Tag Archives: Bob Welch

Song of the Week – Silver Heels, Fleetwood Mac

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Ignored             Obscured              Restored

In the annals of Fleetwood Mac’s storied history, stands the band’s Bob Welch period.  Snuggled between the group’s formative Peter Green time and the wildly popular and enduring Buckingham/Nicks era, the middle period Welch years form a fascinating chapter of transformation and creativity. Among the gems from this period is the evocative track “Silver Heels,” a song that exemplifies Welch’s unique contributions to the band’s sound and ethos. Released on the 1974 album Heroes Are Hard to Find (Welch’s last with the band), “Silver Heels” highlights his songwriting prowess.

To understand the significance of “Silver Heels,” it’s essential to consider the broader context of Fleetwood Mac during Bob Welch’s tenure. Welch joined Fleetwood Mac in 1971, succeeding the departing Peter Green, whose departure marked the end of the band’s initial blues phase. Welch’s arrival signaled a new direction for the band, integrating more rock and pop elements into their music. This shift was not merely a change in style but a strategic pivot that aimed to revitalize Fleetwood Mac’s commercial prospects.

Welch brought with him a distinct songwriting ability and a knack for blending melodic sensibilities with rock and pop influences. This creative evolution was crucial as the band navigated its identity during this transitional phase. By the time “Silver Heels” was recorded, Fleetwood Mac had begun to see some success with their new sound, albeit still striving for the breakthrough that would eventually come with the addition of Lindsey Buckingham and Stevie Nicks.

“Silver Heels” is emblematic of Welch’s ability to craft songs that are both introspective and accessible. The song’s title, “Silver Heels,” immediately conjures images of glamour and mystique, suggesting a narrative or character-driven exploration. The lyrics, coupled with Welch’s distinctive guitar work and smooth vocal delivery, create a sense of allure and enigma.

She came in and her flags were flying
She was a sailboat of sweet perfume
And I could see that her eyes were smiling
From across the room
Well, I couldn’t think of conversation
I was busy looking at her fur
She said hey, you never ask me
So I guess I’ll say the word

Musically, “Silver Heels” showcases Welch’s deftness in merging rock and pop elements. The track features a layered arrangement that includes subtle yet effective guitar riffs and a steady rhythm section. Welch’s guitar work – including a nice solo at about 2:15 — adds a nuanced texture to the song, blending seamlessly with the melodic lines

His vocals, characterized by their smooth, almost ethereal quality, further enhance the song’s atmospheric feel, especially on the catchy chorus, with its name-checking of Paul McCartney and Etta James.

“Silver Heels” may not have achieved the iconic status of some of Fleetwood Mac’s later hits, but it remains a testament to the band’s versatility and Welch’s influence. The song captures a moment of experimentation and growth within Fleetwood Mac, underscoring the band’s willingness to explore new directions and sounds.

In retrospect, “Silver Heels” serves as a reminder of the rich tapestry of Fleetwood Mac’s musical journey. It highlights how each era, including the Bob Welch period, contributed to the band’s enduring legacy. As you revisit “Silver Heels,” you will not only experience a snapshot of Fleetwood Mac’s past but also appreciate the nuanced artistry and cultural references that helped shape one of rock’s most long-lived bands.

Enjoy… until next week.

Song of the Week – Hypnotized, Fleetwood Mac

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IGNORED OBSCURED RESTORED

Fleetwood Mac has gone through numerous line-ups in its 50 year career though it’s been pretty stable since Lindsey Buckingham and Stevie Nicks joined in 1975. But for the first 8 years the band went through several incarnations. The first was the blues based band led by guitar hero Peter Greene. When Greene left, Danny Kirwan took over as the main songwriter. Version 3.0 came about when Bob Welch stepped forward with his songwriting and vocals.

Today’s SotW is Welch’s “Hypnotized” from the album Mystery to Me (1973).

In a 2012 article for Rolling Stone, David Fricke wrote “The best song Welch ever gave the Mac, “Hypnotized” was urgent noir propelled by a shuffling mix of guitars and (Christine) McVie’s electric-piano understatement, with Welch singing in a sleepwalking cadence like a Raymond Chandler detective musing to himself in a late-night rain.”

“Hypnotized” was released as a single, but it was buried as the B-side to Mac’s cover of The Yardbirds “For Your Love.” (If you’re a vinyl album geek like me, you’ll try to find a copy of the album that erroneously lists an unreleased song called “Good Things (Come to Those Who Wait)” that never made it onto the album because it was dropped at the last minute and replaced by “For Your Love.”) Fortunately for Welch and the Mac, “Hypnotized” became an FM rock radio staple in the 70s.

It starts with a very catchy Mick Fleetwood drum pattern – a snare crack and three beats on the bass drum under an insistent patter on the high hat. Once the beat is firmly established it’s followed by some slick guitar interplay. Christine Mac and Bob Weston provide soothing backing vocals.

The lyrics have an early 70s, Carlos Castaneda (The Teachings of Don Juan) inspired, mystical vibe.

They say there’s a place down in Mexico
Where a man can fly over mountains and hills
And he don’t need an airplane or some kind of engine
And he never will

According to Mojo (Jan 2013), “Welch apparently wrote this eerie electric blues after dreaming that a UFO piloted by a Navajo shaman had landed on the tennis court in Fleetwood Mac’s communal country pile.”

Sadly, Welch died of a self-inflicted gunshot wound to the chest in his suburban Nashville home in 2012. But he left us a strong legacy of music in his work with Fleetwood Mac and as a solo artist, especially the album French Kiss (1977).

Enjoy… until next week.