Chords for Christine and John McVie 1987 Interview

[N] And this morning, Today Music [G] correspondent Rona [F] Elliott begins [E] a two-part interview
with singer-composer Christine McVie [G] and bass guitarist John McVie.
_ [A] _ _ _ _
_ [G#m] _ _ _ _ _ [C#m] _ _
_ _ _ [B] _ _ _ _ _
[A] _ _ _ _ _ _ [G#m] _ _
_ _ _ [C#] _ _ _ _ _
[B] _ _ _ _ _ [A] _ Of all the great tales [F#] and the rumors of [C#m] Fort Worth and the _ disbanding,
[E] your mental health seems [G] intact and the _ [B] demise was not as imminent as many thought.
So [Bm] how's the mental health plan?
_ [F] _
_ [B] We enjoyed [D#] making this [E] record.
It was, it was, [B] it felt _ there was [F] some fire in the [C#] band [D#] still,
which was, you [E] know, we didn't know at the point when we stopped [F] [D#] doing the Mirage tour,
[G] which was about five years ago.
We were [E] all tired and _ [B] _ well [C#] in need of a rest, I [E] think.
And [B] we all knew [D#] at some point there [D] would be another Fleetwood Mac record.
_ _ _ [A] _
_ _ _ _ _ _ [E] _ _
_ [A] _ _ _ _ _ _ _
[G#m] Fleetwood Mac has [D#] descriptions, _ [D] ghostly, [C#m] mystical, _ romantic.
_ [A] I mean, [D] it's always very gothic when it
comes to Fleetwood [B] Mac.
Are those descriptions that [E] fit for you at all?
How would you describe
the track?
_ _ [A#] _ Excuse me, I _
_ _ _ _ [B] _ don't think there's always a certain amount of [C#] romance on our
records.
[D] I mean, you _ _ [E] know, that's [F] just, I'm writing some of the songs.
I always [D] write about women.
[G] _ _ _ _ _
_ [F] _ _ _ _ _ [C] _ _
_ _ _ _ _ [F] _ _ _
[G] _ _ _ [A] So far Fleetwood Mac has had [F] successful individual solo [A] projects.
I see Farjani, you have [C#] avoided or gotten away with or not been interested in doing anything.
I've been working on my _ [G] _ _ track. _ _
_ _ _ _ [B] So are you contemplating doing something?
Yeah, _ _ somewhere down the line.
A little [F] bit scary?
Yes, very much so.
[E]
But _ [Bm] _ _ [F] maybe one of the reasons I didn't want to assume the [B] responsibility of
_ actually getting into a project like that, which is [C#] quite a [F] weight to carry. _ _
Yeah, I think I haven't.
_ But [F#] that's another thing is, you know, the pressure is on you when you're doing a solo
record.
When you come [D#] together [E] with, you know, four [D#m] tried and trusted other [C#] musicians,
_ [B] _
[Em] you feel like you've got a very strong shoulder to lean on.
[G] It's not about to collapse on you, you [D] know.
_ [G] _ [Em] _
_ _ _ [F] _ _ _ _ _
[D] _ _ _ _ _ _ [A] _ _
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_ _ _ _ [Em] _ _ [E] _ _
_ _ [C] _ _ _ _ _ [D] _
_ _ _ _ _ [A] _ _ _
_ _ [E] You got to get to a point in this [D] band where you knew each other too well.
I mean,
you two were [C#] married.
Stevie and Lindsay had a relationship.
Is it hard to get up night after
night and sing, [D] you know, your repertoire of songs when there is a lot of [C#] emotional tension on stage?
[B] I think that _ actually that releases the [Bm] emotional tension, to be honest with you.
I always [F] think
that no matter what's gone [E] on prior to the, you know, treading the boards at night, [B] I think we
all kind of _ [F#] leave that behind [F] when we're on stage.
And you [E] tend to even put more feeling [Bm] into the
songs, I think.
[C#] Did it take a lot to rebuild [E] the trust back in the band after all the [D] different
things you've been [E] through?
I don't think the [Bm] emotional, the [D#] musical trust [C#] ever went away.
I
[D#] think that's always [D] been an underlying _ [D#] thread to [D] this band, [D#] to the [B] _ _
[D#] _ magic that we think we have with
each other.
I think that part of it is that there's never any _ [D] musical
_ [F#] _ _ _ tension [D] in the camp.
We [B] always seem to kind of agree [D#] basically on musical [C] things.
[A] _ _ _ _ _ [E] _ _ _ _ _ _ _ [B] _ _
_ [E] _ _ _ _ _ [B] _ _
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