Fleetwood Mac’s “The Chain”: The Legendary Bass Line That Still Inspires Bassists Today
Fleetwood Mac’s Rumours is one of the most successful albums of all time, topping charts across the globe since its release in 1977. Among its many iconic tracks, “The Chain” stands out as a song with one of the most instantly recognizable bass lines in rock history. Recorded during the album’s legendary sessions in 1976, the track showcases the brilliance of John McVie and the unique tonal qualities of his one-of-a-kind Alembic bass guitar.
The Story Behind “The Chain”
Unlike other songs on Rumours, “The Chain” was a collaborative effort by all five members of Fleetwood Mac. The track was pieced together from various existing ideas:
- Lindsey Buckingham repurposed a guitar riff from the Buckingham Nicks album.
- Christine McVie contributed a chord progression from an unused song.
- Stevie Nicks provided both new and previously written lyrics.
A fascinating element of “The Chain” is its recurring theme of threes: it has three distinct sections, a three-line verse structure, and a chorus that repeats three times in three-part harmony. The outro, featuring the famous bass line, is also played three times before the rest of the band joins in, reinforcing the song’s rhythmic and harmonic consistency.
Why John McVie’s Bass Line Stands Out
McVie’s bass line in “The Chain” is revered for several reasons:
- Instrument Choice: The track was recorded using a 1976 Alembic Series 1 fretless bass with a stainless steel fingerboard, an instrument that sold at auction in 2022 for $100,000.
- String Selection: The bass was strung with flatwound strings and played with a pick, producing a smooth yet resonant tone.
- Musical Structure: The line primarily moves in half and whole steps, descending to an open E, giving it both depth and bite.
- Subtle Fretless Technique: McVie’s touch is subtle, utilizing slides that enhance the line without overshadowing the song’s overall feel.
The Recording Process
According to co-producer Richard Dashut, “The Chain” is the only track on Rumours where the core instrumental parts—guitar, bass, keyboards, and drums—were recorded live together in the studio. This live performance approach contributed to the track’s organic energy and undeniable groove, elements that continue to resonate with listeners today.
The Lasting Power of “The Chain”
The enduring appeal of “The Chain” can be attributed to its unique combination of precision and emotion. Whether played with a pick or fingerstyle, on a fretless or fretted bass, McVie’s line remains a testament to his skill and the track’s powerful arrangement.
Paul Thompson has been playing bass professionally for over 30 years, including recording and touring stints with trumpeter Maynard Ferguson and saxophonist Stanley Turrentine. Recent playing credits include Bob Reynolds, John Pizzarelli, Jeff 'Tain' Watts, and Bob James, among others. Currently, he can be seen playing in and around the Pittsburgh, PA area with the THOTH Trio, the Pittsburgh Jazz Orchestra, and many other musicians in the city's rich Jazz community. An educator of over 25 years, Paul currently teaches Jazz Bass at Duquesne University, West Virginia University, and his alma mater, Pittsburgh CAPA 6-12 Performing Arts School. Connect with Paul on Instagram, Twitter, Youtube, and his website.
Great song and bass line. As a old guy who has been around from the beginnings of R&R, recording in a room with all the players at the same time was pretty much the only way it was done back then. Buddy Holly not only didn’t want a “producer” for his music since they could not create what he heard in his head, multi-track recording only started in the late 1940’s with Les Paul and the equipment back then–I forget who’s gear it was, but it was definitely tube gear. No wonder many of the early songs were so “alive” to us. We all remember the player on “Fingertips” yelling “What key, what key?” and love it.
I understand the move to better recording techniques and equipment. (Funny that some artists seek out older tube recording gear and associated amps, B-3’s etc.) I have nothing against the “perfection” of James Brown, Ray Charles, the Eagles, etc., and love their music. BUT, live players clearly still have their place as proven by “The Chain.”
My guess is that it takes a really good sound engineer and recording engineer and a good room to get live whole band recording to sound this good.
Cheers!