Fleetwood Mac [Expanded]

( 3 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
"Monday Morning," a sunny slice of folk-rock with Beach Boys harmonies, opens Fleetwood Mac and makes it clear that the band is no longer a blues-rock outfit. Lindsey Buckingham and Stevie Nicks were the catalyst for Fleetwood Mac's successful re-emergence as a mainstream pop/rock band. While Buckingham only contributed three songs, he helped the band develop a coherent vision, providing crystal-clear backings for Nicks' hippie anthems and Christine McVie's remarkably improved pop-soul. McVie dominates the album, contributing some of her finest songs, including the sighing "Over My Head" and the bouncy "Say You Love Me." Nicks' songs function as folky ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
"Monday Morning," a sunny slice of folk-rock with Beach Boys harmonies, opens Fleetwood Mac and makes it clear that the band is no longer a blues-rock outfit. Lindsey Buckingham and Stevie Nicks were the catalyst for Fleetwood Mac's successful re-emergence as a mainstream pop/rock band. While Buckingham only contributed three songs, he helped the band develop a coherent vision, providing crystal-clear backings for Nicks' hippie anthems and Christine McVie's remarkably improved pop-soul. McVie dominates the album, contributing some of her finest songs, including the sighing "Over My Head" and the bouncy "Say You Love Me." Nicks' songs function as folky counterpoints to McVie's sweet pop, and she rarely ever wrote songs as memorably affecting as "Rhiannon" or "Landslide." Remarkably, Fleetwood Mac is a blockbuster album that isn't dominated by its hit singles, and its album tracks ("World Turning," "Sugar Daddy," "Crystal") demonstrate a depth of both songwriting and musicality that would blossom fully on Rumours.
All Music Guide - Stephen Thomas Erlewine
It's unfair to say that Fleetwood Mac had no pop pretensions prior to the addition of Lindsey Buckingham and Stevie Nicks to the lineup in 1975. When they were lead by Bob Welch they often flirted with pop, even recording the first version of the unabashedly smooth and sappy "Sentimental Lady," which would later be one of the defining soft rock hits of the late '70s. Still, there's no denying that 1975's Fleetwood Mac represents not just the rebirth of the band, but in effect a second debut for the group -- the introduction of a band that would dominate the sound of American and British mainstream pop for the next seven years. In fact, in retrospect, it's rather stunning how thoroughly Buckingham and Nicks, who had previously recorded as a duo and were romantically entangled in the past, overtook the British blues band. As soon as the Californian duo came onboard, Fleetwood Mac turned into a West Coast pop
ock band, transforming the very identity of the band and pushing the band's other songwriter, keyboardist Christine McVie, to a kindred soft rock sound. It could have all been too mellow if it weren't for the nervy, restless spirit of Buckingham, whose insistent opener, "Monday Morning," sets the tone for the rest of the album, as well the next few years of the group's career. Surging with a pushily melodic chorus and a breezy Californian feel, the song has little to do with anything the Mac had done before this, and it is a positively brilliant slice of pop songwriting, simultaneously urgent and timeless. After that barnstorming opener, Buckingham lies back a bit, contributing only two other songs -- a cover of Richard Curtis' "Blue Letter," the second best up-tempo song here, and the closer, "I'm So Afraid" -- while the rest of the album is given over to the wily spirits of Nicks and McVie, whose singles "Rhiannon," "Say You Love Me," and "Over My Head" deservedly made this into a blockbuster. But a bandmember's contribution can never be reduced to his own tracks, and Buckingham not only gives the production depth, he motivates the rest of the band, particularly Nicks and McVie, to do great work, not just on the hit singles but the album tracks that give this record depth. It was diverse without being forced, percolating with innovative ideas, all filtered through an accessible yet sophisticated sensibility. While Rumours had more hits and Tusk was an inspired work of mad genius, Fleetwood Mac wrote the blueprint for Californian soft rock of the late '70s and was the standard the rest were judged by. [In the spring of 2004, Warner Strategic Marketing reissued as remastered expanded editions Fleetwood Mac's first three albums with Buckingham and Nicks. Of these, Fleetwood Mac has the least interesting bonus material. While Rumours and Tusk each have a lengthy bonus disc of rarities, this is given a mere five extra tracks, four of which are single versions of songs from the album true, the single mix of "Blue Letter" was previously unreleased, but an alternate mix is not nearly as interesting as an alternate take. That leaves the one previously unreleased track, "Jam #2," which is about as interesting as the title. Even if the bonus material is not up to the high standards of the other two simultaneously released Mac reissues, the overall package is very nicely produced, with good liner notes and excellent sound.]
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Product Details

  • Release Date: 3/23/2004
  • Label: Rhino
  • UPC: 081227388126
  • Catalog Number: 73881
  • Sales rank: 7,196

Tracks

Disc 1
  1. 1 Monday Morning (2:48)
  2. 2 Warm Ways (3:53)
  3. 3 Blue Letter (2:41)
  4. 4 Rhiannon (4:10)
  5. 5 Over My Head (3:38)
  6. 6 Crystal (5:12)
  7. 7 Say You Love Me (4:10)
  8. 8 Landslide (3:19)
  9. 9 World Turning (4:24)
  10. 10 Sugar Daddy (4:09)
  11. 11 I'm So Afraid (4:30)
  12. 12 Jam, No. 2 (5:41)
  13. 13 Say You Love Me (4:03)
  14. 14 Rhiannon (Will You Ever Win) (3:48)
  15. 15 Over My Head (3:09)
  16. 16 Blue Letter (2:42)
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Album Credits

Performance Credits
Fleetwood Mac Primary Artist
Peter Green Indexed Contributor
Lindsey Buckingham Guitar, Vocals, Group Member
Stevie Nicks Vocals, Group Member
Mick Fleetwood Percussion, Drums, Group Member
Christine McVie Synthesizer, Keyboards, Vocals, Group Member
John McVie Bass, Group Member
Waddy Wachtel Rhythm Guitar
Technical Credits
Lindsey Buckingham Composer
Fleetwood Mac Producer, Reissue Producer, Concept
Stevie Nicks Composer
Christine McVie Composer
Michael Curtis Composer
David DeVore Engineer
Bill Inglot Remastering
David McLees Reissue Producer
Keith Olsen Producer, Engineer
Gary Peterson Reissue Producer
Daniel Hersch Remastering
Richard Curtis Composer
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Customer Reviews

Average Rating 4.5
( 3 )
Rating Distribution

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(2)

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Rhiannon/Landslide

    I like this expanded album of their self-titled. This is the bestest impulsive band I've ever heard. I never thought I would like a band in the past until I listened to them. Good Stuff.

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  • Anonymous

    Posted October 1, 2010

    Mac's All-time Best

    Rumours gets more attention, but I'd argue that the eponymous Fleetwood Mac is the all-time best album by any version of the band. Then again, if you're a blues-rock fan you'll be more interested in the early albums by Peter Green's Mac I. Oh well...

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  • Anonymous

    Posted October 26, 2008

    No text was provided for this review.

Sort by: Showing all of 3 Customer Reviews