Following the frankly ridiculous success of Rumours, Fleetwood Mac spent a then record $1 million in the studio producing their follow up. Whilst it didn't have the explosive selling power of Rumours, it still went Platinum within weeks, and spawned six singles. It has been garnered with more praise retrospectively, with its experimental and varied song structures created through Lindsey Buckingham's desire to push the envelope in the studio.
Over and Over has a delicacy to it that demonstrates the band's maturity, with McVie's vocals welcoming you to proceedings. The Ledge is far more insistent, with a whipsnap percussion, and some rumbling brass in the background, although it's far from clear what it's really all about, frankly. Save Me a Place is mournful, but also a bit ponderous, however catchy the chorus may be. Sara is the best known song on the album, with Stevie Nicks's voice at her haunting best. The jazzy, barely structured guitar plays off beautifully against the more rigid piano and drums. What Makes You Think You're the One has all the hallmarks of a drunken pub singalong, whilst still sounding highly accomplished. Storms is a beautiful song with some of the best vocal work on the album, fully evoking the heartbreak inherent within, with a well-crafted analogy of the sea encapsulating a relationship. That's All for Everyone is slightly too studio effect driven for my liking, and It's Not That Funny is a slightly bizarre yet bizarrely compelling track with a real drive and inescapably catchy rhythm. Sisters of the Moon has been one of my favourite Fleetwood songs since I stumbled upon a live version on Youtube, and relistening to the studio version has not changed my opinion. The sheer emotion of Nicks's vocals, and the soaring guitar overlaying the rhythm section is just outstanding. Angel has a more traditional rocky feel to it, complete with some lovely licks from Buckingham's guitar, and some sterling backing vocal work. Brown Eyes doesn't do enough for me, Never Make Me Cry is similarly underbaked. I Know I'm Not Wrong features a similar tempo and squelchy feel to It's Not that Funny. Honey Hi doesn't seem much more than a studio offcut, and the album would not miss its absence at all. Beautiful Child is a haunting number that really lets the vocals take all the glory, and deservedly so, with some darkly observant lyrics and breathy refrains; it is one of the hidden gems on the back end of the record. The title track, recorded in Stanford stadium with the USC Trojan Marching Band, has one of the best leading drum lines outside of Keith Moon in The Who, with its sinewy persistence.
This is a superb album, there is no question of that. Whilst it could probably do with some slightly more ruthless studio editing given the unnecessary presence of filler on the album, the sheer variety and depth of the very good to outstanding tracks is jaw-dropping. It isn't an easy introduction to the Mac, but it is an album that reaps the rewards when given sufficient time and attention.
Chloe's album rating: 7
Chloe's favourite track: 5. Sara
Olly's album rating: 8
Olly's favourite track: 10. Sisters of the Moon
Our next album is 294. Selling England by the Pound by Genesis; seems oddly appropriate at this time.
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