When I was shifting a couple of thousand CDs for the umpteenth time the other day to make room for more, I came across Christine Perfect (a.k.a Christine McVie) and her early recordings again and decided to give those a spin while I was crawling around the living room.
Most of the guys at school always had the hots for Stevie Nicks later on when Fleetwood Mac hit it big with Rumours in 1977 and, as usual, I begged to differ.
I could, because I think I was the only one that actually had the early (brilliant) Chicken Shack albums and Christine Perfect’s first solo album that she had recorded for Blue Horizon, the label that brought forth some of the best independend blues music of the late 60s and early 70s (many of the British blues greats like Stan Webb, Pete Wingfield, Duster Bennett, Rory Gallagher, Paul Kossoff and, of course, Peter Green and Fleetwood Mac, as well as U.S. artists like Champion Jack Dupree and Otis Spann).
In 1969, when Chicken Shack’s “I’d Rather Go Blind” charted, she was voted “Best Female Vocalist” in Melody Maker’s readers poll (the same readers also awarded her “one of the top ten pairs of legs in all of Britain“).
To me, Christine Perfect has always been a blues singer at heart and it is no surprise that she first became totally infatuated with the early Fleetwood Mac (and John MvVie) and then a regular and integral member of this seminal British band.
When “Rumours” hit the charts and stayed there seemingly forever, to my ears she had already had a winning streak of great blues albums behind her and, to me, it was her compositional skills, keyboard playing and voice that graced many of my favorite tunes the revamped Fleetwood Mac continued to record (The Chain, Don’t Stop, Oh Daddy, Say You Love Me, Songbird, You Make Loving Fun, Little Lies, Temporary One, Everywhere, …).