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Buckingham rocks out with the raw spirit of a freewheeling garage band, while Fleetwood cuts loose on the drums. That was just Mick and myself late at night in the studio, me at the piano. That has to rate as one of my top-five moments in the band. Not directed at anybody in particular but at the business, the need to conform to some vague set of commercial standards.
An obscure gem from the years between the original Mac with Peter Green and the modern Buckingham-Nicks incarnation.
Fleetwood Mac’s 50 Greatest Songs – Rolling Stone
Guitarist Danny Kirwan was a great songwriter in his own right, fond of dreamy Beatle-struck ballads like this single, which chimes in the mode of Badfinger or Big Star. But, tragically, Kirwan slipped into a void much like his fellow Mac guitarists Green and Jeremy Spencer — he suffered a mysterious mental breakdown, vanished from the music world and drifted into homelessness. This smoky blues ballad sums up the lost legend of Peter Green — especially the version on Live in Boston, recorded in February My mind would be racing.
I love it. Christine McVie was fed up with all of them. After Fleetwood Mac finished work on their self-titled LP, they found themselves at a loss as to which song to release as a first single. It became their first song to reach the American charts since and their first Top 20 hit in the U. To achieve the desired percussive effect, he pounded the seat of a Naugahyde chair found in the studio.
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Green had a sudden LSD-related mental collapse, dropped out of the band and ended up digging ditches and sleeping on the streets. It sounds uncannily like the playful indie-rock sound of Nineties bands like Pavement. It took Christine McVie only 30 minutes to write this lovely piano ballad. During the early Seventies, Fleetwood Mac gradually transformed from a blues unit into a much poppier band — and this beguiling contribution from singer-guitarist Bob Welch was a key link in that progression. Restringing the guitar three times every hour was a bitch.
But Lindsey had lots of parts on the song, and each one sounded magnificent. So the song has taken on kind of an irony. Inspired by a road sign she spotted on tour, Nicks intended this simmering requiem for her romance with Buckingham to be her crowning moment on Rumours. But the song which originally ran almost 10 minutes was too long to fit on the finished LP and was dropped. Christine McVie wrote this song with Portuguese songwriter and keyboardist Eddy Quintela, whom she married in My skin turned to goose flesh, and I wondered how long this feeling was going to last.
Don Henley of the Eagles claimed the song was named for a baby Nicks was pregnant with and decided not to have during their brief late-Seventies affair. Thirty-five years later, she confirmed that he was partially correct. One afternoon during the recording of Rumours, Nicks disappeared into a small studio in the Record Plant, which belonged to Sly Stone. We were coming at it from opposite angles, but we were really saying the same exact thing.
She waitressed at a singles bar. Should we go back to San Francisco? Should we quit? Not weird enough? It was excess in every sense of the word. Exotic food delivered to the studio, crates of Champagne. So I wrote verses for that bridge, which was originally not in the song, and edited those in. It seemed like a pleasant revelation to have. When Christine rejoined her bandmates at a Dublin gig in , after 17 years away, it was the first song they played.