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There was nothing for John or Christine to do. Guitarist Danny Kirwan was in Fleetwood Mac for only a brief period; he was a Peter Green acolyte brought on when he was just 18 years old. It was more than just a link between different generations of California rock; it was a sincere tribute. His girlfriend, Carol Ann Harris, recalled Nicks bringing it to the band, only to receive venomous criticism by Buckingham that led to a screaming battle.
But Buckingham had already written a handful of songs for a follow-up. The idea came from Santana keyboardist Gregg Rollie.
Nicks collaborator and Eighties synth-rock also-ran Sandy Stewart penned the harmony-soaked tune, and the demo was the first song Nicks presented to the band for Tango in the Night. Deliberately so. Makes no sense. Perfect for this record. In , L. After Welch left the band, a somewhat slicker version of the song recorded with Buckingham, Christine and Fleetwood became a solo hit for him. It remains a beloved soft-rock chestnut. He was funny, sweet — and he was smart.
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Nor do I think I would want to. I am someone who values musical themes.
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Someone who feels there should be a consistency from night to night with something. Buckingham rocks out with the raw spirit of a freewheeling garage band, while Fleetwood cuts loose on the drums. That was just Mick and myself late at night in the studio, me at the piano. That has to rate as one of my top-five moments in the band. Not directed at anybody in particular but at the business, the need to conform to some vague set of commercial standards.
An obscure gem from the years between the original Mac with Peter Green and the modern Buckingham-Nicks incarnation. Guitarist Danny Kirwan was a great songwriter in his own right, fond of dreamy Beatle-struck ballads like this single, which chimes in the mode of Badfinger or Big Star.
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But, tragically, Kirwan slipped into a void much like his fellow Mac guitarists Green and Jeremy Spencer — he suffered a mysterious mental breakdown, vanished from the music world and drifted into homelessness. This smoky blues ballad sums up the lost legend of Peter Green — especially the version on Live in Boston, recorded in February My mind would be racing.
I love it. Christine McVie was fed up with all of them.
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After Fleetwood Mac finished work on their self-titled LP, they found themselves at a loss as to which song to release as a first single. It became their first song to reach the American charts since and their first Top 20 hit in the U. To achieve the desired percussive effect, he pounded the seat of a Naugahyde chair found in the studio. Green had a sudden LSD-related mental collapse, dropped out of the band and ended up digging ditches and sleeping on the streets.
It sounds uncannily like the playful indie-rock sound of Nineties bands like Pavement.
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It took Christine McVie only 30 minutes to write this lovely piano ballad. During the early Seventies, Fleetwood Mac gradually transformed from a blues unit into a much poppier band — and this beguiling contribution from singer-guitarist Bob Welch was a key link in that progression. Restringing the guitar three times every hour was a bitch. But Lindsey had lots of parts on the song, and each one sounded magnificent.
So the song has taken on kind of an irony.
Inspired by a road sign she spotted on tour, Nicks intended this simmering requiem for her romance with Buckingham to be her crowning moment on Rumours.