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Christine McVie (album)

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Christine McVie
Studio album by
Christine McVie
Released27 January 1984
Recorded1983
Studio
Genre
Length43:48
LabelWarner Bros.
ProducerRuss Titelman
Christine McVie chronology
Christine Perfect
(1970) 		Christine McVie
(1984) 		In the Meantime
(2004)
Singles from Christine McVie
  1. "Got a Hold on Me"
    Released: January 1984 (1984-01)[1]
  2. "Love Will Show Us How"
    Released: May 1984 (1984-05)[1]
  3. "I'm the One"
    Released: July 1984 (1984-07)[1]

Christine McVie is the second solo album by the English musician, singer, and songwriter Christine McVie, released on 27 January 1984, by Warner Bros. Records.[2][3] It was McVie's first solo recording in over a decade, since her 1970 self-titled album (released under her maiden name), and featured guest contributions by Steve Winwood, Eric Clapton, Lindsey Buckingham and Mick Fleetwood.[4]

It includes two singles that reached the top 40 on the Billboard Hot 100, "Got a Hold on Me" and "Love Will Show Us How", peaking at numbers 10 and 30, respectively. The album peaked at number 26 and spent 23 weeks on the Billboard 200 chart.[5] In the UK, it reached number 58 on the UK Albums Chart.

Background

[edit]

Before joining Fleetwood Mac, Christine McVie had recorded a solo album titled Christine Perfect in 1970.[4] However, she later expressed a strong dislike for her debut album,[6] and explained that she did not intend to launch that "first, disastrous solo career," arguing that she was "very immature emotionally", was not "at all ready for it",[4] and that she did not feel "artistically together" until she joined Fleetwood Mac.[7]

Many of McVie's bandmates —Lindsey Buckingham, Stevie Nicks and Mick Fleetwood— had already begun working on their solo careers since 1980, after the end of the Tusk Tour.[8] She later admitted that she had wanted to record a solo album for a long time, but felt "nervous about it".[9] McVie explained that she was not ready when "everybody else was doing it", did not want "that kind of pressure or responsibility", and that she was "insecure" about her material,[10] but added: "After all, I'd been so used to being a fifth of a band, and suddenly it had reached a point where this record was expected of me."[9]

It was not until the end of the promotional tour for Mirage, when the band went on hiatus to keep working on their separate projects, that McVie contemplated recording what she considered to be her first "real" solo album.[11][12] She explained that, at first, touring with Fleetwood Mac had left her "shattered", making her want to "spend time at home," fixing up her house, and getting to know her dogs again.[12] However, she "inevitably" got bored and "started spending more time in the music room", as she was "ready for something adventurous, like stepping out the front door."[13]

On 5 February 1983, Christine McVie revealed that she was getting songs together for a solo album, with the intention of releasing it by Christmas.[11] Although McVie had previously produced one of Robbie Patton's solo albums, she still felt unprepared to tackle that responsibility on her own album.[14] Therefore, she hired Russ Titelman as her producer, since she "really [liked] him as a person" and trusted "his decision-making process."[15] McVie did not expect the recording sessions to begin until June 1983, as Titelman was busy working on Paul Simon's Hearts and Bones.[7][11]

She began working on the project with guitarist and friend Todd Sharp, whom she met in 1978 when he was a member Bob Welch's band.[3][16] They spent three months preparing material for the album,[15] and when they had a few "strong songs together", McVie decided that it was time to "tackle the project."[16] In need of a backing band, she proceeded to recruit George Hawkins as her bassist, since the guitar player, Sharp, had already been chosen.[16] Hawkins had previously played bass on Lindsey Buckingham's song "Trouble", and had also worked with Sharp on Mick Fleetwood's first solo album, The Visitor.[17][18]

They were stilling missing a drummer to complete the line-up and, at the recommendation of Titelman, ultimately selected Steve Ferrone, who had previously worked with Titelman at a Paul Simon recording session in New York City, and had recently departed from the Average White Band.[16][19]: 33:55–34:31  Ferrone originally declined Titelman's offer, as he already had prior obligations with George Benson, but eventually reconsidered after further thought.[20]: 5:40–6:08  Although Sharp and McVie were initially worried that Ferrone's playing was too "slick" and "sophisticated" for the project, they changed their minds after he ran through two songs with the band.[16][19]: 33:55–34:31 

Recording

[edit]
The majority of the album was recorded in Montreux, a Swiss town located next to Lake Geneva, at the base of the Alps.

The majority of the album was recorded at Mountain Studios, where McVie had asked her manager, John Courage, to book her.[3] Located in Montreux, Switzerland, the studio was at the time owned by Queen and operated by engineer David Richards, who had been highly recommended by Arif Mardin.[15] Richards was also in charge of recording the town's famous Jazz Festival.[3]

McVie and her collaborators went into Mountain Studios on 26 July 1983, with the plan to be there for six weeks and cut basic tracks.[16] Before going to Switzerland, McVie and Sharp had had already done an important amount of preliminary work,[13] recording a series of demos on a Teac four-track machine in McVie's music room.[21] Sharp later commented that they "breezed through the record" as a result of their preparations.[19]: 34:37–34:43  Since the group had already done "eight songs in ten days", they decided to "forge ahead and stay there to finish the record."[16]

The album's recording process lasted three months, with additional work taking place in the UK.[13][15] The recording facility itself was a multi-purpose building that contained, among other things, a casino and a coffee shop.[15] Basic tracking took place in a large hall where the Montreux Jazz Festival was held.[15] The drums were positioned in the center of the room, which resulted in some "great live drum sounds" according to McVie.[15]

"Montreux is a really beautiful place and I loved it there. I treated being away from home as an adventure. I mean, if you're going to make a record, you might as well make it as much fun for yourself as possible."

—Christine McVie on recording the album in Montreux[15]

Following two weeks of initial recording in Switzerland, the band took a brief break while also fleshing out some lyrics.[22] Around this time, McVie reached out to Steve Winwood and he agreed to collaborate on a song with her.[22][23] She and Sharp traveled to his home studio in Gloucester, where they spent ten days working on what became "Ask Anybody".[15][19]: 36:07–36:20  McVie also invited Mick Fleetwood to come over and play drums on the track.[23][24] This was the only song on the album not tracked live; instead, Fleetwood overdubbed some tom-toms over a LinnDrum pattern, which he then replaced with full drums.[16]

Due to time constraints, a second recording session with Winwood was later arranged, during which he added keyboards to "Ask Anybody", while McVie and Sharp worked on additional background vocals for the song.[15] Winwood also expressed interest in singing on "One in a Million", and at McVie's suggestion, took the second verse.[15] Although the song was not initially conceived as a duet, McVie felt "it worked out really nicely."[23] In addition, Winwood contributed Prophet synthesizer "fills" to "The Smile I Live For".[15]

After the first session with Winwood, McVie and Sharp traveled to London and spent an afternoon at Olympic Studios working with Eric Clapton.[22][19]: 36:32–38:00  McVie asked Clapton to play the guitar solo on "The Challenge",[15] and he recorded his part in roughly an hour.[22] Ray Cooper came into the studio the day after to overdub percussion.[22] McVie missed the session due to a prior obligation and was unable to meet him.[15]

Mountain Studios, which was owned by Queen, was chosen as the album's main recording studio

Both Lindsey Buckingham and John McVie visited Montreux when the album was being recorded.[23] John, who was on vacation with his family, did not play on the album as all bass parts had already been completed.[23] Buckingham, meanwhile, was in London in search of a producer for his upcoming Go Insane album, and accepted McVie's invitation to visit the studio.[23] She wanted him to "hear everything" and although she invited him for a vacation, he "couldn't stay away from the studio".[23] He ended up contributing guitar and vocal parts,[23] including a solo on "The Smile I Live For" and harmonies on "Who's Dreaming This Dream".[15]

Finally, the album was then mixed in New York City by producer Russ Titelman and Elliot Scheiner, a process which took around two weeks.[15][22] An MTV Christine McVie Special was broadcast in January 1984 which, as a presentation, took a "behind-the-scenes look at the recording of Christine McVie's solo album."[25]

Writing and composition

[edit]

It was not until 1982's Mirage that McVie started to collaborate with other songwriters on her compositions,[15] as her previous work had mostly been written alone.[13][26] She chose to continue this approach for her solo album, believing that it gave her writing a different direction and seemed to "lift" her out of her insecurities.[15]

"I felt that I needed an injection of freshness from another writer to make this a good, flowing, easy-to-listen-to album. So I elected to write with a very good friend of mine, Todd Sharp. The combination of the keyboard and guitar writing together was interesting. We’re very compatible as writers."

—Christine McVie, talking about the approach she took for her solo record.[16]

McVie also explained that an entire record of her own songs might have become "tiresome",[15] and emphasized that she valued "exciting and innovative" content over having it be solely hers.[13] This led her to co-write half of the album's songs with guitarist Todd Sharp, who also contributed three additional tracks.[4] McVie later said that it was "fun co-writing with someone" and that she found the songs "refreshing."[15]

From this collaboration came the album's lead single, "Got a Hold on Me", which McVie later revealed was totally fictional, as at the time she wrote it "no one did have a hold on [her]."[13] Sharp mentioned that McVie already had a verse going for the song,[22]and explained that it was written in pieces, coming together in about half an hour.[27] "Love Will Show Us How", the album's second single, was developed from a demo tape on which McVie and her ex-husband John McVie had recorded a riff that featured piano and bass.[20]: 8:55–9:16  She and Sharp spent an entire night working on the music and wrote the lyrics the night after.[20]: 9:16–9:23  Sharp later recalled that the song began "very acoustic and soft" and that, when writing, McVie "started it with her verse."[22]

In regards to her collaborations with Steve Winwood, McVie later explained that some of the lyrics for "Ask Anybody" ("He’s a devil and an angel / Ooh the combination’s driving me wild") had been written three years earlier, inspired by her relationship with Dennis Wilson.[13] The song lacked a melody, but Winwood "found just the right ambiance, the right vibes, for the words."[28] McVie recalled of her work with Winwood that:

"At first, we were both very edgy and nervous about working together so we went down to the pub and socked back a few pints, and then we went to his studio. The song really came easily. We just got about six different ideas together and chose the best one."[13]

Her other song with Winwood, "One in a Million", started out from a "guitar riff and drum groove",[22] though McVie and Sharp had not conceived it as a duet when they wrote it.[23] Her other co-write with Sharp, "The Challenge" was, according to her, a song "about life and remorse and rejection."[29] She named it after John McVie's boat,[15] and Sharp remembered that when they began working on it, McVie already had several parts "flushed out".[22] She decided to give Eric Clapton the guitar solo on the track, as he and John had played together in John Mayall & the Bluesbreakers, and it was "kind of a nice connection."[15]

"Who's Dreaming This Dream" was written by Sharp along with Danny Douma,[22] who had opened for Fleetwood Mac during the Tusk Tour.[30] Sharp said that they had been looking to write a song for McVie, and that Douma came up with the title.[22] He gave it to Sharp, telling him to see if he could get "something started" with it, which led Sharp to write the song's first two lines: "If you thought that I didn't care no more / What am I dreaming for?".[22] In relation to Lindsey Buckingham's and McVie's vocal collaborations in the track, Sharp mentioned that Russ Titelman arranged "who did what and where".[31] For "Keeping Secrets", Sharp collaborated with Alan Pasqua, whom he first met while doing session work.[32] Pasqua explained that, at the time, he "tried to write with as many people as he could" and thought Sharp had an "interesting" voice and a "great pop sensibility."[32] After completing the song, Sharp presented it to McVie, who liked it and agreed to record it.[32]

Sharp wrote "I'm the One" on his own and played a demo of it for McVie, who, to his surprise, expressed interest in recording it for the album.[22] Sharp later said: "she really liked it and was very encouraging to me at that time with my writing".[22] One of the tracks Sharp worked on with McVie, "So Excited", was also co-written with future Fleetwood Mac member Billy Burnette, and featured guitar work by Buckingham.[4] They worked on the song at McVie's while recording demos for the album.[20]: 49:47–50:13  He was unable to attend the recording session, but thought that the song "came out great".[20]: 45:41–45:57 

McVie's only solo composition on the album, "The Smile I Live For",[13] was written in Montreux during the break between the two sessions with Winwood.[22]

Outtakes

[edit]

In the album's documentary, Sharp stated that part of the team came together at one point to make a list of the work they had done.[20]: 13:45–13:52  This amounted to sixteen or seventeen songs, but some were "disqualified ... for one reason or the other".[20]: 13:53–14:02  The only official outtake from the recording sessions was "Too Much is Not Enough",[13][33] a studio jam that was written by the whole band during rehearsal.[20]: 18:36–19:00  Hawkins recalled that group wanted to create "something rocky", so Ferrone started playing a beat, and the rest of band "fell in".[20]: 18:57–19:12  McVie explained that, even though it was a "really good and raunchy rock and roll track," she was not satisfied with the vocals.[13] She would have considered releasing it as a B-side, had she re-recorded it.[13] McVie clarified that no other unused songs were recorded, saying: "We didn't over-record like some bands do; we were very compact."[13]

An instrumental version of "Too Much is Not Enough" was included in the album's MTV documentary.[20]: 19:37–26:36  It was also performed in some of the live shows from her 1984 tour.[34] Jeremy Spangler of Deseret News described it as "exciting" and thought that it was a "promising indication that more traditional McVie love songs may be soon forthcoming."[34]

Album cover

[edit]

Artist Larry Vigon, who had previously worked with Fleetwood Mac,[35] was put in charge of the album's art direction and design.[20]: 31:05–31:09  He was responsible for choosing the photographer and getting an image that suited "the musical feel of the album."[20]: 31:10–31:22  The original concept for the cover art was a photo of a piano with its keys flying off.[20]: 31:34–31:38  Vigon and Jeff Ayeroff, who was Warner Bros. Records' creative director at the time,[20] showed McVie Brian Griffin's photography portfolio, which she "loved".[20]: 31:39–31:47 

McVie was particularly drawn to one of Griffin's landscape shots with a person in a field, and decided that she wanted the album's cover image to be taken outdoors.[20]: 31:47–32:00  The team agreed and Ayeroff told her they could take "the piano out in the field".[20]: 32:01–32:12  However, during the photo-shoot at the chosen location, it was found that the flying piano keys looked "really silly", as the setting was too "peaceful". They decided to repurpose the idea and use it for the single sleeve of "Got a Hold on Me" instead.[20]: 32:14–32:38 

A vie of Milk Hill in Wiltshire. The album's cover photo was taken in a similar setting.

The photograph for the album's cover was taken two hours outside of London, in Wiltshire (an English county famous for Stonehenge).[15] McVie remembered that the place looked "gorgeous" but that it "was so cold that the frost was about an inch thick on the trees."[15] The group arrived at six in the morning and waited for the optimal lighting, which did not occur until three in the afternoon, when they took the photo.[15]

Jeanette Leech of Dig! commented that the length of the photo-shoot was a "good metaphor" for the album, as it was "the product of a patient artist waiting for the perfect time."[33]

Release

[edit]

Christine McVie was released on 28 January 1984.[2] Around the time of the album's release, a 7–inch flexi disc containing excerpts of "Love Will Show Us How", "Got a Hold on Me", "So Excited", and "The Smile I Live For" was distributed for promotional use.[36] Christine McVie was promoted by three singles; the album's two main singles, "Got a Hold on Me" and "Love Will Show Us How" both reached the top 40 on the Billboard Hot 100 chart, peaking at numbers 10 and 30, respectively.[37] "Got a Hold on Me" also spent four weeks at number 1 on the Adult Contemporary chart.[37] Music videos were made for both of these singles: the one for "Got a Hold on Me" was filmed in a studio in London,[13] produced by Jon Roseman and directed by Mike Brady,[38] while the one for "Love Will Show Us How" featured Paul Bartel as a "symbolism-crazed director."[10] "I'm the One" was released as the album's single but did not chart.[1] Billboard described the song as a "punchy, percussive tune" that expressed interpersonal dissatisfaction.[39] "One in a Million" also reached the top thirty on the Mainstream Rock chart in February 1984.[40]

The album was reissued and digitally remastered in 1997 as part of the promotion for Fleetwood Mac's The Dance album and its accompanying North American tour.[41] In 2022, remixes of "The Challenge" and "Ask Anybody" were included on McVie's Songbird (A Solo Collection).[28] On 12 July 2023, for what would have been McVie's 80th birthday, Rhino Entertainment announced their plans to re-release Christine McVie and In the Meantime later that year.[42][43] Subsequently, on November 3rd, a remastered version of Christine McVie was issued on CD, LP, and a cola-bottle clear vinyl edition.[42][43]

Live performances

[edit]

McVie did not initially intend to tour, but changed her mind when work with Fleetwood Mac continued to be delayed by other members' solo work.[12][44] She assembled a five-piece live band that included three collaborators from the album: guitarist Todd Sharp, drummer Steve Ferrone, and bassist George Hawkins.[45]

Eddy Quintela, McVie's then-boyfriend, whom she had met while recording the album in Montreux, was brought in as an additional keyboardist.[23][45] This arrangement was done to give McVie more freedom onstage,[23] allowing her to "get out from behind the boards more and be a front person".[46]

The Christine McVie band, from the 1984 solo tour that accompanied her album. Todd Sharp would later name as many people as he remembered from the photograph in a 2000 Q&A session.[47]

In March 1984, McVie announced that, in addition to Quintela, she would also include guitarist Billy Burnette as a member.[13] Burnette had co-written "So Excited" on the album and had been part of the band for the MTV concert special.[20] However, Stephen Bruton was chosen as the rhythm guitarist for the tour instead, completing the main lineup.[23][45][48] The inclusion of Quintela and Bruton was done to help "fill out the sound".[23]

Talking about the tour, McVie announced that it was "very different" from the Fleetwood Mac ones, saying:

"It's a lot smaller scale. We're not doing the limousine treatment this time around. This is something I haven't done in a while, playing in small places. This is a bit like the old days, actually. It's quite fun to do. However, it's nothing I'd take on as a career."[12]

Christine McVie's solo concert tour took place between April and June of 1984, and was scheduled with 34 stops.[23][49] The opening act was Baxter Robinson, a "five-piece Los Angeles-based rock group with a good beat".[34] At some shows, the band performed with a hanging stage prop that consisted of "huge piano keys bent into a slithering snake shape".[50] Ken Tucker of The Philadelphia Inquirer, wrote that the "slinky" keys looked like they "had just slid off a piano and were about to slip off into space", and described them as an "apt metaphor for McVie's sinuous music".[50]

The setlist consisted of nearly all the songs from Christine McVie, along with some of her Fleetwood Mac "favorites", featuring tracks like "Just Crazy Love" (from 1973's Mystery to Me) and "Spare Me a Little of Your Love" (from 1972's Bare Trees).[44] Other songs ocassionally performed included "Too Much Is Not Enough", an unreleased track from the recording sessions,[34] and "Guitar Bug", described as "a bouncy rocker a la Chuck Berry"[48] that was written by Sharp and Burnette.[51][52]

MTV Concert

[edit]

In December 1983, an MTV concert featuring Christine McVie was recorded at the Los Angeles Country Club.[38][53] This marked the first time, since joining Fleetwood Mac, that she performed as a solo artist and with her own band, and it primarily showcased material from her then upcoming album.[38][53] Attendance at the event was by invitation only, and a large portion of the tickets were given away through a local MTV contest.[38] The recorded concert aired on 28 January 1984.[38]

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusic[54]
PeopleB[55]
Rolling Stone[56]
Robert ChristgauB+[57]
Sounds[58]
Lexington Herald-Leader9/10[59]

On 11 February 1984, Billboard commented that while Christine McVie "inevitably" shared Fleetwood Mac's "current melodic thrust," the material and musicians opened up a "persuasive platform".[60] The magazine highlighted how McVie flexed "her R&B muscles" on "One in a Million", simmered "midtempo blues rock", and delivered "several sweetly moody ballads."[60] The next day, Stephen Holden of The New York Times argued that since McVie's "charm lies in her beguilingly enigmatic calm", her debut album as a "solo rock star" fell "flat" in comparison to Stevie Nicks' career.[61] He found "So Excited" to be the energetic high point of the album, but thought it was due to Titelman's production rather than McVie's "friendly understated singing."[61] Furthermore, he considered the "blandness" of the songs to be a key problem of the album, which "describing typical cat-and-mouse romantic games in the terse, cliched vocabulary of late 70's Los Angeles pop", did not let McVie "meditate quietly in acoustic folk-blues settings."[61] On February 26, Rick Shefchik of the Lexington Herald-Leader gave the album a 9 rating, writing that its songs were "every bit as catchy" as anything Fleetwood Mac had recorded and that McVie's "romantic moods" were not "constantly interrupted" in it, as collaborator Todd Sharp seemed to share her "sturdy" songwriting style.[62]

The next month, on March 15, Don Shewey of Rolling Stone gave the album a two-star rating, arguing that a "long, uninterrupted stretch" of McVie singing solo tended to get "pretty boring."[56] Shewey thought her voice was "limited" in range and expressiveness and found that in the record a "rather mundane, midtempo" love song gave way to another.[56] He concluded by saying that the "sameness" of the material and of McVie's singing drove the record into a "very dull rut."[56] A few days later, People gave the album a B, writing that there was a "loose, good-time feeling" to it, with "tunes that are snappy and full of rhythmic rock and roll hooks."[55] However, they commented that the "subtle harmonic skills" that made McVie a "peerless ensemble singer and musician" with Fleetwood Mac did not necessarily translate into a solo act.[55] The magazine selected "One in a Million" as the album's "most striking track" and found that, at times, her singing was "colorless" and her keyboard work was "overshadowed by her sidemen."[55]

"A lot of people suspected it [sounded] more like Fleetwood Mac than Fleetwood Mac. I couldn't understand for the life of me why that would be so wrong since I felt that I contributed a lot of the hit songs. Part of Fleetwood Mac's sound was mine."

—Christine McVie, addressing some of the album's criticisms in a 1987 interview with Larry Katz[63]

John Swenson of Creem wrote in May of that year that the album was less of a departure from McVie's "current day job than her first record was from Chicken Shack."[64] Swenson described McVie's songs as "eloquent and personal an account of her love life" as Joni Mitchell's, but without the "unseemly exhibitionism."[64] In relation to Steve Winwood's contributions, he said that the "opus-de-funk" "One in a Million" was a "dramatic vocal trade-off" between McVie and Winwood that "reminds you just how good a blues singer Christine is", and argued that "Ask Anybody" was McVie's "most moving vocal performance on the record" because her "gentler, introspective tone" was supported "superbly" by Winwood's "brilliantly understated" keyboard and backing vocals.[64] He concluded by stating that Christine McVie was "the finest Fleetwood Mac spinoff solo album yet."[64]

Music journalist Robert Christgau gave the album a B+, describing the songs as "unimpeachably sensible and unfailingly pleasant" and saying that, except for "The Smile I Live For", they pace "proudly by in full confidence" and "set you humming."[57] He agreed that the "proceedings" were "somnolent", but argued that it was because the "deep satisfactions" of McVie's voice were better appreciated in the company of "brighter and flightier" ones and on a "drummer who isn't Mick and a bassist who isn't John."[57]

In a retrospective review, AllMusic reviewer Stephen Thomas Erlewine called Christine McVie "a collection of soft rock/pop and ballads that are pleasantly melodic and ingratiating."[54] However, he commented that the album suffered a "rather predictable fate" since it was a "little too sweet and laid-back to be consumed in one sitting" and thought that its songs would sound better if they were balanced by Buckingham's "insular, paranoid genius" and Nicks' "hippie-folk mysticism."[54]

Track listing

[edit]
Side one
No.TitleWriter(s)Length
1."Love Will Show Us How"
4:13
2."The Challenge"
  • McVie
  • Sharp
4:39
3."So Excited"
4:04
4."One in a Million" (duet with Steve Winwood)
  • McVie
  • Sharp
5:00
5."Ask Anybody"
5:26
Side two
No.TitleWriter(s)Length
1."Got a Hold on Me"
  • McVie
  • Sharp
3:52
2."Who's Dreaming This Dream"
  • Sharp
  • Danny Douma
3:35
3."I'm the One"Sharp4:03
4."Keeping Secrets"
3:32
5."The Smile I Live For"McVie5:05
Total length:43:48

Personnel

[edit]

Adapted from the album's liner notes.

The Band

Additional musicians

Production

Charts

[edit]
Chart performance for Christine McVie
Chart (1984) Peak
position
Australian Albums (Kent Music Report)[65] 67
Canadian Albums (RPM)[66] 39
Dutch Albums Chart[67] 49
Swedish Albums Chart[68] 19
Swiss Albums Chart[69] 25
UK Albums Chart[70] 58
US Billboard 200[71] 26
Chart (2023) Peak
position
Hungarian Physical Albums (MAHASZ)[72] 39

References

[edit]
  1. ^ a b c d Strong, Martin Charles (1995). The Great Rock Discography. Canongate Press. p. 296. ISBN 9780862415419.
  2. ^ a b "Rock Albums & Top Tracks" (PDF). Billboard. 28 January 1984. p. 24. Retrieved 29 November 2024.
  3. ^ a b c d Jones, Lesley-Ann (2024). "Retreat". Songbird: An Intimate Biography of Christine McVie. London: John Blake Publishing. ISBN 9781789467727.
  4. ^ a b c d e Graff, Gary (1 December 2022). "How Christine McVie Finally Completed a 'Real' Solo Debut". Ultimate Classic Rock. Retrieved 27 November 2024.
  5. ^ "Top LPs and Tapes". Billboard. 21 July 1983. Retrieved 1 May 2014.
  6. ^ Connelly, Christopher (7 July 1984). "Christine McVie Keeps A Level Head After Two Decades in the Fastlane". Rolling Stone. Retrieved 28 November 2024.
  7. ^ a b Leech, Jeanette (27 January 2024). "Why Christine McVie's Self-Titled 1984 Album Was "More Sophisticated" Than Fleetwood Mac". Dig!. Retrieved 27 November 2024.
  8. ^ Erlewine, Stephen Thomas. "Fleetwood Mac Biography". AllMusic. Retrieved 27 November 2024.
  9. ^ a b "Christine is proud of her new disc". Deseret News. 17 February 1984. p. 12W. Retrieved 27 November 2024.
  10. ^ a b Takiff, Jonathan (18 May 1984). "Fleeing the Mac, Christine McVie goes solo". Philadelphia Daily News. Retrieved 28 November 2024 – via Stevie Nicks Info.
  11. ^ a b c Tebbutt, Simon (5 February 1983). "The Macs Factor". Record Mirror. Archived from the original on 1 January 2016. Retrieved 23 October 2023 – via The Blue Letter Archives.
  12. ^ a b c d Graff, Gary (5 June 1984). "McVie's Solo Success Comes As A Nice Surprise". Detroit Free Press. Archived from the original on 1 January 2016. Retrieved 24 December 2024 – via The Blue Letter Archives.
  13. ^ a b c d e f g h i j k l m n o Leviton, Mark (9 March 1984). "Fleetwood Mac's songbird flies solo". BAM. Retrieved 28 November 2024 – via Stevie Nicks Info.
  14. ^ Hunt, Dennis (26 February 1984). "Getting A Hold On Mac's McVie". Los Angeles Times. Archived from the original on 1 January 2016. Retrieved 17 October 2023 – via The Blue Letter Archives.
  15. ^ a b c d e f g h i j k l m n o p q r s t u v w x y "Christine McVie - Press Kit / Excerpts from Christine McVie Interview". Fleetwood Mac UK. 9 December 1983. Retrieved 27 November 2024.
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