Finally, 14 years later, a second solo album!
And what can be most quickly discerned from even a cursory spin? That at this point, late January ’84, Christine McVie had become such a reliably strong songwriter that she’d fully established a signature style as recognizable as Elton John’s.
One listen to the lead single from her self-titled effort provides clear confirmation. Instantly appealing, ‘Got a Hold on Me’ is every bit as catchy as ‘Hold Me,’ her preceding smash with Fleetwood Mac — and precisely the sort of head-over-heels hit McVie created so indelibly.
This deep dive into her discography has illustrated repeatedly how far back that mellow but meaningful imprint took shape. Refined by the time ‘Over My Head’ was an FM sensation, not to mention all those ‘Rumours’ reminders, its roots lie in less-remembered gems like ‘Morning Rain’ (’71) and ’Spare Me a Little of Your Love’ (’72) and ‘Remember Me’ (’73).
After a decade of expertise-honing, however, those earlier iterations sound primitive by comparison to what she’s doing here. They become mere DNA for future McVie masterstrokes like ‘Got a Hold on Me.’
That also has a great deal to do with slicker production polish she learned and enlivened in the lifetime since Ms. Perfect presented her bluesier solo debut. For other veterans of the ‘60s, especially of the English variety, that bigger, boomier feel only proved how hollow their music had become.
Yet something about it suits Christine perfectly — almost like she had a hand in inventing this kinda stuff.
All due respect to the indestructible classics she crafted for the Mac, this self-assured set In many ways plays like her crowning achievement, a record as regal as the hilltop cover image she woke at dawn to shoot.
Turned out the light wasn’t right until much later.
Typical Christine: always prepared, slow to solidify.
Mind you, like any legend, she needed assistance to realize this solo sequel, although considerably less from her Mac mates than the likes of Eric Clapton (who contributes a solo to ‘The Challenge’) and Steve Winwood.
Still somewhat transitioning from Traffic to his own platinum pop career by the early ‘80s, his presence is palpable. Not only does Winwood trade verses with McVie on ‘One in a Million’ but he also offered his home studio (a break from sessions in Montreux with the estimable Russ Titelman) along with his ambience acumen and synth skills to help Christine finish the best piece to rise from the ruin of her rocky romance with just-drowned Dennis Wilson, ‘Ask Anybody.’
Give a closer listen to that track sometime. Then tell me how it doesn’t lead directly to Winwood’s ‘Higher Love.’ Maybe Peter Gabriel’s ‘In Your Eyes’ too. It’s an overlooked stepping stone in the evolution of adult contemporary rock of this era. Easily one of the best in McVie’s songbook.
Another reason ‘Ask Anybody’ is so crucial: you can hear her finally letting go of past baggage. She’s internalized years of squashed hopes and heartbreaking grief and reemerged stronger for having endured it all. In the process, she reveals new facets of her songwriting — mainly a shift from stewing in impossibilities to imparting wise ways to avoid the pitfalls of over-idealized love.
Ever-yearning but invariably fractured love remains her métier, and she can still get ‘So Excited,’ giddy as a schoolgirl crushing hard — perhaps not surprising, seeing as she met future husband Eddy Quintela while making this album. But more often than not she isn’t ruminating on regrets so much as playing advice counselor.
Granted, the recipient of her insights is just as frequently herself as much as anyone else; note the self-determination of ‘Love Will Show Us How.’ Regardless who her words are meant to reach, it’s the tone that has changed. She’s weathered enough to find the calm after the storm.
It’s worth mentioning that there are, in fact, contributions from Mac members herein. Mick Fleetwood provided his distinctive feel for ‘Ask Anybody,’ while Lindsey Buckingham can be heard most clearly in the high harmonies of ‘Who’s Dreaming This Dream’ as well as the fretwork on ‘The Smile I Live For’ and ‘Got a Hold on Me.’
Frankly, there’s a whole host of talents swirling around this project. Some we have seen before, like Danny Douma (see previous post), who co-wrote ‘Who’s Dreaming This Dream.’ Some we will soon encounter more frequently, like Todd Sharp (another burgeoning songwriter McVie took a shine to) and Billy Burnette, who will leap from McVie’s backing band to his own solo album to a spot in the next Fleetwood Mac lineup. (On drums: the great Steve Ferrone.)
And I can’t exaggerate producer Russ Titelman’s influence. Christine was so keen to work with the behind-the-boards master that she waited six months for him to finish Paul Simon’s Hearts and Bones before getting underway on this album. That he’s chiefly responsible for how contoured her sound has become is almost certain.