...Now, I wouldn't say I'm an unadorned fan of any band, but I can't think of one that would be considered "great" under some reasonable criteria that I don't find interesting to some extent, or whose music I don't listen to every so often. I'll give and example or so, below.
Fleetwood Mac, "I Don't Want to Know," Rumours.
This song has a nicely developed thematic element--the half cadence. A half cadence is when you have a musical phrase in the "tonic" (the key of the song), like C major, but the phrase, instead of closing back on C, closes on G, the "dominant." The theory people call this a half-cadence; it feels like you need to continue.
An example of a song with full cadences is "My Country, 'Tis of Thee," where the first phrase starts on the tonic, let's say C major, and then at the end of the first phrase, "...of thee I sing," cadences back on the tonic.
An example of a song with a half cadence dividing a phrase is in "Yankee Doodle." The first few measures, "Yankee Doodle went to town a-riding on his po-ny..." end on a half cadence (dominant harmony, melodic leading tone); the next few measures then come back to the tonic: "...stuck a feather in his cap and called it macaroni."
In "I Don't Want to Know," Stevie Nicks based the music on a whole series of one half cadence after another. This is most evident in the repeated series of progressions starting at 0:43 that build and build to the re-entrance of the main tune at 1:03 (and again at 1:43 with the re-entrance at 2:14). The song is in the key of B major; each of these repeated bits ends with the bass on a high F#, which is the dominant of B major. Musically these series are further propelled by a dominant pedal (the repeated high-sounding guitar note on the same pitch), tying the concept together.
But this half-cadence idea also permeates the main tune--it never ends on the tonic harmony until the very end of the song (but even then, the vocals are singing "I don't want to kno-ow" on the dominant note, F#).
A nice framing device is the repetition of the characteristic guitar chord progression from the intro as an "outro."
Overlaying the musical structure--the bones of the song--is a nice, clean vocal harmonization supported by a competently arranged rhythmic arrangement of drums, bass, and guitar. It's a very, very well constructed song that also has an attractive sound; but the secret to its success, I think, is that half-cadence idea that makes the listener feel like it's moving somewhere but never getting there until the last second.
Stevie Wonder, "Sir Duke," Songs in the Key of Life.
This is a tribute to Duke Ellington. It starts with major chord arpeggios in the brass that sound just like the opening of symphonies written in about 1760 by the so-called Mannheim Symphonists, who had a lot of influence on Mozart's orchestral style. This instrumental introduction is a harbinger of a structural device Wonder used to organize the song, that is, to have repeated instrumental breaks instead of just one bridge, which is more typical in a pop song. The repeated instrumental breaks help anchor the piece, which uses very complex harmonic progressions and needs that periodic re-centering.
There are different styles in this piece, some going back to Ellington, with a swing feel in the rhythm section but an R&B vibe in the vocals. The instrumental break at 1:06 and 2:29 is hard to play correctly, and remind me of the similar instrumental riff in Chick Corea's "Spain." There is a lot of jazz style with syncopations (off-the-beat entrances) and abundant chord substitutions (using some "foreign" chord for what you'd typically expect). And as in almost every modern pop song, it's held together by a locked-in drum-and-bass pattern that is like those people-mover conveyors at O'Hare, carrying everything above it along.