A1 Skies The Limit
A2 Love Is Dangerous
A3 In The Back Of My Mind
A4 Do You Know
A5 Save Me
A6 Affairs Of The Heart
A7 When The Sun Goes Down

B1 Behind The Mask
B2 Stand On The Rock
B3 Hard Feelings
B4 Freedom
B5 When It Comes To Love
B6 The Second Time

    Stevie Nicks – vocals
    Billy Burnette – guitar, vocals
    Rick Vito – guitar, vocals
    Christine McVie – keyboards, synthesizer, vocals
    John McVie – bass guitar
    Mick Fleetwood – drums, percussion
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    Lindsey Buckingham – acoustic guitar on "Behind the Mask"
    Asanté – percussion on "Freedom"
    Stephen Croes – Synclavier, synthesizer, keyboards, percussion

Fleetwood Mac's only full-length album with a lineup of Mick Fleetwood, John McVie, Christine McVie, Stevie Nicks, Billy Burnette, and Rick Vito proved an artistic and commercial disappointment not so much because Lindsey Buckingham was missing as songwriter/guitarist/singer/ producer as because the group's other writers, Nicks and Christine McVie, didn't pick up the slack, relying on Burnette and Vito to come up with material. They tried: Burnette's "Hard Feelings," written with Jeff Silbar, was a worthy effort. But Nicks's four contributions (three of them co-written) weren't up to her usual standard, and while McVie proved more dependable, turning in the Top 40 pop hit "Save Me" and the Top Ten Adult Contemporary hit "Skies The Limit," her light, romantic efforts needed sturdier work to play off of. Behind The Mask was never less than pleasant, but never of the calibre of the work of the previous lineup, either. Though it went gold, it was Fleetwood Mac's least successful new album in 15 years. --- William Ruhlmann, Rovi

The joke goes something like this: Lindsey Buckingham was such an integral part of Fleetwood Mac that the band needed two guitarists to fill his space. What's really funny, though, is that the addition of Rick Vito and Billy Burnette is the best thing to ever happen to Fleetwood Mac. On Behind the Mask, the band doesn't surrender an inch of the territory it staked out in the Seventies. This notoriously unstable family keeps its center still for once, using the same slow-push melodies, thudding drums and endlessly repeated refrains. And right up front, Vito and Burnette play those slides and solos that leap out of a song, have their say and sink back into the ensemble.

Vito and Burnette's presence is one of the reasons Behind the Mask doesn't sound like a supergroup's last stand. The songs they wrote or co-wrote fit in fine, and their vocals are manly and unremarkable. More impressive is the growth in song-writing the women show. Stevie Nicks's last solo album had enough moments of grown-up honesty to forgive her juniorgrade mysticism. On this album, all of her tunes sound thought out and still rock hard, especially "Love Is Dangerous," a funky romp that keeps the imagery to a bare minimum and lets her voice communicate the title's message.

Audiences always expect more from Christine McVie; on Behind the Mask she comes through with sensitivity and style, keeping high hopes grounded on "Skies the Limit," backing off and giving in on "Save Me." But it's the title song that puts Fleetwood's past – both on record and in scandal sheets – in perspective. It catches McVie still reeling, deciding a trip to the moon isn't worth the gas, because "you can make the darkness mean more than it ever did." Not since Rumours has Fleetwood Mac recorded pain so unwaveringly and sounded this together. ---Arion Berger, rollingstone.com

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01 - Monday Morning
02 - The Chain
03 - Dreams
04 - Rhiannon
05 - Oh Daddy
06 - Never Going Back Again
07 - Landslide
08 - Say You Love Me
09 - Gold Dust Woman
10 - Blue Letter
11 - Sisters of the Moon

Line Up:
Mick Fleetwood – drums
John McVie – bass
Stevie Nicks – vocals
Lindsay Buckingham – guitar
Christine McVie – keyboards, vocals

30th August 1978, exactly the last of their 1978 summer tour.

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01 - Get Like You Used To Be
02 - Station Man
03 - Spare Me A Little
04 - Rhiannon
05 - Why
06 - Landslide
07 - Over My Head
08 - I'm So Afraid
09 - Oh Well
10 - The Green Manalishi
11 - World Turning

Lineup:
Lindsey Buckingham - guitar, vocals 
Stevie Nicks - vocals 
Christine McVie - keyboard, vocals 
John McVie - bass 
Mick Fleetwood – drums

Fleetwood Mac recorded in front of a small audience at the Trodd Nossel Studios in Wallingford, Connecticut. This is from September 23, 1975 a few months after releasing a record with the bands name that is also known as White Album and turned to be highly successful saleswise.

One of the very first Mac concerts with Lindsay Buckingham & Stevie Nicks, it provides a rare opportunity to hear the new lineup perform such classics as “Hypnotized”, “Spare Me a Little” and “Why”.

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1-1 	Over & Over 	4:34
1-2 	The Ledge 	2:08
1-3 	Think About Me 	2:44
1-4 	Save Me A Place 	2:42
1-5 	Sara 	6:30
1-6 	What Makes You Think You're The One 	3:31
1-7 	Storms 	5:31
1-8 	That's All For Everyone 	3:03
1-9 	Not That Funny 	3:11
1-10 	Sisters Of The Moon 	4:43
1-11 	Angel 	4:53
1-12 	That's Enough For Me 	1:50
1-13 	Brown Eyes 	4:27
1-14 	Never Make Me Cry 	2:18
1-15 	I Know I'm Not Wrong 	3:00
1-16 	Honey Hi 	2:44
1-17 	Beautiful Child 	5:21
1-18 	Walk A Thin Line 	3:46
1-19 	Tusk    Featuring – The U.S.C. Trojan Marching Band	3:37
1-20 	Never Forget 	3:42

Bonus Material / Demos, Roughs, And Outtakes
2-1 	One More Time (Over & Over) 	4:42
2-2 	Can't Walk Out Of Here (The Ledge) 	2:04
2-3 	Think About Me 	2:36
2-4 	Sara 	8:48
2-5 	Lindsey's Song #1 (I Know I'm Not Wrong) 	3:06
2-6 	Storms 	5:22
2-7 	Lindsey's Song #2 (That's All For Everyone) 	3:04
2-8 	Sisters Of The Moon 	5:10
2-9 	Out On The Road (That's Enough For Me) 	1:52
2-10 	Brown Eyes 	5:01
2-11 	Never Make Me Cry 	2:23
2-12 	Song #1 (I Know I'm Not Wrong) 	2:50
2-13 	Honey Hi 	3:48
2-14 	Beautiful Child 	5:24
2-15 	Song # 3 (Walk A Thin Line) 	3:16
2-16 	Come On Baby (Never Forget) 	3:40
2-17 	Song #1 (I Know I'm Not Wrong)(Alternate) 	2:40
2-18 	Kiss And Run	2:06
2-19 	Farmer's Daughter	2:15
2-20 	Think About Me (Single Version) 	2:43
2-21 	Sisters Of The Moon (Single Version) 	4:40

    Lindsey Buckingham – vocals, guitars, bass guitar, piano, drums, percussion
    Stevie Nicks – vocals; keyboards on "Sara"
    Christine McVie – vocals, keyboards
    John McVie – bass guitar
    Mick Fleetwood – drums, percussion
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    Peter Green – guitar on "Brown Eyes"
    USC Trojan Marching Band – horns and percussion on "Tusk"

More than any other Fleetwood Mac album, Tusk is born of a particular time and place -- it could only have been created in the aftermath of Rumours, which shattered sales records, which in turn gave the group a blank check for its next album. But if they were falling apart during the making of Rumours, they were officially broken and shattered during the making of Tusk, and that disconnect between bandmembers resulted in a sprawling, incoherent, and utterly brilliant 20-track double album. At the time of its release, it was a flop, never reaching the top of the charts and never spawning a true hit single, despite two well-received Top Ten hits. Coming after the monumental Rumours, this was a huge disappointment, but the truth of the matter is that Fleetwood Mac couldn't top that success no matter how hard they tried, so it was better for them to indulge themselves and come up with something as unique as Tusk. Lindsey Buckingham directed both Fleetwood Mac and Rumours, but he dominates here, composing nearly half the album, and giving Christine McVie's and Stevie Nicks' songs an ethereal, floating quality that turns them into welcome respites from the seriously twisted immersions into Buckingham's id. This is the ultimate cocaine album -- it's mellow for long stretches, and then bursts wide open in manic, frantic explosions, such as the mounting tension on "The Ledge" or the rampaging "That's Enough for Me," or the marching band-driven paranoia of the title track, all of which are relieved by smooth, reflective work from all three songwriters. While McVie and Nicks contribute some excellent songs, Buckingham owns this record with his nervous energy and obsessive production, winding up with a fussily detailed yet wildly messy record unlike any other. This is mainstream madness, crazier than Buckingham's idol Brian Wilson and weirder than any number of cult classics. Of course, that's why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. As a piece of pop art, it's peerless. --- Stephen Thomas Erlewine, AllMusic Review

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01. You Make Loving Fun
02. Go Your Own Way
03. Gypsy
04. Sara
05. World Turning
06. Tusk
07. Rhiannon
08. Dreams
09. Everywhere
10. Little Lies
11. Oh Diane
12. Never Going Back Again
13. Honey Hi
14. Landslide
15. Planets of The Universe (Demo)

Sold exclusively at Starbucks stores, the 2013 compilation The Opus Collection is a 15-track collection of highlights from Fleetwood Mac's classic years. This does contain big hits -- "You Make Loving Fun," "Go Your Own Way," "Sara," "Rhiannon," "Dreams" -- along with a few oddities (a demo of "Planets of the Universe," originally released on a 2004 expanded reissue of Rumours), but the overall effect is to ever so slightly emphasize Stevie Nicks and Christine McVie over Lindsey Buckingham. Most of Stevie's great songs are here, and Christine also has a spotlight on her Tusk deep cut "Honey Hi," while Lindsey only gets "Never Going Back Again." This may not precisely reflect the division of labor in the band, but it does make for a very nice, adult contemporary-leaning collection that will surely satisfy consumers who pick it up in Starbucks. --- Stephen Thomas Erlewine, allmusic.com

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