As we crack the Top 30, Lindsey Buckingham has a strong showing, with three songs in this next batch. The first song from 1997’s live album, The Dance also makes its first appearance in the Top 50.
#30 – Bleed to Love Her (Buckingham) The Dance (1997)
When Fleetwood Mac had their first major comeback in 1997 with a reunion concert and a live album, The Dance, in addition to all the classics hits, each songwriter included a new song. Lindsey Buckingham’s “Bleed to Love Her” is the stand-out of the new songs, and it anchors my Top 30 Mac tracks.
It’s a quick, straight-forward song for a Buckingham tune, but it’s heartfelt, melodic, with a catchy acoustic riff and gorgeous layered harmonies, anchored by a great bass & drum foundation. I don’t know what goes through Lindsey’s head when he writes songs, but twenty years past Rumours, it sure seems like he’s still writing about Stevie Nicks, and his emotional performance of this live track would suggest he’s still carrying a torch, or at least a match for her.
Apparently, I just found out this morning, that Fleetwood Mac included “Bleed to Love Her” for their 2003 album, Say You Will. It’s one of only two tracks that include Christine McVie on them, and that’s because those songs were originally recorded for a Lindsey Buckingham solo album, then co-opted for Fleetwood Mac’s 17th and final (so far) studio album. Say You Will was the first Mac album since 1970’s Kiln House that did not feature any songs written by Christine McVie. I’m including the video from The Dance because I like it better.
#29 – Monday Morning (Buckingham) Fleetwood Mac (1975)
The opening track from the album that heralded the massive leap in success for Fleetwood Mac, also introduced the world to the man who would arguably become the main creative driver for the band’s next 40 years. Lindsey Buckingham’s “Monday Morning” was written for the second Buckingham Nicks album, along with a couple other songs, but was moved to the Fleetwood Mac album when he and Nicks joined the band. It burst off the vinyl announcing a move from the blues-grounded British band, to a more pop-rock sound that would take the band to the highest of heights.
“Monday Morning” has a lot of trademarks: the way Lindsey uses his guitar as part of the rhythm section (a sound Christine duplicates with maracas in the live version), and Fleetwood employs his creative drumming style to give the song some terrific texture. The song structure is fun too, with a neat little bridge that guides the verses into the chorus. It truly was the dawn of a new day for the Mac, and the perfect way to open the multi-platinum Fleetwood Mac album
#28 – Walk a Thin Line (Buckingham) Tusk (1979
Buckingham’s highest-ranked song from Tusk was a late addition to the album, and while it still featured some of his more post-punk elements, it’s possible that he had divested some of the more out-there sounds and needed to return to his more melodic, pop sounds. “Walk a Thin Line” is a gorgeous, acoustic number that blends the best of Buckingham’s creative modes and creates an emotional ballad, that is… well, about his break-up with Stevie Nicks.
Interestingly enough, like “Monday Morning,” it kicks off with an intake of breath from Buckingham and a first line sung a cappella, then the drums and acoustic guitar lay down a rhythmic background the propels the song. Yet Buckingham’s music production wizardry takes some very simple elements and uses them to provide “Walk a Thin Line” with some sumptuous textures to back Buckingham’s haunting falsetto. The drums are multi-tracked to create a fascinating layered sound, and Buckingham and McVie’s backing vocals are used as a gorgeous counterpoint to the melody, the way another act might use strings or synthesizers.
While I appreciate and enjoy the creative antics Buckingham employed on Tusk (he recorded some of his vocals on this track in a push-up position as well), this pop number, laced with yearning and melody, stands out as my favorite.
#27 – I Don’t Want To Know (Nicks) Rumours (1977)
This country-twinged, upbeat pop number from Nicks was written back in the Buckingham Nicks days, and was a last minute addition to Rumours. “Silver Springs” had originally been slated to be Nicks’ third contribution to the album, but it’s running time put total album’s length over the limit. Without telling Nicks, the band recorded a version of “I Don’t Want To Know” with Lindsey singing both parts and decided to use the song as a replacement for “Springs.” When Mick Fleetwood broke the news to Stevie, she was originally angry that the band went behind her back to do this and wouldn’t have anything to do with the recording, but relented, not wanting to only have two songs featured on Rumours.
While “Silver Springs is clearly the better of the two songs, I’m glad they ended up recording “I Don’t Want To Know” as it’s one of Nick’s better songs with Fleetwood Mac. It’s “rockin’ and a reelin'” rhythm matches the lyrics and tone of the song, and the entire song is sung as a duet with beautiful Everly Brothers-style harmonies between Buckingham and Nicks. I also love the addition of Nicks’ hand-claps that are reminiscent of the 60’s pop groups like the Archies. Although it was written long before the pair was even thinking of breaking up, it fits the rest of the Rumours album lyrically as a conciliatory break-up song, much like Dreams.
#26 – Love in Store (McVie, C./Recor, Jim) Mirage (1982)
“Love in Store” kicks-off the 1982 Mirage album with all the best elements of a Fleetwood Mac track. The gorgeous, crystal production makes it possible to hear each and every instrument and vocal track while blending them all together in astounding pop perfection. The song is an understated pop gem, but it’s got an interesting, compact structure with only one round of verses to open the song, then chorus, break chorus, outro. It was released as the third single from Mirage , climbing to #22, after “Hold Me” (#4), “and Gypsy” (#12).
The song is driven by a demanding snare drum and propulsive bass line with electric piano and organ providing the through line and Lindsey’s guitar flourishes adding color. But it’s the signature three-part harmonies and textured background oohs and aahs that really provide Christine’s gorgeous vocals the rich palette to soar. Stevie’s harmonies get nicely highlighted, especially in the live version. And as is often the case in Christine’s songs, Lindsey provides the outro vocals. The song was co-written by Christine, and Jim Recor, who was married to Stevie Nicks’ friend Sara, who in the late 80’s had affair with Mick Fleetwood! It’s amazing how that band’s romantic dramas even spilled over onto their friends. “Love in Store” is the 4th of 5 tracks from Mirage to hit the Top 50, and 1st of 2 of McVie’s contributions to the album.