Bob Welch had a bit of a thing for the occult in those days (Hypnotized, Bermuda Triangle, Future Games, Night Watch, The Ghost). He is careful not to say what the "thing" was in this song - Ouija board? Pendulum? Trance channeling? Reading chicken entrails? Sex magic? who knows? except that he did it in the dark.
At any rate, Bob's presumably female partner (babe) seems to have been spooked by the future, and Bob is reassuring her that we all wonder about the future, and to some extent that we have some voice in our future, even if too many, as in the chorus, sit through the chance to do so.
I wonder if it was perhaps that hideous cover for "French Kiss" that spooked her? To imagine that in 1970 would scare nearly anyone.
And I agree with the other comments that, as with much of Welch's best work with Fleetwood Mac, much of the meaning is in the sound and feel of the songs. The occult is a good subject for his softer style.
Bob Welch had a bit of a thing for the occult in those days (Hypnotized, Bermuda Triangle, Future Games, Night Watch, The Ghost). He is careful not to say what the "thing" was in this song - Ouija board? Pendulum? Trance channeling? Reading chicken entrails? Sex magic? who knows? except that he did it in the dark.
At any rate, Bob's presumably female partner (babe) seems to have been spooked by the future, and Bob is reassuring her that we all wonder about the future, and to some extent that we have some voice in our future, even if too many, as in the chorus, sit through the chance to do so.
I wonder if it was perhaps that hideous cover for "French Kiss" that spooked her? To imagine that in 1970 would scare nearly anyone.
And I agree with the other comments that, as with much of Welch's best work with Fleetwood Mac, much of the meaning is in the sound and feel of the songs. The occult is a good subject for his softer style.