I would hope she would be proud of her TITN material. It's some really good stuff.

Here is the Mojo article in this thread. I scanned the interview:

http://www.ledge.fleetwoodmac.net/sh...ad.php?t=51151

Christine said that Rumours is her favorite. The White Album is #2 and Mystery to Me is in distinct third place.

Michele

Christine said,

Michele

Quote:
"Well I always had a bit of a penchant for Mystery To Me. I loved a lot of Bob Welch's songs, but I'm afraid it's a distinct third place to Rumours with the White album sitting at second place."


Maybe it's a British turn of phrase, but to my ear "I loved a lot of Bob Welch's songs, but it's a distinct third place to Rumours" sounds ambiguous, like she meant Rumours is in third place. :shrug:

Over and Over is her masterpiece.

Honey Hi!

Think About Me!

Brown Eyes!

Never Forget!

wow

TUSK towers... but then there's Rumours and White... in which she mastered the pop song.

Over and Over on the LIve album has that amazing crescendo at the end. It's amazing!

I agree. With two big hits for her Everywhere and Little Lies, she outta be very proud of her work on that album. Her teamwork with Lindsey is great, too.

Thanks, Michele, didn't think to look down in the Christine forum.

It does sound a bit confusing. Maybe she said it differently, but in the article it was worded in a different way. :cool:

I have a tossup between Tango and Rumours and Mirage..I do miss her in the band .


What gets me is those tunes of Christine's should of done better on the charts like Dreams did..

I think American and British usage is the same on this one. But yes, of course, you're right that interpretation depends on language style and usage for each listener or reader.

To me, when you place second or third TO anything that thing is in the number one position, whether it's a sports contest or beauty pageant. Anything that comes in "to it" is a runner up.

Otherwise, she would have said, "Rumours comes in at distinct third place," if she meant that Mystery to Me was #1.

Michele

It's surprising nobody voted for "Time" whilst there was still time. I'm sure I would.

I agree. I don't see anything ambiguous about it. Seems pretty clear MTM is 3rd place.

As I say, it's perhaps a turn of phrase in my part of Britain that threw up the ambiguity for me.

As of now, TITN leads. wow..

Not to say TITN shouldn't be leading (votes are votes) but in fairness, the Rumours-era albums have way more exposure, some of the earlier album (MTM? Heroes?) couldn't even be properly supported because of the fake Fleetwood Mac fiasco.

TITN had, like, 6-7 singles released from it, which is incredible and a testament to its appeal no doubt. But there are also more factors there I think, and maybe things would look different if the catalog had more even exposure. I know my opinion would have been different a few years ago, before I had given myself time to get to know the early 70's albums.

(Not that everyone would love them, but some people might!)

For each Mac album after Rumours one of the songwriters was weak:

- on Tusk it was Christine
- on Mirage it was Lindsey
- on Tango it was Stevie

What were the 6-7 singles? I remember

Big Love
Seven Wonders
Little Lies
Everywhere

were there other 45's?

Well I'm pretty sure "Family Man" was released, its B side was "Down Endless Street". If we trust Almighty Wikipedia "Family Man" charted between 50-100 in both the US and UK. "Isn't It Midnight" hit #60 in the UK (B-side "Mystified") but failed to chart on the top 200/wasn't released in the US (it was top 20 on the US rock chart though). Both were released in parts of Europe too, I think. I'm not sure if "Tango in the Night" was officially released in the US but if it was it failed to chart on the top 200 and probably wasn't released at all in the UK or Europe. It did hit top 30 on the US rock chart though.

Since TITN seems very popular in Europe/UK I just accounted for it all together.

I wonder how Isn't It Midnight might have done if it was released first.

I love that Family Man charted in the UK, but then so did 'Oh Diane' (indeed higher up the charts) and yet the former was included in UK 1-disc version of The Very Best Of, but not the latter. :p

For what its worth...
 

http://en.wikipedia.org/wiki/Tango_in_the_night

http://en.wikipedia.org/wiki/Isn%27t_It_Midnight

It hit #23 in Ireland.

It's all coming back to me now.. (the additional singles.. ) because I bought them for the B sides.

12 years later, and I still agree with the final result of this poll.

We are so glad you do!!!! :p

Do I detect a hint of sarcasm? :lol:

Long live theeee resurrector!

Just looking back at tabrun’s comment about Christine being the weakest writer on Tusk….omg!!!!
Brown Eyes, Over and Over, Think About Me, Never Forget, Honey Hi….all gorgeous songs. Even Never Make Me Cry was sweet, if a little under-cooked.
I certainly wouldn’t consider her contributions to be inferior to Lindsey’s.

Her Tusk offerings are incredibly strong. "Never Forget" is a very underrated gem and I've been listening a lot to "Never Make Me Cry" recently.

In terms of my picks, I would probably go with Heroes Are Hard to Find first followed by Mystery to Me. In fact, my top four favorite songs on Heroes Are Hard to Find are probably all Christine McVie songs. The title track is a peppy tune with infectious horn licks, "Come A Little Bit Closer" is one of her best ballads, "Bad Loser" is one of the few angry songs in her discography and possesses an incessant tribal tom-tom beat, and "Prove Your Love" is an understated slow-burner.

Surprisingly, I actually think Rumours might be the album with Christine's McVie's worst collective body of work. Of her four offerings (not counting "The Chain") "You Make Loving Fun" is the only one of hers that I really enjoy from her. The remaining tracks, while by no means bad, are ones that I'm most likely to skip, particularly "Songbird".

You make some great points. This is an impossible question because Chris's songs are always or usually the best ones on the albums. She finds her footing on Bare Trees and then every album she really grows. Heroes is sensational because of her variation of the 4 contributions. They were equally as good on the White Album, Rumours, Tusk, Mirage, etc. She shines on every album so this is an impossible question for me to answer.
My hunch is why her songs on Tusk don't get recognized as much is because she sort of disappears on the album for about 7 songs.
I could never say that her songs are better this album or that album post Bare Trees. I could not agree or disagree that her songs are better on the White album than Heroes. I could not agree or disagree her songs on the White album are better than Rumours either. I could not agree or disagree her Tusk songs are better than Mirage.

Yes, I would say this is just impossible to judge. She is strong on certain records but for different reasons.

Objectively I’d say Tango. She had big hits. A couple of her songs on that record have become ‘standards’. But you know what?…. I’ve become rather bored with both Little Lies and Everywhere. Lies in particular is obviously so hooky but lacks any depth.
Her rumours songs are great (even The Chain wouldn’t exist without her foundations for the song). But maybe we are too familiar with them. I’ve heard people call Songbird boring. Well…it’s Songbird. It’s a classic!!! If I’d never heard it before I’d think it was amazing. But yeah, it’s skippable for me now (along with Don’t Stop). So maybe it’s unfair and impossible to objectively judge those songs.
Future Games and Bare Trees shouldn’t really count as she had so few songs on those records.
MTM- A 10/10, a couple of 8’s and a 7.

You know what? I think her 2 best may be from HAHTF, Tusk, White and maybe even….Penguin.

It's a line from "Devil Wears Prada" and yes... a slight hint. :woohoo:

I had the same thought. I feel Lindsey's are the weakest and Stevie and Christine sort of save the album.

Yes. but it was Lindsey who was the driving force behind making a completely different album. His songs would then be the most different. If they're the weakest, is it a bit of a contradiction to say it was the right thing to do?

Not everyone believes Lindsey's "force" was driving.

Her Tusk songs are excellent. The reason some people think they’re “weaker” is because of (Lindsey’s) decision to pare back on arrangements and create a spacier, sparer sound. Christine and Stevie get one really lush tune each: Sara and Brown Eyes—and according to Ken, a lot of the work for Sara was accomplished by Hernán Rojas. The rest of their tunes sound by turns raunchier (Think About Me, Angel, Sisters) and ultra spare (Storms, Never Make Me Cry).

It’s clear, to my ears at least, and through my study of the songs through sheet music, that Never Forget, Think About Me, Over and Over, and Honey Hi (to pick just four, though all six would work) are entirely comparable to Christine’s Mirage songs. The only difference are the arrangements. And in the case of Never Forget, in terms of craft, the tune ranks pretty high in her overall catalogue.

I have said nothing so far about her voice, which was flawless on Tusk. A pure and potent alto…

Hernan certainly played a key role in championing "Sara" and encouraging the rest of the band to record it. Up through the Rumours album, Lindsey was very involved with the arrangements of Stevie's songs. He even convinced Ken and the rest of the band to record the basic tracks of "I Don't Want to Know" in Stevie's absence. By the time Stevie arrived, one of the only things that needed to be accomplished was the addition of Stevie's vocals, a few more overdubs, plus the mixing and mastering. Starting with the Tusk sessions Stevie began working with Tom Moncrieff and recorded various demos with him, including "Smile at You" and "Sara". Based on accounts from Hernan, Lindsey was one of the final band members to actually listen to "Sara" and overdub his parts - Mick had already recorded his drum track and I believe that John's bass had been added at that point too.

Lindsey certainly exerted his influence on certain tracks, with "Never Make Me Cry" being a prime example where the piano was stripped in favor of several guitars, but songs like "Think About Me" and "Angel" are very much ensemble pieces. Granted, Lindsey still managed to place his stamp on both songs by recording very prominent vocals on the former and replacing the Chamberlin solo originally found on the bridge with a fuzz guitar solo. As demonstrated in the Tusk documentary, he also managed to land a more prominent role on "Angel".

I still wonder if he was the "force" behind the decision to include 7 versions of I Know I'm Not Wrong in the Tusk Deluxe edition.

I think he wanted twelve…

He should have produced Thoughts on a Grey Day.