Fleetwood Mac was getting used to life without founding member Peter Green by the time their fourth album, Kiln House, was released in late 1970. Although he was mostly behind the kit, drummer Mick Fleetwood co-wrote the song “Jewel-Eyed Judy” with John McVie and Danny Kirwan. As a dedication to the band’s longstanding secretary, Judy Wong, Fleetwood disclosed in his 2014 biography Play On that the lyrics were actually penned by his bandmate Christine McVie and his then-wife Jenny Boyd.

Although Fleetwood didn’t write many songs, he did contribute to a few instrumentals, including “What a Shame” (Future Games, 1971) and “Fighting for Madge” (Then Play On, 1969). He also has credits on succeeding compilations, such as Mic the Screecher, On We Jam, and Jam No. 2, as well as the spoken-word work Lizard People.

He co-wrote “Passion” with Todd Smallwood for his 2004 solo album Something Big, although he didn’t do much for his side project, Mick Fleetwood’s Zoo, aside from Fleetwood Mac. Let’s now check out three Fleetwood Mac tracks where Fleetwood contributed to the composition.

“Purple Dancer” (1971)
“Purple Dancer” was first recorded in 1970 and debuted as the B-side to Fleetwood Mac’s single “Dragonfly” in 1971. This song was co-written by Fleetwood, John McVie, and Danny Kirwan. Even though it wasn’t very popular at the time, the song gained popularity decades later. Madison Blues – Live & Studio Recordings, a compilation of rare post-Peter Green sessions and BBC live recordings from 1970–71, was reissued in 2003. This collection captured the band’s developing sound before they moved toward the lineup that would make them famous all over the world, showcasing a lesser-known period of their career. “Purple Dancer,” which combines blues roots with the band’s evolving style, offers a window into that transitional time.

“The Chain” (1977)
“The Chain” is the only Fleetwood Mac song credited to all five members of the classic Rumours lineup. According to Mick Fleetwood, the song didn’t come from one songwriter but was built from a jam session. “That song was put together as distinct from someone literally sitting down and writing a song,” Fleetwood explained. “It was very much collectively a band composition.”

A key piece of the song is John McVie’s unforgettable bassline. “That bassline is still being played on British TV in the car-racing series to this day—the Grand Prix thing,” Fleetwood noted.

At first, the track had no lyrics. Stevie Nicks eventually brought in some words, telling the band, “I’ve written some words that might be good for that thing you were doing in the studio the other day.” Lindsey Buckingham then helped shape the song’s structure. “Once it was arranged and we knew what we were doing, we went in and recorded it,” Fleetwood said.

He emphasized that no matter who writes a song, Fleetwood Mac’s unique chemistry is what makes their music special. “What you feel when we’re all making music together, is what Fleetwood Mac ends up being,” he shared. “Whether one likes it or not, this is, after all, a combined effort from different people playing music together.”

“These Strange Times” (1995)
The final track on Fleetwood Mac’s Time (1995), “These Strange Times”, is a spoken-word piece co-written by Mick Fleetwood and Ray Kennedy. While not explicitly religious, the song explores the eternal struggle between good and evil and the power of choice.

“The project is about the energy of choice, of deciding if you want to be a part of the dark or the light when push comes to shove, which seems very apropos at this moment in history,” Fleetwood explained. “Everyone needs to be carefully paying attention to the information coming our way. There is subtext to everything and we need to be aware of that.”

The track also includes a nod to Fleetwood Mac’s roots, sampling their 1968 debut single, Albatross, written by Peter Green.

Fleetwood hopes the song leaves listeners thinking. “God is everything, no matter what your belief system is. Being in love is God, no matter your creed,” he said. “There’s a rejoicing at the end of the song when the narrator chooses the side of the light.”