Fleetwood Mac, a band that has soundtracked generations, boasts a discography as rich and complex as its interpersonal relationships. From their blues-rock origins to their pop-rock superstardom, pinpointing the “Best Fleetwood Mac Songs” is no easy task. Their music is a tapestry woven with tales of love, loss, and everything in between, delivered with an unmatched blend of raw emotion and polished musicianship. This list delves into 30 exceptional tracks that showcase the evolution and enduring appeal of Fleetwood Mac, celebrating their journey from British blues pioneers to global icons. Prepare to rediscover the magic and understand why their songs continue to resonate deeply with listeners worldwide.
30. Keep on Going (1973)
“Keep on Going,” a hidden gem from the Mystery to Me album, is a testament to Fleetwood Mac’s willingness to experiment. Penned by Bob Welch, this track is an intriguing departure for the band, showcasing Christine McVie’s vocals against a backdrop that clearly draws inspiration from the lush soul sounds emanating from Philadelphia International Records at the time. Imagine high-drama strings, a dancefloor-ready drumbeat, and McVie’s signature smoky voice – it’s a unique concoction unlike anything else in the Fleetwood Mac catalog, proving their versatility and openness to musical exploration.
29. Spare Me a Little of Your Love (1972)
To truly appreciate the journey of Fleetwood Mac to becoming a multi-platinum pop-rock phenomenon, one must journey back to Bare Trees. “Spare Me a Little of Your Love,” a Christine McVie masterpiece, stands out on this album, and tellingly, remained a staple in their live sets even after the arrival of Lindsey Buckingham and Stevie Nicks. Its relaxed and soulful vibe beautifully contrasts with the album’s more rock-oriented tracks. This song highlights McVie’s consistent songwriting brilliance and the band’s inherent ability to craft enduring melodies.
28. Sad Angel (2013)
Fleetwood Mac’s enduring legacy as a stadium-filling live act is remarkable, especially considering lineup shifts, internal band turmoil, and the absence of a new studio album since 1987. Yet, to dismiss them as solely a legacy act would be a mistake. “Sad Angel,” from the often-overlooked 2013 Extended Play EP, serves as potent evidence of their continued creative spark. This track is a sharp, catchy rock song penned by Lindsey Buckingham, revisiting his perennial muse: Stevie Nicks. It’s a reminder that even decades into their career, Fleetwood Mac could still deliver compelling and contemporary music.
27. Black Magic Woman (1968)
While Santana’s Latin-infused, conga-driven rendition of “Black Magic Woman” achieved greater mainstream recognition, Fleetwood Mac’s original version, their first foray into the Top 40, is undeniably darker, rawer, and more electrifying. It possesses a palpable live energy, almost as if captured spontaneously during a rehearsal. The mood is undeniably ominous, punctuated by dramatic pauses that heighten the tension. Despite its raw edge, the song’s inherent commercial appeal is undeniable, showcasing the early Fleetwood Mac’s blues-infused power and Peter Green’s songwriting prowess.
26. Only Over You (1982)
Mirage, often considered the least celebrated album of the classic Buckingham/Nicks era, might be perceived as a band in a holding pattern. The experimental spirit of Tusk is absent, replaced by a polished soft-rock sound. However, beneath the surface lie genuine hidden treasures, including Christine McVie’s “Only Over You.” This track is a luscious, lovestruck ballad, a small-hours serenade dedicated to her then-fiancé Dennis Wilson, who would tragically pass away soon after. It’s a poignant and beautifully crafted song that deserves rediscovery.
25. Man of the World (1969)
Peter Green, Fleetwood Mac’s original and increasingly troubled frontman, lays bare his vulnerabilities in “Man of the World,” effectively using the listening public as a confidant. Perhaps even more unsettling in retrospect than it seemed at the time, the song is undeniably beautiful. The arrangement is stark and almost ascetic, enhancing the lyrical dread that culminates in the haunting line: “I just wish I’d never been born.” It’s a deeply personal and emotionally resonant song that reveals the inner turmoil of a musical genius.
24. Future Games (1971)
Rescued from relative obscurity by its inclusion in the Almost Famous soundtrack, the title track of 1971’s Future Games exemplifies the transformative impact of Bob Welch’s arrival on Fleetwood Mac. Subsequently covered by MGMT, “Future Games” is a captivating, sprawling, and blissfully relaxed song, reminiscent of a stoned summer afternoon. Filled with lush harmonies and lyrics that lean towards a laid-back hippie-mystic sensibility, it’s a unique and charming track that showcases a different facet of the band’s evolving sound.
23. Come a Little Bit Closer (1974)
The common narrative often emphasizes Stevie Nicks and Lindsey Buckingham’s arrival as the catalyst for Fleetwood Mac’s transformation. However, Christine McVie’s majestic “Come a Little Bit Closer,” a hidden gem from 1974’s Heroes Are Hard to Find, suggests the band was already on the cusp of a musical evolution. This song possesses a timeless quality, so much so that it could seamlessly fit onto Rumours. It hints at the band’s inherent pop sensibilities that were about to explode onto the global stage.
22. The Green Manalishi (With the Two-Pronged Crown) (1970)
“The Green Manalishi” is a thunderous and eerie track where Peter Green’s chilling falsetto conveys a sense of being tormented by unseen forces “creeping around, making me do things I don’t wanna do.” This song serves as both a precursor to heavy metal and, much like Pink Floyd’s rarely heard “Vegetable Man,” a sonic representation of the psychological damage inflicted by LSD within the rock music scene. It’s a powerful and disturbing glimpse into the darker side of the era’s experimentation.
Fleetwood Mac lineup featuring Peter Green, Danny Kirwan, Mick Fleetwood, Jeremy Spencer, and John McVie in the early 1970s. This photo captures the band during Peter Green’s era, showcasing their blues-rock roots and early lineup.
21. Little Lies (1987)
Many 1970s superstars encountered difficulties navigating the 1980s pop landscape. While Fleetwood Mac might have faltered at the decade’s outset, by 1987, they re-emerged as a formidable force, almost reminiscent of their Rumours-era dominance, largely thanks to songs like “Little Lies.” Co-written by Christine McVie and her then-husband, Eddy Quintela, the track, while McVie emphasized its blues origins, simply sounded like flawless pop music to most listeners. It’s a testament to their ability to adapt and create hits across decades.
20. Seven Wonders (1987)
Stevie Nicks’ involvement during the Tango in the Night era was reportedly hampered by prescription tranquilizers. Her contribution to “Seven Wonders” was minimal, merely changing a single word on writer Sandy Stevens’ demo. However, her vocal performance on this 80s AOR masterpiece is nothing short of amazing. She delivers the lyrics as if fully embodying the chorus’s intimations of mortality, transforming a potentially simple pop song into something deeply resonant and powerful.
19. Hypnotised (1973)
“Hypnotised” stands as the pinnacle of Fleetwood Mac’s transitional period – post-Peter Green, pre-Buckingham/Nicks. It captures the band in a state of evolution, retaining a distinct blues undercurrent in the guitars and vocals, yet embracing a smoother, more comforting, and sun-drenched overall sound. Despite still being based in England, “Hypnotised” sonically foreshadowed their eventual relocation to Los Angeles. The lyrics, however, delve into paranormal themes, creating an intriguing juxtaposition with the song’s laid-back vibe.
18. Big Love (1987)
“Big Love,” a commercially successful single from Tango in the Night, carries a subtle undercurrent of darkness and unease that subtly subverts its breathy sampled vocals and ostensibly sensual nocturnal mood. Despite its swinging, prowling single persona, Lindsey Buckingham’s vocal delivery sounds strangely distressed. The acoustic guitar interjections and fidgety electronic percussion contribute to a sense of restlessness, culminating in a simmering guitar solo. It’s a complex and layered track that reveals hidden depths beneath its pop surface.
17. Over My Head (1975)
“Over My Head,” the lead single from 1975’s self-titled Fleetwood Mac album, represented a refinement of the kind of lush, mid-tempo songs Christine McVie had been quietly contributing to their albums for years. Her uncanny ability to foresee future events was evident – she penned the song about Lindsey Buckingham, marking the first, but certainly not the last, instance of band members serving as songwriting inspiration within Fleetwood Mac’s tumultuous history.
16. Gold Dust Woman (1977)
As if the intricate web of romantic entanglements depicted throughout Rumours weren’t emotionally charged enough, the album concludes with “Gold Dust Woman,” a song widely interpreted as a depiction of a cocaine overdose. This track further underscores Rumours‘ remarkable ability to present bleak subject matter within a framework of captivating musicality. While the song is undeniably beautiful and haunting, the instrumental finale delivers a powerfully dark and unsettling conclusion.
15. Tusk (1979)
Lindsey Buckingham, captivated by the burgeoning new wave scene, particularly Talking Heads, steered Rumours‘ follow-up album, Tusk, down unexpected and experimental paths. The title track itself is a chaotic and paranoid sonic collage, incorporating a marching band, whispered and shouted vocals, and even the unconventional percussion of a spatula hitting a leg of lamb. “Tusk” is both bizarre and strangely compelling, showcasing Buckingham’s artistic ambition and willingness to push boundaries.
14. Landslide (1975)
A key factor in Fleetwood Mac’s mid-70s explosion in popularity was their ability to connect with fellow baby boomers, whose initial hippie optimism had given way to the realities of adulthood: marriage, divorce, parenthood. Stevie Nicks’ poignant ballad, “Landslide,” perfectly encapsulates this sentiment. With lyrics like “Can I handle the seasons of my life? Even children get older, and I’m getting older, too,” the song resonates with the universal anxieties of aging and life’s inevitable changes.
13. You Make Loving Fun (1977)
Adding another layer to the interpersonal drama of Rumours, “You Make Loving Fun” features Christine McVie’s then-husband, John McVie, playing bass on a song openly celebrating her affair with the band’s lighting director. Her claim that the song was actually about her dog is widely regarded as one of rock’s weakest denials. It certainly fails to account for the chorus’s undeniably sensual, post-coital glow, making the song a candid and catchy confession of infidelity.
12. Albatross (1968)
Fleetwood Mac’s sole UK No. 1 single, “Albatross,” draws inspiration from dreamy 1950s instrumentals, particularly Chuck Berry’s “Deep Feeling.” However, its flawlessly serene atmosphere feels distinctly 1969, perfectly capturing the post-psychedelic, 60s comedown mood. “Albatross” transcended its initial era, becoming a hit again in 1973 and solidifying its status as a perennial chill-out classic and advertising soundtrack staple. Its instrumental beauty remains timeless.
11. The Ledge (1979)
Following Christine McVie’s lovely album opener, “Over & Over,” Tusk‘s second track, “The Ledge,” immediately plunges the listener into the album’s characteristic strangeness. In a different arrangement, “The Ledge” could have resembled Rumours‘ acoustic track, “Never Going Back Again.” However, here, Lindsey Buckingham’s fantastic melody unfolds at breakneck speed, accompanied by a detuned, off-key electric guitar and harmonies so heavily drenched in echo that they are barely discernible. It’s a jarring and deliberately unsettling track that showcases Tusk‘s experimental nature.
10. The Chain (1977)
“The Chain” famously emerged from fragments of older songs, including a track that had already appeared on Buckingham Nicks’ 1973 self-titled album. Despite its piecemeal origins, its episodic structure works brilliantly. The moment the iconic bass riff enters never fails to ignite excitement, regardless of how many times you’ve heard it. “The Chain” has become a quintessential Fleetwood Mac anthem, a testament to their ability to create something cohesive and powerful from disparate parts.
9. Gypsy (1982)
Conceived in 1978 during the peak of Fleetwood Mac’s hedonistic celebrity, “Gypsy” finds Stevie Nicks reflecting wistfully on her pre-fame life. By the time they recorded it for Mirage, her memories had been sharpened by the tragic death of her high-school friend, Robyn Snyder Anderson. The resulting song is both nostalgic and melancholic, warm and profoundly heartbroken. “Gypsy” beautifully captures the bittersweet nature of fame and the longing for simpler times.
8. Oh Well Part 1 (1969)
Imagine an alternate Fleetwood Mac timeline where Peter Green and guitarist Danny Kirwan maintained their mental stability, refined the raw power of 1969’s exceptional Then Play On, and rode a Zeppelin-esque wave of hard rock success in the US. The tumultuous and incredibly potent riffing of “Oh Well Part 1” suggests this could have been a viable trajectory. It’s a powerful and dynamic track that showcases the band’s early hard-rocking potential and Green’s guitar virtuosity.
7. Rhiannon (1975)
“Rhiannon” introduced one of Stevie Nicks’ signature songwriting tropes: the portrayal of an enigmatic and alluring woman, almost witch-like in her mystique. This song, along with others, helped solidify Nicks’ shawl-twirling stage persona. The music itself is coolly understated and atmospheric, anchored by Lindsey Buckingham’s perfect guitar riff. “Rhiannon” is a captivating and iconic track that cemented Nicks’ place as a rock and roll sorceress.
6. Silver Springs (1977)
Originally omitted from Rumours due to album length constraints, “Silver Springs” is undeniably one of Stevie Nicks’ most powerful songs. Here, the carefully constructed veil of diffidence that often characterizes her stage presence cracks, revealing a torrent of jealousy, anguish, and fierce pronouncements, including a prescient warning to Lindsey Buckingham: “The sound of my voice will haunt you.” “Silver Springs” is a raw and emotionally charged masterpiece that deservedly found its place in the Fleetwood Mac canon.
Stevie Nicks performing with Fleetwood Mac in 1977, radiating her signature stage presence as the “Gold Dust Woman.” This image captures the iconic singer during the peak of Fleetwood Mac’s Rumours era, highlighting her captivating performance style.
5. Sara (1979)
Tusk‘s experimental nature manifested in various forms, sometimes through sonic experimentation and marching bands, and at other times in more subtle ways. “Sara,” at six-and-a-half minutes long, is a Stevie Nicks ballad transformed into a dreamily expansive sonic landscape. Enthralling, sensual, and enigmatic, the lyrics are rumored to be about Nicks’ friend marrying Mick Fleetwood, but could equally be interpreted as a lament for a passionate affair coming to an end. “Sara” is a sprawling and captivating track that showcases Nicks’ ability to create atmospheric and emotionally evocative songs.
4. Don’t Stop (1977)
A glimmer of optimism amidst the romantic turmoil of Rumours? Perhaps. Christine McVie’s “Don’t Stop” is ostensibly the sound of a departing wife cheerfully encouraging her ex-husband to move on. However, its infectious, cantering rhythm and buoyant chorus are so irresistibly flawless that the song transcends the unhappiness that inspired it. “Don’t Stop” has become an enduring anthem of positivity and resilience, a testament to McVie’s songwriting genius and the song’s universal appeal.
3. Everywhere (1987)
With Stevie Nicks taking a less prominent role during the Tango in the Night sessions, Christine McVie’s songwriting flourished. “Everywhere” is simply an incredible song, its lasting power amplified by the fact that, on an album characterized by late-80s production, its sound remained remarkably close to the classic Rumours era. “Everywhere” is a timeless pop gem that showcases McVie’s knack for crafting instantly memorable melodies and lyrics that resonate with universal emotions.
2. Go Your Own Way (1976)
“Go Your Own Way” is perfect pop distilled from passive aggression and, according to Lindsey Buckingham, inspired by the Rolling Stones’ “Street Fighting Man.” The verses build tension, culminating in choruses and a fantastic guitar solo that serve as an angry and cathartic release. Stevie Nicks, however, was less than thrilled with her ex’s portrayal of her in the lyrics, famously stating, “I wanted to go over and kill him.” Despite the underlying tension, “Go Your Own Way” is an undeniable rock anthem, fueled by raw emotion and musical brilliance.
1. Dreams (1977)
“Dreams” stands as the crowning achievement of Fleetwood Mac’s oeuvre and the apotheosis of a certain super-smooth 70s LA studio sound. Despite being supposedly rendered passé by punk, it has been endlessly imitated in the decades since its release. The melody is undeniably irresistible, but a significant part of “Dreams'” enduring power lies in the lyrical content. Essentially “Go Your Own Way” told from a different perspective, the lyrics contrast sharply with the song’s overall vibe – Nicks’ languid delivery, the laid-back rhythm, the hazy blend of acoustic strumming, spare lead guitar, and electric piano. This juxtaposition transforms anger into a dismissive shrug, turning rancor and bitterness into something exquisitely beautiful. “Dreams” is not just a song; it’s an atmosphere, an emotion, and a timeless masterpiece that perfectly encapsulates the magic of Fleetwood Mac.
