Tango In the Night

[tdfwiner]

I'm listening to it right now and are they ever going to release a remastered version of this or Mirage? I'm sure it's been discussed a million times but how awesome would it be if they gave these two albums the same treatment as the first three and released them with all the outtakes and b sides? It's pretty frustrating listening to either one after listening to FM, Rumours, Tusk or Say You Will.

[Dreamz19]

I agree. TITN is one of my favorite FM albums. Mirage had to grow on me a bit but I would love if they both would be remastered with some outtakes. I guess we can only hope for now.

[Phil]

I agree that both Mirage and Tango should be reissued, along with the Live album from 1980, but wonder if this would be considered viable in the current economic climate. I suspect the band were disappointed in the sales for both Say You Will and the three remasters from 2004, not realising at the time that the public just weren't purchasing cds in the same quantities as before. Of course, three years on, the situation is even more dire for cd sales so I'm wondering if it has been deemed not cost effective to bother remastering and reissuing the aforementioned cds or any of the back catalogue, which in my opinion, also desperately needs remastering (plus Stevie's solo albums).
I remember that a few years ago, Ken Caillat was interested in remastering all the Mac albums and had also spoken about DVD-A's for the White Album and Tusk so does anyone know if this will eventuate? Has anyone been in contact with Ken to check on the progress of this endeavour? What about that proposed DVD of Mac clips for which The Ledge members submitted ideas? Does this all have to come down to numbers?

[michaelD]

This would nice... I do think the sound quality on TIIN is outstanding!
Mirage would have to be a priority....

The DVD-A of Rumours is classic! As well as the remasters of the
"Big 3".

[TheWILDheart]

The way I understand it, the company behind DVD-A went bust so they don't make them anymore.

[Phil]

That is a shame regarding the demise of the DVD-A - both Mirage and Tango In The Night would have benefited from this treatment, particularly Tango given it's production values. Even the b-sides such as Ricky and You & I Part 1 would have lent themselves well to the 5.1 system. Oh well...

[skcin]

I agree that both Mirage and Tango should be reissued, along with the Live album from 1980, but wonder if this would be considered viable in the current economic climate. I suspect the band were disappointed in the sales for both Say You Will and the three remasters from 2004, not realising at the time that the public just weren't purchasing cds in the same quantities as before. Of course, three years on, the situation is even more dire for cd sales so I'm wondering if it has been deemed not cost effective to bother remastering and reissuing the aforementioned cds or any of the back catalogue, which in my opinion, also desperately needs remastering (plus Stevie's solo albums).
I remember that a few years ago, Ken Caillat was interested in remastering all the Mac albums and had also spoken about DVD-A's for the White Album and Tusk so does anyone know if this will eventuate? Has anyone been in contact with Ken to check on the progress of this endeavour? What about that proposed DVD of Mac clips for which The Ledge members submitted ideas? Does this all have to come down to numbers?


I don't know if anyone's contacted Ken, but I think the general assumption among fans is that remastering Mirage & TITN has been shelved indefinitely - not necessarily by the band and/or producers, but by the label. Not sure if someone read/heard this somewhere, or if it's just a guess. :shrug:

[gldstwmn]

Mirage needs it the worst out of the remaining ones that have not been updated. It was recorded at the Honky Chateau and really is a superb sounding record. The CD is just an abomination of what it really sounds like. :distress:

[trackaghost]

The way I understand it, the company behind DVD-A went bust so they don't make them anymore.

Warner was actually behind DVD-A.

[Johnny Stew]

Hip-O Records is releasing thirteen Elvis Costello remasters on the SAME DAY (May 1st).
As popular as he is, I can't imagine there being that much more demand for EC than FM. So why Warners has only managed to release a measly three Mac remasters is beyond me.

[chiliD]

Hip-O Records is releasing thirteen Elvis Costello remasters on the SAME DAY (May 1st).
As popular as he is, I can't imagine there being that much more demand for EC than FM. So why Warners has only managed to release a measly three Mac remasters is beyond me.

Exactly!

How many times (and on how many record companies) is Elvis Costello going to re-release his catalogue?

If Rhino could release his entire then Elvis catalogue as two disc sets (as they did 8 years ago), they certainly could finish off the Fleetwood Mac WB/Reprise catalogue like originally planned. I'll bet that the sale of Mirage & Tango alone would make the entire catalogue reissue project MORE than profitable.

[PenguinHead]

Elvis Costello released again!! My God, I can't keep up...in fact, I give up. I can't justify buying the same album five times over. First his catalog was released on Ryko. Then Rhino released the whole catalog with bonus tracks. Then they re-released it with an entire bonus disc. Now Hip-O is doing the same?? Granted, Hip-O will do a great job, but isn't that a little excessive?

Poor Fleetwood Mac, so neglected.

[jbrownsjr]

i have to say... i'm clueless.... speechless....

neil young and fmac... remain mysteries in the cd remaster dept... :shocked:

[billwebster]

Well, labels like to make big promo fuss over remastered reissues, thereby effectively blocking an artist's new record projects. Maybe that is why these discs are nowhere to be found in remastered form so far.

[chiliD]

Well, labels like to make big promo fuss over remastered reissues, thereby effectively blocking an artist's new record projects. Maybe that is why these discs are nowhere to be found in remastered form so far.

Really good point! :nod:

[shackin'up]

....the california cocaine trilogy-remasters just around the release of Say You Will and the sales of that record?

[gretchen]

I love Tango...

:thumbsup:

[foxyluva]

I love Tango...

:thumbsup:

I would too, if it wasn't for Stevie's contributions...

[HomerMcvie]

I would too, if it wasn't for Stevie's contributions...

Michael, you're ALRIGHT, in my book!:thumbsup:

[Phil]

I would too if it weren't for Lindsey's and Christine's contributions...

[HomerMcvie]

I would too if it weren't for Lindsey's and Christine's contributions...

What is it, that opinions are like?:lol:


Whassamaddda baby?:shrug:

[foxyluva]

Michael, you're ALRIGHT, in my book!:thumbsup:

Anybody with an anti-Stevie comment is alright in your book :laugh:

[HomerMcvie]

Anybody with an anti-Stevie comment is alright in your book :laugh:

Then why'd you say it?:D

[foxyluva]

Then why'd you say it?:D

'Cause I speak the truth :D her TITN material is rubbish, and brought the album down...

I may be a chiffonhead, but Im a chiffonhead with perspective :laugh:

[HomerMcvie]

'Cause I speak the truth :D her TITN material is rubbish, and brought the album down...

I may be a chiffonhead, but Im a chiffonhead with perspective :laugh:

See, I can really appreciate your honesty. The truth IS, the truth.

[JazmenFlowers]

'Cause I speak the truth :D her TITN material is rubbish, and brought the album down...

I may be a chiffonhead, but Im a chiffonhead with perspective :laugh:
really? you think so? I'll let you have When I See You Again even though I love that song. but Seven Wonders? you think that brought the album down? :shrug:

[carrie721]

really? you think so? I'll let you have When I See You Again even though I love that song. but Seven Wonders? you think that brought the album down? :shrug:

yes, jaz, can't you see that seven wonders really lowered the bar on an album that included "family man."

:lol:

[JazmenFlowers]

yes, jaz, can't you see that seven wonders really lowered the bar on an album that included "family man."

:lol:
oh, now I see your point I guess. :lol:

and here I am wondering why I only listen to the extended version of FM and then fast forward to 5m/45s to hear Stevie's coos.

"he is what he is"

[carrie721]

oh, now I see your point I guess. :lol:

and here I am wondering why I only listen to the extended version of FM and then fast forward to 5m/45s to hear Stevie's coos.

"he is what he is"

it's because you have lousy taste in music. duh. :shrug:

btw, i love "whitebread" in your sig. i felt like i was in a 90's sitcom when i read that exchange - that is so something will smith would've called carlton on fresh prince.

[JazmenFlowers]

it's because you have lousy taste in music. duh. :shrug:

btw, i love "whitebread" in your sig. i felt like i was in a 90's sitcom when i read that exchange - that is so something will smith would've called carlton on fresh prince.
omg. I never thought about that, but you are SO right.

I've been called worse. and I think it's actually a compliment. I mean, whitebread is a delicacy in our nation. you know, with all the Atkins Asses and carb counting cnuts...

so, in my eyes, I'm just a piece of ass a lot of people hunger for. :shrug:

[carrie721]

omg. I never thought about that, but you are SO right.

I've been called worse. and I think it's actually a compliment. I mean, whitebread is a delicacy in our nation. you know, with all the Atkins Asses and carb counting cnuts...

so, in my eyes, I'm just a piece of ass a lot of people hunger for. :shrug:

:laugh:

atkins dieters everywhere are looking at your hot loaf of ass and drooling. trufakt.

[foxyluva]

really? you think so? I'll let you have When I See You Again even though I love that song. but Seven Wonders? you think that brought the album down? :shrug:

Well, I wont say it brought the album down - but I don't really like it. I liked it live on the '88 tour though :)

yes, jaz, can't you see that seven wonders really lowered the bar on an album that included "family man."


Smart arse :p :laugh:

Yeah, "Family Man" sucks. Everything else rules though...

[carrie721]

Smart arse :p :laugh:

Yeah, "Family Man" sucks. Everything else rules though...

:D :D :D :D

thanks for the joan, btw. :)

[foxyluva]

:D :D :D :D

thanks for the joan, btw. :)

You are welcome :) Let me know what you think :woohoo:

[Johnny Stew]

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.

[jbrownsjr]

really? you think so? I'll let you have When I See You Again even though I love that song. but Seven Wonders? you think that brought the album down? :shrug:

actually l really like all of Stevie's contributions... I think Lindsey and Christine did a great job with melding her demos w/ the album....

[jbrownsjr]

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.

Flavorless... they are too flavorful... if anything... overproduced... yeah... but flavorless... don't know if i agree... When I See You Again is a beautiful song... the vocals are a little rough.. but the song itself moves me ....

my favorite song here is Tango In the Night...

[danax6]

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.I agree. Although 'Welcome to the Room...Sara' remains one of my least favourite tracks, both 'Seven Wonders' and 'When I See You Again' more than make up for that. The latter especially is so emotionally honest, you forget all about the repetitive lyrics and just get swept into what she must have been going through while writing this song. I love it. :shrug:

[JazmenFlowers]

I agree. Although 'Welcome to the Room...Sara' remains one of my least favourite tracks, both 'Seven Wonders' and 'When I See You Again' more than make up for that. The latter especially is so emotionally honest, you forget all about the repetitive lyrics and just get swept into what she must have been going through while writing this song. I love it. :shrug:
:xoxo:

I love WISYA for the same reasons. WTTRS is ok. not one of my all-time favs, but it's ok. I lump it in with the "Affairs of the Heart Category".

[WildHeart69]

hmm, I really like WTTRS... the only FM album Stevie song I dont like is Silver Girl...just bleh

[Phil]

I'm with Johnny on this one... Christine's and Lindsey's contributions were well crafted but, in my opinion, devoid of passion (with the possible exception of Big Love and Tango In The Night). Isn't It Midnight is a better than average song, particularly when compared with anything Christine released from 1982 onwards, and Little Lies is a by-numbers tune which was assisted immeasurably by Lindsey's inventive production and Stevie's superb vocal harmonising (Lindsey's work on this track alone makes me wonder what he could have achieved with Christine's 1984 solo album if given half a chance). However, the remaining L & C songs are high gloss froth and nothing more.
Without a doubt, the heart and soul of this album is provided by Stevie, who admittedly was hardly in peak form at the time. That said, her recklessness and unrestrained intensity actually nourished the album, delivering a much needed emotional depth and sense of poignancy. When I See You Again may not be her greatest moment but its starkness and naked honesty render it one of the more memorable moments within this collection of sub-standard songs. I remember reading a review of the album that George Michael had written for an English magazine in the 1980's where he referred to the absolute heartbreak of Stevie's vocal on this song and how it had profoundly moved him - that is the type of reaction I'm talking about - a visceral, human response as opposed to the contrived elevator-muzak nonsense of Everywhere.
Seven Wonders is a great song and is ably served by a powerhouse vocal, the likes of which we've never heard again. The story behind this whereby Stevie sang Sandy Stewart's lyrics to the best of her rather clouded recollection and couldn't replicate the performance with the correct lines demonstrates the intuitive approach favoured by our gal at the time. Unsurpassable.
If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey ie he ****ing hated Stevie at the time.
It's ironic that Lindsey and Christine resented Stevie's absence during the bulk of recording because what they created in 18 months of slavish studio toiling and twiddling, Stevie pissed all over in the few days that she attended proceedings. It's quite hilarious when you think about it.
PS I also think that Big Love and Family Man would have benefited greatly if Stevie's backing vocals had made the final cut... perhaps a further example of Lindsey's anger and insane jealousy interfering with his judgement?

[PenguinHead]

I'm with Johnny on this one... Christine's and Lindsey's contributions were well crafted but, in my opinion, devoid of passion (with the possible exception of Big Love and Tango In The Night). Isn't It Midnight is a better than average song, particularly when compared with anything Christine released from 1982 onwards, and Little Lies is a by-numbers tune which was assisted immeasurably by Lindsey's inventive production and Stevie's superb vocal harmonising (Lindsey's work on this track alone makes me wonder what he could have achieved with Christine's 1984 solo album if given half a chance). However, the remaining L & C songs are high gloss froth and nothing more.
Without a doubt, the heart and soul of this album is provided by Stevie, who admittedly was hardly in peak form at the time. That said, her recklessness and unrestrained intensity actually nourished the album, delivering a much needed emotional depth and sense of poignancy. When I See You Again may not be her greatest moment but its starkness and naked honesty render it one of the more memorable moments within this collection of sub-standard songs. I remember reading a review of the album that George Michael had written for an English magazine in the 1980's where he referred to the absolute heartbreak of Stevie's vocal on this song and how it had profoundly moved him - that is the type of reaction I'm talking about - a visceral, human response as opposed to the contrived elevator-muzak nonsense of Everywhere.
Seven Wonders is a great song and is ably served by a powerhouse vocal, the likes of which we've never heard again. The story behind this whereby Stevie sang Sandy Stewart's lyrics to the best of her rather clouded recollection and couldn't replicate the performance with the correct lines demonstrates the intuitive approach favoured by our gal at the time. Unsurpassable.
If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey ie he ****ing hated Stevie at the time.
It's ironic that Lindsey and Christine resented Stevie's absence during the bulk of recording because what they created in 18 months of slavish studio twiddling, Stevie pissed all over in the few days that she attended proceedings. It's quite hilarious when you think about it.
PS I also think that Big Love and Family Man would have benefited greatly if Stevie's backing vocals had made the final cut... perhaps a further example of Lindsey's anger and insane jealousy interfering with his judgement?


Thanks for your post. This is one of the most interesting and intelligent assessments I've ever read about any Fleetwood Mac album. Your perspective is patently unique and thoughtful....do I dare say "scholarly"? It certainly makes me think differently about Stevie's somewhat dicey contributions to the album. Cheers!:o

[skcin]

Thanks for your post. This is one of the most interesting and intelligent assessments I've ever read about any Fleetwood Mac album. Your perspective is patently unique and thoughtful....do I dare say "scholarly"? It certainly makes me think differently about Stevie's somewhat dicey contributions to the album. Cheers!:o

I agree. I really enjoyed reading that post. :nod:

[UndoingTheLaces]

I agree. I really enjoyed reading that post. :nod:

I must agree also. Big love didn't thrill me much until I heard the remix and that one moment where Stevie sings the "Well it's a big, big love... yeah" and the "house up on the hill" totally made the song for me. I still sing her part if I'm listening to the album version.

I've never heard the demo of Welcome to the Room... Sara that you speak of. Would you mind posting it?

[strandinthewind]

I have never heard Stevie say she hates the album cut of WTTRS - but she could have and I just do not remember. If anyone has a quote or interview, I'd love to see or read it :cool:

As for TITN - yes, it appears La Nicks sort of waltzed in and added much needed life to the songs. I think LB saw this and his jealousy of her took over, which is sad. I think this happened frequently to LB in the sense that he could work all day, week, or month on one part and La Nicks would show up and add some harmony she pulls out of her a$$ in ten seconds and it is a better product for it. I'd be jealous of that too, esp. if she dumped me to boot :laugh:

I mean look at the Letterman version of Big Love -- La Nicks' vocals add a dimension to that already good song that is stunning.

As for Stevie's songs, WTTRS is a nice sentiment, but a deadful production. I love Seven Wonders and the vocal is one of her best. WISYA is stark and confessional, but the baby fest is too much for me to take at times.

In the end, I think the best song on the record is Little Lies and I think that because it is the three at their vocal and collaborative best. I will always maintain that the five are best when they are a group effort.

[Peestie]

Am I the only one who really dislikes the Stevie parts on the Big Love remix? I just don't like it at all...

What's the Letterman version of Big Love? I don't think I've seen it. When is it from?

[strandinthewind]

La Nicks and LB sang it right after The Dance ended and they were in NYC, I think, for the R&R Hall of Fame induction ceremony. Stevie does a searingly high vocal harmony on his BIG BIG LOVE part. I looked on youtube but did not find it. Hopefully, someone will post it.

[Peestie]

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?

[strandinthewind]

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?

I may have the audio at home - if so, I'll upload tonight.

The video is worth seeing though :cool:

[danax6]

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?Here's Big Love from the RRHoF:

<embed src="http://www.veoh.com/videodetails.swf?permalinkId=v253920WXbT33wn&id=1&player=videodetails&videoAutoPlay=0" width="540" height="438" bgcolor="#000000" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed><br/><a href="http://www.veoh.com/">Online Videos by Veoh.com</a>

and from Letterman 98 (audio quality is so-so):

<embed src="http://www.veoh.com/videodetails.swf?permalinkId=e82447ezQWNNEY&id=1&player=videodetails&videoAutoPlay=0" width="540" height="438" bgcolor="#000000" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed><br/><a href="http://www.veoh.com/">Online Videos by Veoh.com</a>

Hawt!

[jbrownsjr]

I'm with Johnny on this one... Christine's and Lindsey's contributions were well crafted but, in my opinion, devoid of passion (with the possible exception of Big Love and Tango In The Night). Isn't It Midnight is a better than average song, particularly when compared with anything Christine released from 1982 onwards, and Little Lies is a by-numbers tune which was assisted immeasurably by Lindsey's inventive production and Stevie's superb vocal harmonising (Lindsey's work on this track alone makes me wonder what he could have achieved with Christine's 1984 solo album if given half a chance). However, the remaining L & C songs are high gloss froth and nothing more.
Without a doubt, the heart and soul of this album is provided by Stevie, who admittedly was hardly in peak form at the time. That said, her recklessness and unrestrained intensity actually nourished the album, delivering a much needed emotional depth and sense of poignancy. When I See You Again may not be her greatest moment but its starkness and naked honesty render it one of the more memorable moments within this collection of sub-standard songs. I remember reading a review of the album that George Michael had written for an English magazine in the 1980's where he referred to the absolute heartbreak of Stevie's vocal on this song and how it had profoundly moved him - that is the type of reaction I'm talking about - a visceral, human response as opposed to the contrived elevator-muzak nonsense of Everywhere.
Seven Wonders is a great song and is ably served by a powerhouse vocal, the likes of which we've never heard again. The story behind this whereby Stevie sang Sandy Stewart's lyrics to the best of her rather clouded recollection and couldn't replicate the performance with the correct lines demonstrates the intuitive approach favoured by our gal at the time. Unsurpassable.
If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey ie he ****ing hated Stevie at the time.
It's ironic that Lindsey and Christine resented Stevie's absence during the bulk of recording because what they created in 18 months of slavish studio toiling and twiddling, Stevie pissed all over in the few days that she attended proceedings. It's quite hilarious when you think about it.
PS I also think that Big Love and Family Man would have benefited greatly if Stevie's backing vocals had made the final cut... perhaps a further example of Lindsey's anger and insane jealousy interfering with his judgement?


although i disagree, i think your opinion's are well put and quite observant... and funny too.... poor Lindseed... always so jealous of Stephanie lol

[strandinthewind]

although i disagree, i think your opinion's are well put and quite observant... and funny too.... poor Lindseed... always so jealous of Stephanie lol

I think that maybe many people view CM as not producing deep or musically/lyrically interesting songs. In the traditional sense, CM's songs on TITN are fun, happy pop songs and break no new ground. And, I LOVE them. But, LB is seen as a the maverick, petulant, brilliant producer; La Nicks the mysterious, confessing, beauty - and their songs on TITN show that. So, CM is sort of, right or wrong, placed in the middle by most. I think she is comfortable in that position because she has never actively sought the spot light of stage, said she identifies more with the rhythm section, and comes across as no nonsense. I think that is reflected in her songs on TITN, which again I love, which are coll fun pop songs.

I hope that made sense.

Also - this is no slam on CM. Obviously being the perceived middle personage has made them and her millions and produced some great music :shrug:

[Phil]

Strandinthewind, what you said makes perfect sense and of course, is completely valid.
For the record, despite certain people's misconceptions, I do have a high regard for Christine's work during the period 1969 - 1980. I actually consider much of her writing pre 1982 to be insightful and at times, intensely moving.
Songs such as Why, Warm Ways, Songbird, Oh Daddy, Brown Eyes and Never Make Me Cry are of a high calibre indeed and, in my opinion, rival any of Stevie's or Lindsey's greatest moments.
Even the lighter pop tracks - Remember Me, Dissatisfied, Did You Ever Love Me, Sugar Daddy, You Make Lovin' Fun, Think About Me and Honey Hi - are absolute gems and worthy of much praise and affection.
The above classics still resonate with me after all these years but I'm afraid that the same can not be said for anything she has done in the last 25 years (although Isn't It Midnight and Behind The Mask do come close).
I miss Christine's greatness but just like Stevie's reign between 1975-1983, "purple patches" are not infinite.

[strandinthewind]

^^^

I would add Hold Me to that, but maybe that is because I really like the production as well as her cool lyrics.

I do adore her :cool:

[jbrownsjr]

you want to do something really fun phil and strand.... go to the CM forum and go to the Through the Years... it's a photo thread... i haven't been in there in a long time... (HONEST!!)... and i had so much fun looking at the different perfect/mcvie/fmac photos... some i've never seen before

[strandinthewind]

Thanks - I checked it out and good times indeed!

One I love of CN is the video segment where she is carrying the huge gum package at, I think, the airport.

[aleuzzi]

If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey

Does somebody have an MP3 to share of this demo? I'd love to hear it... And while we're at it, does anyone have an MP3 of Stevie's other, un-issued Tango song, "What Has Rock and Roll ever done for you?" (forgive me if I got the title wrong.

[aleuzzi]

By the way, with re: to Chris and Lindsey's material on Tango, I love the songs on paper. And I think instrumentally they're very impressive. I'm just not crazy about the echoe-y and breathy vocals...Chris doesn't really sound like the warm, earthy Chris we've come to know and love. Her vocals appear to have been filtered through something...not sure what the technical terms are here.

If the band re-recorded the entire record now I'd bet the material would sound fleshier, more passionate.

[Dreamz19]

I would too if it weren't for Lindsey's and Christine's contributions...

Wow really? Lindsey and Christine made Tango for me and I am a Stevie fan. I don't hate Stevie's contributions to Tango, but they surely weren't her best. However, I really really like WISYA even though a lot of folks don't. It's just something about the emotion in her voice that makes me adore it. I like it better than her other two songs on Tango.

[Dreamz19]

I'm with Johnny on this one... Christine's and Lindsey's contributions were well crafted but, in my opinion, devoid of passion (with the possible exception of Big Love and Tango In The Night). Isn't It Midnight is a better than average song, particularly when compared with anything Christine released from 1982 onwards, and Little Lies is a by-numbers tune which was assisted immeasurably by Lindsey's inventive production and Stevie's superb vocal harmonising (Lindsey's work on this track alone makes me wonder what he could have achieved with Christine's 1984 solo album if given half a chance). However, the remaining L & C songs are high gloss froth and nothing more.
Without a doubt, the heart and soul of this album is provided by Stevie, who admittedly was hardly in peak form at the time. That said, her recklessness and unrestrained intensity actually nourished the album, delivering a much needed emotional depth and sense of poignancy. When I See You Again may not be her greatest moment but its starkness and naked honesty render it one of the more memorable moments within this collection of sub-standard songs. I remember reading a review of the album that George Michael had written for an English magazine in the 1980's where he referred to the absolute heartbreak of Stevie's vocal on this song and how it had profoundly moved him - that is the type of reaction I'm talking about - a visceral, human response as opposed to the contrived elevator-muzak nonsense of Everywhere.
Seven Wonders is a great song and is ably served by a powerhouse vocal, the likes of which we've never heard again. The story behind this whereby Stevie sang Sandy Stewart's lyrics to the best of her rather clouded recollection and couldn't replicate the performance with the correct lines demonstrates the intuitive approach favoured by our gal at the time. Unsurpassable.
If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey ie he ****ing hated Stevie at the time.
It's ironic that Lindsey and Christine resented Stevie's absence during the bulk of recording because what they created in 18 months of slavish studio toiling and twiddling, Stevie pissed all over in the few days that she attended proceedings. It's quite hilarious when you think about it.
PS I also think that Big Love and Family Man would have benefited greatly if Stevie's backing vocals had made the final cut... perhaps a further example of Lindsey's anger and insane jealousy interfering with his judgement?

Great post! I don't agree with everything you said but you are dead on with WISYA, Isn't it Midnight and Little Lies.