![]() Only later do doubts creep in about their long-term chances: "And are you just another liar?" On Tusk's brooding "Brown Eyes," the protagonist reveals her desire for someone right away, in the first verse. Her narrators often aren't sure where they stand in a relationship, or put up with challenging behaviors: indifference, moodiness, emotional distance. Speaking to The Guardian earlier this year, she was ambiguous about her inspirations: "Most of my songs are based on truth and real people, but a lot of them are just fantasies, really." That perhaps explains why McVie's songs maintain so much optimism despite lyrics that often express uncertainty. "That was what we did and it was a harsh marriage." McVie did remarry for real - to Eddy Quintela, her co-writer on multiple songs from 1987 onward - but that marriage also eventually ended.ĭespite the real-life romantic disappointments, McVie's music wasn't diaristic. "Both Stevie and I, we were married to Fleetwood Mac," she told Guitar World in 1997, as quoted in the 2016 book Fleetwood Mac on Fleetwood Mac: Interviews and Encounters. The couple divorced in 1976, and their post-breakup years dovetailed with the band's rise to superstardom, which McVie acknowledged could be difficult. ![]() Not that McVie was immune to the intra-band romantic tumult: Then named Christine Perfect, she married bassist John McVie in 1968 and joined Fleetwood Mac a few years later. ![]() The songs function like conversations in a crowded room Lindsey Buckingham tells one-time partner Stevie Nicks she can "go your own way" and "call it another lonely day," while Nicks in turn volleys back, "Listen carefully to the sound of your loneliness." More than 35 years after its release, the album remains an astonishing sales juggernaut, in no small part because of its nuanced depictions of stormy relationships. On one hand, the band's complicated entanglements and tenuous relations led to creative genius, as with Rumours. It's a notable reminder that Fleetwood Mac's catalog isn't all bitter and beautiful breakup songs, though romantic tension will always be central to the band's appeal (and something of an albatross, too). I can't tell you quite how I felt it was as if I'd been visited – it was a very spiritual thing." "I sang it from beginning to end: everything. "Songbird" was a piece dusted with magic: Written during a middle-of-the-night session, it was more like she channeled it from another dimension, as she once described to The Guardian. Heartfelt and gentle, the song describes the solace of being with someone whose love just feels right. McVie's talent coalesced perhaps most strikingly on the tender piano ballad "Songbird," a highlight of Rumours. McVie's busy, bluesy keyboard style, informed by piano lessons but also Fats Domino, Otis Spann and Freddie King, paired well with a soulful alto. Long before "Everywhere," McVie had been fond of stretching out words and syllables to emphasize poignant themes - as heard on 1975's slinky "Warm Ways," which amplifies "dream," "morning" and "light" to illuminate the coziness of sleeping by a beloved. Such precision was a hallmark of this West Midlands-raised musician, whose father taught violin and grandfather played the organ at Westminster Abbey. The first points to making a connection the second implies deeper pride and commitment, and being all-in with your heart.Īs keyboardist, sometimes lead vocalist and frequent principal songwriter for Fleetwood Mac from 1971's Future Games onward, McVie consistently embraced this type of deep, romantic optimism, comparing love to sunshine (1972's "Spare Me a Little of Your Love"), documenting flashes of unabashed flirting (1982's "Hold Me") and extolling the virtues of true love (1995's "I Do"). ![]() She doesn't just want to be with someone, in general - she wants to be with them everywhere. It's that extra word that makes a difference. "I want to be with you everywhere," she coos atop a slick of glacial harmonies. 30 at the age of 79 after a short illness, raves about a partner, alternating between wanting to shout about her new love and being left speechless by their beauty. As spine-tingling synths and undulating rhythms swirl around like glittery fairy dust, McVie, who died Nov. The song "Everywhere," a frothy pop hit found on Fleetwood Mac's Tango in the Night that's been covered by Vampire Weekend and Paramore, might be Christine McVie's most optimistic moment. Christine McVie in 1969, just a year before officially joining Fleetwood Mac and forever making hearts melt. ![]()
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