вЂњSugar DaddyвЂќ is a touch triumphant and, yes, thereвЂ™s a touch of sadness. There appears, then, to be additional percussion, really giving it a bigger, larger than life sound. When FleetwoodвЂ™s drums kick in, the track gets a tad busier, morphing more into rock than blues. вЂњWorld TurningвЂќ is a bluesy effort, with Christine bouncing off Buckingham, comparing notes in the histrionics department.

The latter moments become steelier, вЂњtime makes you bolder, even children get olderвЂќ, but itвЂ™s gone before you know it.

The overall, sometimes overwhelming melancholy is with a touch of hope. Mournful and sedate, sheвЂ™s accompanied by acoustic guitar. Nicks makes another powerful contribution in вЂњLandslideвЂќ. The closing moments get busier in that respect, before the fadeout. The irrepressible bass certainly locks in with both drums and vocals to convey this surface joy. Take вЂњif you use me again, itвЂ™ll be the end of meвЂќ, for instance. Christine, again, instigating something that maybe, on the surface of things, appears happy but concealing some sort of sadness or melancholy within her words. вЂњSay You Love MeвЂќ, on the other hand, is joyful, with barroom piano evocative of bottoms up at a cosy, country pub. The vocal arrangement delivers a passionate declaration, the end of it all, as he goes out вЂњto the seaвЂќ. The drums punctuate perfectly, choosing their moments to crash, conveying the utmost drama. The organ seems to evoke a, sad, terrible loss. Next track, вЂњCrystalвЂќ, seems like the devastation of Buckingham. On the other hand her claims of being over her head are also met with how вЂњit sure feels niceвЂќ. This is despite the lyrical content, talking of a вЂњdark sideвЂќ. Set to a nice, easy beat that goes well with her vocals, her seemingly easy going attitude washes over the listener and, in turn, calms and soothes them. вЂњOver My HeadвЂќ is ChristineвЂ™s second, so far, time to shine. BuckinghamвЂ™s blues is evident on the guitar, as Nicks closes with, вЂњdreams unwind, loveвЂ™s a state of mindвЂќ. The descending, bobbing, weaving, ducking and diving of the bass complements the haunting guitar of Buckingham and the inner fury and passion of Nicks. Deep, dark, mysterious and allegedly about a witch, thereвЂ™s plenty to contemplate on this track. Stevie Nicks finally makes her mark in вЂњRhiannonвЂќ. It seems to end before it begins, the shortest track on the album. Guitar histrionics, aswell as the vocals, are provided by Buckingham. Think the Eagles that particular, seemingly, California sound. Track three, вЂњBlue LetterвЂќ, is a rollicking rocker by this era of Fleetwood MacвЂ™s standards. Guitar melody is minimalistic but earnest, and straight from the heart. Nice touches on the drums from Mick Fleetwood, too. Christine McVieвЂ™s vocals seems literally married to John McVieвЂ™s enquiring, sliding bass.

вЂњWarm WaysвЂќ is, meanwhile, sparse in all departments. Lindsey Buckingham is definitely at the forefront of this one. The solo is loud, gregarious and expressive.

ItвЂ™s all rather sparse, the drums the only constant. Then comes the stomping pre chorus and chorus itself. The opening track, вЂњMonday MorningвЂќ, trudges, the bass ringing in tree trunk style. Simply, Fleetwood, the tallest, and Mac, the shortest, combining, founder members, as Fleetwood Mac. Perhaps heвЂ™s even juggling this ball, a circus freak commanded by the ringmaster and his corporal punishment implement. On the other hand youвЂ™ve got John McVie, the bassist, the size of a dwarf, throwing a ball. Below that doorway is a rather tall Mick Fleetwood, the drummer, almost elegant in how sharp dressed he is, complete with a cane, or walking stick, conveying absolute, genteel authority. The album cover features the band name emblazoned across the very top, and below it, is an ornate doorway. This was the first Fleetwood Mac album to feature Lindsey Buckingham as guitarist/vocalist and Stevie Nicks as vocalist, and although not as legendary as the new era and their 1977 effort instigated by the aforementioned duo, Rumours, Fleetwood Mac was the beginning of something special. TheyвЂ™d already recorded a self-titled effort back in 1968, their debut under the stewardship of Peter Green, but this was a beginning, of sorts, in its own right. Fleetwood Mac released their eponymous album, Fleetwood Mac, in 1975, and on Monday, July 11, it reached its forty-first anniversary.

Fleetwood mac discography