I’m assuming the writer defines songwriting success by the number of singles (in relation to to the other two songwriters) and the often high chart position of those singles (again, in relation to the other two). Obviously, this is a very narrow definition of success. I mean, when I hear the haunting timeless beauty of Green’s “Before the Beginning” or the eerie yet brilliant mood music that is “Hypnotized,” I consider success in different terms. And even in the charted hits, like the iconic angry kiss-off of “Go Your Own Way,” or the truly mystical “Rhiannon,” I consider success in different terms and wonder if any of Christine’s songs ever strived for THAT kind of impact. (The answer, I believe, is in their own way, some have: “Oh Daddy” and “Songbird” are as impactful and archetypal as the previous two songs mentioned, albeit in their quiet, mournful modes.) But undoubtedly, in terms of chart-scoring hits, in terms of pop radio AirPlay, and in terms of boosting album sales, Christine’s songs are clearly the most consistent and successful.
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