Lindsey's Vocal Range

[Black_Moon]

Originally Posted by WarmSir3

Christine is singing the lower harmony on Rhiannon, a G4 while Stevie sings a C5. Personally I do not think Christine has a wider range than Stevie. Although both are fantastic singers who really know how to use their range well. Contraltos typically don't have amazing ranges.

Back on the subject of Lindsey, does anyone know of any live Tusk performances where he hits the D2? (Why don't you ask him if he's going away-ay, ay-ay... ay) Thank you!

On the "Live 1980" version, Christine sings the high harmony. Sorry, I should have clarified.

[David]

I have a 3-octave range -- & that's at one point in time (now).

[Peestie]

Originally Posted by David

I have a 3-octave range -- & that's at one point in time (now).

Do you write music, David? Can we hear any of your music anywhere? I'd love to hear some if you do.

[WarmSir3]

Originally Posted by David

I have a 3-octave range -- & that's at one point in time (now).

3 octaves is very good! What is your lowest and highest?

I'm sure Lindsey and Stevie had their 3 and 21/2
octave ranges at one point in time, but from different notes. For example, up until around the 90's, Stevie could definitely handle B2-F5, but most probably didn't like pushing her upper register to its limit. Stevie from the 90's onwards makes better use of her lower register. I'm thinking she could extend it down to G#2. G#2-D5 is 21/2 octaves, and there is a D5 in Smile At You "angry" demo, which I believe is from around Say You Will time?

Back to Lindsey... I'll make a list of songs later that show his range best. I have a feeling Family Man may be one of them however

[Black_Moon]

Originally Posted by WarmSir3

3 octaves is very good! What is your lowest and highest?

I'm sure Lindsey and Stevie had their 3 and 21/2
octave ranges at one point in time, but from different notes. For example, up until around the 90's, Stevie could definitely handle B2-F5, but most probably didn't like pushing her upper register to its limit. Stevie from the 90's onwards makes better use of her lower register. I'm thinking she could extend it down to G#2. G#2-D5 is 21/2 octaves, and there is a D5 in Smile At You "angry" demo, which I believe is from around Say You Will time?

Back to Lindsey... I'll make a list of songs later that show his range best. I have a feeling Family Man may be one of them however

No, the demo is from 1982 - the Mirage sessions.

Try a couple of songs from the Go Insane album - the title track, Loving Cup, I Want You.

[WarmSir3]

Oh really? I thought it sounded a bit unlike other recent Stevie. I wonder why it didn't get used until Say You Will...

I Want You: The beginning is fairly low, sadly I am terrible at pitching songspeak like this. B4s in full voice though and a nice song! B Major, one of my favourite keys...
Go Insane: I love this song! This version is infinitely preferable to the live acoustic version with Fleetwood Mac in my opinion. Down to F3 I think. Maybe some whispery F2s. Up to G4.
Loving Cup: Another good song, short A4s, I think I hear D2s but they sound sampled.

I would have loved a 1984 Fleetwood Mac album consisting of the best songs from The Wild Heart, Go Insane, and Christine McVie!

[David]

Originally Posted by Peestie

Do you write music, David? Can we hear any of your music anywhere? I'd love to hear some if you do.

I wrote one short instrumental once, when I was a Fleetwood Mac-nutty teenager. I recorded it on my Stevie Nicks Source Special cassette tape. If I can find that, I'll share it with you. I'm trying to write a 2-part fugue (inspired by the Et vitam venturi saeculi of the Missa Solemnis), but I'm not terribly excited by it. The project is too difficult for me.

the composing bug never really bit me. Did it bite you?

[WarmSir3]

Time for a Tango In The Night post, my first Fleetwood Mac album. I've never really listened through this album as a "notewatcher" before, so I'll have to update this.

Big Love
Up to A4 and down to D3 in the verses and the outro. One of my favourite Lindsey songs!
Tango In The Night
Up to B4, very strong A4s! Down to G3.
Family Man
Up to B4 and down to D3.
Caroline
Up to F4 and down to G3.
Little Lies
I love Lindsey's part on this song, it is a five syllable line that goes C#4-E4-F#4-A4-F#4.
Isn't It Midnight
Great song! Lindsey goes down to A2 on each chorus, very strong! For the Chris fans, she goes up to C5 and down to E3. She definitely has at least 2 octaves.

[David]

Originally Posted by Black_Moon

No, the demo is from 1982 - the Mirage sessions.

Probably 1981. Most of Mirage seems to have been tracked in 1981.

We always have to remember that Fleetwood Mac takes a long time to track, mix, & master. Rumours was tracked in 1976. Tango was tracked in 1986. Mask was probably mostly tracked in 1989. The tracking on Say You Will, of course, covers about seven years. (Ridiculous.) Perhaps a few individual exceptions here & there (Stevie's backup vocals on the others' songs, for example, on Tango may have been done early in 1987, which Mick hints at in his book).

[WarmSir3]

Originally Posted by David

(Stevie's backup vocals on the others' songs, for example, on Tango may have been done early in 1987, which Mick hints at in his book).

Why the delay? Solo touring? Is that why she didn't appear on Big Love? I've heard the 12" remix version and love the vocals she recorded for it.

[David]

Originally Posted by WarmSir3

Why the delay? Solo touring? Is that why she didn't appear on Big Love? I've heard the 12" remix version and love the vocals she recorded for it.

I don't know what she appears on & doesn't appear on on Tango (except her three songs, naturally). Why the delay? Good question. She was touring & keeping busy with other things, I guess, because she didn't show up much at Fleetwood Mac's sessions at Buckingham's house or elsewhere, according to the other members of the band (who had the same complaints about her during the 1981 Mirage sessions). She even skipped out on sessions in order to dick around with Dylan & Petty in Australia in February/March. That must have put their noses out of joint.

Other than Mick (who hung around with her a lot on her 1986 tour), I don't think she wanted to spend much time with Fleetwood Mac at that point. She may have been ashamed of herself, or she may have been sick of them, or she may have just not felt good.

In 1987, she helped them market their new album (videos, interviews, etc.), but she had to, obviously. And by all accounts, she was totally committed to the fall tour.

[Black_Moon]

Originally Posted by WarmSir3

Why the delay? Solo touring? Is that why she didn't appear on Big Love? I've heard the 12" remix version and love the vocals she recorded for it.

Rehab wasn't it?

[Black_Moon]

Originally Posted by David

Probably 1981. Most of Mirage seems to have been tracked in 1981.

We always have to remember that Fleetwood Mac takes a long time to track, mix, & master. Rumours was tracked in 1976. Tango was tracked in 1986. Mask was probably mostly tracked in 1989. The tracking on Say You Will, of course, covers about seven years. (Ridiculous.) Perhaps a few individual exceptions here & there (Stevie's backup vocals on the others' songs, for example, on Tango may have been done early in 1987, which Mick hints at in his book).

I was going to write '81 but then thought about Bella Donna and the things relating to it - promotion, short tour, videos etc.

I wonder... I, like others, think the demo was infact recorded by Fleetwood Mac, not session musicians. Could it have been drafted during Stevie's stay in France, whenever that was?

[WarmSir3]

Originally Posted by David

I don't know what she appears on & doesn't appear on on Tango (except her three songs, naturally).

Family Man, Little Lies, nothing else I think...

[WarmSir3]

Just a short video for the time being... bon nuit!