Quote:
Originally Posted by aleuzzi
I remember reading this article a few years back. I think now what thought then: it's an interesting thesis that essentially ignores McVie's work beyond the Buckingham-McVie collaborative framework. The notion that McVie's work post Tusk is glossier and less-intense is only partially correct. Admittedly, the pure pop perfection of "Little Lies" and "Everywhere" do not share the same emotional heat of Warm Ways or YMLF, but they aren't meant to. They were consciously engineered ear worms. But I think about "Save Me," "As Long As You Follow," "Love Shines," "Hollywood," "Nights in Estoril," "Sooner or Later" and "All Over Again"--all stellar McVie vocals with genuine emotional heat.
In a sentence, I love the woman's music within and beyond the Rumours-era. Her value is much greater than its relationship to Stevie and Lindsey's contributions.
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Love Shines, and ALAYF should have been major hits. They both make all my greatest hits CDs.
As much as $tevie and Lindsey got more attention in the band, Christine was the secret weapon. She's the reason they were radio friendly. It's too bad she doesn't get more recognition than she does.