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 led 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 on board,
Fleetwood Mac turned into a West Coast pop/rock 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 lays back a bit, contributing only two other songs -- a cover of
Richard Curtis' "Blue Letter," the second best uptempo 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.
[
Warner's 2018 Super Deluxe Edition of Fleetwood Mac's eponymous 1975 album bests the expanded 2004 CD of the album by spreading out over three CDs. The first disc contains the original album plus single versions of "Over My Head," "Rhiannon," "Say You Love Me," and "Blue Letter," while the second disc is largely devoted to alternate early takes, which are generally rougher but still appealing. They're nevertheless overshadowed by the live material that fills out the second disc and all of the third. Here, it's possible to hear
Fleetwood Mac navigate the transition from blues to pop band. It's especially interesting to hear
Lindsey Buckingham and
Stevie Nicks on old blues chestnuts like "Oh Well," but even the pop numbers like "Blue Letter" are tough and ragged, making this the reason to pick up this reissue.] ~ Stephen Thomas Erlewine
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