My Favorite Avengers, #’s 25 – 21

Firestar is a heavy hitter

Back in what I consider the Avengers hey-day, in the 70’s and early 80’s, when George Perez earned his chops and grand sagas rather than events were the driving force of this great comic, the Avengers were like a professional organization. The Fantastic Four was a family the X-Men were students drawn together by shared circumstance. The Avengers was a world-saving organization. Called together by a need to protect the world against dangers that were too much for anyone hero to stand against alone. They had probationary members, substitute members, reserve members, housing if needed, a stipend if needed, all bankrolled by millionaire, Tony Stark, who also happened to be a founding member of the Avengers, Iron Man. You had to earn your place at the table… at least for a while. Things started to loosen up and the ranks started to really swell, until the Brian Michael Bendis and subsequent writers got a hold of the team and just decided that basically every superhero should be an Avengers when needed.

It should come as no surprise that most of my favorite Avengers will be superheroines, but down here in the 20’s you’ll see a lot of guys. I tried to rank these characters on their tenure as Avengers, not on how much I enjoyed them as a comic character generally.

#25. Beast – Dr. Henry Philip “Hank” McCoy
Joined Avengers: Avengers #151 (September 1976); joined as probationary member in Avengers #137 (July 1975)
Creators: Stan Lee and Jack Kirby

Beast is a rather interesting case for being one of my favorite Avengers, because most people think of him as an X-Man, which he is, a mutant, and one of the founders, but he also had a celebrated and lengthy tenure as an Avenger. (He spent quite a bit of time with the Defenders as well). As an X-Man, Beast never really did all that much for me. I didn’t dislike him, but nothing really enamored me of him. As an Avenger, I found him to be a much needed source of light-heartedness that interacted really well with some of the more serious members. Yet his beastly appearance, and his jovial nature also hid the brilliant scientist that he was which often made him overlooked.

The X-Man called BeastUnlike most mutants, Henry showed signs of mutation from birth: unusually large hands and feet, coupled with unusual strength and agility. Hank was also endowed with an innate superhuman intellect and during adolescence further increased his powers of simian-like augmented agility, reflexes, and strength. He was recruited by Professor Xavier to attend his School for Gifted Youngsters, and trained to become an X-Man. When he entered his twenties, he left the team and sought a career as a renown geneticist and biochemist. While working for the Brand Corporation, he developed a formula caused him to undergo radical, physical changes. Hank grew blue fur over his entire body, his muscles expanded, ears became larger and pointed, claws sprouted, and his canine teeth became larger, resembling fangs. The serum further increased his superhuman agility, endurance, speed, and strength, as well as enhanced his senses For a time, Hank struggled with his new appearance, desperate to find a way to reclaim his humanity, but over time he learned that his outward appearance wasn’t a hindrance to him, and in fact, it brought him a great deal of appeal.

Beast joins the AvengersAfter a brief period of adventures on his own, Beast tries out for the Avengers, when they are seeking new members. He helps them out battling the Toad, and is granted probationary membership along with Moondragon. During subsequent adventures with the team, in addition to helping and old friend, Patsy Walker, take on the superheroic role of Hellcat, Beast is granted permanent membership to the team. His tenure with the Avengers is memorable due to his humor and his strong relationships made with other members of the team, most notably, Wonder Man, with whom has enjoyed an enduring friendship, something not often seen in comics. While he rushes off to aid his good friends the X-Men from time to time, he always returns to the Avengers. On of my favorite, albeit short-lived relationships Beast developed was with Jocasta, a sophisticated robot created by Ultron whose brain patterns came from Janet Van Dyne, the Wasp. Under the writing of Dave Micheline, Jocasta became the “straight man” to Beasts comic persona while they were adventuring together, and it really worked. Sadly it only last a few issues, with both Jocasta and Beast eventually leaving the team.

Ultimately, after leaving the Avengers and a shorter stint with his former co-probationary Avenger Moondragon in the Defenders, where he also reunites with his old X-Men pals Iceman and Angel, Beast returns to the company of mutants in X-Factor. He has stuck with the X-Men family ever since, but for some reason, his appeal for me was always stronger with the Avengers than his fellow mutants. It would be fun to explore a reunion with his old teammates where he could let his hair down and have some fun.

Beast

#24. Sandman – William Baker (aka Flint Marko)
Joined as a Reserve Substitute Member Avengers #329 (February 1991)
Creators: Stan Lee and Steve Ditko

Sandman vs. The Fantastic FourThe Avengers have a long history of taking on reformed villains as members, most notably Hawkeye, Scarlet Witch, and Quicksilver, but others have followed, like the Swordsman, Wonder Man, Black Widow… even the Vision. But The Sandman was probably one of the more improbable former villains to join the team, and sadly, it didn’t last all that long, and he didn’t have many adventures with the team. The villain was created to oppose Spider-Man, and he had a long illustrious career as one of the web-slinger’s major foes. He also became a founding member of the Sinister Six, a group of Spider-Man villains who worked together, a founding member of the Frightful Four, who became arch nemeses of the Fantastic Four, and a found himself fighting other heroes such as the Hulk.

SandmanThe Sandman was usually depicted as a bullying thug, but his childhood and young adulthood was pretty rough, and shows how easily a young person’s life can go off-track. Even as early as 1972, less than ten years after his introduction as a villain, writer Roy Thomas introduced some morally ambiguous motives into the character in the first issue of Marvel Team-Up featuring Spiderman. Ten years later, in 1982, Sandman shares top billing in the Thing’s team-up comic, Marvel Two-In-One where the two work together and the Thing urges him to consider going straight. After that encounter, Sandman appears sporadically assisting Spider-Man. In one such encounter, he assisted Spider-Man and the mercenary Silver Sable against the Sinister Syndicate, and Silver Sable was so impressed with the Sandman’s aid, she offered him a job. During his time with Sable, Sandman ended up working several time with the Avenger Hawkeye, and eventually ended up working with a vigilante group called the Outlaws. Through trickery initiated by the villain the Space Phantom, the Outlaws ended up tangling with the Avengers. Eventually things worked out and the two teams worked together to defeat their common enemy.

When the Avengers reformed under a new charter by the United Nations, Captain American created two new teams, a main team and a reserve team. He also created a probationary program which consisted of the Sandman and Rage. Sandman worked with the Avengers on a handful adventures which led to a Presidential pardon for him. He eventually returned to his work with Silver Sable as part of her Wild Pack, and after that, through manipulations by the Wizard, ended up working again as a villain. His career since then has been checkered, as he struggled with his baser instincts, eventually even splitting into two beings, one good and one evil. During this time he participated in a few Avengers adventures, most notably when the villain Morgan Le Fay rewrote reality to create a medieval kingdom that she ruled. In more recent years, Sandman has continued his struggle with his darker side, and his physical form started to devolve. His latest adventures have turned fairly tragic, and he ended up several his ties with the Avengers as well.

Sandman with the Avengers

I would have enjoyed seeing the Sandman be a part of the regular team for a longer period. His power set is really interesting and allows him to do many things. The Sandman has the ability to transform his body to be hardened, compacted, dispersed or shaped, or a combination of those qualities, an Earth manipulation of sand and rock particles. More often than not in combat, this ability enables him to absorb most blows with little to no ill effect other than reforming himself. In addition to his superb endurance, the Sandman possesses superhuman strength several times more than Spider-Man’s and on a par with the Thing’s.

I also enjoyed his noble struggle to walk on the heroic side of life. Despite their many battles, Sandman and the Thing shared an empathy over their tragic, physical challenges, and even after he had reverted to his criminal ways, he helped the Thing several times. I think he would have been a great Avengers West Coast member, with Hawkeye, himself a former villain, acting a a strong mentor for him.

#23. Firestar – Angelica “Angel” Jones
Joined as a Reserve Member Avengers vol. 3 #4 (May 1998); Promoted to full status in Avengers vol. 3 #7 (1998)
Creators: Chris Claremont, John Romita Sr., John Romita, Jr., Tom DeFalco, Christy Marx, Dan Spiegel, Rock Hoberg

FirestarFirestar had enjoyed a pretty lengthy career before coming to the Avengers. She has the unique distinction of debuting in 1981 on the NBC animated television series, Spider-Man and His Amazing Friends, rather than in comics, along with the title character and the X-Man Iceman. The show had originally planned to feature the Human Torch, but rights to his character were not available, so they created the Firestar character. Her comics debut was in X-Men #193 in May 1986, and subsequently in her own miniseries which presented her definitive, in-continuity origin as a mutant who was recruited into the Hellions, taught my Emma Frost, the White Queen, at the prestigious private school the Massachusetts Academy, a twisted version of Professor Xavier’s School for Gifted Youngsters. Firestar’s time with the Hellion’s and the White Queen was fraught with manipulation, first at the hands of her fellow student, Empath, who used his powers to make her fall in love with him and attack the X-Men, and later by the White Queen herself, as she trained Firestar to become a weapon she would use to assassinate her rival, the Black Queen, Selene. Firestar broke free from these manipulations, and destroyed one of the Academy’s training bases before leaving the School. She also turned down Professor Xavier’s offer for her to come to his school, although she was grateful for it.

Firestar fullFirestar was next contacted by the hero Night Thrasher to join a new team of teenage superheroes called the New Warriors. She joined with them for a long tenure, gradually developing a romantic relationship with Marvel Boy (later known as Justice). During her lengthy stint with the New Warriors, she discovered that continued use of her powers could make her infertile, so she used them less and less. Shortly before leaving the team, Angelica proposed to Justice, and he accepted.

When the Avengers were reforming after a year of inactivity, Justice, who was quite enamored with the team, convinced Firestar to join him in an effort to join. After showing their worth on an adventure with the team, they were accepted as reserve members under the tutelage of Hawkeye, graduating to full membership soon thereafter. She shared her health concerns to her fellow members, and Dr. Hank Pym developed a special costume for her that shielded her from the detrimental effects of her powers while her body built up a natural immunity to it. The two served a distinguished term with the Avengers, helping them infiltrate a mysterious cult, stop the mad campaign of Ultron, and struggling for nearly a year against the villainous Kang the Conqueror, who had taken control the United States. Thereafter the two retired to work on their relationship before they were to get married. Angelica started college and enjoyed a normal life for a time, but her relationship with Justice developed some strain, and she confessed that she needed more life experience before settling into married life. Justice left in anger and presumably ended their engagement. The two have since become friends.

Firestar as AvengerSince leaving the Avengers, Firestar got her degree, retired briefly from heroics after the Superhuman Registration Act was passed into law, subsequently worked with a team called the Young Allies, got a job teaching Physics at the Jean Grey School of Higher Learning and joined the X-Men as a sometime member. She currently resides on the mutant island of Krakoa alongside the X-Men.

Firestar’s mutant ability allows her to tap into Earth’s electromagnetic field and convert it into microwave radiation emissions, which she can utilize in different ways. She can focus microwaves on a specific target, and cause it to burst into flame, or explode, or melt. She can also sense microwave signals (such as cell-phone signals or even remote-control devices) and disrupt electronics with her own microwave emissions. The nature of Firestar’s power grants her the capacity for large-scale destruction. However, she typically limits how much of her own power she accesses for fear of permanently damaging the planet, its atmosphere, and electromagnetic field. In space, she is far less inhibited and can access greater levels of ambient electromagnetic energy to fuel her powers. Her manipulation of microwaves also allows her to fly.

Firestar added a nice and unique outlook to the Avengers, as a reluctant member. She was mainly there to support her fiancee. She added a great deal of virtue, courage and power, but she was insecure, hesitant about the physical affects her power was having on her body, and slow to bond with her teammates. She really came into her own powerfully during the struggle with Ultron, being one of the heavy hitters alongside the likes of Thor and Iron Man. I wouldn’t mine seeing Firestorm alongside the Avengers again for an adventure or two, without Justice and see what path her development would take.

Firestar let's loose


#22. Thor – Thor Odinson, formerly Dr. Donald Blake
Joined in Avengers #1 (September 1963)
Creators: Stan Lee and Jack Kirby

ThorThor is a founding member of the Avengers, and one of the more well-known members of the team due to his feature roll in the Marvel Cinematic Universe. Thor is part of a long-lived race of beings worshipped as gods in the Norse pantheon of Asgardians. He is the blood-son of Odin, All-Father of the Asgardians, and Jord, known as Gaea, the earth-goddess who was one of the Elder Gods. He is colloquially known as the god of thunder and wields the Uru hammer, Mjolnir, forged by ancient dwarves, upon which various enchantments were bestowed by Odin. Only someone worthy is able to wield the mighty Mjolnir. Thor has been active since as early as the 9th Century AD and was widely worshipped in the early days by the Vikings of Scandinavia.

Founding AvengersThe young Thor was raised alongside Loki, who had been adopted by Odin after Loki’s Frost Giant father Laufey had been killed in battle. For all of their childhood, Loki was jealous of Thor. Loki’s jealousy, which grew to hatred, resulted in a desire to kill Thor. Thus began Loki’s enmity for Thor, which persisted for many centuries. In fact, it was because of this conflict that the Avengers came into being. When Loki’s manipulations forced several of Earth’s mightiest heroes to band together to stop the Hulk, Thor became a founding member of the team which consisted of Iron-Man, Giant-Man, the Wasp and the afore-mentioned Hulk. Thor has been a consistent member of the Avengers since its inception, He has, however, left the team several times for extended leaves of absence. Currently, Thor as assumed the mantle of the Asgardian All-Father, as Odin stepped down as the from his rule.

OdinsonBiologically half-Asgardian on his father’s side and half-Elder God on his mother’s side; Thor possesses a number of superhuman attributes common among the Asgardian and other gods. However, due to his unique birth, some are considerably more developed than those of the vast majority of his race, including his strength, endurance and resistance to injury. Thor has the ability to manipulate vast amounts of energy, using Mjolnir he can channel the storm’s energy into blasts so powerful that he can destroy nearly anything. Thor can also channel his godly energies through Mjolnir, creating rays powerful enough to kill even immortals. Thor has the ability to control the elements of storm, both with and without Mjolnir. He is currently able to wield the Odin Force as well. The Odin Force enabled him to tap into the resources of cosmic and mystical energies of the dimension Asgard exists within, enhancing all of his abilities in turn.

Thor’s appearances with the Avengers vary greatly based on whoever is writing the story. Obviously, when fighting against his teammates, it doesn’t make sense to show him wielding the full extent of his powers, or else he wouldn’t need anyone to assist him. One interesting storyline featured the demi-goddess Moondragon arguing with Thor that he was basically “slumming” with mortals when he served on the Avengers, calling him a hypocrite when he served with the team. She proposed that he was subconsciously holding back so as not to obliterate the human-based villains that he faced while with the team. It was an interesting argument that explained why Thor’s power levels fluctuated so wildly in his appearances. Another fascinating storyline that didn’t get enough attention, was when he was working with Firebird, during the Kang Wars. Firebird had recently discovered that she was immortal, and as a Christian, was uncomfortable with that knowledge. She had several philosophical conversations with Thor that were fascinating and insightful.

Thor and Moondragon
Moondragon argues with Thor about his godliness.

For a period of time, Thor became unworthy to wield Mjolnir. During this time, he went by the alias of Odinson, and Jane Foster, a former lover of Thor’s claimed the hammer for her own, and became the Mighty Thor, even taking his place with The Avengers. Thor wielded Mjolnir in very different ways than the traditional warrior who was Odinson, and this multi-year storyline really invigorated my interest in Thor, both as the title, and in Odinson as well.

Thor/Jane Foster

#21. Sersi – Circe
Joined in Avengers #314 (February 1990)
Creators: Stan Lee, Robert Bernstein, and Jack Kirby

SersiSersi is a member of the Eternals, a long-lived race of superhumans that were an evolutionary offshoot of humanity, created by Jack Kirby. Sersi was born in Greece, sometime after the Great Cataclysm that sank the island nation of Atlantis. Sersi was different than her fellow Eternals in that she enjoyed living amongst humanity rather than in isolation. It is said that Homer based his character Circe from The Odyssey, who turned men into pigs, on her. As Circe, she also imprisoned the devilish imps in Pandora’s Box in ancient times.

In more recent times, Sersi battled the Eternal’s hated enemies, the Deviants in New York City where she encountered the Avenger Thor. She first came into contact with other Avengers when The Wasp and Starfox crashed one of her legendary parties. She was thrilled to welcome them and even more thrilled to discover that Starfox was her long-lost “cousin” of the Titan Eternals. Shortly thereafter Captain America had need of someone with illusion casting or shape changing abilities for help with a case he was working on. She got great pleasure in flirting with the straight-laced hero and helped the Avengers on several cases. When her fellow Eternal Gilgamesh, who was an Avengers for a short time, was injured in battle, Captain American asked her to join in his place, and she was happy to do so.

Sersi flirting with CapSersi proved to be a powerful addition to the team and she served with them for quite some time. During an attack on the Earth by the Brethren, Sersi was forced to form a Uni-Mind with their leader, Thane Ector. Such a union, between two different species, is forbidden by the Eternals, as it may lead to the breakdown of the Eternals mental disciplines.Some months after this, Sersi became more aggressive, and this may have been due to the Uni-Mind with the Brethren. or, it may also have been due to the machinations of Proctor, a man from an alternate reality who had been spurned by the Sersi from his world. Her formed a group known as the Gatherers, and was planning to kill all the Sersi’s across the multiverse. During this time, Sersi goes nutsSersi began a relationship with fellow Avenger, the Black Knight. Unbeknownst to both of them, however, was the fact that Proctor was actually an alternate reality version of the Black Knight himself.

I really disliked the entire Proctor and the Gatherers storyline and most of the work Bob Harras did on the Avengers. I found the romantic triangle between Sersi, Black Knight and Crystal to forced and unsavory. Sersi’s descent into madness was yet another case of a woman being uanble to be powerful. His radical shift of personality for the Black Knight into a rugged, brooding, 90’s hunk with long straggy hair and permanent stubble was boring. While I know there were some readers who look back on that epic fondly I thought it was a poorly conceived story and a disappointing way to send Sersi off, from her otherwise fairly distinguished tenure on the team.

Sersi and the Eternals were given another go in the mid 2000’s under Neil Gaiman’s pen, and haven’t really been seen since. Of course, next year they will show up on the big screen as part of the Marvel Cinematic Universe. It will be interesting to see how their complex tale fares.

Who’s my favorite Avenger?

Avengers membership

Keeping busy during a socially isolating pandemic means finding things to do other than watching TV. While I have been doing a lot of that, I’ve been trying to spend some time doing other things that occupy my mind and keep me entertained. I’ve always been a list-maker, so I turned to my blog several months ago and posted about my favorite X-Men. i decided to keep going, alternating between comics and music when I followed up with My Top 50 Fleetwood Mac songs. Hey, it also gave me an opportunity to go back and listen to all their songs again! I will be continuing this pattern for as long as I am entertained, and I’m back now with my list of favorite Avengers.

Ever since I shortly after I started buying comics, the Avengers have been my favorite super-team. from the very early 1970’s until Brian Michael Bendis came on as writer with 2004’s notorious (to me) Avengers Disassembled arc. With the exception of one dark year in Marvel Comics (the Heroes Reborn year from 1996 – 1997) I read the Avengers and all its spin-offs until Bendis just ruined them for me. And while I’ve dabbled here and there after his lengthy, eight-year run (2004 – 2012), writers like Jonathan Hickman and Donny Cates have done nothing to really bring me back. Fortunately, I have nearly 35 years of beloved Avengers that I can go back and enjoy whenever I want. And (largely) from that lengthy timespan, I have created my list of favorite Avengers.

Avengers #300There are a handful of exceptions, though, starting with Susan Storm Richard, The Invisible Woman. Anyone reading this probably knows that Susan is my all-time favorite comic book character. Did you also know that she is an Avenger? (Once an Avengers, Always an Avenger). For four short months in 1989, Reed Ricchards (Mr. Fantastic) and Susan were members of the Avengers. It was an embarrassingly short run for Marvel editorial reasons, and despite my love for the character, it seems silly to include her on this list with a high ranking because I love the character, or a low ranking due to her brief status on the team. So I’ve ignored her membership in creating this list all together. Similarly, Storm, my 7th favorite X-Man (and 25th favorite super-heroine) would be a prime candidate to do well on my list of favorite Avengers, but for similar reasons, her tenure which began in 2011, lasted less than year as Avengers vs. X-Men tore her away from the team. I’ve decided not to count her as an Avengers for the purposes of this list as well.

Then there’s Jessica Jones. Further illustrating my love/hate relationship with the writing talents of Mr. Bendis, while his work on the Avengers I find shoddy and deplorable, his work writing Alias, the comic that created Jessica Jones, is nothing short of exemplary. One of my favorite examples of the comic genre. Naturally, when Bendis took over the Avengers he eventually go around to having his creation join the team. From 2010 to roughly 2012, Jones was a member of the New Avengers alongside her husband, Luke Cage.Since this was during the time I was not reading the Avengers, I have no way to measure her success as part of the team, so while I rank her #29 on my list of all-time favorite super-heroines, I can’t evaluate her as a member of the Avengers team.

So, before I launch into my Top 25 Avengers, here are some who almost made the list. #’s 30 – 26 are listed below:

#30 – Spider-Woman (Julia Carpenter) (Joined Avengers West Coast #74, September 1991)
#29 – Stingray (Joined as reserve member Avengers #319, July 1990)
#28 – Captain Marvel (Carol Danver) (joined Avengers #183, May 1979)
#27 – Ant-Man (Scott Lang) (joined Avengers vol. 3 #57, October 2002)
#26 – Living Lightning (Joined Avengers West Coast #74, September 1991)

StingraySpider Woman had a brief but respectable run in the west coast branch of the team and their follow-up, Force Works. Stingray is an oceanographer who creates the coolest looking diving suit that also gives him some pretty awesome abilities. Carol Danvers joined the team in 1979 as Ms. Marvel, got a pretty shoddy send-off in one of Marvel’s many misguided attempts at storytelling came back under Kurt Busiek’s triumphant return as Warbird, where she was treated not all that much better, although was at least written well, and currently appears as Captain Marvel as one of the team’s mainstays. Scott Lang, an ex-con turned superhero with the help of Hank Pym’s original identity of Ant-Man, joined the team for a relatively brief tenure, just in time for Bendis to arrive and have the Scarlet Witch allegedly kill him off in the prelude to Avengers Disassembled. And finally, Living Lightning is a gay, LatinX member of the Avengers West Coast team who has a nifty power set and would love to see featured and explored in a title with a good writer someday.

Fleetwood Mac Tracks, #’s 5 – 1

Before the end...

Here we are, my favorite Fleetwood Mac tracks, and it’s no surprise that this list is dominated by Christine McVie songs. I so admire her as a songwriter, as a singer, and as a musician. She is the heart of Fleetwood Mac, and I feel overshadowed by her more colorful cohorts, Lindsey Buckingham and Stevie Nicks. Yet it’s when all three of the together make music that the magic happens. I credit much of my love of Fleetwood Mac on Lindsey’s obsessive production work, Stevie’s passion, and the unique and breath-taking way the three sound when they sing together. Christine’s not alone in the Top 5 though, and Stevie makes quite a long-lasting mark with her top track. Let me know what you think!

#5 – Say You Love Me (McVie, C.) Fleetwood Mac (1975)

Another of Fleetwood Mac’s most well-known songs, “Say You Love Me” was the fourth single from the Fleetwood Mac album peaking at #11, where it hung out for three weeks. It was also the fourth single from the album in the UK, and the first to chart, reaching #40. For me, it’s the prototype of Christine McVie songs, and perhaps one of the most enduring. This woman has fallen head over heels for this guy who’s a bit of a player. Things sound great in verse one, it’s the start of a relationship, she’s smitten, then the chorus comes in and he turns on the charm and tells her he loves her. Yet in verse two suddenly things aren’t going so well, and she thinks he’s moved on, but back he comes into her life and she just wants him to treat her right. Will he? Only time will tell.

Things I love about this song? Christine’s piano really drives the song. I love the intro which is all piano, then it just steadily moves the song along. This is possibly my favorite John McVie bass line, especially the melodic part through the chorus. Lindsey’s banjo adds a lot of color to this number as well, But what makes this song so special to me, was it’s the first time I experienced that gorgeous and unique sound that comes when the three of then harmonize on the chorus. I love how their voices blend together seamlessly, but because their voices are so distinctive, you can pick out each one beautifully. It’s pure pop bliss. I used to sing this song over and over when I was a teenager, each time taking a different harmony part. And two silly things I love about this song: on some choruses, I love the way Christine sings, “And dere’s not another living soul around” instead of “there’s;” and the use of the word “woo” in “You woo me until the sun comes up.” How often do you hear the word woo? It’s a great word.

The song was remastered for the 45 release, with the banjo coming in a little brighter, and some fuzzy electric guitar licks added in to pump up the sound, but I prefer the original, piano-driven version, so I’ve included that here. Then, because of the stripped down arrangement and highlight of the vocals, I’ve also included the live version from The Dance. It’s cool to see the five of them all lined-up at the front of the stage too.

#4 – Warm Ways (McVie, C.) Fleetwood Mac (1975)

Christine McVie’s “Warm Ways” is my earliest memory of Fleetwood Mac. As a 13-year-old in the throes of puberty, this lush, sexy ballad really resonated with me. Spending the night with her lover, she’s waiting for the sun to come up because she can’t sleep with his warm ways. I could only imagine what that was like. Christine’s breathy vocals touched parts of me that other songs had not done up to this point. This song featured all the best things about the talented musicianship of the band, each part fitting the song’s tone perfectly. The heavily reverbed Fender Rhodes electric piano, the languid guitar licks and softly strummed acoustic guitar, the gentle, plush bass work, and Fleetwood’s incredible drumming came together with sublime beauty. Stevie and Lindsey’s gentle background vocals seemed to float like gauze under Christine’s exquisite voice. The slow fade-out still raises goosebumps on my arms.

It’s placement on the album, sandwiched between two of Buckingham’s rockers, “Monday Morning” and “Blue Letter” works perfectly, it’s gentle wash the perfect balm to the high energy male energy around it. A writer from PopMatters extols “Warm Ways” as Christine’s finest moment. He notes, “McVie’s contralto radiates the heat of someone who enjoyed hours of incredible sex and can’t wait for the next round. But the music is wistful. The layers of gratitude McVie’s voice folds into the line ‘You made me a woman tonight’ suggest a woman awake to erotic possibilities undreamt of twelve hours earlier.” The song speaks to a maturity that most pop rock songs eschew, and no one can pull it off like Christine McVie. Sadly, the band has never performed the song live, although there are some bootleg recordings of the band rehearsing it which I’ve included here so you can here Christine and Stevie harmonizing together.

#3 – Heroes Are Hard to Find (McVie, C.) Heroes Are Hard to Find (1974)

Here we go, the first of two surprise entries… for me, at least. The first offering from 1974’s Heroes Are Hard to Find album, the last Fleetwood Mac album before the arrival of the Buckingham Nicks team. It was just Christine McVie and Bob Welch carrying the songwriting duties, and surprisingly, in retrospect, it included some of Christine’s best and I must say, most daring work. Perhaps she subconsciously felt a change was in the wind for the band that caused her to step up her songwriting game, but whatever the reason, her songs on this album have proven to stand out amongst her prolific oeuvre.

Coming in at #3, is the title track of the album, a bold, brassy, call to the ladies that was Fleetwood Mac’s attempt at a hit single. Sadly, the song didn’t make it to the Top 100, but it diid help the album become the highest charting of the band’s career, climbing to #34 on Billboard’s Hot 200. This is an upbeat McVie number, driven by her rollicking piano, and preacher-style, call and response delivery, but punctuated with an incredibly catch horn section that adds so much color and verve to this great, great song.

Lyrically it takes Christine’s usual trope of falling for a guy that’s just no good for you, and turning the blame from the pining woman, to the no-good guy. As she sings, ” But you’ve got to pity him, and try to understand, that a hero, a hero is so hard to find.” I love how she starts the song with a call to all the ladies, “Girls you know,…” then she proceeds to gather them together to say, we’ve all been there, you get involved with a guy and they invariably disappoint you. Well, just remember, a hero is hard to find. Christine and Bob Welch provide the fun response, back-up vocals to Christine’s preaching, to add to the fun. This song always makes me smile, and it’s a nice change of pace for Christine, and one I would have loved to see more of through the years.

#2 – Silver Springs (Nicks) The Dance (1997, 1977)

Lest you thought the Top 5 was going to be all Christine McVie songs, Stevie Nicks comes crashing back in so close to the top at #2 with the gorgeous underdog track, “Silver Springs.” The story of “Silver Springs” is a fascinating one, fraught with tensions that nearly broke up the band. As a teenager, I remember discovering the songs as a b-side to the “Go Your Own Way” 45 release from Rumours. Even back then, I was stunned that this amazing song had been left of the album, only to appear as a b-side. Because of it’s elusive nature, I lost track of the song over the next 20 years, until it emerged, powerfully as the stand-out track of Fleetwood Mac’s reunion concert and live album, The Dance. Nominated for a grammy and given new live in such a dramatic way, it was certainly vindication for Stevie Nicks who fought passionately for the song to be included on the Rumours album.

Written about the collapse of her long relationship with Lindsey Buckingham, the song had been intended to be included on Rumours. For multiple reasons, including its length and relatively slower tempo and — over strenuous objections from Nicks — the song was excluded from the album, and replaced with I Don’t Wanna Know. Nicks was furious, and the tensions that arose nearly led to the break-up of the band, or at least that version. Years later, after the world tour to support their 1987 album, Tango in the Night, Nicks left the band after a dispute with Mick Fleetwood, who would not allow her to release “Silver Springs” on her 1991 compilation album, Timespace — the Best of Stevie Nicks because of his plans to include the song as part of a Fleetwood Mac box set, 1992’s 25 Years — The Chain. It’s fitting that the song was the centerpiece of the band’s 1997 reunion concert, and a vindication of sorts for Nicks.

The song clearly embodies the emotions wrapped up in Stevie and Lindsey’s break-up in a way no other song does. In the live video of the concert version, Stevie and Lindsey share a moment, singing together, and the emotion from 20+ years ago just still out from them. I love this story Stevie told “MacLean’s” magazine: After Christine McVie rejoined Fleetwood Mac in 2014, her heartbreak sisterhood with Nicks was rekindled. By that time, “Silver Springs” had already become a staple of the band’s set lists. “When I finish [performing] ‘Silver Springs,’ Christine waits for me and takes my hand,” Nicks said in 2015. “We walk off and we never let go of each other until we get to our tent. In that 30 seconds, it’s like my heart just comes out of my body.”

I love both the studio and live versions, but there’s something about the live version that really captures the intensity and the passion of the song. Stevie is in the best vocal form she had been in for years, and the live version really shows up Christine’s piano talents, forming the foundation for the song, while the studio version spotlights Lindsey’s delicate guitar work, both acoustic and electric. As always, “Silver Springs” is another amazing example of how these three vocalists come together and harmonize better than just about anyone. It’s one of Stevie’s more grounded songs lyrically as well, and she restrains from going all mystical and ethereal, which I very much appreciate for this song.

For me, this is Stevie’s crowning, song-writing achievement, and for Fleetwood Mac, it’s one of their best moments as well, and I would add, for the McVie/Buckingham/Nicks era, THE moment.

#1 – Come a Little Bit Closer (McVie, C.) Heroes Are Hard to Find (1974)

And in a surprise move, Christine McVie takes the top spot with a little-known ballad from 1974’s Heroes Are Hard to Find album. I knew this track would end up high on the list, but was pretty surprised to find it in the top spot. To tell you the truth, I’m not sure what “Come a Little Bit Closer” has that pushes it to the top, but I have loved this song since I first heard it sometime in the late 70’s, when post-Rumours I delved into my brother’s back catalog of Fleetwood Mac albums.

Not a whole lot is written about “Come a Little Bit Closer,” so I don’t know all that much about the background of the song, but several critics who laud the album as one of the most overlooked of Fleetwood Mac’s albums have universal praise for this sweeping, McVie ballad. Dave Swanson of Ultimateclassicrock.com wrote, “‘Come a Little Bit Closer’ is pop perfection from Christine McVie. The song has an almost George Harrison-like quality to it with some nice pedal steel from the legendary Sneaky Pete Kleinow.” The song is grand and bombastic in the way Christine rarely is, with crashing drums and sweeping strings. It opens with a gorgeous, piano intro, something else that Christine rarely does — show offer her piano skills — gracefully building with an ascending scale to a crash of drums and what is possibly my favorite thing about the song… the strings sweep up and slowly descend along with some big notes from Christine’s piano, in contrast to the pedal steel guitar that provides a complimentary ascension, all culminating in Christine’s gorgeous alto voice bringing it all together.

When the chorus comes in, I am practically swooning. Some might say this song is over-produced, but I think the grandiosity fits it perfect, and when Christine’s voice soars to the clouds in the line, “When you held me in your arms…” I am so choked up over the beauty. McVie and Welch provide backing vocals that are perfection, and as the chorus ends, we’re back into that sweeping ascent/descent compliment of strings and pedal steel. Rarely does Christine cut loose like this, her songs are usually pretty laid back and cool, but here she throws her heart way out there and the effect is thrilling. I distinctly remember leaping around the room to this song… if I had been a figure skater, I would have no doubt done a routine to this song — I can see just where the triple jumps would go.

Lyrically it’s not too far afield from your standard McVie song. The relationship is over, and she is yearning for a lost love. “Now all that’s left is a sweet memory…” But then the second verse seems to imply things might not be over and done with… and she asks him to give them another chance. “Come a little bit closer, ’cause I remember the time when you held me in your arms and you wanted to be mine.” Listening to it again over and over as I write this I see how it’s definitely deserving of the #1 spot in my list of favorite Mac tracks. If you’ve never heard the song (or even if you have) I’d love to hear what you think!

My favorite Fleetwood Mac song of all time.

And how about your favorites? Did I miss any of your favorite tracks? Thanks for indulging me, this was fun. I’ll be back with more, but now it’s time to check in on my love of comics again.

Rumours era
How I will always think of them…

Fleetwood Mac Tracks, #’s 10 – 6

Think About Me

And here I find myself exploring my Top 10 Fleetwood Mac tracks. A couple of surprises for me, many are not surprising. The winning album is 1975’s Fleetwood Mac which scores three of the Top 10 songs. Biggest surprise was that Rumours is only represented once. And most surprising? Neither of those albums show up in the Top 3! I was also surprised that 6 different Mac albums have songs in the Top 10. Much more spread out than I would have expected. Now let’s see how things play out, with Stevie Nicks kicking us off.

#10 – Angel (Nicks) Tusk (1979)

I’ve always loved this upbeat, jaunty Tusk cut by Stevie Nicks. If I were to describe “Angel” using shorthand, I would say it was Stevie Nicks’ version of a Christine McVie song! Stevie wanted to right a light-hearted rock & roll song when she started writing “Angel.” And while it starts out like that, lyrically and stylistically it gradually morphs into a more traditional Nicks number.

There are a couple of theories as to the themes of the song. I read somewhere that it “Angel” references Nicks’ affair with Mick Fleetwood. Another source cited “Angel” as the second song Nicks wrote about the Welsh Rhiannon legend. I do love the line, “I still look up when you walk in the room.” There are those people who have been in your life, whether long-term or short, that just capture your attention whenever they’re in the same room as you. Stevie does a great job capturing that reflection of a past relationship well.

Musically, it’s actually quite stripped down and bare. Simple bass, drums, electric piano kick things off, and pretty much carry the entire song. Lindsey adds his guitar licks throughout, but they are not flashy, and are there really to add texture. During the long coda, there are some layered, “ooohs,” to fill out the sound, but otherwise, it’s spare sound fits well on Tusk. The distortion on Christine’s electric piano at the start adds to that feel. John McVie’s got a great, rolling bass part throughout. I also enjoy the way the harmony parts throughout jump from person to person. Most notably it’s Lindsey, then there’s a section with Christine, then there are a couple of parts where Stevie overdubs herself. It adds a layer of interest for the listener.

Stevie is also known for her long, ad-libbed fades where she often introduces new heretofore unheard lyrics. “Angel” has one of my favorites, just before the fade out, “Oh they tried hard, but you’ll never catch me, yeah, yeah.” For videos Ive included the 2015 remastered track from Tusk, and also a live version from the Tusk tour. Stevie and the whole band actually look like they’re having a lot of fun performing the song, and it’s so funny how the audience just goes nuts whenever Lindsey and Stevie interact. And the three-part harmonies sound great. Glad to see this long-time favorite from Tusk made it to my Top 10.

#9 – Hold Me (McVie, C., Patton) Mirage (1982)

Mirage hasn’t aged as well as its earlier ’70’s counterparts. It’s overproduced and slick, nearly to the point of coldness, but “Hold Me”, its lead single, and another stellar Christine McVie/Lindsey Buckingham duet has a special place in my heart. I remember hearing it for the first time. It had been a long time since Fleetwood Mac had released Tusk (1979), at least for those days, and to hear Christine’s piano prominently featured in the opening bars thrilled me. Christine wrote the song with her friend Robbie Patton (whose second album she produced) and then reworked it with Fleetwood Mac. It was inspired by the recent ending of her relationship with former Beach Boy, Dennis Wilson. It is one of Fleetwood Mac’s most successful songs, spending four weeks at #4 on Billboard’s Top 100.

Underneath all the slick production, there’s a pretty standard Christine McVie “longing-for-love” song at the heart. An early version of the song was recorded that was sung as a solo part by Christine, and features Stevie’s harmonies much more up front, rather than washed into the mix. As often is the case, like “Angel” and many of Christine’s songs, the song if powered by the solid bass, drums, piano combo, so essential in Fleetwood Mac. Christine plays both acoustic and electric piano, and kicks things off with a highly recognizable piano riff that repeats in the break after the guitar solo. Some surprising power chords come in on the chorus, and lead up to a frankly soaring electric guitar color and some acoustic guitar flourishes high up in the mix before the chorus repeats to the end. Lindsey adds a lot of odd flourishes, like what sounds like the bark of a dog repeating in the chorus. It’s what takes this standard pop song and gives it some quirkiness. Surprisingly, for a song that did so well for the band, it’s not performed live too often. It was played during the Mirage tour, Buckingham and McVie’s recent tour, and then their latest tours without Lindsey, and Neil Finn on vocals.

Perhaps most memorable about “Hold Me” is it was the band’s first release post-MTV launch, and featured an elaborate video, shot in the Mojave Desert, in the middle of summer, with temperatures over 100 degrees! The surreal video, based on several Magrettie paintings, was apparently a nightmare to shoot. The relationships between band members were strained, and the videos director said they were not easy to work with. The entire band was never seen together in any scenes. Stevie Nicks was quoted: “It was so hot, and we weren’t getting along.” Lindsey Buckingham was still not over their breakup six years earlier, nor her subsequent affair with Mick Fleetwood with whom the rest of the band was pretty angry because he had then begun an affair with Nicks’ best friend who left her husband as a result. Director Steve Barron said, “Four of them, I can’t recall which four, couldn’t be together in the same room for very long. They didn’t want to be there. John McVie was drunk and tried to punch me. Stevie Nicks didn’t want to walk on the sand with her platforms. Christine McVie was fed up with all of them. Mick thought she was being a bitch, he wouldn’t talk to her.” To make matters worse, Christine added, “And I’d be the first one to admit that none of us were stone-cold sober. There was a fair degree of alcohol and drugs going on.” Sounds like a recipe for disaster, but the result is one of my favorite Mac videos.

Below is the video in question, and I’ve also included the early version referenced above.

#8 – Landslide (Nicks) Fleetwood Mac (1975)

One of Stevei’s most enduring, well-known songs, “Landslide,” like “Crystal” is about reflection… and turning points. Stevie wrote the song in 1973, as a 25-year-old who’d recorded an album with her long-time partner, and was then subsequently dropped from her record label. Lindsey was hired to tour with the Everly Brothers, and Stevie stayed with a friend in Aspen, Colorado, surrounded by the Rocky Mountains. During her stay, she pondered whether to give up the musician’s life to go back to school, or work full-time. Obviously, she ultimately decided to keep going, and three months later, Mick Fleetwood asked the pair to join Fleetwood Mac. The imagery in the song, of snow-covered hills, and landslides was inspired by her surroundings.

Musically, the song is just Stevie singing to Lindsey’s acoustic guitar accompaniment. I believe it’s a 12-string on the recording… the sound is very lush and full. There’s a gentle electric guitar solo (that in early concerts, Christine played on electric piano) but that’s it. A beautiful song for its simplicity.

“Landslide” has always been a popular song from the band. It had a resurgence in the late 90’s after the band’s reunion performance and subsequent live album, “The Dance,” where it was released as a single. It’s interesting to think about the song and its meaning for a 25-year-old Nicks, and a 50-year-old Nicks. I actually far prefer the original version of the song, with a young Nicks, whose voice was still strong yet vulnerable. The fragility was there, but so was the control. There’s a purity but also a wisdom in her singing on that 1975 recording. This was the Stevie Nicks before her voice suffered from extensive touring, before the cocaine abuse, before they elaborate mysticism became part of her persona. She was the young and scrappy daughter of a country singer who wanted to make it big. There is hope, and confidence both in “Landslide,” and it remains one of my favorite Mac tracks.

#7 – Think About Me (McVie, C.) Tusk (1979)

About three years ago I rediscovered this song and went nuts for it. I had forgotten all about it! This Christine McVie gem from Tusk is pure McVie, but with the Buckingham’s Tusk-era hard-edged fingerprints all over it. One writer from PopMatters praised the song as “the unlikeliest of things: a McVie rocker — A near-perfect punk number that snuck in below the radar” and that it was “anchored by her electric piano, Buckingham’s fuzzed-up ‘Day Tripper’-esque riff, and the most sarcastic lyrics of McVie’s career,” referring to the couplet, “I don’t hold you down/Maybe that’s why you’re around.” “Think About Me” was released as the third single from Tusk following “Tusk,” and “Sara,” and climbed to #20, but I think it’s an often forgotten hit from the Fleetwood Mac catalog.

It jumps on top of you with bombastic intro that I just love. There a rat-a-tat of snare drum, then Buckingham’s grungy guitar and Christine’s distorted electric piano lay the groundwork, with John McVie’s fantastic bass guitar riff heralding the gorgeous vocals. It’s funny, I always remember this as another fantastic McVie/Buckingham duet, but in fact, it’s not. It’s really Christine on lead vocals, and Lindsey and Stevie providing their trademark three-part harmonies with her on the chorus. In fact, an early version of the song on one of their compilation albums feature just Christine and Stevie singing. There are multiple remixes of this song, and i couldn’t decide which one to leave here, but the more I listen to it, the grungier it gets, and I love that. It really is a nice rascal of a song. I really thought it might get into the Top 5, because I just love this song, but no dice. And at 2 minutes and 42 seconds it’s just way too short.

#6 – Songbird (McVie, C.) Rumours (1977)

Christine’s gorgeous, and generous ballad is certainly her signature number as the concert closer for almost every tour that band has embarked upon. There is certainly no better note to leave a concert on than this sweet piano ballad about love. A heartfelt and powerful expression of love, “Songbird” is about no one and everyone, according to McVie. She goes on to explain that it’s about the members of the band who were going through hard times with longtime couples breaking up. The “songbirds” are the members of the band, and the song is about how much they mean to McVie, and the need for them to get along with each other and keep singing and playing together. It’s a lovely balm to counterbalance the anger of some of the other songs on Rumours.

McVie wrote the song late in the Rumours recording process. Producer Ken Caillat loved the track and suggested she record it alone in a concert style approach. It was recorded live at the Zellerbach Auditorium, on March 3, 1976, with Christine playing the piano and singing while Lindsey strummed the acoustic guitar offstage to keep time. 15 microphones were set up around the auditorium to capture the live feel. To create the appropriate ambience, Caillat ordered a bouquet of flowers to place on her piano. He then requested three spotlights to illuminate the flowers from above. When McVie arrived at the auditorium, the house lights were dimmed so her attention was immediately brought to the illuminated flowers on the piano. I’ve included the album version as well as the live version from “The Dance.” There’s nary a difference over the years. She sounds as beautiful as ever.

Fleetwood Mac Tracks, #15 – 11

Fleetwood Mac ca. 1975

As we close in on the Top 10, it’s the last time we’ll see all three of our songwriters appear. One of them is going to be locked out of the Top 10. We’ll also see a surprise appearance of a track from Mystery to Me. And things are certainly going to start getting Christine McVie heavy, as in this case, with three of these five songs coming from her.

#15 – Over My Head (McVie, C.) Fleetwood Mac (1975)

To the band’s surprise, Warner Bros. selected “Over My Head” as the lead single of the newly transformed Fleetwood Mac’a 1975 album, Fleetwood Mac. It was the song the band thought was least likely to be released as a single. The strategy worked, as “Over My Head” became the first single to hit the Billboard Top 100 since “Oh Well” in 1969, which climbed to #55. “Over My Head” was also the band’s first Top 20 single ever, reaching that pinnacle in early 1976.

The song is penned by Christine McVie, and is classic 70’s era McVie through and through. She composed it on a small, portable electric piano, in a tiny apartment in Malibu, CA where she lived with her then-husband, John McVie. While it’s a fairly straightforward, soft-rock, pop song, what makes it so special is the amazing texture in the recording. As a kid, I used to love the novelty of the song already in progress and fading in. Christine’s Vox Continental organ and Lindsey’s low-key, chugging rhythm guitar provide the major drive for the song, with Christine’s electric piano punching accent chords. John McVie’s rolling bass sets the easy rhythm of the tune. Lindsey’s harmonic flourishes and Fleetwood’s unique bongos are the finishing touches to build a rich, palette.

“Over My Head” also features one of my favorite, and to infrequent Mac moments: when Christine and Stevie sing together. Their harmony on the bridge is especially fun in the live version of the song (which I’ve also included – minor point of interest, the live performance features one of the only times I’ve noticed Buckingham using a pick to play guitar). Of Christine’s vocal performance, Billboard magazine said, “a completely distinctive voice, with a sexy huskiness that is unique in pop today.” So true. Lyrically there’s nothing terribly surprising going on here. Christine is lamenting the fact that she’s involved with a man who runs hot and cold, and she can’t decide if it’s worth it to stick around. She is in over her head.

“Over My Head”
Fleetwood Mac performing “Over My Head” on Midnight Special

#14 – Don’t Stop (McVie, C.) Rumours (1977)

Possibly one Mac’s most enduring songs, and a great moment of optimism on the otherwise fractious Rumours album, “Don’t Stop” is another Christine McVie-penned tune, and following in the footsteps of Fleetwood Mac’s “World Turning,” is the second in what would become a series, of McVie/Buckingham duets. McVie revealed that Buckingham helped her craft the lyrics in the verses because their personal sensibilities overlapped. Some say the song is Christine’s message to John after their divorce, although usually Christine just talks about it being generally just an song about optimism.

To create the sound for “Don’t Stop,” McVie played the piano part on both a conventional, acoustic piano, and also a specially treated “tack piano,” where nails are placed on the points where the hammers hit the strings, producing a more percussive sound. It’s often used in the honky tonk style of piano playing, and it’s surprisingly effective, giving “Don’t Stop” a decidedly honky-tonk feel. Christine has fun with the piano part throwing in some flashier bits that she rarely does. It also features a nice, melodic lead guitar solo from Buckingham. Lindsey and Christine alternate verses, and share vocal duties on the chorus. Stevie provides back-up vocals during the closing bars. In the live version, all three vocalists sing the choruses in unison. Otherwise, it’s a highly enjoyable, upbeat pop track, with a catch hook.

“Don’t Stop” was the third single from Rumours, following “Go Your Own Way” and “Dreams.” It climbed all the way to #3. The song had a second life when Bill Clinton used it as his Presidential campaign theme song in 1992. Upon winning the election, Clinton persuaded the Rumours lineup of the group to perform the song for his inaugural ball in 1993, the first time they had played live together since 1982.

“Don’t Stop”
Yes, Mick was clearly on something during this performance.

#13 – Crystal (Nicks) Fleetwood Mac (1975)

Here’s a case of a song ending up much higher on my list than I would have predicted before I started listening to all these songs again to see how I would react. “Crystal” is an interesting anomaly for Fleetwood Mac, as it was written by Nicks, but sung by Buckingham. It was also a previously recorded and released for the Buckingham Nicks album but rerecorded by Fleetwood Mac for this album. American record producer Keith Olsen produced both the Buckingham Nicks and Fleetwood Mac albums, and he insisted both times that Lindsey sing the lead vocal. Stevie would not get to sing the lead part on the song she wrote until she recorded a third version for the original soundtrack to the film Practical Magic in 1998.

I always think of “Crystal” paired with “Landslide,” a more famous Stevie Nicks track. Both use imagery that suggests water, reflections, and light, and deal with deep but ephemeral concepts as time and love. “Crystal” seems to be about how a person experiences love through their lifetime. The lyrics are simple and beautiful, and the line that always resonates with me is, “And I have change, oh but you, you remain ageless.” Such a beautiful line and sentiment. I love the Fleetwood Mac version of this song the best, and Lindsey sings it with such tenderness; perhaps the warmest vocal recorded vocal performance of his career. It’s interesting to note that the Fleetwood Mac version of the song is recorded in a different key than the original, with Lindsey singing even higher in his range. It’s so interesting to hear Stevie’s dreamy lyrics sung by someone else. It really works on this one. Then when Stevie comes in with the harmony vocals, it just soars. They two of them always harmonized gorgeously.

I love the way McVie’s bell-like electric piano weaves into the song around Lindsey’s gentle acoustic guitar work in the first verse. Christine also does a great job with the mellotron, an electro-mechanical musical instrument developed England, in 1963, to really fill out the song, and provide the haunting post-chorus licks, and fading solos at the close of the song. The mellotron has such a lovely, mournful sound and I love the way Christine’s closing solo parts sound like it’s just drifting through mountains on the wind. It’s really a very keyboard heavy song, with the piano and mellotron providing all the layers, and the acoustic guitar adding texture. It’s just exquisite.

“Crystal”

#12 – Second Hand News (Buckingham) Rumours (1977)

I feel bad for Lindsey. He really gave so much to Fleetwood Mac, and in some ways was instrumental to their massive success… or at least to their stretching, musically with Tusk and beyond. And yet he doesn’t manage to break into my Top 10, with “Second Hand News” making the highest mark here at #12. His songs are superb, I just like the ones above his better.

“Second Hand News” was always intended to kick-off Rumours. It’s high energy, galloping energy, combined with it’s euphoric kiss-off both jump-started and encapsulated was the album encompassed: the painful dissolution of several relationships that led to an international smash hit. According to Fleetwood Mac biographer Donald Brackett , Buckingham is finding redemption with other women after his failed relationship with Nicks. He sings that although he does not trust his lover and cannot live with her, he cannot live without her as well. “Been down so long, I’ve been tossed around enough. Aw couldn’t you just let me go down and do my stuff?” He just wants to feel good with some lady companions after the ordeal he went through with Nicks.

Buckingham brought an instrumental version of the song to the band early in the process entitled, “Strummer.” (Purportedly he withheld the lyrics to the song as long as possible because he knew Stevie wouldn’t like them.) Buckingham utilized Scottish and Irish folk song influences, and originally the song was to have been set to a march rhythm. Then Buckingham heard the Bee Gees “Jive Talkin'” he wanted to find a more disco groove. In addition, Lindsey added a drum track by pounding on the back of a Naugahyde chair that happened to be in the studio. John McVie originally recorded a flowing, melodic bass part, but while he was on vacation, Buckingham replaced it with a very simple, quarter note bassline. It ultimately worked for the song, and it would herald Buckingham’s eventual totalitarianism in the studio during the Tusk sessions. McVie did rerecord the bass part to Buckingham’s specifications, but added a few flourishes of his own.

I love the galloping rhythm of the opening, and the break-neck speed in which it progresses, aided by Fleetwood’s rolling snare drum. Lindsey’s trademark acoustic flourishes add the texture, and the harmonies supplied by Nicks bring it all together. Christine doesn’t play on the song, but she adds layered, wordless, background vocals that serve the same purpose as her keyboards. In some early concerts, as seen below, Christine McVie played the drum to add additional percussive power as there were no keyboards in the song. In later concerts she added an organ part, that actually seems a little out of place in the song. It’s really a great song and worthy of opening this classic album.

“Second Hand News”
“Second Hand News” Live


#11 – Just Crazy Love (McVie, C.) Mystery to Me (1973)

Talk about a surprise! I had no idea this song from 1973’s Mystery to Me would almost end up cracking the Top 10! I just love this euphoric, joyful, fun song by Christine McVie. She really doesn’t just let go like this very often, and I love listening to it.

Musically, Christine pounds out some piano, while guitarists Bob Welch and Bob Weston supply some bluesy licks on the verses, and big power chords in the chorus. Then-husband Jon McVie takes a stroll through the melody with his base, all anchored by Fleetwood’s steady, but innovative drumming. And above it all, Christine sings beautifully, clearly having fun with the melody that jumps up an octave and back with lost in between while she just relishes this new relationship she’s in.

There’s not much to the song lyrically. She’s just giddy about a new man, and hopes that it turns serious. Even if her friends tells her she’s being foolish, it just feels right to her, and she’s so happy about it. Apparently Christine performed this song at some of her solo gigs in the early 80’s, and I saw her on that tour, but she didn’t play it in Boston. Can’t find a live video of it anywhere, unfortunately, but here is the audio track!

“Just Crazy Love”