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Fleetwood Mac Tracks #’s 40 – 36

Kirwan/Welch era

We crack the Top 40, and after this batch, with the exception of some co-writers and non-Fleetwood Mac songwriters, we’re down to the Mac triumvirate of Buckingham/McVie/Nicks. Still, coming it at #36 Danny Kirwan’s sole Top 50 entry (although he has 4 total in the Top 70). This batch also includes the highest ranking songs from the albums Bare Trees and Future Games.

#40 – I Know I’m Not Wrong (Buckingham) – Tusk 1979

One of five Buckingham-penned songs on Tusk, “I Know I’m Not Wrong” is a quirky, high-energy song that was emblematic of the post-punk inspired sounds he was playing with on this album. As usual, it’s hard not to think he’s still writing about his break-up with Nicks with lyrics like,

“Her lips were waitin’
Her eyes looked sad
The dreams of a lifetime
A year gone bad”

That break-up certainly provided lots of fodder for some great songwriting. This punchy number has a catchy melody and is one of several tracks where Buckingham really stretches into the upper register of his vocal range. He also notoriously overlaid Fleetwood’s drum part using Kleenex boxes. The band rehearsed this song for the Tusk tour, but wasn’t until the Say You Will tour in the 2000’s that they performed it live. I’ve included the studio version, which is essentially Buckingham solo number as he played most of the instruments, and a clip from a 2015 performance to hear the whole band perform it.

#39 – Little Lies (McVie, C.; Quintela, E.) – Tango in the Night 1987

I remember when Tango in the Night was released in 1987, I felt it captured the warmth that Mirage, which in retrospect seemed a little sterile, lacked. Now when I listen back to Tango, some 30+ years later, it seems, dare I say it, over produced. Of the Buckingham/Nicks line-up albums, it fares the worst, with only 2 songs in the Top 50. Here we have one of them.

“Little Lies” is a song penned by Christine McVie and her then husband, Eddy Quintela. It’s a very solid song, great pop hook, and nice interplay between McVie, Nicks and Buckingham’s vocals on the chorus. It was the third single off Tango, and did really well, climbing all the way to #4 on the U.S. Billboard charts. It’s actually the last Mac single to hit the Top 10 to date. I’m not sure why “Little Lies” hasn’t aged better with me. I think it has to do with all those synthesizers. Christine on the electric or acoustic piano, or the organ was enough for dozens of hits… it just seems a little like overkill as I look back. Still the bones of the song are great, and it’s very catchy, so it just squeaks in my Top 40 Mac tracks. It’s got a pretty video too, but I’m sorry, Lindsey and Stevie just loo so out of place on a farm.

#38 – What Makes You Think You’re the One (Buckingham, L.) Tusk (1979)

Back to Tusk and another sparse rocker from Lindsey Buckingham. This one’s kind of fun because unlike most of Lindsey’s songs, this one’s driven by the piano. The studio track from the album was recorded very late one night with just Buckingham and Mick Fleetwood in the studio. Lindsey played the piano, and they mic’d Micks drums through a boombox. So the rhythmic pounding on the piano is augmented by Fleetwood’s bashing away at the drums. The music fits the scathing commentary of the lyrics, which sure sound like they’re directed at an ex (re: Stevie) but Buckingham commented in the liner notes of the Tusk reissue that it’s a “fuck you” attitude, not directed at anyone in particular, but more at the industry itself, and a reaction to the label’s desire for a Rumours II and commercial hit. Buckingham in a rebellious phase for sure.

I’ve included a video of the band rehearsing this song for the Tusk tour so you can also hear the song performed by the band, adding the McVie’s. You’ve gotta love the brash, punk attitude of Lindsey’s Tusk contributions. They really added an energy to the band that was a little wild and untamed compared to their fine pop constructions. Although it also made the album feel a little bit like a Lindsey solo album with some Christine and Stevie songs thrown in to appeal to the masses.

#37 – Morning Rain (McVie, C.) Future Games (1971)

Coming in at #37, we’ve got the earliest song offered from Christine McVie, way back in 1971 on the Future Games album. I love this little rocker powered by Christine’s awesome piano playing and enhanced by Danny Kirwan’s bluesy guitar. And Christine’s powerful voice in a deep register is filled with soul as she tells her lover that the past is over, doesn’t matter the troubles they’ve had, it’s time to look forward and start over for a brighter future (a precursor to “Don’t Stop” perhaps?)

I love the way this song chugs along, with Bob Welch’s rhythm guitar and the bass and drums working in concert while McVie and Kirwan keep things soaring. It just makes you want to boogie. It’s a simple song structurally, but a great song instrumentally. Lots going on there. I wonder if the song developed as a jam session, because they layered parts just seem spontaneous and fresh. Really shows-off Christine’s musicianship, and how this early Mac really knew how to jam. Christine only contributed two songs to Future Games, the other track, “Show Me a Smile” coming in at #65 on this list.

#36 – Dust (Kirwan) Bare Trees (1972)

Danny Kirwan’s sole entry in the Top 50 (he’s got 4 total in the Top 70) is a beautiful and haunting meditation about death lifted from the Bare Trees album. The lyrics for “Dust” were taken from a poem about death written by Rupert Brooke in 1910. Kirwan, while an accomplished musician and songwriter lacked confidence in his lyric writing, and borrowed an excerpt from the poem.

Kirwan’s gentle, melodic voice spins a lovely tune over several layers of electric and acoustic guitars, as well as McVie’s piano. It really shows how this version of the band, featuring Kirwan, McVie, McVie, Welch and Fleetwood deserve more praise and attention. The songwriting, and musicianship during this period is truly outstanding. Kirwasn was known to be shy, sensitive, nervous and withdrawn. Christine McVie said aid in 2018, “Danny was a troubled man and a difficult person to get to know. He was a loner.” He struggled with drugs and alcohol and even struggled with homelessness during the 80s and 90s. He died in 2018 after a struggle with pneumonia. His legacy with Fleetwood Mac and as a solo artist are a testament to his talent.

The beautiful cover for the Bare Trees album was shot by bass player John McVie
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Fleetwood Mac Tracks – #’s 45 – 41

Mirage Era

As we close in on the Top 40, we have a nice assortment of songs from various eras, including Bob Welch’s sole entry in the Top 50.

#45 – Can’t Go Back (Buckingham, L.) Mirage 1982

Mirage was an interesting album. Just as Tusk was a reaction to Rumours, I suspect Mirage was a bit of a reaction to Tusk. Gone was the raw, stripped down production, and in its place was a super-slick, sadly, almost antiseptic sheen over some admittedly fantastic pop songs. The production was impeccable, for sure, but while the production on Rumours was also slick and exacting, there was a more organic feel to that album. Mirage despite it’s bevy of songs about relationships, felt a little cool. Still, it returned the band to the #1 spot (for five weeks) on the U.S. Billboard charts — the first time since Rumours.

Not that Lindsey wasn’t still tossing out his quirky, off-beat songs, they were just a little less in your face and digestible. Can’t Go Back, another ode to the Buckingham/Nicks relationship (“she was just a dream maker, dreamer of sighs…”) with a great call and response between the keyboard and the acoustic guitar (as well as the vocals in the chorus), and a tight, propulsive drum track, showcases Buckingham’s voice, filled with longing. “Can’t Go Back” was a follow-up UK single to the chart-topping “Oh, Diane,” but it stalled at #83.

#44 – Believe Me (McVie, C.) Mystery to Me (1973)

There are so many Christine McVie songs in the Fleetwood Mac pantheon. Not surprising when you consider her tenure with the band. When listening to her pre-Buckingham/Nicks era work, I was impressed how she took more chances, and pushed at the boundaries of pop a bit more. Perhaps she was still shaking off her blues roots, or perhaps she just hadn’t quite evolved into the hit-making songwriting machine she eventually became. Mystery to Me features 4 songs on my Top 50 (all McVie songs) the most of any album not featuring Buckingham and Nicks.

Believe Me is a very cool song because at its heart, it’s a straight-forward, blues-tinged, pop-rock number in the early McVie style. What sets it apart are a very cool intro and outro. The song starts with some beautiful piano playing by McVie leading you to believe you are going to enjoy a lovely piano ballad. Then the main body song kicks off with some twangy guitar, punchy piano, traveling bass, and high-energy drumming. The song closes with an extended outro and another major mood change with some mournful slide guitar provided by Bob Weston. Somehow the whole thing works, and showcases McVie’s strong writing skills and piano playing. Lyrically it’s your basic, blues staple about a woman in love with a bit of a loser, but this one is much more musically interesting than lyrically.

Two versions of the song below, the studio track that features that piano intro and a live version from the early 70’s that features Christine’s strong vocal performance and gives Weston’s slide guitar a focus on a new intro.

#43 – Future Games (Welch, Bob) Future Games (1971)

Bob Welch makes his single appearance in my Top 50 at ##43 with the dreamy title track of the 1971 album, Future Games. It was Welch’s first of five albums with the band for which he wrote songs, sang. and played guitar from 1971 – 1974. Welch contributed quite a few songs to Fleetwood Mac, including the radio hit “Hypnotized,” from 1973’s Mystery to Me. and Bare Tree’s “Sentimental Lady” which was his biggest hit when her re-recorded it as a solo artist in 1977. Welch’s rerecorded “Sentimental Lady” was a Top 10 U.S. hit, and was produced by Lindsey Buckingham and Christine McVie, who also appeared on the track.

While I liked Bob Welch just fine, his songs as as rule didn’t connect with me as strongly as the other songwriting members. “Future Games” was certainly an exception. A haunting and beautiful number featuring a simmering falsetto chorus, which would be echoed in some of Buckingham’s work, “Future Games” is nearly nine minutes of dreamy rock and roll. Welch wrote the song after debating with friends about the turbulent state of the world at that time, and what the future might bring. In addition to Welch’s vocals, which really fuel the song, I love McVie’s big organ sound in the chorus, and Danny Kirwan’s smooth guitar licks add the right touch of psychedelia to this ethereal number.

#42 – Over and Over (Christine McVie) Tusk (1979)

McVie’s lovely ballad was the opening track for the band’s Tusk album, and it very deceptively might have the listener believe that Rumours part 2 had arrived. (Those misconceptions would be blown away with track 2, when “The Ledge” would come barreling in). A second listen would find “Over & Over” actually being a strong opener for Tusk, a bridge, so to speak that would draw you in rather than alienate you. There’s more raw space in the production, Buckingham’s acoustic guitar is more rhythmic than melodic, and the backing vocals are haunting and one of those lovely moments where each singer’s signature vocal style is clear.

Lyrically we’re in the usual McVie territory for many of her song. She’s trying to hang on to her man however she can. But musically, the songs is anything but simple. The lovely overlays of electric piano, acoustic guitar, Fleetwood’s deceptively intricate drumming, a touch of organ toward the end, and the interwoven electric guitar licks create a lovely tapestry for McVie’s gorgeous voice, expressing a fragility in the verses that she doesn’t use very often. She even takes a few bars of an actual piano solo in the middle. It’s those haunting vocals, both lead and back up that really lift this song to higher heights. “Over & Over” was featured during the Tusk tour and the live version had additional vocal interplay between Nicks and McVie, and a powerful build for the outro that really showed the song at its best. I’ve included both the studio and live versions here.

#41 – I’m So Afraid (Buckingham, L.) Fleetwood Mac (1975)

Buckingham wrote “I’m So Afraid” for the second Buckingham Nicks album, but when the duo joined Fleetwood Mac, it shows up on 1975’s Fleetwood Mac as a powerful and haunting closing number. One Mac’s rare out and out rockers, “I’m So Afraid” is also a staple in all of their live shows, showing off Buckingham’s guitar prowess and proving the band knows how to rock out.

“I’m So Afraid” is a dark song detailing the fear and anxiety that cripples the narrator, possibly even generating suicidal thoughts. Is it paranoia? Mental illness? Genuine fear? The song is universal as certainly everyone has felt alone and afraid in their life. Buckingham’s anguished falsetto, along with Nicks’ wailing harmony really sell the song. The pounding drumbeats, and McVie’s funereal organ add to the melancholy mood. If love the way the organ is really the backbone of the song in the live version, and how this concert performance really showcases the power of the Mac rhythm section, the three instruments providing an powerful base for Buckingham’s intricate, wailing guitar solos.

“I’m So Afraid” is the second track form the Fleetwood Mac album to appear n the Top 50. I was always intrigued how their two smash albums from the 70’s Fleetwood Mac and Rumours feature in interesting parallel structure, with Buckingham pop-rockers opening both albums, (“Monday Morning,” and “Second ‘Hand News”) and closing tracks that feature dark, haunting themes and vocals, this one, and Stevie’ Nicks’ “Gold Dust Woman” on Rumours. “I’m So Afraid” was a great closing song for the album, and as a young teenager, I was really captivated by the torment that was evident in this song, and especially Buckingham’s voice. I’ve included both the original track and one of the many live versions to show who Mac could decidedly rock out despite their polished, studio presentations. This video is from the 1982 Mirage tour.

Next up… the Top 40!

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Fleetwood Mac Tracks – #’s 46 – 50

Launching into my Top 50 Fleetwood Mac tracks, we’ve got a variety of songs from five different Mac albums. It’s a fairly diverse group, which will probably be the case all throughout, as Fleetwood Mac features three pretty different songwriters.

#50 – World Turning (McVie, C. & Buckingham, L.) Fleetwood Mac (1975)

Coming in at #50, this guitar driven rocker anchors this list and its inclusion secures the 1975 Fleetwood Mac album’s singular accomplishment of having every track appear in my Mac Top 50. “World Turning” is a bit of a rarity in the Mac world, as it was co-written by two Mac songwriters, Christine McVie and Lindsey Buckingham. The two split the vocal duties as well. The song was inspired by a track off the 1968 Fleetwood Mac album written by Peter Green called “The World Keeps on Turning.” The band played this song in nearly all of the Fleetwood Mac tours and featured a lengthy solo by Mick Fleetwood n the “talking drum,” a special percussion instrument made for him by a friend in Nigeria.

#49 – Straight Back (Stevie Nicks) Mirage (1982)

Stevie Nicks makes her first appearance on the list with this deep cut from 1982’s Mirage. By and large, for me, Stevie’s best work was her early work, in Buckingham Nicks, Fleetwood Mac, and Rumours. By the time Tusk came a long, she was starting to lose some of that magic, and after that, it was rare that one of her Fleetwood Mac songs would rise to the top for me. Maybe she was keeping all her good stuff for her solo albums by then?

“Straight Back” makes the cut largely because of the prominent featuring of Christine McVie, both instrumentally and vocally — something pretty rare on one of Nicks’ cuts. I always wanted an out and out Nicks/McVie duet. Wouldn’t that have been great? Their voices were so different, yet they blended together so well. Lindsey sang with both of them often, and the three of them often cut loose together, but it was rare to feature the two of them harmonizing alone. I remember hearing “Straight Back” for the first time and being thrilled hearing Christine’s ghostly counterpoint to Stevie’s melody. And the song was so keyboard-driven as well, with little frills tossed in all over

And speaking of that huge solo career Stevie Nicks had embarked on? “Straight Back” is about her relationship with Jimmy Iovine, the producer of her first solo album Bella Donna (981), and her desperate desire to return to her solo work. It’s an interesting topic for a song that she performed with her band… the very thing keeping her from what she wants… but then that’s what Fleetwood Mac does: lean into the discomfort. Of the three songs Nicks contributed to Mirage, “Gypsy” was the smash hit, but that song doesn’t even crack my Top 70. “Straight Back” is her only Mirage track to appear here.

#48 – Spare Me a Little of Your Love (McVie, C.) Bare Trees (1972)

Bare Trees is a great album, one of my favorites, with five songs in my Top 70, but only two of in my Top 50, and surprisingly, four of of those five songs were written by early Fleetwood Mac guitarist Danny Kirwan, and only one, this one, was from Christine McVie. Bare Trees was clearly Danny’s album, after all, Christine only had two tracks on the whole album!

“Spare Me a Little of Your Love” is a straightforward, solid, Christine McVie love song. Its features a lilting melody, and is a great example of the strength of Fleetwood Mac’s underrated rhythm section. Mick Fleetwood is a subtle drummer, but if you tune in to listen to what he’s doing, it’s usually making the song that much more interesting. And how about that flat-out country & western outro, where’d that some from? “Spare Me a Little of Your Love” was also one of the songs that bridge the pre and post-Buckingham/Nicks eras, and was featured heavily in their early concert tours. It’s nice to hear Lindsey give the song his looser flair, and I’m always a fan of the three of them singing together, and they use Stevie Nicks really well on backing vocals in the live version.

And so that’s what I’ll leave you with. The quality isn’t that great; after all it’s 45 years old, but here is a nice live version of “Spare Me a Little of Your Love” from 1975 on the Fleetwood Mac tour.

#47 – The Ledge (Buckingham, L.) Tusk (1979)

Ah, Tusk, what an album. What a shock. What a WTF? I distinctly remember being a senior in high school and being blown away by this crazy double album from Fleetwood Mac. In fact, “Tusk!” is the first word in my high school yearbook profile. Tusk was created by Lindsey Buckingham, largely, in diametric response to Rumours. Punk and new wave were sweeping across the musical landscape, and Lindsey was caught up in the raw, energetic chaos of it all. Surely Christine and Stevie must have though he had lost his mind, particularly when they hear “The Ledge.”

After being lulled into a false sense of smooth security with “Over and Over,” the opening track of the album, “The Ledge” arrives and yanks you roughly into Fleetwood Mac’s new, raw, world. Buckingham is still singing about Stevie Nicks here, angrily lamenting that she won’t be able to live without him, a belittling her for thinking she could even try, over a deep, grinding, buzzsaw of distorted post-punk/country twang.

“The Ledge” is the first of ten songs from Tusk to appear in my Top 50. It’s probably also the most way out… well, excepting “Tusk” perhaps. It’s also one of three songs off Tusk that Lindsey recorded by himself (except for the backing vocals), so i’ve included a video from a tour rehearsal so you can see how he integrated the band into the performance. I love this video because it features Christine on acoustic guitar! I saw the Tusk! tour in 1979, and remember that moment. First the studio track, then the live track (which also includes a recording of the rehearsal for “I Know I’m Not Wrong” which appears much higher in my list, so you can get a peak of it now.)

#46 – The Way I Feel (McVie, C.) Mystery to Me (1973)

Most of Christine McVie’s songs are love songs of a sort: falling in love, falling out of love, being treated poorly by a lover, unrequited love. It’s rare when love isn’t somewhere at the root of a Christine McVie song. And I guess love is a pretty universal theme to work with. The first song written solely by Christine on this list certainly qualifies.

“The Way I Feel” appears on Fleetwood Mac’s eighth studio album, Mystery to Me. It’s one of four McVie contributions to the album (she was one of three songwriters in the band at the time including Bob Welch and Bob Weston), all of which appear in my Top 50. It was a good album for Christine McVie. This first entry is a gentle love song about a woman confessing her love to someone for the first time. The instrumentation is a simple and sweet blend of Christine’s piano and some lovely acoustic guitar. It’s a straight-ahead ballad that shows off Christine’s voice and piano playing.

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Favorite Mac Tracks – #’s 51 – 70

Fleetwood Mac from the Rumours period: John McVie, Lindsey Buckingham, Stevie Nicks, Mick Fleetwood, Christine McVie

You know I like my lists! As a way to dive deep into the catalogs of one of my favorite bands, and inspired by my recent fascination with reaction videos, I’ve decided to rank my favorite Fleetwood Mac tracks, and particularly, explore my Top 50! That’s a lot of songs, but Fleetwood Mac has a pretty extensive catalog.

One of my favorite, if not my favorite band of all time, I discovered Fleetwood Mac in 1975 with the release of their Fleetwood Mac “white” album. My older siblings owned the album, and I was quickly captivated. Being a burgeoning young gay, I was drawn instinctively to the fact that there was not one, but TWO women in the band (although not knowing who was who, I thought one of them was named Lindsey Buckingham). A couple years later, Rumours hit, and Fleetwood Mac took the world by storm.

As a child (I was only 13 when I first heard their music), and a gay one at that, naturally I fell in love with Stevie Nicks. But as a piano player (even then) I was fascinated by Christine McVie. I somewhat dismissed Lindsey Buckingham, the male songwriter of the bunch, but as I’ve matured, Stevie grew a little tiresome, Christine rose to glorious heights, and I’ve learned to appreciate just how talented Lindsey Buckingham is, and what a huge gift he brought to the band. While I discovered this amazing group in 1975, I soon learned they had an extensive career dating all the way back to 1967 (and continuing on to today!)

The breakdown by songwriter was no surprise to me at this point in my life, but I suspect it would differ from most Fleetwood Mac fans, who gravitate to Stevie Nicks’ work. On my list, Christine McVie has the most song in the Top 50, with 25 (and 33 in the Top 70). Lindsey Buckingham follows at a distant 15 songs in the Top 50 (and 20 in the Top 70). Stevie Nicks has 10 songs in the Top 50 (and 12 in the Top 70). Rounding out the Top 50, Danny Kirwan and Bob Welch each had a single song in the Top 50. It is also of note that “The Chain” is credited to all five members of the classic line-up; McVie and Buckingham co-wrote a single song in the Top 50, is the Top 50, and there is a single cover song in the Top 50. There is only a single song in the Top 50 where one Mac member wrote the song, and a different Mac member single lead vocals (there is one other in the Top 70, and four that are essentially duets).

My list features songs from 1971 – 1990, and are pulled from a total of eleven albums. I don’t own, nor have I really listened to Fleetwood Mac’s first four albums (before Christine McVie joined): Fleetwood Mac (1968), Mr. Wonderful (1968), Then Play On (1969), and Kiln House (1970). Penguin, an album they released in 1973 doesn’t feature any songs in my Top 50 – although two Christine McVie tracks from the album show up in my Top 70 list. I do own their last two studio albums: Time (1995) and Say You Will (1993), but don’t know them very well, nor have any of the songs jumped out to appear on my list. Of the twelve albums that do feature songs on my Top 70, here they are in chronological order.

  • Future Games (1971) – 2 songs in the Top 50
  • Bare Trees (1972) – 2 songs in the Top 50
  • Mystery to Me (1973) – 4 songs in the Top 50
  • Heroes Are Hard to Find (1974) – 2 songs in the Top 50
  • Fleetwood Mac (1975) – 11 songs in the Top 50
  • Rumours (1977) – 9 songs in the Top 50
  • Tusk (1979) – 11 songs in the Top 50
  • Mirage (1982) – 5 songs in the Top 50
  • Tango in the Night (1987) – 2 songs in the Top 50
  • Behind the Mask (1990) – 1 song in the Top 50
  • The Dance (1997) – 2 songs in the Top 50

Note – Fleetwood Mac (1975) is the only album where every song is featured in my Top 50. One of the songs from The Dance (1997) was intended for Rumours (1977) but cut to make space, and only appeared as the B-Side to the “Go Your Own Way” single.

To kick things off, I’m just going to list the songs that didn’t make the Top 50, still great songs, and on any given day, things might shift around a bit, but you can only have 50 songs in a top 50! Here are #’s 51 – 70 :

70. Danny’s Chant by Danny Kirwan – Bare Trees (1972)
69. Family Man by Lindsey Buckingham & Richard Dashut – Tango in the Night (1987)
68. Sunny Side of Heaven by Danny Kirwan – Bare Trees (1972)
67. Tusk by Lindsey Buckingham – Tusk (1979)
66. Beautiful Child by Stevie Nicks – Tusk (1979)
65. Show Me a Smile by Christine McVie – Future Games (1971)
64. Prove Your Love by Christine McVie – Heroes Are Hard to Find (1974)
63. Hard Feelings by Billy Burnette & Jeff Silbar – Behind the Mask (1990)
62. That’s All for Everyone by Lindsey Buckingham – Tusk (1979)
61. Everywhere by Christine McVie – Tango in the Night (1987)
60. Temporary One by Christine McVie & Eddie Quintela – The Dance (1997)
59. Gold Dust Woman by Stevie Nicks – Rumours (1977)
58. Eyes of the World by Lindsey Buckingham – Mirage (1982)
57. Remember Me by Christine McVie – Penguin (1973)
56. Dissatisfied by Christine McVie – Penguin (1973)
55. Keep On Going by Bob Welch – Mystery to Me (1973)
54. Wish You Were Here by Christine McVie & Colin Allen – Mirage (1982)
53. Save Me a Place by Lindsey Buckingham – Tusk (1979)
52. Only Over You by Christine McVie – Mirage (1982)
51. Bare Trees by Danny Kirwan – Bare Trees (1972)

I’d like to mention a couple of notes about this group. “Keep on Going” from the Mystery to Me album, was written by Bob Welch, but he thought it sounded better sung by Christine McVie; a rarity among Mac songs for a member to take lead vocals of a song they did not write. Two songs that I suspect would be much higher on others’ lists are “Gold Dust Woman” and “Everywhere,” the former being a Nicks classic, and the latter being one of their highest charting UK singles, climbing to #4.