richard Curtis tune suits the album’s style perfectly.

Rhiannon is one of Fleetwood Mac’s most iconic songs for the mesmerising blend of folk and rock, along with Nick’s haunting and poetic vocals, is captivating.

Over My Head has a magnificent slow build to this breezy pop-rock tune. Christine McVie once again shines as Over My Head has catchy hooks and an infectious chorus that should have made it an instant classic. The backing vocal harmony, however, is a little campy, thereby causing distraction from an otherwise exceptional tune.

Crystal is a song that first appeared on Buckingham Nicks’ debut album; prior to them joining Fleetwood Mac. While this version is different, one thing is for certain, Buckingham’s vocal presentation is second-to-none and the backing vocals, particularly those provided by Nicks, are extraordinary as the musical bed allows your mind to drift into a sonic wonderland. They, most certainly, don’t make music like this anymore!

Say You Love Me has an upbeat, feel-good rhythm, that is amongst Fleetwood Mac’s most recognisable songs. The irresistible melody and sing-along chorus drive the song forward and make it impossible to not be moved by this classic tune.

Landslide is a magical piece of songwriting and audible art. Credit for this tune, naturally, has to be given to Nicks for it is her at her most vulnerable; an aspect that comes through crystal clear in her beautiful performance.

World Turning is a funky folk meets country groove-driven track that has a playful vibe and adds a dose of energy and spontaneity to the album. Despite being an album-only tune, it’s also a hidden gem and one that deserves more attention than it generally receives.

Sugar Daddy is a rock number that showcases the band’s blues roots. While the entire album is exceptional, Sugar Daddy is one song that, while it would be missed, should have been omitted for it sounds more like a demo than a fully-fledged song.

I'm So Afraid closes the album on a high note with Buckingham's searing guitar solos and raw, impassioned vocals. While there’s no shortage of exceptional songs written by Buckingham, I’m So Afraid is a personal favourite as it showcases that Fleetwood Mac can go beyond the blues-based pop-rock that defined their career and take on an even bolder composition that will leave you reflecting on this incredible tune whilst simultaneously wanting to spin the record again. Of course, in the modern era, it is easier than ever to put this song on repeat and it’s worthy of such appreciation because it is one of the greatest, and most underrated, songs Fleetwood Mac ever recorded.

Fleetwood Mac not only rejuvenated the band's career but also laid the foundation for the iconic lineup that would go on to create some of the most enduring music of the 20th century; along with this very record. With a blend of catchy hooks, heartfelt lyrics, and masterful musicianship, Fleetwood Mac is easily one of the greatest albums of the 70s. Whether you're a longtime fan of the band or new to their music, this album is essential listening for anyone who appreciates classic rock.

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Fleetwood Mac – Rumours (Album Review)

Some albums stand as towering achievements, timeless in their appeal and enduring in their impact. Fleetwood Mac's 1977 release, Rumours, is undoubtedly one of those albums. It's an iconic record that transcends the boundaries of time, genre, and taste, weaving a tale of love, heartbreak, and resilience that resonates with listeners across generations. This incredible release showcases the collective genius of Fleetwood Mac, a band that has left an indelible mark on the music industry while continuing to captivate audiences with their irresistible blend of rock, pop, and folk influences.

Of course, Fleetwood Mac has undergone several facets throughout their illustrious career. Some may be surprised to know that Rumours is, in fact, their twelfth studio release. Yet, talk to anyone about Fleetwood Mac and all you’ll likely hear is a discussion relating to how incredible Rumours is. While it is, and I acknowledge that it’s my favourite Fleetwood Mac album, I also appreciate that it wasn’t Peter Green’s Fleetwood Mac by this stage. Fleetwood Mac’s lineup would also change, throughout the following decades, so as much as the band is synonymous with Rumours, it is but one studio album from a diverse selection of 18 album releases. None of this should be seen as casting judgement on any of Fleetwood Mac's lineups, but you may find something subjectively wondrous should you take the time to listen to their entire discography. 

As has already been established, Rumours is one of the greatest albums ever recorded, but it has been remastered too many times. When albums achieve the level of success that Rumours has, it’s not uncommon for the music industry to reissue and remaster the release ad nauseam, for it isn’t good enough to let the original masterpiece sit untouched. It can be a blessing or a curse, depending on your perspective, but one thing is certain, there are too many editions of Rumours. Seriously, Discogs, at the time of this publication, has some 694 different versions. Which one does one get? It’s a simple question, with a complicated answer that is so highly subjective that you’ll come across varying perspectives should you delve into further research online. 

The truth is, I’ve heard multiple versions of this landmark release, over the years, that range from terrible to mind-blowing. Due to a series of circumstances, that I won’t bore you with, I’m currently without a physical release of this masterpiece and it pains me to say that the lossless Apple Music streamed edition just isn’t up to the highest standards. Frustratingly, Rumours was available as an Apple Digital Master, derived from the 2001 remastering, and while memory is fallible, as it pertains to sonic recollection, I do seem to recall it sounded fantastic. Perhaps not as good as other audiophile-based releases, but lovely nonetheless. 

Disappointingly, it has been removed from Apple Music and while the version that remains is adequate, it isn’t quite as spectacular as one would hope. There is, of course, no point in complaining about this, but it is a real-world example of the risks associated with relying on a streaming service for one’s music collection. That said, if you’re still interested, as I am, in the Apple Digital Master, you can still purchase the 2001 remaster on iTunes. If you still prefer streaming and no longer wish to own the music you love, the 2001 remaster is still streaming on Qobuz; but for how much longer, nobody knows. Although, it appears that the removal of the 2001 remaster, from Apple Music, was more about adding the Dolby Atmos mix, which is based on the 2004 remaster (a non-Apple Digital Master). 

At this stage, I’d just love for a singular version to exist that is the definitive release; one that matches the original artistic intent. We won’t get it, of course, as that is not how the music industry is run, but fans shouldn’t have to tolerate average-quality releases, nor should they have to spend their time, energy, and money, trying to figure out which of the over 600 editions would yield the greatest level of enjoyment. 

Second Hand News isn’t the greatest song on the album, nor is it amongst Fleetwood Mac’s greatest recordings, yet something is compelling about Second Hand News, that I can’t quite put my finger on. Despite that, Rumours wouldn’t be the same album without it.

Dreams has an incredible introduction and likely would have been a stronger opener for the album. That aside, Stevie Nick’s haunting vocal is beyond reproach and perfectly suited to the style of the song, thereby ensuring her harmonious vocal intertwines well with the backing vocals. Dreams, also, is amongst my favourite songs from a drum perspective. Mick Fleetwood is a master musician and while his precision timing here may be akin to a click track for many, his delivery is the definition of perfection from my perspective. John McVie’s bass tracking is similarly masterful and, in many ways, Dreams is the enduring classic we all know and love because of the collaborative efforts of all band members. 

Never Going Back Again is an acoustic gem with Lindsey Buckingham not only providing an incredible vocal performance, but his fingerpicking is taut and amongst some of the greatest guitar work I’ve ever had the pleasure of hearing.

Don’t Stop is a piece of sensational writing from Christine McVie. I’ve never been convinced, however, with Buckingham’s vocal on this tune. It’s not that it’s bad, and his guitar work is sensational, it’s just that the mix isn’t particularly solid. Buckingham’s vocal, subsequently, sounds as if he’s recording his vocals from another building, aside from the studio the song was recorded in. That said, Don’t Stop is a solid pop-rock tune.

Go Your Own Way needs no introduction, for you’ve been living under a rock if you’ve never heard this song. It’s sensational, one of Lindsay Buckingham’s best, and is a perfect tune to accompany life’s ups and downs. 

Songbird is a tender ballad that showcases Christine McVie's extraordinary vocal talents. It's a moment of vulnerability on an otherwise emotionally charged album; a true masterpiece in every sense of the word.

The Chain is a killer tune that mixes rock and pop elements with a touch of country and is somewhat reminiscent of the sound the Eagles’ achieved on Desperado. However, The Chain is more than that correlation for its unmistakable bassline, harmonies, and anthemic chorus have made it a rock staple; one of the greatest ever recorded. 

You Make Loving Fun is a great toe-tapping head-bopper and one that you should most certainly play as loud as you can. Rhythmically magical with a gorgeous vocal, and a killer guitar solo, You Make Loving Fun is one of the best songs off Rumours and another by McVie; arguably Fleetwood Mac’s greatest songwriter and songstress.

I Don’t Want To Know is a short but sweet burst of energy. Its brisk tempo and catchy hooks ensure it’s perfectly suited to Rumours despite being an album-only tune.  

Oh Daddy is Fleetwood Mac 101. There is no other song that I identify more with the band than this one. It's career-defining and as much as I praise Christine McVie’s vocal contributions, Stevie Nicks’ vocal style was the correct choice for this classic track.

Gold Dust Woman is a haunting closing tune with Nicks’ ethereal vocal that leaves a lasting impression while simultaneously encouraging you to spin the album again.

Even Fleetwood Mac, themselves, could never replicate the success of Rumours and it’s highly unlikely that humanity, certainly in our lifetimes, will ever see such an era-defining album again. That isn’t to suggest it can’t be done, but Rumours was akin to lightning in a bottle and is not only one of the greatest albums ever recorded, but one that is a highlight of the 70s and will continue to stand the test of time as it is more than just an album; it’s a cultural remnant.  

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