The scatty vocals sound ridiculously carefree for a song about playing second fiddle in the love stakes. Yet while the song acknowledges the guitarist’s sense of loss after another breakup with Stevie Nicks, its feel is entirely valedictory – a jaunty, sparkly army of guitars banishes any traces of maudlin emotion. “I know there’s nothing to say/Someone has taken my place,” he says, unflinchingly. Lindsay Buckingham stakes out the album’s emotional territory on the album’s opener.
Buckingham pulls out a number of interesting guitar textures here, which only adds to the tune’s undeniable charm. But this is ultimately a perfect example of why Rumours is so strong, as disparate elements mould into a coherent whole. Why Fleetwood Mac's Tusk is better than RumoursĪ groovy little electric piano riff might at first seem out of kilter with McVie’s slightly whimsical pop melody.Fleetwood Mac: the story behind Rhiannon.Every Song On Pink Floyd's Dark Side Of The Moon, Ranked From Worst To Best.Every song on Queen's Greatest Hits, ranked from worst to best.A delicate and haunting number beautifully delivered by Nicks.
The number moves along on an agreeably soothing bass line from John McVie and a simple Mick Fleetwood drum pattern as Nicks warns Buckingham against the dangers of thinking the grass will be greener without her.
DreamsĪ Stevie Nicks composition that the other band members weren’t keen on until Buckingham managed to take the song’s basic chord structure and make three sections that all sounded different. The tune’s undeniable loveliness may hide a more bitter undercurrent, given that Christine is singing “I love you, I love you, I love you like never before” to someone who isn’t the bass-playing husband she’s just recently divorced. SongbirdĪ delicate McVie number – deliberately recorded to give it a “concert hall ambience” – manages to avoid sinking into sentimentality, primarily because of McVie’s clarity of voice and her understated delivery. This is what you might call a ditty, but that’s in no way supposed to be disparaging. You can’t help but feel that Buckingham’s channelling the spirit of an earlier age during these two minutes and 14 seconds of loveliness. Never Going Back AgainĪ lovely acoustic piece from Buckingham that showcases the skills of a player whose own technique has often been underrated in the rush to applaud him as a songwriter. McVie’s quirky keyboard fills only add to the song’s charm. Lindsey Buckingham will be most remembered for the trio of pop albums he made in the 1970s with Fleetwood Mac – the band reboot on the 1975 self-titled record, the blockbuster Rumours from 1977, and 1979’s decidedly weirder Tusk.Written by Christine McVie, Oh Daddy has a quintessential Englishness about it that the singer sneakily slips into what is an overwhelmingly American record.
In the 21st century, his records have been more reliant on his acoustic guitar skills. While Law and Order employs the garage rock of his contributions to Fleetwood Mac albums like Tusk and Mirage, 1984’s Go Insane is surprisingly heavy on synth-pop and 1992’s Out of the Cradle is lush like a Fleetwood Mac record. But his solo career has been very satisfying – if you’re a fan of his work in Fleetwood Mac, it’s worth spending time with his solo albums.īuckingham’s solo work is more mainstream than you might expect based on his experimental songs on Fleetwood Mac’s Tusk. Whenever he makes a solo album, it sells a fraction of a Fleetwood Mac or solo Stevie Nicks record. But Buckingham is little known by the general public, for whom Stevie Nicks and Mick Fleetwood are the most recognisable faces in the band. He’s the studio mastermind, the live spark, and the restless creator behind the imperious pop era of Fleetwood Mac. It’s difficult to blame Lindsey Buckingham for having a chip on his shoulder.
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