In the Meantime newspaper reviews

[macfan 57]

Originally Posted by 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

Yes, you make perfect sense, Lis. 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. 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]

Originally Posted by Johnny Stew

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.

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]

Originally Posted by 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

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

[macfan 57]

Originally Posted by ThePenguin

>>

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]

Originally Posted by Gailh

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.

[Gailh]

Originally Posted by HomerMcvie

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.

My sentiments exactly!

Gail

[Cristian]

Originally Posted by HomerMcvie

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.

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]

Originally Posted by David

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.
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]

Originally Posted by jbrownsjr

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.