You can take me to the paradise

In 2017, my wife Judy was shopping for clothes with her friend Marie in a Malibu boutique store. When she came out of the dressing room in a fashionable blue jumpsuit, a woman standing nearby exclaimed, “Oh darling, you have to buy that. It looks great on you!” As Judy and Marie returned to the dressing room, Marie whispered, “Isn’t that Christine McVie?” Judy replied, “Sure is!”

We had all gone to see Fleetwood Mac the previous day at Dodger Stadium as part of “The Classic,” a two-day concert showcase of classic rock bands including Steely Dan, The Doobie Brothers, Earth Wind and Fire, Journey and The Eagles. McVie was staying in Malibu for a couple of days and, as luck would have it, had wandered into the store where Judy was shopping.

I tell this story to illustrate that, on that day, McVie was every bit the sort of warm, kind person she has been reputed to be throughout her life. As a member of one of the most successful bands in rock music history, she could have easily been one of the more self-absorbed rock stars who wouldn’t have paid any attention to a stranger trying on a new outfit. But she made a point of stopping and offering a friendly remark, making a lasting impression in the process.

Christine McVie in 1997

It was a sad day last week in our house when we heard that McVie had died at age 79. The cause of death was not reported, but she had been suffering from chronic scoliosis for some time, which affected her mobility and her ability to perform on stage.

In a Rolling Stone article six months ago, she responded to Mick Fleetwood’s hope that the band would reunite for one last farewell tour. “I don’t feel physically up for it,” she said. “I’m in quite bad health. I’ve got a chronic back problem which debilitates me. I stand up to play the piano, so I don’t know if I could actually physically do it. Touring is bloody hard work. What’s that saying? ‘The mind is willing, but the flesh is weak.'”

Said Fleetwood last week, “Part of my heart has flown away today. My dear sweet friend Christine McVie has taken to flight, and left us earthbound folks to listen to the sounds of that ‘songbird.’ I will miss everything about you, Chris.”


Born in Lancashire, England, in 1943, Christine Anne Perfect was raised in a musical environment where her father and grandfather were accomplished performers (concert violinist and organist, respectively). She trained as a classical pianist until her older brother introduced her to rock and roll and the blues. “I couldn’t get enough of B.B. King, Little Walter, Sonny Boy Williamson, all those great Black American blues guys,” she recalled, falling in with other like-minded peers and singing in various struggling groups while attending art college, ultimately becoming keyboardist and singer with a London-based blues band called Chicken Shack.

“In 1966, we talked Christine into joining Chicken Shack,” Stan Webb, the band’s guitarist, said last week. “At that time there weren’t really any female band members on the British blues scene, so she was hesitant. I think she only joined to shut us up! Chicken Shack used the same studios as Fleetwood Mac in 1967-68, and it was there that Chris met Peter Green and his band. The rest is wonderful history. We sowed the seed, and from that seed grew this massive talent. I am grateful to have been a part of it. Rest In Peace, Chris. A legend never dies.”

Christine Perfect, 1969

In 1969, at the same time the original lineup of Fleetwood Mac had three Top Ten albums and four big hit singles on the UK charts, Chicken Shack, with Christine on lead vocals, charted at #14 with “I’d Rather Go Blind,” a smoldering cover of the Etta James blues track. By then, the bands became friendly, performing at the same clubs, often on the same bill. Christine took a fancy to Mac bassist John McVie — “He had a wonderful sense of humor, the most endearing person” — and the two married the same year.

Christine overlapped only briefly with Green, so you don’t see many photos of them together, but she was a huge fan of the original lineup and was keenly aware of Green’s contributionss. “He was massively talented, and just a wonderful guy as well,” she recalled. When Green abruptly left the group he founded in 1970, Chris was invited to join on keyboards and occasional vocals. Thanks to guitarists/songwriters Danny Kirwan and, later, Bob Welch, Fleetwood Mac moved on from the blues to a more rock-based sound, sometimes hard-edged but usually with a sweeter, melodic groove. McVie’s original songs started showing up on the group’s LPs during this stage — thoughtful tunes like “Show Me a Smile” on 1971’s “Future Games,” “Spare Me a Little” on 1972’s “Bare Trees,” “Just Crazy Love” on 1973’s “Mystery to Me” and the rousing title track on 1974’s “Heroes Are Hard to Find.”

The band in 1974: John McVie, Mick Fleetwood, Bob Welch, Christine McVie

The media have typically given short shrift to this phase of Fleetwood Mac, overshadowed by the fertile blues period (in the UK) before it, and the stratospherically successful yet emotionally fraught era that followed. I think that’s a shame, because it was on these albums in the 1971-74 period when Christine McVie was showing significant growth as a songwriter and singer, taking on the role of the calm, steadfastly rational center of the lineup she would end up holding throughout her tenure in the band.

By the time Lindsey Buckingham and Stevie Nicks joined the group in 1975, giving Fleetwood Mac a compelling variety of strong material from three talented singer-songwriters, Christine had hit her stride with her sunny brand of melodic songs like “Over My Head” (the group’s first Top 20 single in the US), “Warm Ways” and the contagious “Say You Love Me.” This winning streak continued on the multiplatinum “Rumours” LP with “Don’t Stop” (#3) and “You Make Loving Fun” (#9), and what would become her signature tune, the gorgeous ballad “Songbird.”

Discussing the genesis of “Songbird,” McVie said, “I woke up in the middle of the night and the song just came into my head. I got out of bed, played it on the little piano I have in my room, and sang it with no tape recorder. I sang it from beginning to end: everything. I can’t tell you quite how I felt; it was as if I’d been visited. It was a very spiritual thing.”

Fleetwood Mac in 1975: Lindsey Buckingham, Christine McVie, Mick Fleetwood, Stevie Nicks, John McVie

Want more? There were plenty to come: “Think About Me” and “Brown Eyes” from 1979’s “Tusk”; “Hold Me” and “Only Over You” from 1982’s “Mirage”; and especially “Little Lies” (#4) and “Everywhere” (#14) from 1987’s “Tango in the Night.” McVie’s “Save Me” from 1990’s “Behind the Mask” was Fleetwood Mac’s final appearance on the US Top 40.

Nicks wrote and sang some killer songs in her early days, and Buckingham is a formidable songwriter in his own right, but for the most part, I’ve always found Christine McVie’s songs and vocals more to my liking. She could write a gorgeous, commercially appealing hook, integrate it into a three-minute pop symphony and deliver it with that authoritative yet sweet voice, and I, for one, just lapped it up. A songbird, indeed.

While Christine typically maintained a sense of normalcy as the other band members were caught in various melodramas and rock-star excess, she was not without her own issues. She and John McVie divorced in 1976; she had a public romance with one of the band’s crew members and also Beach Boy Dennis Wilson; and a 15-year marriage to musician Eddy Quintela that ended badly.

McVie in 1984

In the 1980s, when both Buckingham and Nicks pursued solo careers on the side, Christine stuck her toe in the water with a solo album that yielded a Top Ten single, “Got a Hold on Me.” She enlisted the help of Buckingham and Fleetwood on a few tracks, as well as British luminaries Eric Clapton and Steve Winwood, but the LP performed only modestly. Said McVie at the time, “Maybe it isn’t the most adventurous album in the world, but I wanted to be honest and please my own ears with it. I tend to like the traditional sound: three-part harmonies, guitar and piano.” (Check out my Spotify playlist below to acquaint yourself with some of the strong tracks from that album.)

The group’s lineup was full of change in the 1990-1997 period, with Christine McVie, Nicks and Buckingham each leaving for a spell, and temporary replacements Billy Burnette and Rick Vito (and later Dave Mason and Bekka Bramlett) gamely filling in. Somehow, the volatile original lineup mended seemingly unmendable fences and reunited in 1997 for “The Dance,” a live performance that was recorded as a live album that then sparked a year-long tour. It seemed the band was back in the saddle.

In 1998, though, McVie decided she’d had enough, and amicably quit the group and the music business in general. “I thought, ‘I want to be home in England and live a normal, domestic life with roots,'” she said in 2014. “I bought a house in Kent, and it had to be rebuilt brick by brick, and I did that quite lovingly. Then my marriage (to Quintela) fell apart, and I found myself in this huge place, alone in the middle of nowhere, and I got myself in a bit of trouble. I fell down the stairs, hurt my back and started taking pills for the pain. La-di-da, one thing led to the other, and I got a bit isolated. I sought help with a therapist, and discovered I had other issues. Eventually I had to figure out what the hell I was going to do with my life. The answer was clear: I couldn’t just sit there in the country anymore, rotting away. I needed to find my way back to Fleetwood Mac.”

She did record one solo album during that time, 2004’s “In the Meantime,” which again had typically great McVie melodies and vocal performances but was almost completely ignored, a fate for which she claims some responsibility. “I’d developed a fear of flying, which hindered my ability to promote the album or tour with my own band,” she noted. “I’ve never felt like I was a solo artist. I’ve always preferred to be part of a group. I’ve never really had the desire to be the center of attention. It just made me uneasy to headline a solo tour.” (Again, I think that’s a crying shame — I urge you to listen to the music from that album on the playlist below.)

Her final foray into the studio came in surprising fashion when she partnered with Buckingham in 2017 for “Lindsey Buckingham Christine McVie,” an enjoyable collection of tunes by the two songwriters, released after attempts fell through to record a new Fleetwood Mac album with songs from Nicks as well.

McVie and Nicks in 1997

McVie had said she and Nicks hit it off right away when Nicks joined the band in 1975, and they became close during their long months on the road during the band’s peak years, but they had significant differences. “Stevie really had her feet on the ground, along with a tremendous sense of humor, which she still has,” she said in 1984. “But she developed her own fantasy world somehow, which I’m not part of. We really haven’t socialized much.”

Todd Sharp, a veteran American guitarist who worked closely with Christine on her 1984 solo LP, had this to say in the wake of her passing: “She asked me to write songs with her, put a band together and make a record in England. Somebody pinch me! Chris, you left this place better than you found it, and your music and voice will live on forever. I will never forget the opportunity you offered me and the confidence you instilled in me. I will never forget your beautiful soul, your grace, friendship and generosity.”

Fleetwood Mac, with McVie still in the fold, did one last tour in 2019. Her final stage appearance, as it turned out, came in February 2020, just before the COVID pandemic hit, when she participated in a tribute concert at the London Palladium following the death of Peter Green.

McVie’s final LP (2022)

Even as her health was flagging earlier this year, McVie stayed busy by re-recording some of the overlooked tracks from her two solo albums, plus an orchestrated rendition of “Songbird,” and released it several months ago as “Songbird (A Solo Collection).”

Mike Campbell, former member of Tom Petty & The Heartbreakers who played guitar in Fleetwood Mac for that 2019 tour, said last week, “Dear, sweet Christine has left us…..that voice, those eyes, that smile. No one like her in the universe.  I remember in rehearsal once after playing ‘I’d Rather Go Blind,’ she looked at me and said, ‘I like playing the blues with you, Mike.’ I’ve never met anyone with such an angelic aura. Always so kind to everyone. We will all miss you so. No one could ever fill those shoes.”

Christine McVie reflected on her time in Fleetwood Mac by saying, “Even though I am quite a peaceful person, I did enjoy that storm. Although it’s said that we fought a lot, we actually did spend a lot of our time laughing.”

Rest in peace, Christine. Thanks for all the deeply satisfying music you added to my music collection.


Some readers might find this 80-song playlist rather daunting, but I wanted to provide a complete overview of her songs to help readers understand the breadth of her songwriting career. In addition to every song she wrote and sang for Fleetwood Mac, there are several tracks from her time with Chicken Shack, her three solo albums and her 2017 project with Lindsey Buckingham.

A working class hero is something to be

In 1882, the first parade that celebrated the contributions of laborers to the country’s development was staged in New York City. Within the decade, more than 30 states were holding their own events honoring workers, and by 1894, Congress passed a bill recognizing the first Monday of September as Labor Day and making it an official federal holiday.

Today, we all enjoy the three-day Labor Day weekend even as it marks the unofficial end of summer and a return to school. We tend to forget the holiday’s original meaning…but not here at Hack’s Back Pages! For this post, I have collected 15 songs from the classic rock era that celebrate and commiserate with the plight of the overworked and underpaid. Perhaps you can use the Spotify playlist found at the end of the post as a soundtrack to your weekend activities!


“Five O’Clock World,” Vogues, 1965

Songwriter Allen Reynolds, who became a successful songwriters’ publisher in Nashville, wrote the workday anthem “Five O’Clock World” in 1965, and it became a Top Five hit for The Vogues, a Pittsburgh-based vocal group that had just scored another Top Five hit with “You’re the One.” Reynolds remembers watching commuters coming and going one weekday morning and thought it would make a great pop song: “Up every morning just to keep a job, I gotta fight my way through the hustling mob, /Sounds of the city poundin’ in my brain while another day goes down the drain…” Artists as varied as country singer Hal Ketchum and synth pop band Ballistic Kisses have covered the song over the years, and The Vogues’ version was used as the theme song for comedian Drew Carey’s workplace sitcom “The Drew Carey Show” in the 1990s.

“Workin’ For a Livin’,” Huey Lewis & The News, 1982

Lewis spent much of the ’70s in San Francisco bars and London pubs as lead singer and harmonica player in various bands. By 1980, he won a record contract as Huey Lewis and The News, and in 1982, the group broke through with “Do You Believe in Love,” a #7 hit on the pop chart. The follow-up single, the energetic “Workin’ For a Livin’,” stalled at #41 but became a fan favorite in concert. Said Lewis, “I wrote it while I was working as a truck driver, and I thought about these other jobs I’d had, like bartender and bus boy.” Lewis re-recorded the song 25 years later in a duet with Garth Brooks, which reached #20 on the country chart: “Hundred dollar car note, two hundred rent, I get a check on Friday, but it’s already spent, /Workin’ for a livin’, livin’ and workin’, I’m taking what they givin’ ’cause I’m working for a livin’…”

“Factory,” Bruce Springsteen, 1978

Springsteen’s first three albums created characters and settings full of romance and hope, but his fourth LP, “Darkness on the Edge of Town,” is decidedly more downbeat. Critics praised a maturity and evolution in his music and lyrics, noting how punk rock and country music had begun to influence his songs. Boston reviewer Trevor Levin said Springsteen “has perfected a genre of rock meant to embrace working class American life while depicting it as essentially joyless and cursed.” A strong example of this is the deep track “Factory,” a concise study of the dead-end life that awaits factory workers each day: “Early in the morning, factory whistle blows, /Man rises from bed and puts on his clothes, /Man takes his lunch, walks out in the morning light, /It’s the working, the working, just the working life…”

“9 to 5,” Dolly Parton, 1980

When Jane Fonda came up with the idea of a film about women office workers, she envisioned it as a drama, “but it was coming across too preachy, too much like lecturing the audience. So we decided to make it a comedy instead.” They hired Director Colin Higgins and said, “What you have to do is write a screenplay which shows you can run an office without a boss, but you can’t run an office without the secretaries.” The resulting film — starring Fonda, Lily Tomlin and breakout star Dolly Parton — was a huge hit, and Parton wrote and sang the infectious theme song, which reached #1 on both the pop and country charts, winning two Grammys. The lyrics paint a bleak picture of how secretaries are treated: “Workin’ 9 to 5, what a way to make a livin’, /Barely gettin’ by, it’s all takin’ and no givin’, /They just use your mind, and you never get the credit, /It’s enough to drive you crazy if you let it…”

“Working Again,” Michael Stanley Band, 1980

Cleveland’s hometown musical hero led one of the best underrated bands in the country during the 1975-1985 period, cranking out dozens of great Midwest rock and roll songs, smartly arranged and produced, but the fame they deserved largely eluded them. MSB, as their fans called them, recorded passionate songs of romance and loss, of dreams and despair, mirroring the lives of the working class kids who made up the bulk of their listening audience. On their 1980 LP, “Heartland,” Stanley wrote “Working Again,” a pounding rock track about the daily grind at work made tolerable by escapist evenings: “I’m gonna make it to the line, and put my time inn, like my old man. before me, died in dreamland with the union by his side, /But not tonight, tonight I’m gonna try a little harder, but come the light, I’m gonna be working, working again…”

“Get a Job,” The Silhouettes, 1958

Richard Lewis, Bill Horton, Earl Beal and Raymond Edwards comprised The Silhouettes, one of Philadelphia’s better R&B vocal groups. They scored their biggest hit right out of the gate, “Get a Job,” a doo-wop classic that hit #1 on the pop and R&B charts in 1958 and was covered by many artists and used in such films as “American Graffiti,” “Trading Places” and “Good Morning, Vietnam.” It was Lewis who wrote the lyrics about a man whose wife berates him for his unemployment even though he is desperately struggling to find a job: “Well every morning about this time, (Sha-na-na-na, sha-na-na-na-na), She gets me out of bed, a-crying, ‘get a job!’ (Sha-na-na-na, sha-na-na-na-na), /After breakfast every day, she throws the want ads right my way, and never fails to say, ‘get a job!’…” It turned out to be their only Top 40 chart appearance, and one supposes they all had to get a job at that point.

“Work to Do,” Average White Band, 1974

This Scottish R&B band were struggling along in the early ’70s when Eric Clapton’s manager took a shine to their lively neo-soul, flew them to L.A. and put them in the capable hands of producer Arif Mardin. Their self-titled second album vaulted to #1 in the US (#6 in the UK) on the strength of the mostly-instrumental track “Pick Up the Pieces,” which also reached #1. I actually preferred the B-side of that single, the insistent “Work To Do,” which drove home the idea that, as much as I’d like to spend more time with you, there’s work to be done first: “I’ve been trying to make it, woman, can’t you see? /Takes a lot of money to make it, let’s talk truthfully, /Keep your love light burning, and a little food hot in a plate, /You might as well get used to me coming home a little late, /’Cause I got work to do, I got work, baby…”

“Working Man Blues,” Merle Haggard, 1969

Country music legend Merle Haggard, who helped develop the country sub-genre known as the “Bakersfield Sound,” had a traumatic childhood scarred by his father’s death, a path of petty crime and violence, and multiple incarcerations. By 1960, he straightened himself out, adopting a strong work ethic as he pursued a career in music, writing and recording many dozens of songs and amassing an astounding 38 #1 hits on the country charts between 1965 and 2015. One of his most widely praised tunes is “Working Man Blues” from his 1969 LP “A Portrait of Merle Haggard,” featuring fine guitar work from the wondrous James Burton: “Hey hey, the working man, the working man like me, /I ain’t never been on welfare, that’s one place I won’t be, /’Cause I’ll be working long as my two hands are fit to use, /I drink a little beer in a tavern, sing a little bit of these working man blues…”

“She Works Hard For the Money,” Donna Summer, 1983

After years as a stage performer ion Germany and Austria, Summer returned to the US and became the undisputed “Queen of Disco” with a dozen Top Ten hits, many with longer dance-club versions. In 1983, she was at a private party at a West Hollywood restaurant when she visited the ladies’ room and encountered an attendant who was sound asleep, exhausted from her day-long work shift. “I looked at her,” Summer recalled, “and my heart just filled up with compassion for this lady, and I thought, ‘God, she works hard for the money, cooped up in this stinky little room all night.’ Then a light went off in my head, and I said, ‘She works hard for the money! That’s a song!'” It went to #1: “It’s a sacrifice working day to day for little money, just tips for pay, /But it’s worth it all to hear them say that they care, /She works hard for the money, so you better treat her right…”

“I’ve Been Working,” Van Morrison, 1970

The free, relaxed sound that Morrison conjured for his iconic “Moondance” LP in 1970 was markedly different from the quieter, more vulnerable vibe of his “Astral Weeks” album before it. Morrison originally intended that the next project be recorded a cappella with a small chorus, but he ended up using the same backing musicians from the “Moondance” album and tour, and additional voices, and the record company saw fit to call the album “His Band and The Street Choir.” One track, “I’ve Been Working,” had been tried twice before in earlier album sessions, and the third time captured a wonderfully hypnotic groove based around the opening lyric “I’ve been working so hard” and “I’ve been grinding so long,” devolving into “woman, woman, woman, woman” and “all right, all right, all right, all right.”

“Takin’ Care of Business,” Bachman-Turner Overdrive, 1973

While still in The Guess Who, Randy Bachman had written a tune he called “White Collar Worker,” but the rest of the band rejected it, leading Bachman to depart in 1970. He formed another group called Brave Belt, which morphed into Bachman-Turner Overdrive by 1973. He revived “White Collar Worker” for their setlist, but one day, he heard a Vancouver radio deejay say, “We’re takin’ care of business here at CFUN Radio,” and decided to insert the phrase in the chorus where “white collar worker” had been. The crowd ate it up, stomping and shouting along to what became the song’s new title when they recorded it weeks later. It’s one of BTO’s signature songs, and an anthem of the working world: “You get up every morning from your ‘larm clock’s warning, take the 8:15 into the city, /There’s a whistle up above, and people pushin’, people shovin’, and the girls who try to look pretty, /And if your train’s on time, you can get to work by nine, and start your slaving job to get your pay…”

“Out of Work,” Gary U.S. Bonds, 1983

Gary Anderson, who later adopted the stage name Gary U.S. Bonds, scored four Top Ten hits in the early ’60s, most notably the rave-up “Quarter to Three,” a feisty little blues rocker that topped the charts in 1961. Bonds proved to be an early influence on Bruce Springsteen, who was happy to use his clout to help revive Bonds’ career in the early 1980s, writing ten songs that appeared on two Bonds LPs in 1982 and 1983. Most notable were the hit singles “This Little Girl” and “Out of Work,” both of which benefitted from the participation of The E Street Band in the studio. In “Out of Work” (basically a rewrite of Springsteen’s “Heavy Heart”), Bonds sings lyrics that struck home with many during the Reagan recession: “8 A.M., I’m up and my feet beating on the sidewalk, /Down at the unemployment agency, all I get’s talk, /I check the want ads but there just ain’t nobody hiring, /What’s a man supposed to do when he’s down and out of work, I need a job, I’m out of work…”

“The Working Man,” Creedence Clearwater Revival, 1968

John Fogerty was still honing his songwriting chops when his band Creedence Clearwater Revival recorded their debut LP in 1968. While he went on to write a dozen Top Ten hits over the next four years, at that point, the group’s best efforts came on the Dale Hawkins classic “Susie-Q” and the Screamin’ Jay Hawkins slow blues, “I Put a Spell on You.” Wedged between those two tracks was a Fogerty original called “The Working Man,” which served as a prototype for later Creedence songs like “Penthouse Pauper” and “Tombstone Shadow.” The song’s lyrics laid out Fogerty’s no-nonsense work ethic: “Well, I was born on a Sunday, on Thursday, I had me a job, /I was born on a Sunday, by Thursday, I was workin’ out on the job, I ain’t never had no day off since I learned right from wrong…”

“I’ve Been Working Too Hard,” Southside Johnny and The Asbury Jukes, 1991

One of the great unheralded bands from the ’70s/’80s was this group of R&B devotees from the Jersey shore fronted by singer John Lyons. Their first three LPs in 1976-1978 received immeasurable support from Lyons’ longtime pal Steve Van Zandt, who wrote and/or produced most of the best songs in the Asbury Jukes catalog. So it was only natural that, after suffering a rough patch in the late ’80s, Lyons called upon Van Zandt to fuel his comeback LP, “Better Days.” One of the highlights from that disc is “I’ve Been Working Too Hard,” a glorious, horns-driven rocker: “Now, money and me don’t talk too much, we never got along too well, /But when I got some in my pocket, I seem to have a lot more friends, /I pay the landlord and the taxman, and it’s time to go to work again, /Can I get a witness? /Let me hear you say, I’ve been workin’ too hard…”

“Take this Job and Shove It,” Johnny Paycheck, 1982

Donald Lytle was a harmony singer for country music legends like Ray Price and George Jones before he changed his name to Johnny Paycheck (contrary to popular myth, it was not meant as a parody of Johnny Cash). In the late ’70s, Paycheck became part of the outlaw country scene alongside Waylon Jennings, Willie Nelson and Hank Williams Jr., and enjoyed his own #1 song on the country charts, the iconic “Take This Job and Shove It.” Written by fellow outlaw David Allan Coe, the song’s title became a ubiquitous phrase in popular culture, not only among unhappy employees but among those who could no longer tolerate their car, their spouse, their whatever: “One of these days I’m gonna blow my top, and that sucker, he’s gonna pay, /Lord, I can’t wait to see their faces when I get the nerve to say, /Take this job and shove it, I ain’t working here no more…”


Honorable mention:

Blue Collar,” Bachman-Turner Overdrive, 1973; “Working Girl,” Cher, 1987; “Bus Rider,” The Guess Who, 1970; “Working in the Coal Mine,” Lee Dorsey 1966; “Morning Train (Nine to Five),” Sheena Easton, 1980; “Manic Monday,” The Bangles, 1986; “Working John, Working Joe,” Jethro Tull, 1980; “Money For Nothing,” Dire Straits, 1985; “Working Man,” Rush, 1974; “Chain Gang,” Sam Cooke, 1960.