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Christine Anne McVie (/məkˈviː/; née Perfect; 12 July 1943 – 30 November 2022) was an English musician. She was the keyboardist and one of the vocalists and songwriters of the rock band Fleetwood Mac.

McVie was a member of several bands, notably Chicken Shack, in the mid-1960s British blues scene. She initially began working with Fleetwood Mac as a session player in 1968, before officially joining the band two years later. Her first compositions with Fleetwood Mac appeared on their fifth album, Future Games. She remained with the band through many changes of line-up, writing songs and performing lead vocals before partially retiring in 1998.

McVie was described as "the prime mover behind some of Fleetwood Mac's biggest hits"[1] and eight songs she wrote or co-wrote, including "Say You Love Me", "Don't Stop", "Everywhere" and "Little Lies", appeared on Fleetwood Mac's 1988 Greatest Hits album.[2] She appeared as a session musician on the band's last studio album, Say You Will. McVie also released three solo studio albums and recorded a duet album with Lindsey Buckingham. McVie was noted for her soulful contralto voice.[3][4][5]

As a member of Fleetwood Mac, McVie was inducted into the Rock and Roll Hall of Fame and in 1998 received the Brit Award for Outstanding Contribution to Music.[6][7] In the same year, after almost 30 years with Fleetwood Mac, she left the band and lived in semi-retirement, releasing a solo album in 2004. She appeared on stage with Fleetwood Mac at the O2 Arena in London in September 2013 and rejoined the band in 2014 prior to their On with the Show tour.[8]

McVie received a Gold Badge of Merit Award from BASCA, now The Ivors Academy, in 2006.[9] She received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors in 2014 and was honoured with the Trailblazer Award at the UK Americana Awards in 2021.[10][11] She was also the recipient of two Grammy Awards.

Early life

[edit]

McVie was born on 12 July 1943 in the village of Greenodd,[12] in the Furness area of Lancashire (now present day Cumbria). She grew up in the Bearwood area of Smethwick near Birmingham.[13][14] Her father, Cyril Percy Absell Perfect, was a concert violinist and music lecturer at St Peter's College of Education, Saltley, Birmingham, and taught violin at St Philip's Grammar School, Birmingham. Her mother, Beatrice Edith Maud (née Reece), was a medium, psychic, and faith healer. McVie's grandfather was an organist who had performed at Westminster Abbey.[15]

McVie was introduced to the piano when she was four, but did not study music seriously until the age of 11 when she was reintroduced to it by a local musician who was a friend of her brother John.[16] She continued classical training to the age of 15, but shifted her musical focus to rock and roll when her brother acquired a Fats Domino songbook.[17] Other early influences included the Everly Brothers.[18]

Career

[edit]

Early music

[edit]

McVie studied sculpture at Moseley School of Art in Birmingham[19] for five years with the aim of becoming an art teacher. While there she met budding musicians in Britain's blues scene.[16] Her introduction to performing music came when she met Stan Webb and Andy Silvester, who were in a band called Sounds of Blue. Knowing that McVie had musical talent, they invited her to join them as the band's bassist.[20][21] She also sang with Spencer Davis, who at the time was studying at the same art school as McVie.[21] By the time McVie graduated from art college, Sounds of Blue had split up. She did not have enough money to launch herself into the art world and moved to London where she worked briefly as a department-store window dresser at Dickins & Jones.[20][21]

Chicken Shack

[edit]

In 1967, McVie heard that Silvester and Webb were forming a blues band, to be called Chicken Shack, and were looking for a pianist. She contacted them and was invited to join the band as pianist, keyboard player and backing vocalist. Chicken Shack's debut release was "It's Okay with Me Baby", which was written by and featured McVie.[20] She stayed with the band for two studio albums, and her genuine feel for the blues became evident in her Sonny Thompson-style piano playing and her authentic "bluesy" voice.[22]

Chicken Shack had a hit with a cover of Ellington Jordan's "I'd Rather Go Blind", which featured McVie on lead vocals.[23] McVie received a Melody Maker award for UK's best female vocalist in 1969 and again in 1970. She left Chicken Shack in 1969, having married Fleetwood Mac bassist John McVie a year earlier, feeling that she would not see her husband if they were in different bands.[24]

Fleetwood Mac

[edit]
Main article: Fleetwood Mac

McVie was a fan of Fleetwood Mac and while she was touring with Chicken Shack the two bands would often meet. Both bands were signed to the Blue Horizon label, and McVie played piano as a session musician on Peter Green's songs on Fleetwood Mac's second studio album, Mr. Wonderful.[25][26] Encouraged to continue her career, she recorded a debut solo studio album, Christine Perfect, which was later reissued as The Legendary Christine Perfect Album. She was invited to join Fleetwood Mac as a keyboard player in 1970 after the departure of founding member Peter Green, having already contributed piano and backing vocals, uncredited, to their next album, Kiln House[27] and provided the artwork for the sleeve. The band had been struggling to manage without Green and had needed another musician to fill in their sound.[27][28] McVie had been a huge fan of the Peter Green-era Fleetwood Mac[29] and learned the songs for Kiln House during rehearsals.[27]

McVie became an integral member of Fleetwood Mac as keyboard player, songwriter and female lead vocalist. Before she joined there had been talk of the band splitting up, but Fleetwood said later that "Christine became the glue [that held the band together]. She filled out our sound beautifully."[27] The first studio album on which McVie played as a full band member was Future Games in 1971. This was also the first album on which she worked with American guitarist and songwriter Bob Welch, who had replaced founding member Jeremy Spencer.[26]

McVie moved with the rest of Fleetwood Mac to California in 1974,[27] where Welch left after a final album, Heroes are Hard to Find, and Stevie Nicks and Lindsey Buckingham of Buckingham Nicks joined the band. The line-up now contained two female lead vocalists who also wrote songs. McVie bonded instantly with Nicks and the two women found their voices blended perfectly.[27] McVie wrote and sang lead on four tracks on the first studio album of the new line-up, Fleetwood Mac (1975): "Warm Ways", "Over My Head", "Say You Love Me" and "Sugar Daddy", and had a joint songwriting credit with Buckingham for "World Turning". The album produced several hit songs, with McVie's "Over My Head" and "Say You Love Me" both reaching the Billboard top-20 singles chart. "Over My Head" put Fleetwood Mac on American radio and into the national top 20.[30]

A photo of McVie sitting down
McVie in 1977

In 1976, McVie began an on-the-road affair with the band's lighting director, Curry Grant,[31] which inspired her to write "You Make Loving Fun", a top-10 hit from their next album, Rumours (1977).[32] Her biggest hit from the album was "Don't Stop", which reached the top five.[33] Rumours also included McVie's "Songbird", a slow ballad which featured McVie playing piano and Buckingham accompanying on acoustic guitar.[34]

By the end of the Rumours tour, the McVies were divorced. Christine had a US top-20 hit with "Think About Me" from the 1979 double studio album Tusk, which did not match the success of the Rumours album.[35] After the Tusk tour the band took time apart, reuniting in 1981 to record the studio album Mirage at the Château d'Hérouville's studio in France. Mirage, released in 1982, returned the band to the top of the US charts and contained the top-five hit "Hold Me", co-written by McVie. McVie's inspiration for the song was her tortured relationship with Beach Boys drummer Dennis Wilson.[36] Her song "Love in Store" became the third single from the album in the United States, peaking at number 22 in early 1983.[37]

McVie's second solo studio album, Christine McVie, released in 1984, included the hits "Got a Hold on Me" (number 10 US pop, number one adult contemporary and number one Mainstream Rock Tracks) and "Love Will Show Us How" (number 30 US pop). A third single, "I'm the One", was released but did not chart. McVie said of the album, "Maybe it isn't the most adventurous album in the world, but I wanted to be honest and please my own ears with it."[38]

McVie married keyboardist Eddy Quintela on 18 October 1986 and they co-wrote songs which featured on subsequent Fleetwood Mac albums. She rejoined Fleetwood Mac in 1987 to record the Tango in the Night studio album, which became the band's biggest success since Rumours and reached the top five in the UK and US. McVie's "Little Lies", co-written with Quintela, was the biggest hit from the album. Another McVie single from the album, "Everywhere", reached number four in the UK, the band's third-highest UK chart peak. The single peaked at number 14 in the U.S.[39] In 1990, the band (now without Buckingham) recorded Behind the Mask, which reached Gold status in the US[40] and McVie's song "Save Me" made the US top 40.[41] The album entered the UK album chart at number one and reached Platinum status.[42][43] McVie's "Skies the Limit", the second US single from the album, was a hit on the adult contemporary chart.[44]

McVie's father, Cyril Perfect, died in 1990 while she was on the Behind the Mask tour and she decided to retire from touring.[45] She remained with the band and wrote and recorded a new track, "Love Shines", for the 1992 box set 25 Years – The Chain, and five songs for the 1995 studio album Time. Nicks had by now departed. In the mid-90s, Fleetwood and John McVie worked with Buckingham on one of his solo projects and Christine McVie provided vocals and keyboards on some of the tracks. A reunion was proposed, Nicks rejoined the band, and Fleetwood Mac recorded the 1997 live album, The Dance, which reached number one on the US album charts.[46] McVie returned to touring and performed for the group's 1998 induction into the Rock and Roll Hall of Fame, as well as the Grammy Awards show and the Brit Awards in the UK. She decided not to continue with Fleetwood Mac after 1998 and said this was because she had developed a phobia about flying.[45]

1999–2014: Hiatus from Fleetwood Mac and semi-retirement

[edit]

After The Dance, McVie returned to England to be near her family and stayed out of public view until 2000, when she accepted an honorary doctorate in music from the University of Greenwich.[47] Five years after McVie left Fleetwood Mac, she and Quintela were divorced.[48]

In a 2004 interview, McVie admitted to not listening much to pop music anymore and stated instead a preference for Classic FM.[49][50] She appeared as a session musician on the band's last studio album, Say You Will.[51][52] In December 2003 she went to see Fleetwood Mac's last UK performance on the Say You Will tour in London, but did not join her former bandmates on stage.[53] She released her third solo studio album, In the Meantime, that year.[54]

McVie was awarded the British Academy of Songwriters, Composers and Authors' Gold Badge of Merit at a ceremony held at London's Savoy Hotel in 2006.[55] That same year, Paste named McVie, together with bandmates Lindsey Buckingham and Stevie Nicks, as the 83rd-greatest living songwriter or songwriting team.[56] McVie did not join her former bandmates on the band's last performance in the UK of the Unleashed tour in November 2009.[57] When Fleetwood Mac's 2012 world tour was announced, Stevie Nicks downplayed the likelihood of McVie ever rejoining the group. Nicks said, "She went to England and she has never been back since 1998 [...] as much as we would all like to think that she'll just change her mind one day, I don't think it'll happen [...] We love her, so we had to let her go."[58]

In October 2013, it was announced that McVie was recording a solo studio album for the first time in nine years. The album was never released.[59]

2014–2022: Return to Fleetwood Mac and album with Lindsey Buckingham

[edit]
Buckingham and McVie performing live in 2017

In 2013, McVie appeared on stage in Maui, Hawaii, performing with the Mick Fleetwood Blues Band, which included Mick Fleetwood and ex-Fleetwood Mac guitarist Rick Vito. This was her first appearance on stage in 15 years.[60] Later in September, Christine McVie joined Fleetwood Mac on stage for the first time in 15 years to play "Don't Stop" at the O2 Arena in London. She played on two dates, and her appearance on stage was received with rapturous applause.[61][62] On 11 January 2014, Mick Fleetwood announced during a concert in Maui that McVie would be rejoining the band,[63] and it was officially announced two days later that she had rejoined.[64]

In August 2016, Mick Fleetwood said that while the band had "a huge amount of recorded music," virtually none of it featured Stevie Nicks. Buckingham and McVie, however, have contributed numerous songs to the new project. Fleetwood told Ultimate Classic Rock, "She [McVie] ... wrote up a storm ... She and Lindsey could probably have a mighty strong duet album if they want. In truth, I hope it will come to more than that. There really are dozens of songs. And they're really good. So we'll see."[65]

The collaborative studio album Lindsey Buckingham Christine McVie was released on 9 June 2017, and was preceded by the single, "In My World". A 38-date tour began on 21 June 2017 and ended on 16 November.[66][67] Eight of the album's ten tracks were played live, with the rest of the set list consisting of Fleetwood Mac songs and Buckingham solo cuts.[68][69] The Wallflowers opened for the band on select nights.[70] In June, the band appeared on The Tonight Show Starring Jimmy Fallon to perform the album's first single, "In My World".[71] Some extra North American shows were later added in August, including one in Los Angeles and another in New York City.[72] Another North American leg began in October, which saw the addition of 22 more shows.[73]

Fleetwood Mac headlined the second night of the Classic West concert, on 16 July 2017 at Dodger Stadium in Los Angeles, and the second night of the Classic East concert at New York City's Citi Field on 30 July 2017. On 9 April 2018, Fleetwood Mac announced that Mike Campbell would be joining the band along with Neil Finn to replace lead guitarist Lindsey Buckingham.[74] In 2019, McVie was featured in the 90-minute BBC documentary Fleetwood Mac's Songbird – Christine McVie, directed by Matt O'Casey.[75] In 2022, a compilation album titled Songbird (A Solo Collection) was released.[76]

Other collaborations

[edit]

McVie sang with Christopher Cross on the song "Never Stop Believing" on his 1988 studio album Back of My Mind[77] as well as with Bob Welch on his solo version of "Sentimental Lady".[78]

Personal life

[edit]

McVie married John McVie in 1968, with Peter Green as best man. Instead of a honeymoon, they celebrated at a hotel in Birmingham with Joe Cocker, who happened to be staying there,[79] before going on the road with their own bands. The couple divorced in 1976, but remained friends and maintained a professional partnership.[80] During the production of Rumours, Christine had an affair with Fleetwood Mac's lighting engineer, Curry Grant, which inspired the song "You Make Loving Fun".[32][81] From 1979 to 1982, she dated Dennis Wilson of the Beach Boys.[82] McVie married Portuguese keyboardist and songwriter Eddy Quintela on 18 October 1986. Quintela and McVie collaborated on a number of songs together, including "Little Lies".[83] They divorced in 2003, and Quintela died in 2020.[84]

During the height of Fleetwood Mac's success in the 1970s, McVie lived in Los Angeles. In 1990, she moved to a Grade II-listed Tudor manor house in Wickhambreaux, near Canterbury in Kent, to which she retired after leaving the band in 1998, and worked on her solo material. For years McVie found inspiration in the home's country setting, not only writing songs there, but also restoring the house. After rejoining Fleetwood Mac in 2014, she began spending more time in London, and put the house on the market in 2015.[85][86]

Death

[edit]

McVie died of a stroke in hospital on 30 November 2022, at the age of 79.[87] She had also been suffering from metastatic cancer of unknown primary origin.[88][89]

Following her death, Fleetwood Mac issued a statement saying that she was "the best musician anyone could have in their band and the best friend anyone could have in their life". Stevie Nicks said McVie had been her "best friend in the whole world".[90]

Discography

[edit]

Solo albums

[edit]
List of solo albums, with selected chart positions
Title Year Peak chart positions
US
[91] 		US
Ind.
[92] 		UK
[93] 		AUS
[94] 		CAN
[95]
Christine Perfect 1970 104 — — — —
Christine McVie 1984 26 — 58 67 39
In the Meantime 2004 — 32 133 — —
Lindsey Buckingham Christine McVie (with Lindsey Buckingham) 2017 17 — 5 — —

Compilation albums

[edit]
List of compilation albums
Title Year
Albatross (with Fleetwood Mac) 1977
Songbird (A Solo Collection)[96] 2022

Singles

[edit]
List of solo singles, with selected chart positions
Title Year Peak chart positions Album
US Hot 100
[97] 		US Rock
[98] 		US AC
[99] 		AUS
[94] 		CAN
[100]
"When You Say" 1969
—
—
—
—
—
 Christine Perfect
"I'm Too Far Gone (To Turn Around)" 1970
—
—
—
—
—
"Got a Hold on Me" 1984
10
1
1
55
30
 Christine McVie
"Love Will Show Us How"
30
24
32
—
—
"One in a Million" (with Steve Winwood)
—
27
—
—
—
"Friend" 2004
—
—
29
—
—
 In the Meantime
"Feel About You" (with Lindsey Buckingham) 2017
—
—
—
—
—
 Lindsey Buckingham Christine McVie
"Slow Down" 2022
—
—
—
—
—
 Songbird

Other appearances

[edit]
Title Year Context
"Can't Help Falling in Love" 1986 for A Fine Mess soundtrack
"Roll with Me Henry" (with 'Friends') 1989 Remake of Etta James song for Rock, Rhythm & Blues[101]
"Coventry Carol" 1993 for The Stars Come Out for Christmas - Volume V
"All You Gotta Do" 2022 new track for Songbird

With Chicken Shack

[edit]
Albums with Chicken Shack, with selected chart positions
Title Year Peak chart positions
UK
[102]
40 Blue Fingers, Freshly Packed and Ready to Serve 1968 12
O.K. Ken? 1969 9

With Fleetwood Mac

[edit]
Albums with Fleetwood Mac, with selected chart positions
Title Year Peak chart positions
US
[46] 		UK
[103]
Future Games 1971 91 —
Bare Trees 1972 70 —
Penguin 1973 49 —
Mystery to Me 1973 67 —
Heroes Are Hard to Find 1974 34 —
Fleetwood Mac 1975 1 23
Rumours 1977 1 1
Tusk 1979 4 1
Live 1980 14 31
Mirage 1982 1 5
Tango in the Night 1987 7 1
Behind the Mask 1990 18 1
Time 1995 — 47
The Dance 1997 1 15

Citations

[edit]
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Christine McVie

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Christine McVie (née Christine Perfect; 12 July 1943 – 30 November 2022) was an English singer, songwriter, and keyboardist best known as a longtime member of the rock band , where she served as co-lead vocalist and primary keyboardist, contributing to the group's commercial success and distinctive sound. Born in , (now ), , McVie was the daughter of a violinist father and a mother involved in ; she began classical training at age 11 but shifted to influences like during her teens. After studying sculpture at the Birmingham College of Art and graduating in 1966, she pursued music professionally, initially playing bass and keyboards in local bands before joining the -rock group in the mid-1960s. McVie's early career gained prominence with , where she sang lead on the band's 1969 UK Top 20 hit "," earning her magazine's award for Top Female Vocalist in 1969 and 1970. In 1970, she released her debut solo album, Christine Perfect, which reached No. 43 on the . In 1968, she married Fleetwood Mac bassist , and following the band's internal changes—including the departure of guitarist Peter Green—she joined in 1970, adopting her husband's surname professionally despite their eventual 1976 divorce. Her arrival stabilized the group during a transitional period, bringing a soulful keyboard style and harmonies that complemented the band's evolving soft-rock direction. With , McVie co-wrote and sang lead on several of the band's signature hits from their blockbuster 1977 album Rumours, including "Don't Stop" (US No. 3), "" (US No. 9), and the "," which she performed solo during live shows. She also penned earlier successes like "Over My Head" (US No. 20) from 1975's and later tracks such as "" (US No. 1) and "Everywhere" (US No. 14) from 1987's . Her songwriting accounted for roughly half of the tracks on 's 1976 greatest-hits compilation, helping propel the band to sell over 120 million records worldwide. McVie briefly left the band in 1998 due to personal reasons and a but rejoined for tours in 2014, remaining involved with the band until her retirement from touring in 2019. Beyond , McVie maintained a solo career, releasing the self-titled album Christine McVie in , which peaked at No. 58 on the and included the single "Got a Hold on Me" ( No. 10), and In the Meantime in 2004. In 2017, she collaborated with Lindsey Buckingham on a joint album, . Personally, she married keyboardist Eddy Quintela in 1986, with whom she co-wrote songs like "," before their 2003 divorce; she had no children. McVie was inducted into the Rock & Roll Hall of Fame as part of in 1998 and received the Award for Outstanding Contribution to British Music in 2014; a biography, Songbird: An Intimate Biography of Christine McVie by , was published in 2024. She died on 30 November 2022 at a near her in , following a short illness.

Early years

Family background and childhood

Christine McVie was born Christine Anne Perfect on July 12, 1943, in the village of in , (now part of ). She was the younger of two children born to Cyril Perfect, a concert violinist and music teacher who performed with the Birmingham Symphony Orchestra and lectured at a local college, and Beatrice Perfect (née Reece), a secretary known for her interests in as a medium and . Her older brother, John, later became a saxophonist. Her grandfather was an organist who performed at . McVie later recalled feeling uncomfortable around her mother's faith-healing friends and séances. The family relocated south to the Bearwood area of near Birmingham when Christine was around four years old, settling into a middle-class household where music was a constant presence due to her father's profession. Despite this environment, she displayed little early enthusiasm for music, beginning piano lessons at age four and receiving brief cello instruction as part of her classical training, which she abandoned around age 11 due to frustration. Instead, her childhood passions leaned toward the , where she excelled in and , talents that would lead her to pursue formal studies in those fields during her teenage years. McVie's formative interest in emerged in her mid-teens, sparked by her brother's influence and access to contemporary records. At around age 15, she discovered a songbook of tunes left by John, prompting her to shift from classical pieces like Schubert to rock 'n' roll, as she later recalled: "Goodbye Schubert, hello rock 'n' roll." This awakening deepened with exposure to through albums like Freddie King's, where the keyboard work of Sonny Thompson particularly captivated her and shaped her emerging musical sensibilities. These early encounters in her Birmingham home environment laid the groundwork for her artistic inclinations, blending her innate creativity with a newfound appreciation for rhythmic, soulful sounds.

Education and early musical influences

Christine McVie, born Christine Perfect, pursued formal education in the arts during her late teens and early twenties. She attended the of Art in Birmingham on a , where she studied with the intention of becoming an art teacher. She graduated with a degree in , blending her artistic talents with emerging musical interests, though she briefly considered a career in before fully committing to . McVie's early musical training began with classical instruments in childhood, reflecting her family's musical heritage—her father was a violinist and her brother a saxophonist. She started lessons at age four or five but showed limited enthusiasm for classical repertoire, such as works by Bach and Beethoven, leading her to abandon formal lessons around age 10 or 11 due to frustration. She also received brief instruction during this period but similarly lost interest in the structured classical approach. By her mid-teens, McVie became largely self-taught on , developing a distinctive style after discovering rock and . A pivotal shift occurred around age 15 in the early 1960s, when McVie encountered her brother's sheet music, igniting her passion for and rock. This led to deeper influences from American pioneers, including , , and , whose raw energy contrasted sharply with her classical background. During her time at art college, she immersed herself in Birmingham's vibrant scene, attending local and clubs that fostered the city's mid-1960s music culture. These experiences honed her skills on , guitar, and harmonica, while her artistic pursuits intertwined with music—she began sketching lyrics and ideas in notebooks, laying the groundwork for her future songwriting. Her first notable public performance came in 1959, at around age 16, when she sang and played with a local group called The Bobcats at the Cofton Community Centre in , Birmingham. This early onstage experience, though amateur, sparked her interest in singing and performing, bridging her visual art sketches with lyrical expression.

Career

Early musical endeavors

After completing her studies at Moseley School of Art in Birmingham, where she earned a National Diploma in Design in sculpture, Christine McVie (then known as Christine Perfect) left college in 1966 to pursue a full-time career in music, forgoing plans to become an art teacher. To support herself during this transition, she took a job as a window dresser at the Dickins & Jones in London's West End, a role she soon found unfulfilling and abandoned to focus on performing. Her initial forays into music involved forming short-lived groups in the Birmingham area, leading to regular performances in pubs and clubs such as the in Birmingham and the Seven Stars in , immersing her in the regional folk and circuits. In 1964, McVie relocated to , drawn deeper into the burgeoning scene, where she contributed session work as a backing vocalist for and other emerging artists. This period marked the refinement of her keyboard and vocal style, heavily influenced by rhythm and blues artists like , whose emotive phrasing and harmonic structures shaped her early approach to songwriting and performance. Parallel to her musical pursuits, McVie maintained her artistic interests in . Her exposure to during her years had already sparked an interest in American R&B, further fueling her stylistic development.

Time with

In 1967, Christine Perfect (later McVie) joined the band as keyboardist and vocalist after being invited by guitarist Stan Webb and bassist Andy Silvester, former bandmates from her earlier group Sounds of Blue, while she was working as a window dresser in . She quickly rose to a prominent role, sharing lead vocals with Webb and contributing to the band's raw blues-rock sound rooted in the burgeoning scene. The band's debut album, Forty Blue Fingers, Freshly Packed and Ready to Serve, released in summer 1968 on Blue Horizon Records, showcased Perfect's soulful keyboard work and backing vocals alongside covers of standards and original material, reaching number 12 on the . Their breakthrough single, a cover of Etta James's "" featuring Perfect on lead vocals, was released in May 1969 and peaked at number 14 on the UK Singles Chart, marking Chicken Shack's only Top 20 hit. This period solidified Perfect's blues-rock vocal style, characterized by its emotive depth and authenticity. Band dynamics were influenced by personal developments, including Perfect's marriage to Fleetwood Mac bassist in August 1968, which created scheduling tensions amid Chicken Shack's touring commitments. The group gained early recognition through performances such as their appearance at the Windsor Jazz and Blues in August 1967 and a tour of , including shows at the Star Club in in April 1967, establishing them on the festival and club circuit. Perfect's contributions earned her the award for top female vocalist in 1969, highlighting her breakthrough as a performer. These tensions, compounded by Perfect's desire to spend more time with her husband, led to her departure from in mid-1969, shortly after the "" single's release.

Joining and tenure with Fleetwood Mac

Christine McVie joined in 1970, shortly after leaving the blues band , where she had honed her keyboard skills and vocal style in a more niche blues context. Her entry into the band followed her marriage to bassist in 1968, initially positioning her as the group's keyboardist and occasional vocalist. Over time, her role expanded significantly, evolving into that of co-lead vocalist and one of the band's primary songwriters, contributing to 's shift from blues-rock roots toward a more pop-oriented sound. McVie's early tenure saw her providing essential keyboard arrangements and songwriting input on several albums that marked the band's transitional phase. On Kiln House (1970), her debut with the group, she added keyboards and co-wrote "Station Man," helping stabilize the lineup after Peter Green's departure. She continued contributing vocals and compositions to Future Games (1971), including "Show Me a Smile," and Bare Trees (1972), where her song "Spare Me a Little of Your Love" showcased her emerging melodic sensibility. Further efforts on Mystery to Me (1973), with tracks like "Why," and Heroes Are Hard to Find (1974), featuring her title song, solidified her as a core creative force amid lineup changes. A pivotal moment came in late 1974 when McVie and the band recruited guitarist Lindsey Buckingham, who insisted on bringing his partner, vocalist , into the fold, forming the classic lineup. This integration propelled to mainstream success with their 1975 self-titled album, on which McVie wrote and sang the hit "Over My Head," highlighting her smooth, emotive delivery. The band's landmark era peaked with Rumours (1977), where McVie's songwriting and vocals were central to its massive commercial breakthrough, selling over 40 million copies worldwide. She penned key tracks like "You Make Loving Fun" and the tender ballad "Songbird," drawing from personal experiences to infuse the album with introspective depth. This period was marked by intense internal turmoil, including McVie's divorce from John McVie in 1976, which fueled the album's raw emotional authenticity amid the band's broader relational upheavals; she retained her married name for professional continuity. McVie's influence persisted through subsequent releases, including (1979), where her pop-leaning songs like "Over & Over" provided melodic counterpoints to the album's experimental edge, and the live album Live (1980). On (1982), she co-wrote the hit "Hold Me," and (1987) featured her composition "," often exploring themes of love, loss, and relational complexity that became hallmarks of her lyrical style.

Hiatus period and solo pursuits

Following the exhaustive world tour supporting Fleetwood Mac's 1997 live album The Dance, Christine McVie left the band in 1998, citing burnout from constant travel and a growing of flying that made touring untenable. She had relocated to in 1994 after the Northridge earthquake in , settling into a semi-rural life at a Grade II-listed Tudor in , near in , where she sought seclusion away from the rock lifestyle. This period marked a semi-retirement for McVie, during which she focused on personal restoration of the 19-acre estate and distanced herself from the demands of the music industry. McVie's creative output during this hiatus centered on her third and final solo album, In the Meantime, released in June 2004 on —her first solo effort in 20 years since 1984's self-titled album. In 2023, Rhino Records reissued In the Meantime in remastered form on CD and vinyl, including bonus tracks. Produced by McVie alongside her nephew Dan Perfect and longtime collaborator , the album featured introspective tracks like the heartfelt "Friend," reflecting on personal relationships amid her post-breakup recovery. Recorded at her studio, it blended pop-rock with influences, but received limited promotion due to Sanctuary's distribution challenges in the U.S. and McVie's reluctance to tour extensively because of her . Beyond the album, McVie's activities remained low-key, with her aviation anxiety preventing any major U.S.-based tours or commitments. She occasionally contributed to select projects, including brief songwriting and recording sessions with former bandmate Lindsey Buckingham on his solo material in the early , though these were informal and did not lead to full collaborations until after her band return. In her personal life, McVie embraced quieter pursuits, finding solace in , cooking, and at her home, activities that allowed her to recharge creatively while restoring the historic property. She made rare public appearances, such as a one-off reunion performance with at select events, underscoring her selective engagement with music during this introspective phase.

Return to Fleetwood Mac

In March 2014, announced Christine McVie's return to the band after a 16-year hiatus, with her rejoining for the "On with the Show" world tour set to begin that fall. McVie had overcome her debilitating —developed during her earlier tenure and a key reason for her departure in 1998—through intensive therapy, including sessions that enabled her to board planes again. The tour launched on September 30, 2014, in and spanned over 100 dates across , , , and , concluding in October 2015; it became one of the highest-grossing rock tours of the decade, earning $199.2 million according to Boxscore reports. During this revitalized phase, McVie contributed to the band's creative process, including sessions for potential new material in 2014 where the group experimented in the studio and recaptured their signature chemistry; she described the experience as giving her "chills," highlighting the emotional reconnection with bandmates like and . In a parallel intimate project, McVie teamed up with Buckingham for their 2017 duo album , a collection of 10 original songs that showcased their vocal harmonies and songwriting synergy, released by and peaking at No. 17 on the 200. McVie later reflected on the fulfillment of this period, noting in interviews that performing with again brought a profound sense of home and confidence she had not felt in years. The band's momentum continued with the "An Evening with Fleetwood Mac" tour from October 2018 to November 2019, a 135-date arena run across , , and that emphasized their classic catalog while featuring McVie's lead vocals on staples like "Everywhere" and "Don't Stop." Though the tour proceeded without following his 2018 departure, McVie's presence anchored the performances, drawing sellout crowds and reinforcing the band's enduring appeal. McVie also lent her talents to unreleased recordings from mid-2010s sessions, including vocal and keyboard contributions to several tracks developed during the group's creative resurgence, which were shelved amid lineup changes. Following McVie's death in November 2022, Stevie Nicks stated in October 2023 that Fleetwood Mac would not embark on future tours without her, underscoring McVie's irreplaceable role in the band's dynamic and legacy.

Additional collaborations

Throughout her career, Christine McVie engaged in a range of collaborations beyond her primary affiliations with Chicken Shack and Fleetwood Mac, contributing her distinctive keyboard work and vocals to various projects in the blues, rock, and pop genres. In the late 1960s, as Christine Perfect, she participated in session work within the British blues scene. She also supplied background vocals on several tracks from Bob Welch's solo album French Kiss (1977), including the hit "Sentimental Lady," where her harmonies complemented Welch's soft rock style and helped propel the record to commercial success. Around the same time, during her personal relationship with Beach Boys drummer Dennis Wilson, McVie contributed backing vocals to the Beach Boys' "Love Surrounds Me" on their L.A. (Light Album) (1979), infusing the track with her warm, emotive tone. These mid-career efforts demonstrated McVie's influence across scenes, bridging blues-rock with West Coast pop sensibilities. Later in the decade, she collaborated with Eric Clapton and Steve Winwood on her own solo album Christine McVie (1984), where Clapton played guitar on "The Threat" and Winwood contributed keyboards to multiple tracks, creating a rich tapestry of guest interplay that underscored her enduring appeal to high-caliber musicians. In 2023, Rhino reissued this album in remastered form on CD and vinyl, including bonus tracks. McVie's later collaborations often paid homage to her blues origins while exploring new ensembles. In 2020, she joined & Friends for the tribute album and Celebrate the Music of Peter Green and the Early Years of , performing on tracks like "Stop Messin' Around," where her keyboards and vocals evoked the spirit of 's formative era. This project, featuring artists such as and , highlighted McVie's role in preserving legacy. These endeavors affirmed McVie's lasting impact through selective, high-impact partnerships that spanned decades.

Personal life

Marriages and relationships

Christine McVie's first marriage was to Fleetwood Mac bassist in August 1968, after a long-distance romance that began while she was with and he was in . The union, which lasted until their divorce in 1976, was strained by the pressures of touring, John's struggles with , and mutual infidelities, yet remained amicable enough for them to continue collaborating professionally. She retained his surname professionally, and the couple's personal turmoil during the recording of the 1977 album Rumours inspired several tracks, including her optimistic "," which she later described as a message of hope amid their separation. In interviews, McVie reflected on the marriage's challenges, noting that John's drinking made him "not the most pleasant of people," but emphasized their enduring respect and shared history in the band. Following the divorce, McVie entered a relationship with Fleetwood Mac's lighting director, Curry Grant, around 1976, which provided a temporary escape from the emotional fallout of her marriage. Their year-long affair, marked by a carefree dynamic, directly influenced her songwriting; she confirmed that "" from Rumours was about Grant, capturing the joy of a lighthearted romance amid band tensions. The relationship ended due to differing lifestyles, with McVie later expressing mixed feelings about such on-tour entanglements, stating they "dented my self-respect" and felt "seedy." She then dated drummer from late 1978 to 1982, a period that overlapped with Fleetwood Mac's sessions, though it did not produce notable song contributions; the romance ended amid Wilson's personal struggles. McVie had . McVie's second marriage was to keyboardist and songwriter Eddy Quintela in 1986, with whom she collaborated creatively, co-writing the Fleetwood Mac hit "" from their 1987 album . The couple also worked together on her 1984 solo album Christine McVie, but their union ended in divorce in 2003 as McVie sought a simpler, rural life in , away from the rock lifestyle. In later reflections, she viewed love as elusive and unbuyable, telling biographers, "No amount of money… could buy me love or peace of mind," highlighting how her relationships often intertwined with her music but ultimately prioritized personal tranquility over romance.

Residences and lifestyle

By her early twenties, after studying sculpture at the Birmingham College of Art, she moved to London flats in the mid-1960s to immerse herself in the burgeoning British blues and music scene. During Fleetwood Mac's rise to fame in the 1970s and 1980s, McVie resided in a sprawling mansion in Los Angeles, California, which she shared with her then-husband John McVie and where the couple often hosted creative sessions amid the band's intense recording periods. Her home choices during this era were influenced by her marriage to John McVie, drawing her to the vibrant yet tumultuous West Coast rock lifestyle. In 1990, seeking a quieter life, she relocated to the Grade II-listed Tudor manor house known as The Quaives in Wickhambreaux, Kent, a 19-acre estate she meticulously restored over the following decades. There, during her semi-retirement in the 1990s and 2000s, McVie focused on gardening, tending to the expansive grounds that included manicured lawns, paddocks, and a secret garden, which became a central part of her daily routine. She sold the property in 2015 for £3.5 million before returning to London, where she purchased a duplex penthouse in the affluent Belgravia district that year, spending her final years in the elegant, refurbished space with its rooftop terrace and high ceilings. Beyond music, McVie's lifestyle reflected her artistic roots and personal passions; she maintained a lifelong interest in and sculpture, stemming from her college training, and even contributed original artwork to album covers like Kiln House in 1970. A devoted animal lover, she owned several dogs, including lhasa apsos, whom she doted on and even named her luxury cars after with custom license plates. Her aversion to the rigors of touring grew pronounced during the band's later years, leading her to step away in 1998 after declaring she had "had enough of living out of a suitcase," preferring the stability of home life over constant travel. Following the excesses of her rock-star youth involving and champagne, McVie adopted a more temperate lifestyle in later decades, embracing and simple pleasures like cooking and estate maintenance.

Later years and death

Health challenges

During the late 1990s, McVie developed alongside a severe , which contributed to her decision to leave and retire from touring in 1998. These phobias intensified after years of extensive travel with the band, leading her to settle in and focus on a quieter life away from the stage. In a 2014 interview, she described the as her "biggest obstacle," which had evolved into a broader aversion to public performances and travel. To address these issues, McVie underwent , including gradual desensitization techniques, which enabled her triumphant return to in 2014 for the On with the Show tour. She credited the therapy with overcoming her , allowing her to resume international touring without the previous anxieties. This recovery marked a positive phase in her career, where she expressed optimism about performing again, noting in interviews that confronting her fears had renewed her passion for . In her later years, McVie faced chronic back pain stemming from , a condition that progressively limited her physical abilities on stage. By 2019, during Fleetwood Mac's world tour, she adapted by using a stool for performances to manage the discomfort, but the pain worsened over time. In a June 2022 interview, she revealed being in "quite bad health" due to the debilitating back issues, stating, "I've got a chronic back problem which debilitates me. I stand up to play the piano, so I don't know if I could actually get through a whole tour." This led to her announcement that same year that she was unlikely to tour again, citing frailty and the need to prioritize her well-being, effectively ending her live performance career after the band's 2019-2020 outings. Despite these challenges, McVie maintained a resilient outlook, focusing on studio work and personal recovery while reflecting fondly on her legacy in interviews.

Death and immediate aftermath

Christine McVie died on November 30, 2022, at the age of 79, while receiving treatment at a in . According to her , the primary cause was an ischemic stroke, which occurs when blood flow to the brain is obstructed, with metastatic listed as a contributing condition following a brief illness. She passed away peacefully in the company of her family. The news was announced by McVie's family on the day of her death, stating that she had succumbed to a short illness. issued an official statement expressing devastation, describing her as "truly one-of-a-kind, an incredible talent who will be deeply missed" and praising her as "the best musician anyone could have in their band and the best friend anyone could have in their life." , her longtime bandmate, shared a personal tribute calling McVie her "best friend in the whole world since the first day of 1975" and the "heart and soul" of their shared musical journey. McVie's passing generated immediate global media coverage, with outlets worldwide highlighting her contributions to and eliciting tributes from fellow artists. The paused all future plans, with later stating that was effectively "done" without her, signaling the end of performances as the group. A private family funeral was held shortly after, followed by an intimate gathering to celebrate her life attended by close relatives and members. Details of McVie's estate emerged through records, revealing an valued at around £70 million, the bulk of which was bequeathed to her brother John Perfect and his children, alongside bequests to various charities. No public was performed, with the confirmed via the .

Legacy

Posthumous honors and tributes

Following her death, Christine McVie received a posthumous Grammy Award in 2023 for Best Arrangement, Instruments and Vocals for the orchestral version of her composition "," arranged by and featured on her . A private memorial service for McVie was held on , 2023, at Little Beach House Malibu, attended by her bandmates including , , and Lindsey Buckingham, where delivered a describing her as an "undeniable talent" central to the band's success. Later that month, during the on February 5, 2023, joined and for a public tribute performance of "" as part of the In Memoriam segment, with playing hand drums to accompany the vocal rendition honoring McVie's legacy. In March 2025, Rod Stewart honored McVie by performing "I'd Rather Go Blind" during his Caesars Palace residency, referencing her lead vocals on the Chicken Shack version. In October 2025, reports emerged that Fleetwood Mac, led by Mick Fleetwood, was in talks for a reunion to celebrate the 50th anniversary of their album Rumours, potentially featuring a one-off live show and documentary honoring McVie's contributions. In October 2024, Julien's Auctions hosted "Property From The Life and Career of Christine McVie," a two-day event at the Musicians Hall of Fame & Museum in , featuring over 650 items from her estate, including stage-played guitars, tour-worn clothing, awards, and personal mementos; all proceeds benefited MusiCares and other charities in line with McVie's philanthropic interests. The Rock & Roll Hall of Fame issued an In Memoriam tribute shortly after McVie's death, highlighting her "heartfelt songwriting, soulful keys, and distinctive voice" as integral to 's timeless sound, reflecting on her 1998 induction with . Fan-led commemorations continued into 2025, including a special tribute show by the Fleetwood Mac tribute band Fleetwood Mad in Birmingham, —McVie's hometown—on November 8, honoring her early career roots and musical legacy.

Biographies and cultural impact

In 2024, British music journalist Lesley-Ann Jones published Songbird: An Intimate Biography of Christine McVie, offering a detailed exploration of McVie's life, career, and personal relationships within Fleetwood Mac. The book draws on interviews with McVie herself, conducted before her death, as well as insights from bandmates and family, to portray her evolution from blues roots to pop-rock stardom. Jones addresses rumored tensions, including McVie's candid admission of brief jealousy toward Stevie Nicks during the Rumours era, attributing it to Nicks' rising prominence but emphasizing their eventual mutual respect. It also debunks music mythology, such as claims that McVie resisted integrating Nicks and Lindsey Buckingham into the band, clarifying her supportive role in the lineup's formation. McVie's posthumous cultural presence has been amplified through media portrayals and tributes. The 2019 documentary Fleetwood Mac's Songbird: Christine McVie, directed by Matt O'Casey, was re-aired and discussed in 2023 following her passing, highlighting her as the band's stabilizing force amid turmoil. Her composition has inspired numerous covers by contemporary artists, including The Corrs' acoustic rendition released in 2023 as part of their reissued greatest hits collection, and First Aid Kit's heartfelt version shared online in late 2022, both serving as direct homages to her songwriting legacy. These works underscore McVie's enduring appeal in blending emotional depth with melodic accessibility. McVie's impact on music culture is often encapsulated in her recognition as "the glue" of , a descriptor coined by to describe her role in mediating conflicts and maintaining harmony during the band's most volatile periods, such as the Rumours recording sessions. This stabilizing influence extended to her songwriting, which provided melodic counterpoints to the group's more dramatic narratives, inspiring generations of female rock songwriters who credit her for modeling resilience and craftsmanship in male-dominated spaces. Posthumously, fan-driven efforts from 2023 to 2025, including petitions and discussions on platforms like , have advocated for expanded reissues of her solo catalog, culminating in Rhino Records' November 2023 remastered releases of Christine McVie (1984) and In the Meantime (2004), which include bonus tracks and reflect renewed interest in her independent work. On a broader scale, McVie's contributions advanced women's roles in rock by exemplifying multifaceted involvement—as performer, , and —in a genre that rarely elevated female voices beyond aesthetics. Her grounded lifestyle in later years, centered on at her home, reflected a deep appreciation for that subtly aligned with environmental , as she described finding solace in cultivating her garden amid the rock world's excesses. This personal ethos complemented her professional legacy, portraying her as a figure of quiet and balance in music history.

Discography

Solo albums

Christine McVie's solo career began prior to her full integration into , with her debut album showcasing her roots in and folk-rock. Over the decades, she released three under her own name, each reflecting evolving musical influences while highlighting her distinctive songwriting and vocal style. These works stand apart from her band contributions, emphasizing personal introspection and varied production approaches. Her first solo effort, Christine Perfect, was released in 1970 on Blue Horizon Records, produced by her then-husband . Recorded amid her transition from , the album blends original compositions with covers of blues standards, drawing on folk-rock and traditions. Tracks like the original "I'm Too Far Gone (To Turn Around)" and a rendition of "Steady Rollin' Man" demonstrate her early command of piano-driven arrangements and soulful delivery. Though commercially modest upon release, it received retrospective praise for capturing her raw talent and independence before Mac's rise, later reissued in 1976 as The Legendary Christine Perfect Album by and again on vinyl in 2023 by . In 1984, McVie issued her self-titled second solo album on Records, marking her return to solo work after over a decade focused on . Produced primarily by with contributions from bandmates Lindsey Buckingham and , the record adopts a polished pop-rock sound, featuring upbeat tracks infused with her signature melodic hooks. Standouts include "Got a Hold on Me," which became a Top 10 hit on the , and the "Love Will Show Us How," peaking at No. 30 on the . The album reached No. 26 on the and No. 58 on the , earning positive reviews for its accessible energy and McVie's confident performances, often compared to her contributions but with a brighter, more personal edge. It featured guest appearances by and . McVie's third and final solo studio album, In the Meantime, arrived in 2004 via Navarre Corporation, a low-key release produced by McVie and her nephew Dan Perfect in her home studio. Shifting toward experimental and acoustic introspection, the 12-track set explores themes of and renewal with subtle electronic textures and guest appearances by on drums and on percussion. Notable songs like "Friend" and "Sweet Revenge" highlight her evolving style, though the album's limited promotion led to modest visibility. Critics offered mixed responses, appreciating its intimate, unpretentious vibe but noting it as less commercially vibrant than her earlier work; McVie herself described it as not her strongest effort. The album saw expanded posthumous attention through 2023 remasters by Rhino Records, including bonus tracks, and its inclusion in the 2022 compilation Songbird (A Solo Collection), which added unreleased material from the sessions.

Solo singles and compilations

Christine McVie's solo singles were predominantly drawn from her 1984 self-titled album, marking a significant phase in her individual career outside Fleetwood Mac. The lead single, "Got a Hold on Me," co-written with Todd Sharp, became her most successful solo release, peaking at number 10 on the Billboard Hot 100, number 1 on the Adult Contemporary chart, and number 1 on the Mainstream Rock chart. Follow-up singles from the same album, "Love Will Show Us How" and "I'm the One," received radio promotion and contributed to the album's moderate commercial success, though they did not achieve comparable chart positions. Her 1970 debut album, Christine Perfect, and 2004's In the Meantime produced no major promoted singles, reflecting a focus on album-oriented releases rather than standalone tracks. In terms of compilations, McVie's solo output was first aggregated in 2022 with Songbird (A Solo Collection), released by Rhino Records shortly before her death. This 10-track retrospective drew from her and albums, featuring newly remastered versions by , alongside two previously unreleased studio recordings: an orchestral version of "" and "All You Gotta Do." The collection highlighted her pop-rock songwriting style and received positive reviews for showcasing her underappreciated independent work. Posthumously, archival material from McVie's sessions surfaced in 2023 through Rhino's expanded reissues of her 1984 self-titled and In the Meantime. These editions included bonus tracks such as outtakes and alternate mixes, with the unreleased "Little Darlin'"—a lively, blues-inflected produced by Christine McVie and Dan Perfect—issued as a digital single on , her 80th birthday. Her solo recordings also appeared in broader tribute contexts, including inclusions on various artists compilations honoring , though no dedicated posthumous tribute was released by that year.

Work with Chicken Shack

Christine McVie, then known as Christine Perfect, joined the British blues band in 1967 as their keyboardist and occasional vocalist, contributing significantly to their early sound during her tenure until 1969. Her piano work added a soulful depth to the band's interpretations of blues standards, while her emerging songwriting and lead vocals helped define their recordings on the Blue Horizon label. Perfect's primary album contributions came with Forty Blue Fingers, Freshly Packed and Ready to Serve (1968), where she provided co-lead vocals on several tracks, including the covers "The Letter" and "Lonesome Whistle Blues," alongside her keyboard playing throughout. She also co-wrote two originals for the album: "When the Train Comes Back" and "You Ain't No Good," showcasing her compositional skills in a blues framework. Her arrangements on blues covers, such as "San-Ho-Zay," emphasized rhythmic piano lines that complemented guitarist Stan Webb's style. On the follow-up album O.K. Ken? (1969), Perfect's involvement was more limited, as she departed midway through recording; she contributed keyboards and vocals to select tracks and co-wrote "Get Like You Used To Be" and "A Is the Blues" with Webb. Her underpinned the album's horn-augmented sound, though much of the material featured her replacements. Among singles, Perfect delivered her breakthrough lead vocal on the cover "" (1969, Blue Horizon 57-3153), backed by "Night Life," which peaked at No. 14 on the UK Singles Chart and earned her a award for Female Vocalist of the Year. Earlier, she sang and played on "Worried About My " b/w "Six Nights in Seven" (1968, Blue Horizon 57-3143), a cover highlighting her emotive delivery. She also appeared on the debut single "It's Okay with Me Baby" b/w "When My Left Eye Jumps" (1967, Blue Horizon 57-3135), providing vocals and on what may have been her first recorded composition. Additional contributions included live BBC Radio 1 sessions for John Peel in 1968, featuring tracks like "Lonesome Whistle Blues" with her prominent keyboard and vocal work, later compiled in archival releases. These efforts solidified her reputation in the British blues scene before her marriage to Fleetwood Mac bassist John McVie prompted her transition to that band in 1970.

Work with Fleetwood Mac

Christine McVie joined in 1970 following her marriage to bassist , initially contributing , backing vocals, and even the album artwork to their studio release . She became a full-time member for the subsequent album (1971), marking the start of her extensive songwriting and vocal roles that shaped the band's evolution from blues-rock to pop-rock.[]https://www.insidehook.com/music/christine-mcvie-obit Over the next three decades, McVie co-wrote and performed on 14 studio albums: (1970), (1971), (1972), Penguin (1973), (1973), (1974), (1975), Rumours (1977), (1979), (1982), (1987), Behind the Mask (1990), Time (1995), and Say You Will (2003).[]https://pitchfork.com/thepitch/remembering-fleetwood-macs-christine-mcvie-with-8-essential-tracks/ Her contributions included lead vocals and keyboards on standout tracks such as "Over My Head" from the 1975 album, a top-20 single that highlighted her melodic songcraft,[]https://www.insidehook.com/music/christine-mcvie-obit and "Hold Me" from , which showcased her rhythmic work and harmonious interplay with .[]https://pitchfork.com/thepitch/remembering-fleetwood-macs-christine-mcvie-with-8-essential-tracks/ The pinnacle of McVie's songwriting impact came with Rumours (1977), where she penned "Don't Stop," an optimistic rocker she sang as a duet with Lindsey Buckingham, and the upbeat "You Make Loving Fun," which reached No. 9 on the as the album's fourth single.[]https://www.songfacts.com/facts/fleetwood-mac/you-make-loving-fun/1000 She also delivered the tender ballad "Songbird," performed solo on during live sets to emphasize its intimate essence.[]https://pitchfork.com/thepitch/remembering-fleetwood-macs-christine-mcvie-with-8-essential-tracks/ These tracks, alongside her earlier hits like "Say You Love Me" from 1975, helped propel to global stardom, with Rumours becoming one of the best-selling albums ever. McVie's later studio work included co-writes on Tango in the Night and two original songs for Say You Will in 2003, her final contributions before retiring from touring in 1998.[]https://www.insidehook.com/music/christine-mcvie-obit Throughout these eras, her keyboard playing—often on , , and —provided foundational textures, while her clear, emotive vocals formed the backbone of the band's signature three-part harmonies with and Buckingham.[]https://pitchfork.com/thepitch/remembering-fleetwood-macs-christine-mcvie-with-8-essential-tracks/ Beyond studio efforts, McVie featured prominently on Fleetwood Mac's live and compilation releases. The 1997 live album The Dance, recorded during a reunion MTV special, captured her performances of classics like "Songbird" and introduced a new track, "Temporary One," which she co-wrote to reflect on fleeting relationships.[]https://pitchfork.com/thepitch/remembering-fleetwood-macs-christine-mcvie-with-8-essential-tracks/ Compilations such as The Very Best of Fleetwood Mac (2002) spotlighted her hits, including "Don't Stop," "You Make Loving Fun," and "Over My Head," underscoring her role in the band's enduring catalog.[]https://music.apple.com/us/album/the-very-best-of-fleetwood-mac-remastered/593327799 Posthumously, following her death in 2022, archival material from the band's 1982 Mirage tour was released as Mirage Tour '82 in 2024, featuring McVie's live renditions of "You Make Loving Fun," "Songbird," and "Don't Stop" from shows at The Forum in Los Angeles.[]https://www.rhino.com/article/fleetwood-mac-detail-mirage-tour-82-live-album Her harmony vocals and keyboard arrangements on these recordings preserved the polished, layered sound that defined Fleetwood Mac's 1980s live energy.

References

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