Let's show John some love

[Montclare]

Of course John is most famous for the bass line in The Chain, but what are your favorite parts of his? For me, my favorite is actually not an FM song, but Lindsey's Gift of Screws. With FM, I love hearing him on Oh Well on the 1980 Live album. On both of those, he really stands out and it really works with the whole song.

How about you?

[welcomechris]

Originally Posted by Montclare

Of course John is most famous for the bass line in The Chain, but what are your favorite parts of his? For me, my favorite is actually not an FM song, but Lindsey's Gift of Screws. With FM, I love hearing him on Oh Well on the 1980 Live album. On both of those, he really stands out and it really works with the whole song.

How about you?

I love his work on the Tusk album.

Go Your Own Way Bass Only is Amazing!!!

[michelej1]

The Rhiannon work would look good on his resume, if he ever has to apply for a job.

Michele

[HomerMcvie]

Originally Posted by welcomechris

Go Your Own Way Bass Only is Amazing!!!

I would say that it's one of the most amazing bass parts in rock music.

He sounds like an orchestra, with all the lines he's playing.

I would love to know if he came up with all those lines, or if Lindsey already had them.

[Wdm6789]

The bass line in Sara is amazing also the bass in Hold Me is amazing too. Gold Dust Woman and That's Alright are two more of my favorites from John.

[Macfan4life]

All of his bass lines are wonderful. As already mentioned Go Your Own Way is a full orchestra of bass.

I would LOVE to do a deep interview with John. Can you imagine the secrets he could tell. He has seen it all but says the least.

[GypsySorcerer]

Most of the ones already mentioned, plus Blue Letter!

[SisterNightroad]

Bak when I was just starting to like Fleetwood Mac I read this article on the Top 10 John McVie Fleetwood Mac song and I was kind of proud since there are few bass players in music that can claim to be as recognize as John. Usually bassists are the forgotten ones:

Top 10 Fleetwood Mac John McVie Songs

For just a moment, let’s put all of Fleetwood Mac‘s soap opera drama behind us: the mounds of cocaine, the millions of records sold and even our beloved Stevie Nicks. Instead, how about we shift our focus to the anchor of the band and one half of the dynamic duo who keep things rolling, bassist John McVie. Along with drummer Mick Fleetwood, he comprises one of the most solid rhythm sections in the history of rock music. The heart of this legendary band beats steady because of John McVie, so we have chosen ten songs where his presence is front and center.

10
'World Turning'

Co-written by Christin McVie and Lindsey Buckingham, 'World Turning' is one of the many highlights on Fleetwood Mac's self-titled 1975 LP. The song adopts a somewhat country blues type riff and feel as Buckingham and McVie switch off on lead vocals. McVie is up to his usual role as the ultimate anchor of things on the song, especially on live versions where he and Mick Fleetwood get a real train-like rhythm going on.


9
'Brown Eyes'

Somewhat hidden on the 'Tusk' album, 'Brown Eyes' is easily one of Christine McVie's most beautiful songs. A simple and sweet melody sits atop the electric piano and bass that really are the key to the song. A simple but effective drum part and some atmospheric guitar lines really add to the color as well. Though not credited on the album, the guitar is playing is actually done by original band leader, Peter Green. The hypnotic groove of the song could have gone on forever.


8
'Rattlesnake Shake'

Another killer form the pen of Peter Green, 'Rattlesnake Shake' is first class blues raunch that the early Fleetwood Mac excelled at, and one of many highlights on the band's 1969 LP 'Then Play On.' Kicking off with the rousing line "Baby if you've got to rock, I've got to be your rocking horse," 'Rattlesnake Shake' cooks a smoking, growling blues groove. McVie's bass slithers through as Green's biting guitar cuts through the haze. In concert, the three minute song would often become a lengthy jam as the band would stretch the number out and really let loose.


7
'Bare Trees'

The forgotten era of Fleetwood Mac -- those years between the departure of Peter Green and the arrival of Buckingham & Nicks -- are full of plenty of great music. The 1972 LP 'Bare Trees' is a great example of what you could call a 'lost classic.' The second LP to feature Bob Welch, 'Bare Trees' contains many wonderful Mac moments, especially the title cut. 'Written by Danny Kirwin, the song has a very 'folk rock' feel to it while underneath, as McVie provides a very driving bass line.


6
'Sisters Of The Moon'

'Sisters Of The Moon' is Stevie Nicks' shining moment on the 'Tusk' LP. It's a dark and brooding song that captures the essence of Nicks style perfectly. Both lyrically and musically, it easily ranks up there with her best songs. The interplay between Lindsey Buckingham, Mick Fleetwood and our man of the hour here John McVie is as good as it gets.


5
'The Green Manalishi'

It's probably safe to say that many, if not most, American listeners first heard this song via the Judas Priest version from their 1978 LP 'Hell Bent For Leather,' but despite the metal gods great version, they got nothing on the original. This eerie and haunting blues is drenched in an acidic haze fueled by Peter Green's LSD indulgences at the time. The band plays a gritty groove while Green howls at the moon. This was to be his last stand with the Mac, and what a way to go out! Once again, Mick Fleetwood and John McVie lock arms and hold down the fort. A stunningly brilliant record from start to finish.


4
'I'm So Afraid'

One of Lindsey Buckingham's most hauntingly aching songs, 'I'm So Afraid' remains of of his most visceral guitar moments. The slow groove of the rhythm section provides the essential framework for the howling guitar and desperate vocals that sell the song, but the kindred spirit pumping bass and drums of McVie and Fleetwood are what drives this baby home. A live staple of Fleetwood Mac shows since its introduction in 1975, 'I'm So Afraid' is still always a highlight of any Mac (or Buckingham solo) concert.


3
'Oh Well'

You want a first class bass riff? You got it! Written by original band leader Green, 'Oh Well' has one of the most dynamic guitar riffs ever, while John McVie takes the song all the way home with his anchoring bass. The song was originally divided into Pt.1 and Pt. 2, with the second half being a more mellow affair. The song has stayed with the band for decades and the intense, stripped down live version from the 1980 'Live' album is probably the more known version to most at this point.


2
'Tusk'

After the gargantuan success of 'Rumours,' what were the Mac to do? Simple, put Buckingham firmly in the driver's seat and let him draw up the maps. Though nowhere near as relentlessly polished as it's predecessor, 'Tusk' was an artistic triumph that still shines brighter than it's own mother's sun. Nowhere is the startling aspect of the new material more evident than on the title track. Released as a single preceding the LP, its jarring and unconventional style led to a lot of puzzled looks and confused ears. The tribal beat sets the mood as Buckingham's haunting vocals and guitar, along with McVie's slithering bass moves this beast along. Throw in the USC Marching Band and you've got a surprise hit.


1
'The Chain'

From the locked groove McVie and Mick Fleetwod land in to commandeer this Mac classic, to the signature bass riff that propels the ending of the track, McVie outdoes himself on 'The Chain.' The song that kicked off side two of that little LP called 'Rumours,' was a very collaborative effort, co-written by the entire band, and has remained a radio staple since its release.It's one of the few songs not to be release as a single from that multi-platinum LP. The ending bass riff section of the song was used as the theme for the BBC show 'Grand Prix' for nearly twenty years.

[Mr Scarrott]

John's melodic explorations on Say you love me are one of the great pleasures of the White Album, at least to me. They give that song a foundation that the rest of it hangs on with a great big hug.

Thinking further back, Mick and John are are great on Miles Away and there's a beautiful underlying meander from him on Future Games that I didn't really appreciate until I finally grew to love that song.

[sanders8323]

I think his bass work is truly exceptional on the whole Say You Will album. It seems that the bass just really is brought more to the forefront, but that may be because there was more wiggle room without Christine's presence.

[vivfox]

Brown Eyes is my favorite Bass parts of John's.

[jbrownsjr]

Let's not forget his walking bass line in Crystal.

The McVie's made that song come to life!

[Ulpian]

Originally Posted by jbrownsjr

Let's not forget his walking bass line in Crystal.

The McVie's made that song come to life!

Absolutely.

For me, it's GYOW. It's the bass line I find myself humming when I listen to the track!

[pattyfan]

Though not credited on the album, the guitar is playing is actually done by original band leader, Peter Green

Did Peter Green really play on Brown Eyes? I never knew that.

Kevin

[aleuzzi]

Mr. Scarrott beat me to the punch re: "Miles Away." Terrific bass line. Other pre-BN post-Green great bass parts include ""Bright Fire," "Remember Me," "Night Watch," "Child of Mine," "Bare Trees," and "Keep on Going."

In fact, most of those early 70s albums are loaded with great bass parts. The White album is loaded with great bass parts, too.

Lindsey is a great producer, but his decision to simplify bass lines to commercialize the music in songs like "Second Hand News" was simply wrong. Compare the final version's flat bass line (performed by Lindsey) with the gorgeous, climbing bass line in the earlier version on the Deluxe Rumours. It's one of the rare miscalculations on that album. There is little-to-nothing Lindsey could tell John about how to play his instrument.