Every Fleetwood Mac Album: Rated

Once again I'm looking at an immensely influential and extremely controversial band and waiting for it to take me on a journey fuelled by intense conflict, bandcest and narcotic-fuelled performances that have surely gone down in the hall of fame for the rest of history. I know that they started off with a very different personnel and making a very different genre of music, so I am prepared to be shocked and ambushed with new stuff album by album.

FLEETWOOD MAC (1968): 9/10

I knew that Fleetwood Mac had started out as a blues band, but this record took me by surprise entirely. It’s soooo smooth and bluesy. An entirely different texture from their later work. 

Guitar is pulling through very nicely and vocals are in concordance. No one is competing for the lead position as of yet, which is really good to hear. 

It was difficult choosing a least fave, not because the album was consistent, but because a whole bunch of the tracks I related lower are unfinished works and they sort of? Stop? Mid-recording?? 

I kind of liked it but I kind of didn’t. It made me very aware suddenly that I was listening to actual people play in real time, which kind of broke the trance I’m normally comfortable in when I’m listening to a full album. Extremely Brechtian piece of music.

I know that they did a remaster of I Loved Another Woman, but I disagree with that decision entirely. It was perfect the way it was. Santana did it justice, but I believe this version is the best.

It was certainly very strange but I can’t say this is a bad album despite the interruptions. I loved it. It’s very rare that an artist starts out as good as this and i was incredibly impressed with it.

MR WONDERFUL (1968): 7/10 

What an L. 

It started off so good and then it lost it. Completely lost it. Evenin’ Boogie wasn’t necessarily bad, but it definitely was a low point for the album. Much worse quality and far less effort. Disappointing. 

I wasn’t happy with this album at all. I expected we’d see some improvements after the last one, but I unexpectedly found it to have gone back on itself. 

It felt repetitive and lazy, it felt as if they didn’t try, and it also came only six months after the debut. At least there were no interruptions! And it felt somewhat cohesive, but overall just boring.

THEN PLAY ON (1969): 8/10

The blues are still extremely prominent and integral to the sound of Fleetwood Mac. We’re here spoiled with incredible guitar talent and a good mix of mellow tunes and energetic bangers, whilst still maintaining the heartbroken quality that the blues are famous for. 

This is a great project and a highly important album for the band, as we begin to see them sort of steering away from the norm of their original muses.

KILN HOUSE (1970): 9/10

This one was brilliant. Loved basically everything about it. We’re sinking into a much more wholesome and more magical place with Fleetwood ac. We begin to see some semblance to the later, more pop-like sound we recognise them for. 

Their creative decisions here have been extremely important- we are hereby unable to call this group a blues band anymore. But what exactly is it we can call it? It simply stands on its own, free of the context of the previous albums before it came. 

Just amazing.

FUTURE GAMES (1971): 8.5/10 

Enthralling. Whimsical. Trance inducing. 

I don’t know how else to describe it: I’ve never heard of this album before and yet it’s probably one of the best they have. I love the blues influences coming back from their past, I love how cohesive it is, I love how you can tell a lot of work had gone into it, I love the guitar work… 

It’s absolutely fantastic.

BARE TREES (1972): 9/10 

This one was absolutely great as well. Similarly to The Beatles, Fleetwood Mac slowly begin to develop their sound over many albums at a time. It’s a shame we don’t see too much of that today. 

It’s fantastic for a rainy day but much less depressing than I thought it would be - the cover art is very deceiving as I’m sure we will find until Fleetwood Mac (1975). It’s a very autumnal work, a rainy spring day such as today, or deep thunderstorms mid-summer, despite the bare trees imagery. Nothing about it said winter, cold and desperation. It felt warm and understanding, like a hug from a friend who knows what you’re going through. 

Thoughts On A Rainy Day wasn’t bad at all; the main reason I rated it lower than the rest was the fact that I cannot technically call it a song. It is a track, but it is spoken word. And whilst I really enjoy some spoken word, I very much felt like the music in this album deserves a slightly higher recognition. 

Sunny Side Of Heaven made me cry when I had first heard it - it’s incredible, and once again despite the fact I can’t call it a song due to the lack of singing, a radiant energy is conveyed here and it’s outstanding in colour and in texture. 

Nonetheless, great tracks, and great way to end an album!

PENGUIN (1973): 9.6/10

LOVED this one. It literally grabbed me by the hand and took me in this magic space. It was far too short for the high level of quality and for how surprising it was that it took itself so seriously. For an album with a penguin mascot, these tunes are forreal. 

I was hoping it would be similar to bare trees, in that we have some sort of polarising duality between the bare trees imagery contrasted with the warmth of the music. And it did, in a similar way, have a contrast of playfulness and warmth which stands bravely against the extremely cold themes of heartbreak and of disappointment, but it's definitely its own project, with a far different and more developed sound and feel from its predecessor.

I would recommend this one over many others I’ve heard from Fleetwood Mac so far.

MYSTERY TO ME (1973): 9.7/10 

This also falls in the same breath of taking itself more seriously than it would appear: I loved it. Many gems to come and very good writing as well. Hypnotised completely blindsided me - it's probably become my favourite Fleetwood Mac song. It feels so modern, 2010s English indie band from Bristol I was entirely shocked it's from the 70s.

As we continue the Fleetwood Mac journey, we are slowly coming to a finished sort of sound: with only two more albums to go until tevie and Lindsay join, and with Christine already in the band and finally working up some confidence to step up and perform to a more established level, the band is shaping into what we can now say for certain is Fleetwood Mac. 

I liked this album very much. There was nothing really wrong about it with the exception that it can do much better if we give everyone some time to acclimatise to their newly established roles.

HEROES ARE HARD TO FIND (1974): 9.4/10

DO NOT BE FOOLED by the cover art! 

In all honesty, when I first saw it, I thought to myself god, is this where they experiment with the fuzz pedal and with some screams? Is this where i find out they actually inspired Black Sabbath and alas we are all mistaken in believing who was really first in the metal scene? 

But no. If anything, I think this had actually been Fleetwood Mac’s mildest sounding album yet. It was so softly spoken and so gently played I would have rather given it a picture of white silk sheets for a cover art. 

Don’t be intimidated like I was, or rather if you’re a fan of metal, do not bring up your expectations, because this one has been a great surprise. 

With less than a year to its predecessor, Fleetwood Mac continue making tunes that would never have had you guessing they used to be a blues band, already knees deep into this whimsical, modern sound which we love.

FLEETWOOD MAC (1975): 9.6/10

LOVED IT LOVED IT LOVED IT!!!

And at long last, Stevie Nicks is in the band! 

I think this has been the most important rebrand in the history of music: we’re talking about a second self-titled studio album, less than seven years from its predecessor, with a brand new lead lineup, and with a fresher sound than ever before. 

I think Fleetwood Mac are seriously distinct bands pre-Stevie and Lindsay and post. The magic they bring to the group is unmatched. Stevie brings this earthy and unique spirit into the mix which we have never heard before, and Lindsay ignites it into success. 

I believe they were happily together during this time, but with a ticking clock hanging over both of their heads, and the fate of the rest of the band from here point on. Listening to these records and catching a glimpse on when the most famously unsuccessful musical couple had merely been taken aboard their future had been surreal and emotional. 

I love this album. It was extremely difficult to pick between Rhiannon and Landslide. They both give me goosebumps, but it’s gotta go to Rhiannon merely because I can, just for one moment, hear Stevie and Lindsay getting along and making something very beautiful, as opposed to competing for the spotlight like they do in the following album.

RUMOURS (1977) : 9.6/10 

What can I say? Everyone knows this album. Everyone loves it. This is the height of leetwood Mac: their first epic poem, their first chart breaker, the most recognisable songs, all compiled neatly into the story of their conflict erupting and bursting at the seams of stardom. 

I have a personal vendetta against this album because it is so close to perfect and yet they decided scrap Silver Spring for I Don’t Wanna Know. Absolutely not. A horrible. HORRIBLE choice: that’s why I have added it here, where it deserves to be, and gave it its due rating in this album. 

I also realise there might be some aversion about Don’t Stop. I’m thinking of a couple of people whom I know I’ve had this debate with, but I’ll say here what I have said before: it feels like a corporate “resilience” song - I see it in the same breath as we might see Happy by Pharrell Williams. it’s JUST annoying and insincere, and very much a weapon for over-positivity. Don’t tell me to be happy Lindsey what are you doing? It also does not fit musically with the rest. 

The choice between Silver Spring, You Make Loving Fun, Gold Dust Woman, The Chain and Go Your Own Way was nearly impossible considering how high quality they are, and the fact that they’re all here, on the same album, under the same very strange cover photo. It’s simply phenomenal to have all of them here - I think if it hadn’t been for Don’t Stop and I Don’t Wanna Know it would have been perfect, but alas. 

Christine McVie shines incredibly bright on this album. We have not one, but two displays of her incredible talent and devotion: in Oh Daddy and You Make Loving Fun. I’m certainly looking forward to hearing some more from her in the albums to come. 

Stevie and Lindsey simply cannot seem to find a middle ground on this album. Does their war taint it? Does it motivate it to improve? Does it ultimately end in petty substitutions and additions of useless and lower quality tracks just to enable peace and balance between the two? I think it’s a combination of all somehow, but one thing is for certain. Too much of this feud got in the way of what could have been the greatest album in the history of music.

TUSK (1979): 9.5/10

A very lengthy album. Surprisingly so, considering the state of the front line and their relationship. In a strange way, Tusk thrives because the attention is taken away from the conflict of Nicks and Buckingham and gifted to the rest of the band, who bring a primal, earthy, forestry spirit into this album. 

Tusk sounds like it could have been used as a ritual song for a blood sacrifice around the fire in the woods and I am so here for it. Sisters Of The Moon is probably the perfect Fleetwood Mac song, balancing the piercing vocals of Nicks with the masterful guitar expertise of Buckingham. It’s astounding how great they work together despite it all. You can hear the effort on this album to continue Fleetwood Mac. There’s a strange, cold, seething rage baked in the beat of this song. Just incredible. 

What Makes You Think You’re The One is great as a track, but ultimately reads extremely snarky and boring. It reminds me of a toddler tantrum. 

I 100% recommend this album for hikes, camping trips and other activities you may find yourself partaking in whilst in the wilderness.

MIRAGE (1982): 8.8/10

Great! Just great! This probably has far fewer skips than the rest of their discography, and yet. 

The start of this album is underwhelming, but we warm up quite quickly. The contents do not particularly impress me, and the coda? Eyes Of The World and Wish You Were Here disappoint me in that I expected the covers by Grateful Dead and Pink Floyd, or a stronger alternative. Unfortunately neither stands true. 

The highlight of this album is Gypsy. The middle eight in Gypsy literally makes me foam at the mouth. I think that long note just before the last verse is the peak of Stevie Nicks' entire recording history. I don't know what it is about that bit in particular, it's almost as if it vibrates at the exact frequency of heartbreak. Every time I hear it I have intense pains in my chest, and I love it. As always, I wish there was more of Christine McVie on this album, but I’ll take Only Over You. 

They took over 2 years to produce this body of work. There’s a significant lack of Buckingham on this album, despite the cover art. His fiery drive seems subdued. He must be exhausted.

TANGO IN THE NIGHT (1987): 9.6/10 

I think Fleetwood Mac has got to be one of the most versatile bands of the 20th century. Having started out on blues, discovering their 70s sound, returning to an earthy sound and then finally advancing into this synth 80s style into this era is something I’ve never really seen before. We’re really somewhat listening to a music history lesson in following the works of Fleetwood Mac. 

The separation between members is very evident on this album. For the most part you can very clearly hear a divide between each song according to the lead vocals: we start out with energy and angst from Buckingham, we move into the soft whimsical spirit of Nicks with Seven Wonders, then the longing, heart crushing, deeply emotional and yet upbeat songwriting style of McVie on Everywhere. We pretty much rinse and repeat twice and there you have it: Tango In The Night. It is very rare in this album and also since Rumours that we have a full band input. 

I am, however, really enjoying the plethora of Christine McVie tracks. we’re spoiled for choice in her songwriting on this album. It's almost as if this is her era, the late 80s. I have missed Stevie a little on this album. Much like its predecessor lacked Buckingham, this one seems to subtly obstruct stevie nicks. But I am not complaining. It may have been better if by some miracle we could have had more of a balance, but balance has never been the language of Fleetwood Mac. 

Unarguably separated, Tango In The Night still stands as a staple of the 80s and a monument of very deep torment. I wonder what it would be like knowing nothing about Fleetwood Mac and their history, having heard none of their songs or albums in the past, and hearing this project. I doubt you’d be able to ignore that something deeply profound and painful happened here. A totem of failed love, friendship and a helluva lot of fighting.

BEHIND THE MASK (1990): 8.6/10 

This is where we say goodbye to Lindsay Buckingham. Stevie Nicks seems to be quiet quitting too. The peak of Fleetwood Mac’s career has passed, and through eras and eras we approach a very difficult end. 

Whilst the band had made very good efforts replacing Buckingham, it should come as a testament in itself that one guitarist simply did not suffice, and that two people were needed to make up for his departure. I hate him with every fibre of my soul, but I have to give it to him, he was a damn good guitarist and performer. The chemistry is simply not the same without him. 

It comes as no shock that this album pales in comparison to its predecessors: there’s not really a lot to it, I probably couldn’t name you a song from it from the top of my head, and whilst none of the songs were bad, thus each being rated over 7 apiece, it failed to impress me. 

I don’t think i’d like it even forgetting the context, and that they were once phenomenal. It is however, unfair to offer it a low rating just because I miss the way things used to be with them. The songs are good. I gave them the chance they deserved and looked objectively at them. 

And yet it still feels like the first date after a painful breakup.

TIME (1995): 9.1/10

Fleetwood Mac was a band before Lindsey Buckingham and Stevie Nicks joined, and evidently, they are still a band after. 

I think everyone else, just like myself, had a violent aversion to Bekka Bramlett replacing Stevie Nicks when this album came out, which is somewhat understandable, but ultimately unfair. Yes, she is younger than the band itself, and yes, she has extremely big shoes to fill, and yes, she does dare stand where she stood, but got to tell you, she’s not bad. 

In fact, I think her voice is great. I think she’s skilled, I think she’s devoted, I think she is very talented and that her contribution suffices for the lack of Nicks. Suffices being a key word. 

It would have been impossible to replace someone like Stevie Nicks anyway - and, albeit through some nepotism, Bramlett does a very adequate job. She didn’t deserve all the publicity abuse from Nicks. She was merely a young woman offered an important opportunity, her only crime being taking it. 

Nonetheless, this changes the sound of the band quite massively. Once again we hear a divide: between Bramlett and her brand new country sound and dolly-like vocals, and Christine McVie, clutching at the last of her connection with the past and the sound Fleetwood Mac used to have. The latter’s sound also seems to have shifted towards an angrier, darker and more frustrated tone: almost like we hear Buckingham back on the track. 

Speaking of whom, his replacements shine very brightly on this album. Guitar work is good. Very good. Vocals are also great. 

The only critique I may have is that it does not fit with its time, nor does it revolutionise anything, in the classic fashion of Fleetwood Mac. it seems to simply float atop a mountain of great material and the grunge sound of the 90s. 

It was annoying almost, hearing this and being unable to rate it any lower than I did. I wanted to hate it so much, but I couldn’t. It did well. I wish it didn’t, but it did very well. Christine McVie’s goodbye song was so emotional too. They should have left the last track for hers.

SAY YOU WILL (2003): 8.1/10

YAY I AM OLDER THAN THIS ALBUM! :D 

To think I was alive for this awesome reunion but was way too young to have been able to enjoy or even comprehend the whole experience is both a curse and a blessing. 

This album fluctuates between incredible displays of talent and weak links (for filler?) and I think in a very strange, metaphorical way, it reflects directly on the state of the band throughout their years together, with and without Buckingham and Nicks. Speaking of whom, they’re back! I wonder what it took to get them back on board. 

We hear infinite efforts here to have a proper closure, a proper goodbye and a proper coda to the greatest band of the 70s, more than 30 years after their peak. I, for one, appreciated said effort, despite it being a very unstable album, and a very uneven project. 

I miss Christine McVie like crazy on this album though. It’s the first time since the 70s we do not hear her; the infinite amount of what I can only call courage and spite to continue despite it all and to endure numerous changes to the personnel of her band, subduing her constantly, impresses me to great extents. We see the stability and resilience of the band and of the music crumble to the ground in her absence. She truly was the glue that heroically held it all together as long as it did.

In a way, I understand her lack of return on Say You Will completely. I don’t suppose I would feel up for it either. I also sort of get the sense that this return cheapens the act quite greatly. 

As incredible as this journey and this band overall has been, it’s important that you stop watering dead plants and try, as much as you can, to put the past to bed. Goodbye baby.