The 20 Best Fleetwood Mac Songs of All Time via @pastemagazine

By Holly Gleason
May 29, 2014

The 20 Best Fleetwood Mac Songs of All Time

Fleetwood Mac embodied the high gloss, tube-topped reality of the late ’70s like few others. Equal parts British blues rockers, folkie bohemians and thick South California soft-pop harmonies, they crafted a songbook rife with strife, long on eroticism and charged by the cocaine-fueled reality of the era. Post-disco, it was the illusion of earthy, mystical post-hippie magic, the return of electric guitars and rhythm sections that echoed.

Ironically, it was the merger of two Northern California dreamers—Lindsey Buckingham and Stevie Nicks—that provided the solid rhythm section of Britain’s ferocious Mick Fleetwood on drums, velvety vocalist/B-3/pianist Christine McVie and melody-driven bassist John McVie the catalyst for superstardom. Aggressive playing, pop-inflected melodies and sexual frisson ignited rock that was palatable in the malls as well as back rooms, yet some of pre-Buckingham/Nicks songs remain pivotal in the catalogue.

And what a catalogue! The self-titled “white album” lead to the 45-million selling Rumours—inescapable for a period of almost three years. They followed with the progressive, challenging two-record set Tusk, the more conventional Tango in the Night and Mirage. When Bill Clinton made his ran at the White House, it was “Don’t Stop” that fired up his team; for his Inauguration, the band reunited to play.

Here are the 20 best songs from Fleetwood Mac:  Click through to Paste Magazine, see if you agree.

Paste Magazine: The Illustrated Life of Stevie Nicks... Nicely done!

Infographic: The Illustrated Life of Stevie Nicks
Paste Magazine
Illustrated by Anna Westbury

Click through to Pastemagazine and read... Nicely put together

REVIEW: Lindsey Buckingham once again affirmed his guitar hero status - Live in Chicago

LINDSEY BUCKINGHAM LIVE 
CHICAGO - OCTOBER 2, 2008 - HOUSE OF BLUES

Paste MagazineBy Joshua Klein
Photos by Laura G

Gift Of Screws is Lindsey Buckingham's second solo album in two years following a nearly 15-year gap, and he didn't shy away from showcasing the new material at the House Of Blues on Thursday night, even if most of the attendees were likely expecting his Fleetwood Mac hits (and even if many minds were perhaps preoccupied by the concurrent Cubs playoff game and VP debates, no doubt to blame for the less-than-capacity crowd).

As leader of Fleetwood Mac, Lindsey Buckingham sold millions of records, but has seen less commercial success on his own. Artistically, though, his solo work has never really struck a wrong note, and all of his records have been exceedingly adventurous. Still, at this point one must assume his cult solo status comes largely by choice: He could easily fit most of his solo tracks to suit Fleetwood Mac, and has in the past. Indeed, much of Gift Of Screws dates back to the time when Fleetwood Mac's Say You Will convinced Buckingham to sideline his solo career and cannibalize several works in progress for the sake of the group.

Still, in a live setting, the likes of "Love Runs Deeper" and the new album's title track proved to be energized rockers with the rough edges left thankfully intact (as much as the control-freak in Buckingham leaves any edges rough). The latter was deliriously unhinged and the former easily on par with past Buckingham pop nuggets such as "Go Insane" and "Trouble," performed that night back-to-back. When Buckingham did dip into the Mac catalog, he chose the unlikely avenue of "Tusk" and "I Know I'm Not Wrong" rather than the most obvious songs-- though he eventually did some of those, too, including "Never Going Back Again" through the crowd-pleasing "World Turning" and "Go Your Own Way."

Throughout the night, Buckingham once again affirmed his guitar hero status, his idiosyncratic finger-picking style one of the many things that set his go-for-broke solos apart from the usual suspects. Though he demonstrated flash to spare, watching him play was akin to watching someone weave, his fingers gracefully dancing across and around the strings with an ease sometimes at odds with the jagged sonic shrapnel coming from his instrument. Buckingham could likely afford to add an extra player or two to the tried-and-true trio that has been accompanying him as of late, but the quartet did remarkably well with his equally composed and crazy arrangements-- frenetic, fussy and just as often beautiful in one fell swoop.