Fleetwood Mac

Label
Columbia
Running length
33 tracks
Running time
111:54

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Tracklist

    Track     Duration Listeners
1 My Heart Beat Like A Hammer (Take 2) 3:32 1,107
1 My Heart Beat Like A Hammer (Take 2-Master Version) 3:31 1,010
1 My Heart Beat Like A Hammer 2:57 25,840
2 Merry Go Round 4:06 23,613
2 Merry Go Round (Take 2) 4:19 1,059
2 Merry Go Round (Take 2-Master Version With Studio Talk/Remix) 4:18 931
3 Long Grey Mare 2:13 31,499
4 Hellhound On My Trail 1:58 9,404
4 Hellhound On My Trail (Take 1-Complete Master Version/Remix 2:05 818
4 Hellhound On My Trail (Take 1) 2:05 352
5 Shake Your Moneymaker (Master Version With Studio Talk) 3:12 1,074
5 Shake Your Moneymaker 2:54 27,983
6 Looking For Somebody 2:50 25,957
7 No Place To Go 3:20 18,684
8 My Baby's Good To Me 2:49 18,001
9 I Loved Another Woman 2:55 24,303
10 Cold Black Night 3:15 14,663
11 The World Keep On Turning 2:27 16,748
12 Got To Move 3:18 20,144
13 My Heart Beat Like A Hammer (Take 1 & Talking Tail Previously Unissued) 3:42 757
13 My Heart Beat Like A Hammer (Take 1) 3:42 2,225
14 Merry Go Round (Take 1) 0:55 434
14 Merry Go Round (Take 1- Previously Unissued/Incomplete) 0:56 944
15 I Loved Another Woman (Takes 1-4) 6:07 831
15 I Loved Another Woman (Takes 1, 2, 3 & 4) 6:08 222
16 I Loved Another Woman (Take 5-Complete Master Version/Remix, Take 6 Previously… 5:09 862
16 I Loved Another Woman (Takes 5 & 6) 5:08 240
17 Cold Black Night (Takes 1, 2, 3, 4, 5 & 6) 5:28 193
17 Cold Black Night (Take 1-Prev. Unissued/False Start Take 2-Prev. Unisued/False Start) 5:28 661
18 You're So Evil 3:05 2,425
18 You're So Evil (Previously Unissued) 3:06 642
19 I'm Coming Home To Stay 2:28 2,308
19 I'm Coming Home To Stay (Previously Unissued) 2:28 828

About this album

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 onboard, 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.

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