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Originally Posted by David
Nice, deep breakdown, and it always helps to have top-notch technology at the ready when producing these videos, including the software to separate and highlight individual tracks.
One thing that has puzzled me for decades about McVie is that his lines are always described as "busy" or "flowery" or something like. But then I listen to other bass lines of the period, especially funk and disco, and I think McVie keeps it a lot simpler than they are. I don't know who is playing bass on the 1977 Andrew Gold album, but it sounds as "filled in" as anything McVie does on Rumours.
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I know what you mean. But I think it's McVie's unexpected yet logical placing of the notes he plays that makes his work feel more bubbly and propulsive than others. I think of his redacted bass lines for "Second Hand News" that propel the song forward as an energetic, stately march. Lindsey ended up rerecording a more straightforward bass line that takes attention away from the bottom end that was so prominent on The White Album. Never understood why LB often tried to get Mick and (especially) John to play less idiosyncratically. In an effort to keep the pop profile, he often simplified the bottom end instrumentation.