Not for 1992. Things had changed. Put Tango out in 1992 and it wouldn't have been nearly the hit it was. Had Lindsey made OTTC quickly and gotten it out in 1988, who knows.

yeah Chris is great on that song

better Stevie vocal? Easy... Dreams. That was when she had the full upper range and basically her voice went wherever she wanted it to.

By Tusk her voice was getting really shot. The rehearsal/working versions of Storms she can barely sing at all she's so hoarse (and LB clearly doesn't give a sh&t):eek:

Not so convinced Lindsey's songs ever would have been given a fair shake on radio no matter what year.
Speaking of Tango. Big Love is really a Lindsey solo song. I bet even if was released as a song in 1987 as a Lindsey solo song, it would not have charted.
The huge buzz of a reunited Mac put those songs front and center with MTV.
But that's my point and Lindsey's frustration. Unlike Stevie, why do my solo songs never get played. I remember Lindsey making a crack to Rolling Stone in 1982 that his songs on Mirage never get played.

From what I have heard from casual or non-fans, Lindsey's songs post Rumours, solo or with FM, just lack mass appeal. They may try too hard to be catchy or quirky and end up irritating. And he himself lacks the X factor for some reason.

Silly Lindsey never came to Peru :laugh::laugh:
At that time there was a radio that used to play Can't come back very often. It became one of my favorites, with Gypsy. Then a friend of mine got the (vynil) album, it sounded terrific!

Do you mean, "Can't Go Back"? I love that song!! They really played it in Peru? That's awesome.

It seems that making the keyboard parts into a "layer of sound" has cheated us Christine fans out of something we would have really enjoyed, and probably robbed Christine of the recognition she should have received as the really fine keyboard player she is at her best.

I think I'm objecting to the entire style of Fleetwood Mac production in the Buckingham and post-Buckingham era. I know her keys are more prominent on the five Bob Welch era albums and on the 'Fleetwood Mac' album than they ever were again (except on some of her own songs and the rare ballad where the keys were a lead instrument). Her keyboards are not used enough on 'In the Meantime' and they're definitely not used enough on 'Buckingham McVie'.

I know Christine herself has spoken of her keyboard playing as "part of the rhythm section," but I really dislike this characterization. Can it possibly be true that Christine has never felt confident of her own keyboard playing? What other explanation can there be for this production style that submerges her keyboards under a layer of sound?

What the hell was I thinking? Yes, of course I meant Can't Go Back! I probably got some glasses of red wine while writing that.

That’s true. And he seemed downright ashamed of Trouble, the mandatory single.

I think he clearly craved success, but he wanted it on his terms. He thought he could convert people and somehow change the definition of “radio friendly.” It wasn’t that he had no interest in sales. He was hoping to sell something more innovative and unique, but could not.

That's really what I was getting at. And I think his frustration came more out of people not getting his vision. (like the masses, Ken, etc.) Add a little jealousy for his ex lover's massive commercial success and viola!!! You have an artist that keeps trying to create something on his/her own terms.

I'm intrigued that they played it in Peru. :)

Christine has more confidence in her keyboard playing than in her voice. It wasn't until the late 80s or early 90s that she said she was singing really well (which is ridiculous). But while she may not lack confidence in her keyboard playing, she doesn't see herself as a soloist or even a featured player. This is kind of sad because she has an identifiable sound and style. Her piano playing on the six green tunes from MR. WONDERFUL and on the first two Chicken Shack records show her to have a VERY strong command of that instrument.

Have you listened to her piano on "Get Like" Live on the White deluxe. She's over powering Lindsey during his solo. It's amazing.

Of course I have and I love it. I also love her jazz chord playing on the live Bermuda Triangle from a year earlier. But for some reason(s) her sturdier, more aggressive playing rarely translated to studio records—at least not after 1972. I wish it had.