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Originally Posted by David
Doesn’t he give all the production credits on that song on his Solo Anthology? I would look it up for you but I don’t have it, and Spotify is sketchy with credits.
Even more importantly, DOO WOP. We don’t talk about it much — we usually just all decide that Lindsey is trying to simulate Stevie Nicks’s voice with a VSO on his own tracks — but Lindsey is steeped in the doo-wop tradition of pop recording, and that tradition is filled with male singers who use falsetto and their upper registers to give what can only be called a female energy to their recordings, from Gary Paxton (Skip and Flip, who wrote “It Was I”) to Del Shannon to Frankie Valli and the Four Seasons (“Big Girls Don’t Cry”) to the Five Satins to Dion to the Platters to Gene Chandler, and on and on. Lindsey cut his teeth on the early era of rock and roll — you can hear it everywhere in his music, from his backup vocal arrangements (even the scat lyrics they used in the old recordings wind up on Lindsey Buckingham and Fleetwood Mac tracks) to the pop-savvy instrumentation (drum roll intros, frequent rhythm breaks, rolls, turnarounds, and so on). I really don’t think it’s ever been his artistic motive to simulate Stevie Nicks on his own tracks as much as to recall earlier traditions of doo-wop.
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True. If he happens to sound like Stevie, it’s just their similarities, not that he wants to sound like her. Stevie herself says speed it up or slow down they sound like each other and it’s really creepy. It’s not something that they have to go out of their way to do. For instance, on Big Love I don’t think he’s trying to sound like Stevie.
Now, Stevie mentioned him sounding like Christine on SYW. She said she had to ask him was it him or Christine. He may have been trying to sound like Christine at that time.