In the world of Fleetwood Mac, Christine McVie was the normal one. She didn’t present herself as the white witch of Wales.
She didn’t hire a college marching band to become the rhythm section for an experimental rock single. She didn’t attach electric drum pads to various parts of her six-foot-six frame to become a dancing percussion kit. She never left the band in the middle of a tour to join a religious commune.
She died as one of her compositions was proving the enduring appeal of her music. A current TV commercial for an electric car shows friends in that vehicle singing along to “Everywhere,” a song that’s hard not to join in on. The verse gently swings over a thumping rock beat, as McVie’s unhurried vocal confesses her love.
“Christine’s a great songwriter with a great pop voice,” Buckingham told me last year. “She’s the middle ground between Stevie and me, because she’s grounded in her musicianship while Stevie’s more ethereal. If you take Christine out of the equation, you get a stylistic polarity between Stevie and me. When she’s there, she provides a middle that holds the band together.”
It was in that early London scene that she met John “Mac” McVie, the bass player who had formed the British blues revival band Fleetwood Mac with drummer Mick Fleetwood. Christine Perfect married McVie and took his name, and when virtuoso guitarist Peter Green took too much LSD and ran off to a religious commune, the newlywed keyboardist was invited to take his place.
“It became apparent to me that one of my jobs was to be producer/musical director,” he told me. “You had these three different writers who were each very different in their style. You had Christine and Stevie, whose songs needed some augmentation from me as a producer to reach their potential. John McVie was so versed in the blues, he was a bit ambivalent about this California thing. But somehow all these pieces jelled into one thing.”had a snap and clarity they’d never had before.
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