In the Meantime newspaper reviews

[blinker12]

I'm starting a thread for "Meantime" newspaper reviews. I found two (rather negative) ones, attached below:

Independent on Sunday (London)
June 20, 2004, Sunday
BYLINE: NICK COLEMAN
One liked to think of her has the sensible one in Fleetwood Mac - a bit self-absorbed but in a nice way: practical, wise, vulnerable, soulful and, like, y'know, real. Here she is, following last year's creditable effort by a Christine-less Mac, working with musoid nephew Dan and sounding about as engaged with contemporary musical values as someone who made the best-selling pop album of the '70s. It's not a bad record. In fact her voice is as warm and unmannered as ever. But the arrangements are shinily dull and the songs consider love as a fudge of banal metaphors. Sorry. NC

Sunday Times (London)
June 20, 2004, Sunday
BYLINE: Mark Edwards
Sanctuary SANCD280 **
No band better exemplifies the adage that you need conflict in a group to create great music than Fleetwood Mac, where a soap opera's worth of dysfunctional relationships and addictions created some of the best adult-oriented rock ever to grace the airwaves. Christine McVie left the bickering band some half-a-dozen years ago for a quieter, presumably happier, life out in the country, and well, you're way ahead of me, aren't you? -the result is a solo album of soft rock so soporific that you'd swear several of the session musicians fell asleep while making it. Which is a shame, because the one song where the album sparks into life -Anything Is Possible -suggests that McVie still has hits inside her, if only she had something a little edgier to write about. ME

[Claudia]

Here are more: (I don't know if they had been posted before)

-» Mojo (07/2004), Review: In The Meantime

*** (3 out of 5 stars)

Former Fleetwood Mac songbird flies solo for the first time in two decades.

Fleetwood Mac's cool-as-an-oyster chanteuse decided to pass on Mac's latest reunion efforts, prompting her former bandmates to insist the icy blonde was fed up with music business, and planned to retreat to her country home. But in seems Christine McVie was fed up with her erstwhile companions, and stealthily recorded In The Meantime, rather then participate in reconfiguring the '70s pop monolith. Just so we know she means business.

McVie not-so-cyptically tackles the invitaion on the vituperous Bad Journey, leaving no doubt that she's shut the door on her past for good. Most of In The Meantime finds the once-winsome musician with claws extended - penning songs that crackle with ire, indignation, and with none of the frothy self-deception of the past, be it on the casual hit-or-miss sex of Anything Is Possible or the chilly kiss-off of Sweet Revenge.

...and...

Q Magazine, July 2004

Christine McVie
In The Meantime
Sanctuary/ Adventure Records

* * * (3 out of 5 stars)

The ex-Fleetwood Mac vocal linchpin returns.
by Howard Johnson

McVie's voice is supremely confident, honed to perfection after decades in front of the mic. The price she pays for such quality, though, is a loss of spontaneity. The music is well played, but it doesn't seep down to your bones quite the way it should. Rumours, McVie's most successful venture, crackled with inter-personal tension, which added edge to the music's melodic inclinations. It sounds like McVie's a happier gal here, which is doubtless good for her, but maybe less so for her music.

[Gailh]

I wonder if some reviewers actually listen to the CD.

Mojo thinks the songs "crackle with ire and indignation" yet Q thinks she sounds like a "happier gal"

I think they've looked at the song titles and played it through maybe once skipping tracks they don't like the sound of (or have decided in advance what they mean)

Gail

[Claudia]

Mojo thinks the songs "crackle with ire and indignation" yet Q thinks she sounds like a "happier gal"

That's what I notice too. Some reviewers say that she sounds too happy, but I don't think so. And you can't review an album with a "quick listen or two". It takes a few listens 'till it actually grow on you.

[Aisling]

I'm starting a thread for "Meantime" newspaper reviews. I found two (rather negative) ones, attached below:

a bit self-absorbed but in a nice way



ummm, i've never, ever, felt that christine was 'a bit self-absorbed'. not even in a 'nice way', whatever that means.

what a bizarre thing to say!

[macfan 57]

How many critics actually listen to ANY album more than once when reviewing it? I'll bet, very few if any do. Actually, the Q & Mojo reviews aren't really that bad. Both reviewers seem to basically like the album. I'll bet both reviewers would like it even more if they listened to it another time or two.

[blinker12]

ummm, i've never, ever, felt that christine was 'a bit self-absorbed'. not even in a 'nice way', whatever that means.

I was thinking the exact same thing. In fact, she may be one of the least self-absorbed songwriters ever.

[jbrownsjr]

I have found over the years, that as a fan it only matters what I think of her music.

As a musician, it only matters what I think of my music as well.

It's really difficult sometimes! :nod:

[jwd]

working with musoid nephew Dan


Anyone know what a musoid is?! :laugh:

Ahhh, who really cares the critics say anyway. If we like the music, and I think we do/will, that's all that really matters. I think someone said somewhere in one of these threads around these parts, that all music critics are failed musicians with chips on their shoulders, or something to that effect. I liked the sentiment. :)

[Claudia]

I have found over the years, that as a fan it only matters what I think of her music.

As a musician, it only matters what I think of my music as well.

It's really difficult sometimes! :nod:

Ahhh, who really cares the critics say anyway. If we like the music, and I think we do/will, that's all that really matters.

Very well said you two! :thumbsup:

[aleuzzi]

thanks for posting the reviews of In the Meantime from the British press. I'm stunned by the fundamentally negative assessment of what I feel is a virtually flawless record. I am a huge fan and I know this biases me a bit, but I was always candid with myself (and others) about the shortcomings of her 1984 solo record. When I heard this new recording straight through I was not only pleased with its quality but delighted that it had far-surpassed my expectations. Her voice sounds great, all but one of the songs (Easy Come, Easy Go) are pop gemstones, and the spare, concise arrangments make claer that the vocals are the primary concern. I recommend the cd without qualification and think it's brilliant. I also think I have a fairly discerning ear...so I'm appalled and shocked that reviewers are tearing it up.

[Claudia]

Here is a little, but rather positive note I found while looking through my mother's magazines. The magazine's name is "Woman and Home" and it's on the July issue. The little note is on the music choices of the month and it reads:

"The third solo album from the former Fleetwood Mac member (writer of Don't Stop and Songbird) proves that her piano-playing and songwriting muscles are in great condition."

[CarneVaca]

I actually think the reviews are dead on. After listening to all the song samples, I was unimpressed.

[BLY]

That is why you should listen to the entire song several times before a giving a review.

[BLY]

oops...I meant to say, listen to the entire album several times before giving a review. You can't give a decent review listening to a one minute snipit.

[amber]

ummm, i've never, ever, felt that christine was 'a bit self-absorbed'. not even in a 'nice way', whatever that means.

what a bizarre thing to say!
Yeah, I think they may have been thinking of, say, one of 3 other members of the band? ;)
Amber

[jbrownsjr]

I actually think the reviews are dead on. After listening to all the song samples, I was unimpressed.


nothing impresses you :xoxo:

[CarneVaca]

oops...I meant to say, listen to the entire album several times before giving a review. You can't give a decent review listening to a one minute snipit.

That's why I didn't attempt to review it. Just a passing comment.

[CarneVaca]

nothing impresses you :xoxo:

Occasionally something comes along. I'll let you know. :laugh:

[jbrownsjr]

Occasionally something comes along. I'll let you know. :laugh:

:nod: (actually i'm the same way!) My mom used to say my middle name was "salt". LOL!


I will post a review soon. The first seven songs are solid. after that I get a little bored with it. Dan P is a gifted guitar player. He is like his aunt, very pleasantly subtle about his beauty. One song that really confuses me is "Forgiveniess" Love the chorus but don't understand the verse. It ends completely differently than it starts as well. Sort of like Christine does Aretha Franklin.

Overall I have more problems with the arrangements, than the singing. She doesn't sound 61 years old.


But some of the arrangements are a little to predictable. For instance "So Sincere" is a killer song great progressions for most of the song, (so why end on the I chord) The only thing i can think of is the lyric "so sincere" so she wanted it to be a simple ending. But man that song cooked so good for 3 minutes you almost have to end on a jazzier more beefy chord instead of a triad! Oh well I'm a poor piano player and Christine McVie is a keyboardist that can say "I think I'll make an album this week".

A nice surprise is backing vocalist David Issacs. His voice is really cool. Almost LB with a dash of Stevie.

[blinker12]

Here's one from New Zealand. Again not too favorable, I'm afraid.

The Nelson Mail (New Zealand)
July 15, 2004, Thursday
HEADLINE: Rumours of a comeback are exaggerated
BYLINE: HUNT Stewart
BODY:
Christine McVie - In the Meantime (Sanctuary)

Christine McVie was Fleetwood Mac's George Harrison. The classically-trained pianist was the quiet achiever of the band, and played no small part in the histrionics that enveloped it, but also no small part in the creative fusion responsible for bruised classics like Rumours.

McVie penned some of the band's catchiest material, even if the likes of Don't Stop, You Make Lovin' Fun and Songbird were all largely designed to rub poor old John McVie's nose in it.

Lindsey Buckingham and Stevie Nicks came and went, but McVie stuck with the band almost to the stony end. They parted company in 1997, and she was the only one absent from last year's Say You Will reunion.

McVie was most likely unwilling to give up her fittingly quiet and dignified life in England to rake over old coals with her old muckers, but obviously she hasn't lost the creative urge.

In the Meantime is well insulated from Fleetwood Mac (although John comes in for another pasting on Bad Journey) but suffers the distance.

Piano ballads like Songbird stood nicely on their own but the rest of McVie's Mac work was bolstered by Buckingham's technical alchemy. Lacking that edge, her lyrics are badly exposed by the generic production.

There are a couple of passably warm and breezy tracks like Calumny and Northern Star, which make the most of McVie's plaintive vocals, but the rest is a mix of flaccid MOR and forgettable blues-rock tracks like Liar.

McVie's attempt to prove she can foot it solo and make as much of a fist of it as Nicks should have been far better than this. God knows she's got the talent; maybe she just left it a little too late. Grade: C

[Gailh]

In the Meantime is well insulated from Fleetwood Mac (although John comes in for another pasting on Bad Journey) but suffers the distance.
:laugh: :laugh: :laugh: :laugh: :laugh: :laugh:

Wrong ex methinks! This would be more believable if they had done their research.


Gail

[jwd]

McVie penned some of the band's catchiest material, even if the likes of Don't Stop, You Make Lovin' Fun and Songbird were all largely designed to rub poor old John McVie's nose in it.

I'm not sure I understand that remark. Rub his nose in it? Maybe "You Make Loving Fun", which I think was written about Curry Grant. But both "Songbird" and "Don't Stop" are very positive and loving songs.

[ThePenguin]

>>I'm not sure I understand that remark. Rub his nose in it? Maybe "You Make Loving Fun", which I think was written about Curry Grant. But both "Songbird" and "Don't Stop" are very positive and loving songs.<<

Yeah, they are sweet, loving songs...but I guess maybe they were rubbing his nose in it in a 'Yeah I still love you, but I'm still leaving you, so get over it' sort of way. Songbird had to have been devastating for him to hear esp in those difficult days.

I guess i can see how someone might see YMLF to be 'rubbing his face in it' though.

-Lis

[Johnny Stew]

I actually think the reviews are dead on. After listening to all the song samples, I was unimpressed.

Admittedly though, you've never been a fan of Christine's music, and I'm sure that makes a big difference.

[Johnny Stew]

nothing impresses you :xoxo:

:laugh:
That's not true... he's endlessly impressed by Lindsey. Fleetwood Mac's ladies have to work overtime to please him though. ;) :laugh:

[David]

Admittedly though, you've never been a fan of Christine's music, and I'm sure that makes a big difference.I don't know whether Carne feels the same way about these songs (or the songs from 1984) as I do, but I just don't dig these Christine McVie solo albums. I love listening to her sing -- I always have -- & I think her vocals on this new one are excellent: she's experimenting a bit with her lower register. But the performances are stuck in some boring gray area between totally structured & improvised. So what you get is essentially jamming -- off-the-cuff riffs & licks -- within a constrained, structured arrangement. And I think that's what creates the monotony. The reviewer who called it all "flaccid MOR & forgettable blues-rock" is spot on, I think.

Chris has always benefited from a little weirdness, the little left-field touches that illuminate Hold Me & You Make Loving Fun & Never Forget, & she doesn't get that from her solo producers. If you replaced her vocals on these tracks with, say, those of Olivia Newton-John circa 1980, I don't think any of us would give this music a second listen. Running Through the Garden would fit right in here.

[macfan 57]

Admittedly though, you've never been a fan of Christine's music, and I'm sure that makes a big difference.

Exactly. It all depends what someone's biases are. That reviewer admitted a bias against Christine's songs anyway. He claimed that her Fleetwood Mac songs weren't that great, just that Lindsey made them listenable. Obviously someone like that isn't going to like a Christine McVie solo album. You could find another reviewer with a different perspective who'd come up with a completely different review.

By the way, "Songbird" is not about John. According to Chris in that Rumours Classic Albums DVD, "Songbird" was for everyone in the band, not for just John specifically. "Don't Stop" is a loving, hopeful song for John. But, I do agree that YMLF is kind of a dig at John since it was about Curry Grant, her boyfriend at the time. Imagine how John felt hearing that song played live show after show, especially during the Rumours tour.

[ThePenguin]

She has never outrightly said Songbird is for John, that's true. But in the Japan 1977 backstage stuff, where she is 'interviewing herself' while sitting next to Curry-the guy keeps asking her who it's about, and she stubbornly evades the question. Back then she never said 'it was for everybody.' ....She said 'it's a love song, it's just me and the piano'-- and that it was 'intensely personal'. The guy presses on, "It's you and...?" and she laughs and says "It's me and my dog." To which you can hear Curry mutter in the background, "Thanks." (That comment is actually quite funny. :-) ) She says "I really don't wanna get into more than that, I really don't."

If I were John I would want to think that song was for me. But I'm a romantic sap. :-) He has said several times that hearing Chris do it live makes him cry, that it 'evokes memories.' If it affects strangers in such a powerful way, imagine what he felt hearing that. That's the magic of this band, their little real life stories that affect the way WE hear the songs. Am I making sense? let me shut up. :-P

-Lis

[Johnny Stew]

The reviewer who called it all "flaccid MOR & forgettable blues-rock" is spot on, I think.

If you replaced her vocals on these tracks with, say, those of Olivia Newton-John circa 1980, I don't think any of us would give this music a second listen. Running Through the Garden would fit right in here.

You think "Running Through The Garden" is "flaccid" and "forgettable"?
I find it to have a nice bit of quirkiness to it. Of course, the demo is somewhat quirkier than Lindsey's production of it, and oddly so.
But even as it is on 'Say You Will,' it doesn't strike me at all as the kind of song you might find Olivia Newton-John singing.

At any rate, I don't own Christine's new album yet (I'm trying to patiently wait for the American release, to help insure respectable sales here on this side of the Atlantic), but from the tracks and snippets I've heard, I think it has more substance than her 1984 album.
I guess I just don't expect edginess or quirkiness from Christine McVie... that's not her style... so I don't miss it if it's not there. :shrug:

[macfan 57]

She has never outrightly said Songbird is for John, that's true. But in the Japan 1977 backstage stuff, where she is 'interviewing herself' while sitting next to Curry-the guy keeps asking her who it's about, and she stubbornly evades the question. Back then she never said 'it was for everybody.' ....She said 'it's a love song, it's just me and the piano'-- and that it was 'intensely personal'. The guy presses on, "It's you and...?" and she laughs and says "It's me and my dog." To which you can hear Curry mutter in the background, "Thanks." (That comment is actually quite funny. :-) ) She says "I really don't wanna get into more than that, I really don't."

If I were John I would want to think that song was for me. But I'm a romantic sap. :-) He has said several times that hearing Chris do it live makes him cry, that it 'evokes memories.' If it affects strangers in such a powerful way, imagine what he felt hearing that. That's the magic of this band, their little real life stories that affect the way WE hear the songs. Am I making sense? let me shut up. :-P

-Lis

Yes, you make perfect sense, Lis. :D While I still tend to think "Songbird" was written for the band in general, I definitely think John believes it was written for him. Maybe even Curry Grant thought it might be about him at that time, too. :D I'm looking foward to reading part 2 of the John/Chris story. :)

[ThePenguin]

>>I'm looking foward to reading part 2 of the John/Chris story. <<

Thanks! Marty and I got about half of it formatted last night w/ the pictures etc-- and the second half should be done tonight. So within a day or so, Part Two will be up. Sorry it has taken forever! :-)

-Lis

[Gailh]

from the tracks and snippets I've heard, I think it has more substance than her 1984 album.
I guess I just don't expect edginess or quirkiness from Christine McVie... that's not her style... so I don't miss it if it's not there. :shrug:

I don't think the 1 minute snippets really do the album justice. I think it is more muscular than the 1984 album.

But you don't buy a Christine album expecting a lot of experimentation - you might as well say "that Morrisey would be OK if he didn't write such depressing lyrics" that's how he is. Or that Nigel Kennedy would be great if he gave up playing that daft violin.

This is Christine's style - if you don't like it OK don't buy the damn record.

Gail

[Claudia]

>>I'm looking foward to reading part 2 of the John/Chris story. <<

Thanks! Marty and I got about half of it formatted last night w/ the pictures etc-- and the second half should be done tonight. So within a day or so, Part Two will be up. Sorry it has taken forever! :-)

-Lis

Yay! I can't wait! I liked the first part so much!! :D

[macfan 57]

>>

Thanks! Marty and I got about half of it formatted last night w/ the pictures etc-- and the second half should be done tonight. So within a day or so, Part Two will be up. Sorry it has taken forever! :-)

-Lis

That's great! After you're all done, I'm going to print out the entire thing. :)

[jwd]

The Penguin:

Yeah, they are sweet, loving songs...but I guess maybe they were rubbing his nose in it in a 'Yeah I still love you, but I'm still leaving you, so get over it' sort of way. Songbird had to have been devastating for him to hear esp in those difficult days.

Lis, I know what you're saying. But I'd much rather have an ex of mine writing loving sentiments about me rather than hateful and hurtful ones. Take for example lines like, "loving you isn't the right thing to do", "shacking up is all you want to do", and "you can go your own way". That to me is "rubbing my nose" in it. Those lyrics sting and hurt. I'd much rather hear Chris' words of positive sentiment from "Don't Stop" and "Songbird" than those any day. Even though "You Make Loving Fun" wouldn't be something I'd want to hear if I was John, it still wasn't a personal attack against him. :)

[macfan 57]

I don't think the 1 minute snippets really do the album justice. I think it is more muscular than the 1984 album.

But you don't buy a Christine album expecting a lot of experimentation

This is Christine's style - if you don't like it OK don't buy the damn record.

Gail

I agree. If she had done something more weird or quirky, that would have been a major turn off for me. I'm very happy with her style just the way it is.

I did like her 1984 solo album alot, but In The Meantime is far better, in my opinion. It kind of reminds me of Paul McCartney's first solo album that he made right after the Beatles broke up with just him & his wife. Only this time it's mainly Chris & Dan working together. Both albums are very simple, but very effective & very good.

[HomerMcvie]

If she had done something more weird or quirky, that would have been a major turn off for me. I'm very happy with her style just the way it is.
Exactly. And THAT'S what's missing from Say You Will. The balance. I know I sound like a broken record here, but Chris was always the balance. Even smoothing out S & L's songs. Was it sweet? It sure was. :angel:

[Gailh]

Exactly. And THAT'S what's missing from Say You Will. The balance. I know I sound like a broken record here, but Chris was always the balance. Even smoothing out S & L's songs. Was it sweet? It sure was. :angel:

My sentiments exactly!

Gail

[Cristian]

Exactly. And THAT'S what's missing from Say You Will. The balance. I know I sound like a broken record here, but Chris was always the balance. Even smoothing out S & L's songs. Was it sweet? It sure was. :angel:

Homer, you're totally right. I sense the same feelings in her album than I did in her Fleetwood Mac contributions (especially the later ones like Time). I find the album cohesive, sweet and dreamy. And a great one at that. I just loved it. I don't get the newspaper reviews... OK for them I suppose. Most of the times they don't even listen to the album.

[jbrownsjr]

I don't know whether Carne feels the same way about these songs (or the songs from 1984) as I do, but I just don't dig these Christine McVie solo albums. I love listening to her sing -- I always have -- & I think her vocals on this new one are excellent: she's experimenting a bit with her lower register. But the performances are stuck in some boring gray area between totally structured & improvised. So what you get is essentially jamming -- off-the-cuff riffs & licks -- within a constrained, structured arrangement. And I think that's what creates the monotony. The reviewer who called it all "flaccid MOR & forgettable blues-rock" is spot on, I think.

Chris has always benefited from a little weirdness, the little left-field touches that illuminate Hold Me & You Make Loving Fun & Never Forget, & she doesn't get that from her solo producers. If you replaced her vocals on these tracks with, say, those of Olivia Newton-John circa 1980, I don't think any of us would give this music a second listen. Running Through the Garden would fit right in here.

David,

I do understand what you mean about the conservative nature of Chris's solo work, especially in the area of structure. She should jamn a lot more, much like Steve Winwood's band is doing right now. And the reason she should be improvising more is because she's damn good at it. Her keyboard technic is so unique that it would be amazing to see her improv for a 10 min jam session. there are some songs are on this new album with great mixes of acoustic guitar and keys. And some of George Hawkins bass riffs are great too. But this album as solid as it is could have been much better if these ideas were taken out of the constraints.

But don't you think a lot on Say you will is much the same way. What's the World coming too is so forgettable that I skip over it 1/4 of the way thru. Further, even with LB's genius production skills, the chord progressions in FMac can be just as boring and elementary. I honestly think this Meantime Album sounds a lot like FMac. Poppy, catchy and I IV V. With my main point being that none of these writers is Wayne Shorter or Pat Metheny.

[jbrownsjr]

Oh one more thing David

What did you think of Calumny. I think her nephew wrote it. I really love it.

[blinker12]

Here are a few new reviews (the first is only one line long); neither too spiffy, I'm afraid. :(


From the Edmonton Sun (Alberta, Canada), 8/22/2004:

IN THE MEANTIME: Christine McVie (Koch) -- Voice sounds like Annie Lennox; songs, alas, do not. 2 1/2 out of 5


From the Ottawa Sun, August 22, 2004:

In the Meantime
Christine McVie
Sun Rating: 2 1/2 out of 5

Christine McVie has picked up the brief solo career interrupted by her Fleetwood Mac duties with a solo album of sturdy, unexceptional adult-oriented rock.
McVie's strong, sultry voice is wedded to a capable backing band (including her nephew Dan Perfect, who in addition to playing guitar helped write songs, mix and produce the album).
As for the songs, little leaps out. Only with the accusatory Liar (the fourth-last song) does the album start to simmer.
Fans of Fleetwood Mac may want to catch up with what the singer is doing these days, but no one else need run to the record store.
-- Andrew Carver

[face of glass]

Well well. Someone in Finland has now finally given the album a review, two-and-a-half months after the European release date. :rolleyes:
Rough translation:

Etelä-Suomen Sanomat (News of the Southern Finland)
9/5/2004
Writer: Jarno Hynninen.

Therapy of a mature woman

Christine McVie: In The Meantime
(Sanctuary/BMG)
(three stars out of five)

Christine McVie was no more than a guest on the latest studio comeback of Fleetwood Mac and many presumed that she would soon be retiring for good. In her mature age, however, McVie surprisingly started a solo career while at the same time her old bandmates were trekking through the arenas of the world.
In her best days McVie wrote megahits like "Don't Stop", "Little Lies" and "You Make Lovin' Fun" for Fleetwood Mac so she's not moving on with light merits.
In The Meantime has obviously been done on a smaller scale than the albums of the parent group, both for better and for worse. The overblown world-embracing Stevie Nicks contributions are not here but at the same time McVie herself turns out to be a surprisingly dull songwriter. Some of these light therapy songs in the "from a middle-aged woman to a middle-aged woman" style are passable but twelve schlagers is already too much.

[David]

But this album as solid as it is could have been much better if these ideas were taken out of the constraints.Yep. To me, in pop music it's all about the track. That would include the song itself (words & chords), its instrumental arrangement & its vocal arrangement. It all adds up somehow. The players that Chris worked with on this album are solid, workaday, professional -- but not very inspired in their approach. I can picture Christine handing them the song on paper -- words & maybe chords -- & they all just start playing, trying to get a feel for the pocket, the groove. What I'm trying to get at in my criticism is that Chris & her producers & players don't seem to get much beyond that point; they don't get to the point at which alternative ideas are flying right & left, & they're trying this & that, maybe doing most of the work at that point at the mixing board. There isn't much "shaping" of the track. Tracks aren't being built; they're just being jammed to. And a certain monotony sets in when all the tracks amble along too nicely.
But don't you think a lot on Say you will is much the same way.I think "Say You Will" has its own problems pertaining to conventionality & other things.
Further, even with LB's genius production skills, the chord progressions in FMac can be just as boring and elementary. I honestly think this Meantime Album sounds a lot like FMac. Poppy, catchy and I IV V. With my main point being that none of these writers is Wayne Shorter or Pat Metheny.Yes, I see what you're saying, but I'm not ever terribly concerned with a I-IV-V in a pop song, & I rarely wish it otherwise. To me, the song comes alive as a track, & it can have any conventional progression; it will either bristle with energy & live in the mind, or fall flat. I'm also not terribly concerned with risk-taking improvisation in a pop track, either. So the jazz analogy doesn't really pinpoint it for me, either. What I might say instead is that I wish the thinking behind the production were different.

[jbrownsjr]

Yep. To me, in pop music it's all about the track. That would include the song itself (words & chords), its instrumental arrangement & its vocal arrangement. It all adds up somehow. The players that Chris worked with on this album are solid, workaday, professional -- but not very inspired in their approach. I can picture Christine handing them the song on paper -- words & maybe chords -- & they all just start playing, trying to get a feel for the pocket, the groove. What I'm trying to get at in my criticism is that Chris & her producers & players don't seem to get much beyond that point; they don't get to the point at which alternative ideas are flying right & left, & they're trying this & that, maybe doing most of the work at that point at the mixing board. There isn't much "shaping" of the track. Tracks aren't being built; they're just being jammed to. And a certain monotony sets in when all the tracks amble along too nicely.
I think "Say You Will" has its own problems pertaining to conventionality & other things.
Yes, I see what you're saying, but I'm not ever terribly concerned with a I-IV-V in a pop song, & I rarely wish it otherwise. To me, the song comes alive as a track, & it can have any conventional progression; it will either bristle with energy & live in the mind, or fall flat. I'm also not terribly concerned with risk-taking improvisation in a pop track, either. So the jazz analogy doesn't really pinpoint it for me, either. What I might say instead is that I wish the thinking behind the production were different.

I mostly understand what you are saying. I'm not well versed in production so some of it is lost on me. But I do picture Chris and her band staying highly conservative. Thank God they played with the backing vocals a little.

[macfan 57]

Here's a review from the New York Post. This critic got it wrong as far as what some of the songs are about, but he generally liked the album. He gave it 3 out of 4 stars.


CHRISTINE MCVIE: 'IN THE MEANTIME'

By DAN AQUILANTE


CHRISTINE MCVIE
"In the Meantime"
Koch Records

When Fleetwood Mac last toured, singer/songwriter Christine McVie was missing in action, reportedly tired of making music and touring.

Well, perhaps she was just tired of the group - because McVie has just crafted an eminently listenable disc of personal songs ranging from sturdy blues-rock ballads to breezy pop.

Fleetwood Mac fans will easily hear that legendary band's influence in McVie's tunes - most notably in such songs as "So Sincere" and the funk-spiced "Liar."

As for clues at to why McVie didn't return to her old gang, check out "Bad Journey" and "Sweet Revenge." It should also be noted that there's no sign of any help from her former bandmates anywhere on "In the Meantime."

[macfan 57]

Here's a pretty nice review from today's USA Today. In The Meantime got 3 out of 4 stars.

Christine McVie, In the Meantime (* * *) The breezy warmth and understated poignance of McVie's singing and songs helped lend structure and polish to the pop gems Fleetwood Mac released in the '70s and '80s. On her first solo outing in 20 years, she performs with her usual supple elegance, and also offers sassy, playful diversions such as Anything Is Possible and the buoyant Friend. There are a few tepid moments, but Meantime proves that an artist can age gracefully without losing her zest for life or art. —Elysa Gardner

[CFR]

Here's a pretty nice review from today's USA Today. In The Meantime got 3 out of 4 stars.

Christine McVie, In the Meantime (* * *) The breezy warmth and understated poignance of McVie's singing and songs helped lend structure and polish to the pop gems Fleetwood Mac released in the '70s and '80s. On her first solo outing in 20 years, she performs with her usual supple elegance, and also offers sassy, playful diversions such as Anything Is Possible and the buoyant Friend. There are a few tepid moments, but Meantime proves that an artist can age gracefully without losing her zest for life or art. —Elysa Gardner

Now that is about the most accurate and truthful interpretation of Christine, her music and her new album so far.

The words warmth, poignance, polish, elegance, sassy and graceful are extremely accurate for her and her efforts here.

:blob1:

[aleuzzi]

I agree...Elysa Garnder's assessment is the most balanced and sensitive review I have seen yet. And USA Today has wide distribution, so hopefully people will see this instead of the ridiculous "review" from Findland and the vituperative (though well-written) one from Philly.

Tony Leuzzi




Christine McVie, In the Meantime (* * *) The breezy warmth and understated poignance of McVie's singing and songs helped lend structure and polish to the pop gems Fleetwood Mac released in the '70s and '80s. On her first solo outing in 20 years, she performs with her usual supple elegance, and also offers sassy, playful diversions such as Anything Is Possible and the buoyant Friend. There are a few tepid moments, but Meantime proves that an artist can age gracefully without losing her zest for life or art. —Elysa Gardner

[macfan 57]

I agree...Elysa Garnder's assessment is the most balanced and sensitive review I have seen yet. And USA Today has wide distribution, so hopefully people will see this instead of the ridiculous "review" from Findland and the vituperative (though well-written) one from Philly.



I agree about the USA Today review. That one made me smile when I read my newspaper this morning. But, I wouldn't worry about that review from Finland. I would think only a few people on the Ledge have seen that one. :rolleyes: