Fleetwood Mac Never Going Back Again Lyrics Metrolyricsã¯â»â¿
30. Keep on Going (1973)
A fantastic curio from the Mystery to Me anthology. Written past Bob Welch, Go on on Going sets Christine McVie's voice against an arrangement audibly influenced by the soul music coming out of Philadelphia International Records at the fourth dimension: high-drama strings, dancefloor drums. It's like naught else Fleetwood Mac recorded.
29. Spare Me a Piffling of Your Love (1972)
If yous want to trace the roots of Fleetwood Mac the multimillion-selling pop-rock miracle, first with the LP Bare Trees. Tellingly still in their live set long later Lindsey Buckingham and Stevie Nicks joined, McVie'southward beautiful Spare Me a Little of Your Dearest has a relaxed mood at odds with that album'southward rockier inclinations.
28. Pitiful Angel (2013)
Fleetwood Mac remain a stadium-packing live deed despite lineup changes, intra-band strife and not having released a great album since 1987. But if y'all want testify that the contemporary Mac aren't a spent artistic force, try Lamentable Angel – from 2013'south disregarded four-rail Extended Play – a taut, catchy Buckingham stone song about his perennial subject: Nicks.
27. Black Magic Woman (1968)
Santana'south slinky, conga-heavy embrace version is more famous, only Fleetwood Mac's beginning Top twoscore hit is darker, more raw and exciting. Information technology feels alive, as if someone pressed record during a rehearsal; the mood is ominous, and information technology's punctuated with frequent meaning pauses. However, it'southward commercial.
26. Only Over Yous (1982)
By far the to the lowest degree revered album of the classic Buckingham/Nicks-era Mac, Mirage has something of the holding pattern about information technology – Tusk'south experimentation is gone, expensive-sounding soft-rock abounds – but it contains some real subconscious gems, including McVie's luscious, lovestruck, small-hours paean to her soon-to-be-ex, soon-to-be-late fiance Dennis Wilson.
25. Human being of the World (1969)
Mac'southward original, increasingly troubled frontman Peter Light-green treats the listening public equally a shoulder to weep on. Peradventure a more unsettling song in hindsight than it seemed at the time, the tune is cute, the arrangement nearly ascetically stark and the lyrics full of dread: "I merely wish I'd never been born."
24. Hereafter Games (1971)
Rescued from obscurity by the soundtrack of Almost Famous, the championship track of 1971's Futurity Games demonstrates how Welch's arrival shook Fleetwood Mac up. After covered by MGMT, it's a charming, sprawling, stoned summertime'south afternoon of a vocal, thick with harmonies and lyrics of a laid-dorsum hippy-mystic bent.
23. Come a Little Bit Closer (1974)
The standard line is that Nicks and Buckingham's arrival transformed Fleetwood Mac, but on McVie'south majestic Come up a Little Scrap Closer – a subconscious gem from 1974'south Heroes Are Hard to Find – the ring sounded as if they were already preparing for a musical shift: it could have slotted on to Rumours with ease.
22. The Green Manalishi (With the Two-Pronged Crown) (1970)
Thunderous and eerie – Green sings in a chilling falsetto that he's aggress by forces "creeping effectually, making me practice things I don't wanna practise" – The Green Manalishi is both a signpost on the road to heavy metal and, similar Pink Floyd'southward long-suppressed Vegetable Human being, the sound of the psychological wreckage wrought by LSD washing upwardly in rock music.
21. Petty Lies (1987)
Many 70s superstars struggled in the 80s pop landscape. If Fleetwood Mac wobbled at the decade's outset, by 1987 they seemed almost as imperious as they had been circa Rumours thanks to songs such as Piffling Lies, co-written by McVie and her then-husband, Boil Quintela. While the keyboardist-singer was keen to emphasise its dejection roots, to everyone else it just sounded like impeccable pop music.
20. Seven Wonders (1987)
Bombed on prescription tranquillisers, Nicks was barely there during the Tango in the Night era: her credit on Vii Wonders was down to substituting ane word on author Sandy Stevens'southward demo. But her song functioning on the song, an 80s AOR masterpiece, is amazing, as if she's fully identifying with the chorus'due south intimations of bloodshed.
19. Hypnotised (1973)
The highpoint of the mail service-Green, pre-Buckingham/Nicks era, Hypnotised captures Fleetwood Mac in transition. A distinct blues undertow remains in the guitars and vocal, merely the overall sound is polish, cosseting and sunlit, at odds with the paranormally obsessed lyrics. Though still based in England, here they sounded as though they were already in LA.
xviii. Large Beloved (1987)
A vastly successful single, there'southward a twinge of darkness and unease about Big Love that undercuts its breathy sampled voices and ostensibly lubricious nocturnal mood. For a swinging single on the cruise, Buckingham's vocal sounds weirdly distressed; the acoustic guitar interjections and pattering electronics are fidgety; the guitar solo broiling.
17. Over My Head (1975)
The showtime unmarried from 1975'south eponymous Fleetwood Mac was a refinement of the kind of luscious, mid-tempo vocal McVie had been quietly contributing to their albums for years. Her powers of prescience were withal intact: she wrote information technology well-nigh Buckingham, far from the last time another band member would provide a songwriter'south discipline matter.
16. Gilded Dust Woman (1977)
As if the romantic entanglements depicted elsewhere aren't emotionally wrenching plenty, Rumours ends with a description of a cocaine overdose. Gold Dust Woman offers however more evidence of the album's ability to set up bleak subject matter in a quite preposterously charming way; that said, the instrumental finale is powerfully night.
15. Tusk (1979)
Hypnotised by new wave, particularly Talking Heads, Buckingham steered Rumours' follow-up down some unexpected paths, not to the lowest degree on its championship rail, a chaotic, paranoid melange involving a marching band, voices that whisper and shriek, and a leg of lamb existence hit with a spatula. Both weird and weirdly compelling.
14. Landslide (1975)
One reason Fleetwood Mac exploded in the mid-70s was that their new songs chimed with fellow boomers, whose hippy optimism and youthful zeal had been eroded past other concerns: union, divorce, parenthood. "Tin can I handle the seasons of my life?" ponders Nicks' stunning ballad Landslide. "Fifty-fifty children get older, and I'g getting older, too."
xiii. You lot Make Loving Fun (1977)
To add to Rumours' interpersonal anarchy, You Brand Loving Fun features McVie's husband, John, playing bass on a song hymning her affair with the ring's lighting manager. Her merits it was actually virtually her dog is amongst rock'due south feeblest lies; it actually doesn't business relationship for the chorus's sighing, post-coital glow.
12. Albatross (1968)
Fleetwood Mac'due south solitary United kingdom No one, Albatross has its roots in dreamy 1950s instrumentals – specially Chuck Berry's Deep Feeling – merely its flawlessly becalmed atmosphere seems very 1969, fitting a post-psychedelic, 60s comedown mood. Moreover, it transcended its era, becoming a hit once more in 1973, so a chill-out collection and advertizing-soundtrack perennial.
11. The Ledge (1979)
After McVie'due south lovely opener Over & Over, Tusk's 2d track plunges the listener into the anthology's strangeness. Arranged differently, information technology might take sounded like Rumours' audio-visual Never Going Back Again; here, Buckingham's fantastic tune proceeds at breakneck speed, accompanied by a downtuned, off-cardinal electrical guitar, the harmonies so drowned in echo they're barely there.
10. The Concatenation (1977)
The Chain was famously spliced together from parts of old songs, including a runway that had already appeared on Buckingham Nicks' eponymous 1973 album. And yet its episodic structure works: the moment that celebrated bass riff appears never fails to feel exciting, no matter how many times y'all've heard it.
9. Gypsy (1982)
Begun in 1978, at the hedonistic tiptop of Fleetwood Mac's celebrity, Gypsy finds Nicks looking longingly back at her pre-fame life. By the time they recorded it on Mirage, her memories had been sharpened past the expiry of her high-school friend Robyn Snyder Anderson. The consequence is contemplative, warm and affectingly heartbroken.
8. Oh Well Part one (1969)
In an imaginary alternative history of Fleetwood Mac, Green and guitarist Danny Kirwan go along their mental equilibrium, they refine the tough sound of 1969'due south superb Then Play On, and ride a Zeppelin-esque wave of hard rock success in the US. The tumultuous, ultra-powerful riffing of Oh Well Part 1 suggests it could have happened.
7. Rhiannon (1975)
Rhiannon introduced one of Nicks' characteristic songwriting tropes: the depiction of a mysterious but desirable adult female for whom the adjective "witchy" might take been invented (also songs via which Nicks' own shawl-twirling phase persona might be projected). The music is coolly understated and atmospheric, Buckingham's guitar riff perfect.
6. Silver Springs (1977)
Dropped from Rumours due to time constraints, Silver Springs is notwithstanding i of Nicks' greatest songs, on which the mask of diffidence she affects on Dreams cracks, and jealousy, misery and dire imprecations gush forth, aslope a prescient warning to Buckingham: "The audio of my voice will haunt you."
v. Sara (1979)
Sometimes Tusk'southward experimentation involved weird sounds and marching bands; sometimes it was more subtle. Six-and-a-one-half minutes long, Sara is a Nicks ballad turned dreamily expansive. Entrancing, sensual and opaque, it's patently virtually Nicks' friend marrying Mick Fleetwood, but could just as easily be about a passionate matter catastrophe.
4. Don't Terminate (1977)
A glimmer of optimism amidst Rumours' romantic angst? Maybe. McVie'due south Don't Stop is actually the sound of a departing wife blithely telling her ex-husband to buck up, simply its cantering rhythm and chorus are so impossibly, infectiously buoyant, the song and then flawless, that information technology cancels out the unhappiness that provoked it.
3. Everywhere (1987)
With Nicks largely out of action, McVie's songwriting went into overdrive on Tango in the Night. Everywhere is just an incredible song, its enduring power bolstered past the fact that, on an album with a very late-80s product, its sound nonetheless cleaved shut to that of Rumours.
2. Go Your Ain Fashion (1976)
Perfect pop distilled from passive aggression and, co-ordinate to Buckingham, the Rolling Stones' Street Fighting Homo. The verses build tension, the choruses and the fantastic guitar solo are an angry, cathartic release. Nicks, still, was not pleased by her ex's delineation of her: "I wanted to become over and impale him."
one. Dreams (1977)
The crowning glory of Fleetwood Mac'southward oeuvre and the apotheosis of a certain super-smooth 70s LA studio audio; supposedly rendered terminally unhip by punk, information technology has been endlessly imitated over the past twenty years. Of grade, the tune is irresistible, but a chunk of Dreams' lasting power comes from the way the lyrics, substantially Go Your Own Fashion told from a unlike angle, are at odds with everything else in the rail – Nicks' drowsy commitment, the laid-back rhythm, the hazy combination of audio-visual strumming, spare atomic number 82 guitar and electric piano – transforming their anger into a dismissive screw-y'all shrug, turning rancour and bitterness into something exquisite.
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Source: https://www.theguardian.com/culture/2022/may/19/fleetwood-mac-ranked-30-best-songs
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