Christine Anne Perfect (born 12 July 1943), professionally known as Christine McVie, is an English singer-songwriter and keyboardist. Her fame came as a member of rock band Fleetwood Mac, joining the band in 1970 while married to bassist John McVie. She has also released three solo albums. AllMusic critic Steve Leggett noted McVie’s “naturally smoky low alto vocal style”, describing her as an “Unabashedly easy-on-the-ears singer/songwriter, and the prime mover behind some of Fleetwood Mac’s biggest hits.” She contributed eight songs to Fleetwood Mac’s 1988 Greatest Hits album, including “Don’t Stop”, “Little Lies”, “Everywhere”, “Over My Head”, ” Say You Love Me” and “You Make Loving Fun”.
In 1998, as a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music. Since retiring from the band, she has worked on solo material in her converted barn at her home in Wickhambreaux in Kent. McVie appeared on stage with Fleetwood Mac at London’s O2 Arena in September 2013, and rejoined the band in January 2014. Her first full shows since her return came during Fleetwood Mac’s On with the Show tour in October 2014. In 2014 she received the British Academy’s Ivor Novello Award for Lifetime Achievement. – Wikipedia
Christine McVie (born Anne Christine Perfect, 12 July 1943) is an English rock singer, keyboardist, and songwriter. Her primary fame came as a member of the British/American rock band Fleetwood Mac, though she has also released three solo albums. As a member of Fleetwood Mac, she was inducted into the Rock and Roll Hall of Fame in 1998.
In 1990 the band (now without Lindsey Buckingham) recorded Behind the Mask, but the album only reached ‘Gold’ status in the U.S., and only Christine’s song “Save Me” made the U.S. Top 40. The album did, however, enter the UK album chart at #1 and reached Platinum status there. The second US single release from the album, Christine’s “Skies the Limit” did not make the top 100, but did chart the A/C at number 10. Christine had always been reluctant to go on concert tours, preferring to stay close to home with friends and family. Upon the death of her father, Cyril Perfect, while she was touring for Behind the Mask, Christine made the decision to retire from touring altogether. Despite the departure of Stevie Nicks, Christine remained loyal to Mick Fleetwood and her former husband, writing and recording a new track (“Love Shines”) for the 1992 boxed set 25 Years – The Chain, and five songs for the band’s 1995 album Time.
The members of the band seemed to have gone their separate ways until Mick Fleetwood, John McVie, and Lindsey Buckingham got together again for one of Buckingham’s solo projects. Christine McVie was soon asked to sing and play on some of the tracks. The four of them decided a full reunion was possible and Stevie Nicks was called back into the fold and the resulting live album, 1997’s The Dance, went to #1 in the US album charts. Despite her reservations, Christine complied with the band’s touring schedule, and then performed for the group’s 1998 induction into the Rock and Roll Hall of Fame, as well as the Grammy Awards show, and the BRIT Awards in the UK. Thereafter, she retired from Fleetwood Mac altogether.
In 2006 Paste magazine named McVie, together with bandmates, Lindsey Buckingham and Stevie Nicks, as the 83rd greatest living songwriter or songwriting team. (Source: Wikipedia)
||You Make Lovin’ Fun
||Isn’t It Midnight
||As Long as You Follow
||Love in Store
||When You Say
||Say You Love Me
||Love Will Show Us How
||Think About Me
||Got a Hold on Me
||Over My Head
||Tell Me All the Things You Do
||Spare Me A Little Of Your Love
||Did You Ever Love Me
||Heroes Are Hard to Find
||One More Night
||Skies The Limit
Rumours is the kind of album that transcends its origins and reputation, entering the realm of legend — it’s an album that simply exists outside of criticism and outside of its time, even if it thoroughly captures its era. Prior to this LP, Fleetwood Mac were moderately successful, but here they turned into a full-fledged phenomenon, with Rumours becoming the biggest-selling pop album to date. While its chart success was historic, much of the legend surrounding the record is born from the group’s internal turmoil.
Unlike most bands, Fleetwood Mac in the mid-’70s were professionally and romantically intertwined, with no less than two couples in the band, but as their professional career took off, the personal side unraveled. Bassist John McVie and his keyboardist/singer wife Christine McVie filed for divorce as guitarist/vocalist Lindsey Buckingham and vocalist Stevie Nicks split, with Stevie running to drummer Mick Fleetwood, unbeknown to the rest of the band. These personal tensions fueled nearly every song on Rumours, which makes listening to the album a nearly voyeuristic experience. You’re eavesdropping on the bandmates singing painful truths about each other, spreading nasty lies and rumors and wallowing in their grief, all in the presence of the person who caused the heartache. Everybody loves gawking at a good public breakup, but if that was all that it took to sell a record, Richard and Linda Thompson’s Shoot Out the Lights would be multi-platinum. No, what made Rumours an unparalleled blockbuster is the quality of the music.
Once again masterminded by producer/songwriter/guitarist Buckingham, Rumours is an exceptionally musical piece of work — he toughens Christine McVie and softens Nicks, adding weird turns to accessibly melodic works, which gives the universal themes of the songs haunting resonance. It also cloaks the raw emotion of the lyrics in deceptively palatable arrangements that made a tune as wrecked and tortured as “Go Your Own Way” an anthemic hit. But that’s what makes Rumours such an enduring achievement — it turns private pain into something universal. Some of these songs may be too familiar, whether through their repeated exposure on FM radio or their use in presidential campaigns, but in the context of the album, each tune, each phrase regains its raw, immediate emotional power — which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time. – AllMusic.Com