21st Sept, 2016
Christine McVie quit Fleetwood Mac because she developed a fear of flying.
The 73-year-old singer used to whizz around the globe for the ‘Go Your Own Way’ rockers’ mammoth tours on their own private jets, but she slowly developed a phobia of flying and had to leave the band 18 years ago because she couldn’t bring herself to step foot on a plane.
Speaking on UK station BBC Radio 2 on Wednesday (09.21.16), she said: “It must have been six years ago or seven. It was when I did a little tour of an album but at the time I was so frightened of flying that I couldn’t promote it. That was a big thing, I had a real phobia of flying. I think I did one too many (trips in private planes). I think that’s kind of why I left the band.”
The British songwriter – who was married to her bandmate John McVie from 1968 until 1976 – later went to therapy to help her beat her extreme phobia. Continue reading
Mirage (Expanded Reissue)
Rating: 4 out of 5 stars
Often considered the belated follow-up to 1977’s mega platinum Rumours, 1982’s Mirage was a clear retreat from the somewhat abrasive, occasionally commercial avant-pop of the controversial Tusk. While that album has, over the decades, come to be respected as Lindsey Buckingham’s creative zenith, it appears Warner Brothers was less enthusiastic about their star act’s detour into the artsy abyss. Perhaps Mac were tired of it themselves, because the slick, glossily produced Mirage seems a capitulation to an audience who might have found the dense, inconsistent, but bold Tusk a musical and drug-fueled bridge too far.
While Mirage was no Rumours, its dozen sophisticated pop songs include such near-classics as “Love in Store,” “Gypsy,” and “Hold Me,” the latter two appearing on most subsequent Mac hits packages. But there are other, often unappreciated gems here too. Selections such as Buckingham’s folksy “Can’t Go Back,” Stevie Nicks’ surprisingly effective foray into country “That’s Alright,” the frisky pop/rock and sumptuous harmonies of “The Eyes of the World” and the closing “Wish You Were Here,” one of the always dependable Christine McVie’s more affecting and least appreciated pieces, are well worth reexamining. Continue reading