The “Fleetwood Mac” album was recorded in the middle of 1975 shortly after Nicks and her then‐boyfriendLindsey Buckingham, the lanky guitarist-had joined the band. Fleetwood Mac has managed to be original and entertaining all at once-to recapture the secret of the beit popular music, which is to say serious things in a way that embraces the millions instead of excluding them. That populism has had toweather the 70's‐it's done so remark ably well, but it's been a battle-in which success often seemed the result of a deliberate modification of rock's originality into blandness. But it happened often enough to put some muscle into notions of a newborn musical populism. There wasn't a direct correlation between quality and sales (Dylan never came close to matching the profits of, say, Blood, Sweat and Tears). Even more crucially, this is a band that is both massively popular and widely respected.īack in the 1960's it was common for the popular rock acts-the Beatles, the Rolling Stones, Bob Dylan-to elicit both solid sales and sober analysis.
Not only is Fleetwood Mac's music excellent on subjective terms, but it epitomizes in the best and freshest sense the late‐70's tendency toward stylistic eclecticism. The quintet may well wind up regarded as the most characteristic, important rock act of the late 1970's. No wonder the band's two shows at Madison Square Garden Wednesday and Thursday have long since been hopelessly sold out.Īfter a decade of honest but unspectacular success with steadily shifting personnel, Fleetwood Mac has found the right combination. In turn, it has already spun off two more hit singles, with more to come. 1 on all the sales charts for the past month. 1 or 2 for over four months, and a unanimous No. 1 LP in its current “Rumours.” It's been No. 1) called “Fleetwood Mac.” The band of the same name now has another No. 1 singles last year from one album (itself a No. This is Stevie Nicks singing her song, “Rhiannon,” which was one of three No. Before long She'll De weaving about the stage, almost oblivious to the lanky, ear nest guitarist to her left, the hard‐work ing keyboard player to her right, thl dour bassist or the angular, industrious drummer behind her. She begins the seductive, hypnotic song in a nasal, confidential tone, like the crooning of some ancient rite. The singer, who is wearing a backless dress, black top hat and witchy, translucent black “wings” attached to her bare arms, leans dreamily into the microphone.
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