Say You Will Poll: Stevie's Best Work Since. . .?

[TrueFaith77]

As an extension of the conversation going on here:
http://ledge.fleetwoodmac.net/showthread.php?t=41912

I know I should have asked something like: Do you agree with Stevie that SYW sucks? But instead, I wanted to establish some standards.

[holidayroad]

At least her best Fleetwood Mac album since Tusk. Some of her solo in between was better than her songs on SYW.

[BellaDonna93]

Maybe it isn't THE BEST works BUT the album rocks and I absolutley LOVE it!!!!

[Peestie]

I've not heard much of her solo stuff other than EO17 but I'd say that within FM it is by far her best since Tusk.

[JohnL]

I think her work on Mirage is better than SYW. I love Gypsy, Straight Back, Thats Alright,etc. Plus I think that most of TISL is better than most of SYW with the possible exceptions of Thrown Down and EFO.

[Gypsycat999]

I agree that Mirage is better than SYW. Everything that came after Mirage doesn't really do it for me. On each album are a few songs I like but the most just sucks :sorry:.

[FMlex]

I had to say no on this one.

I don't voluntarily listen to Say You Will.
It's not that I don't like the songs, but... I don't know... it just seems kind of blah and random to me.

I do like Stevie's contributions to the album, with "Thrown Down," "Smile at You," and "Goodbye Baby" being my favorites.
I've said this before on here -- I lovelovelove the demos of those songs but I can't make myself listen to the album versions. It's just way too over produced for me.

I think it's a no-brainer that between 1979 and 2003 she wrote some MUCH better stuff than what she put on Say You Will. Just my opinion!

[wheart]

SYW has it's brilliant moments, most of them being Lindsey's songs. It think it's quite obvious when listening to SYW that it was originally intended to be a Lindsey Buckingham solo album. Songs like Miranda, Red Rover, Murrow, Peacekeeper, etc. are wonderfully crafted little gems, his best work to date.

In comparison, Stevie's songs just don't measure up. Sure, Everybody Finds Out and Thrown Down are excellent but the rest her tunes sound lifeless, uninspired and thrown together. Her vocals on most of her songs are a big part of the problem. She sounds like she's half asleep and suffering from a major sinus problem. I don't think the problem lies in the songs themselves, but the production and delivery. Although Stevie didn't talk about her unhappiness during the making of this record until now, she certaintly communicated it through her songs.

[HejiraNYC]

In essence, you are basically saying that Stevie's ten songs for SYW were better than her ten songs for Bella Donna? This is so beyond absurd... my brain is just about to hemorrhage.

[TrueFaith77]

In essence, you are basically saying that Stevie's ten songs for SYW were better than her ten songs for Bella Donna?

Yes.

Perhaps a better way of asking the question would have been: "Is SYW Stevie's best collection of original songs since TUSK?" So I'm glad you clarified things.

I would really like to hash out why I feel this way. But I'm at work! But I'm enjoying reading the responses to the poll.

This is so beyond absurd... my brain is just about to hemorrhage.

Don't let your brain hemorrhage over it though! :xoxo:

[Artemis]

I think Stevie's Say You Will work is her best set of Fleetwood Mac songs since Mirage, and as a whole, is better than Rock A Little, The Other Side Of The Mirror and Street Angel.

I think on a whole her Trouble In Shangri-La album is better than her work on Say You Will, but some of her songs on Say You Will have that... "wow" factor that's been missing from most her stuff since Mirage.

Thrown Down, Running Through The Garden and Everybody Finds Out really stand out to me as amazing.

However, Say You Will also has Silver Girl and they totally destroyed Smile At You...so I don't know.

I think Trouble In Shangri-La is her best set of work since Mirage / Wild Heart, but I think Say You Will has the songs with the most "Wow factor" :lol:

[jbrownsjr]

In essence, you are basically saying that Stevie's ten songs for SYW were better than her ten songs for Bella Donna? This is so beyond absurd... my brain is just about to hemorrhage.

I concur...

[jbrownsjr]

Say You Will is a very weak album to me. It doesn't flow well, it was dated on release, the vocals are subpar, and the compositions don't seem like they go together. The opening track is laughable to say the least. I never once got that "magic" i got from Tango, Mirage, Tusk, Rumours, or FM... (I'll leave out the great pre-Buckingham/Nicks albums to compare apples to apples)

As far as Stevie's material she has some decent tunes... but the production of them are aurally in bad taste. There are times when Stevie sounds like she's holding her nose while singing and it's the production trick of running the headphones thru the main mic... God that's disturbing...

Her tunes on Mirage are amazing to my ears... Straight Back, Gypsy, That's Allright... she mixes up genres with perfection... a little rock, a little pop, a little country sounds... the harmony factor alone on Mirage blows SYW away..

Yeah SYW... I bought it... but I'm just not buying it...

[Nico]

I don't know...I'll probably say yes only because I don't think she had anything really great going on those other albums after Tusk, aside from Gypsy and Seven Wonders, and maybe I'm the only one who thinks the latter is really "great." Anyway, her stuff on SYW is pretty strong in comparison, but it isn't all that consistent.

Now if we're referring to solo, I'll say Wild Heart (album) is superior to her stuff on SYW.

I kind of think of SYW as an LB album because I prefer his songs to hers and I play them way more, so I sometimes forget about her songs on there. But Stevie has some great solo moments after Tusk. I just think they're few and far between, but they are there.:nod:

[Glittermoondust]

Better than Gypsy?? That's Alright?? Seven Wonders?? Juliet?? If You Ever Did Believe?? Fireflies?? Sorcerer??? Nope!!!

[jbrownsjr]

Better than Gypsy?? That's Alright?? Seven Wonders?? Juliet?? If You Ever Did Believe?? Fireflies?? Sorcerer??? Nope!!!

NO!!!!!!! absolutely not!!:xoxo:

[mylittledemon]

SYW is Stevie's best work since TISL. ;)

[daniellaaarisen]

At least her best Fleetwood Mac album since Tusk. Some of her solo in between was better than her songs on SYW.

Agreed. I like certain songs ("Trouble in Shangri-La", "Planets of the Universe", "It's Only Love", "Love Is", "Fall From Grace", etc.) from TISL more than I like anything on SYW. I think there are many many songs, especially on Bella Donna and Wild Heart, that blow anything she's done on SYW out of the water. I really think the only great tracks by Stevie on that album are "Thrown Down", "Destiny Rules" and "Goodbye Baby" (although GB was written forever ago and I like the demos better).

I donno, I don't see why anyone would think that SYW is some huge artistic breakthrough for Stevie.

[TrueFaith77]

Well, again, I think that Heijira(?) defined it best by establishing that SYW should be compared to collections of songs. Even then, if I listed my TEN favorite post-tusk Stevie tracks, I don't know that they would rival SYW as a whole -- though NOTHING ever in the history of man beats Gypsy and Edge of Seventeen. . .

I took the listening challenge twice today: Bella Donna vs. Say You Will. Sorry, for me, it's not even a contest.

Make no mistake: Bella Donna is a beautiful thing. And while the vocal production is topnotch and the harmonies are delicate and the songwriting is lovely, the arrangements are... dull. I don't hear any adventure (EO17 excepted, of course). And the songs are a step down after FM, R, and T. (Now, for those who feel my preference is absurd, the country twang of BD might not be to everyone's taste.)

I might be in the minority in that I actually prefer Stevie's contributions to the mighty SYW to Lindsey's.

NOTES

My playlist of her SYW tracks begins with Not Make Believe. Wow!! The tumbling drums (Mick and John are not on Bella Donna!)! The vocals and guitars!! It's sonic bliss. Then, beginning proper, Illume 9/11 really rivals the gravity of Eo17: both songs deal with death and catastrophe by charting how they change her consciousness. What other post-9/11 song has done this better? This establishes the meaning for the rest of the album (what unites her songs with Lindsey's):

Thrown Down -- "Faith is a hard thing to hold onto / Something inside you says I don't have to"
Say You Will -- an invitiation and a social contract
Smile At You -- heartbreak; gesture (understanding)
Running Through The Garden -- how we deal with pain; how we mourn
Silver Girl -- a minor song that predates Mary Gaitskill's triumphant short story ("Mirror Ball"): "You cannot see her soul unless she lets you see her soul"!!!
EFO -- The strings!
Destiny Rules -- Tracks back to Illume to show how 9/11 has impacted her view of ... everything! ... especially Lindsey who graces the song with the loveliest guitar playing this side of Johnny Marr (i cribbed that from somewhere else... but it's so true)
Goodbye Baby -- Tears. Hard-won catharsis at last. Or deep reflection.

It's a full cycle. Adventurous. New insights. Art that addresses a great communal need. For the first time since Tusk, her work achieves (in conjunction with Lindsey's) and mystical imagery serves the purpose of a real social vision.

BD just doesn't offer that kind of spectacle (outside of Eo17).

[HejiraNYC]

Well, again, I think that Heijira(?) defined it best by establishing that SYW should be compared to collections of songs. Even then, if I listed my TEN favorite post-tusk Stevie tracks, I don't know that they would rival SYW as a whole -- though NOTHING ever in the history of man beats Gypsy and Edge of Seventeen. . .

I took the listening challenge twice today: Bella Donna vs. Say You Will. Sorry, for me, it's not even a contest.

Make no mistake: Bella Donna is a beautiful thing. And while the vocal production is topnotch and the harmonies are delicate and the songwriting is lovely, the arrangements are... dull. I don't hear any adventure (EO17 excepted, of course). And the songs are a step down after FM, R, and T. (Now, for those who feel my preference is absurd, the country twang of BD might not be to everyone's taste.)

I might be in the minority in that I actually prefer Stevie's contributions to the mighty SYW to Lindsey's.

NOTES

My playlist of her SYW tracks begins with Not Make Believe. Wow!! The tumbling drums (Mick and John are not on Bella Donna!)! The vocals and guitars!! It's sonic bliss. Then, beginning proper, Illume 9/11 really rivals the gravity of Eo17: both songs deal with death and catastrophe by charting how they change her consciousness. What other post-9/11 song has done this better? This establishes the meaning for the rest of the album (what unites her songs with Lindsey's):

Thrown Down -- "Faith is a hard thing to hold onto / Something inside you says I don't have to"
Say You Will -- an invitiation and a social contract
Smile At You -- heartbreak; gesture (understanding)
Running Through The Garden -- how we deal with pain; how we mourn
Silver Girl -- a minor song that predates Mary Gaitskill's triumphant short story ("Mirror Ball"): "You cannot see her soul unless she lets you see her soul"!!!
EFO -- The strings!
Destiny Rules -- Tracks back to Illume to show how 9/11 has impacted her view of ... everything! ... especially Lindsey who graces the song with the loveliest guitar playing this side of Johnny Marr (i cribbed that from somewhere else... but it's so true)
Goodbye Baby -- Tears. Hard-won catharsis at last. Or deep reflection.

It's a full cycle. Adventurous. New insights. Art that addresses a great communal need. For the first time since Tusk, her work achieves (in conjunction with Lindsey's) and mystical imagery serves the purpose of a real social vision.

BD just doesn't offer that kind of spectacle (outside of Eo17).

Considering BD's vintage, I would be hard pressed to think of an album by a contemporary rock act of its time that I would consider "adventurous." I guess you could say it was a simpler time- when guitars sounded like guitars and pianos sounded like pianos. The beauty about BD was that it didn't try to be something that it wasn't. It didn't employ the latest fad sounds and effects. And it was timeless in a way- lacking any references to "a high tech world." The focus here was the song and the arrangements. Every "ooh" and every scream of the guitar. Every instrument had its place and every note existed to complement the voice, which was often used as an instrument as well. Rather than flooding our ears with noise, the sparseness lent the songs an emotional honesty- the urgent solo guitar riff of Eo17, the haunting unadorned piano/high-hat intro to "Kind of Woman," the sexy piano/guitar/percussion intro to "How Still My Love," etc. The music conveyed urgency, anger, joy, pain, drama... all of these emotions that I think were kind of blunted on Stevie's SYW songs by production. And I love how the songs on BD had a beginning, middle and end to them. They built up to an uncertain emotional climax and then ebbed into a sober new understanding of the truth. On "Bella Donna," the woman moves on after her epiphany, i.e., coming "out of the darkness." On E017, at the end she finally reveals the symbolism of the dove's song. At the end of "The Highwayman," she reveals that her love lives on only in her dreams. Indeed, there are hints of this kind of writing in songs like RTTG and "Destiny Rules," and "Thrown Down," but for the most part, I don't feel that same kind of connection emotionally to her songs on SYW.

[Glittermoondust]

SYW is Stevie's best work since TISL. ;)


Now that was funny!! :thumbsup: :laugh:

[vivfox]

Considering BD's vintage, I would be hard pressed to think of an album by a contemporary rock act of its time that I would consider "adventurous." I guess you could say it was a simpler time- when guitars sounded like guitars and pianos sounded like pianos. The beauty about BD was that it didn't try to be something that it wasn't. It didn't employ the latest fad sounds and effects. And it was timeless in a way- lacking any references to "a high tech world." The focus here was the song and the arrangements. Every "ooh" and every scream of the guitar. Every instrument had its place and every note existed to complement the voice, which was often used as an instrument as well. Rather than flooding our ears with noise, the sparseness lent the songs an emotional honesty- the urgent solo guitar riff of Eo17, the haunting unadorned piano/high-hat intro to "Kind of Woman," the sexy piano/guitar/percussion intro to "How Still My Love," etc. The music conveyed urgency, anger, joy, pain, drama... all of these emotions that I think were kind of blunted on Stevie's SYW songs by production. And I love how the songs on BD had a beginning, middle and end to them. They built up to an uncertain emotional climax and then ebbed into a sober new understanding of the truth. On "Bella Donna," the woman moves on after her epiphany, i.e., coming "out of the darkness." On E017, at the end she finally reveals the symbolism of the dove's song. At the end of "The Highwayman," she reveals that her love lives on only in her dreams. Indeed, there are hints of this kind of writing in songs like RTTG and "Destiny Rules," and "Thrown Down," but for the most part, I don't feel that same kind of connection emotionally to her songs on SYW.

Wow. That was so beautifully written. This should be in a magazine. Thank you!:xoxo:

[Musicman408]

I was really on the fence with this one. SYW is what got me into FM and I absolutely adore it!!! That being said, I can't say that SYW is necessarily her best work since Tusk!

[David]

What was so great about her work on Tusk? The White Album & Rumours are where she really shined as a songwriter. Them's her apex. Since then, everything's been dependent on a great vocal or a great, catchy orchestration (putting aside her greatness as a live singer for many years).

[jbrownsjr]

What was so great about her work on Tusk? The White Album & Rumours are where she really shined as a songwriter. Them's her apex. Since then, everything's been dependent on a great vocal or a great, catchy orchestration (putting aside her greatness as a live singer for many years).

I love the the simplicity and beauty of Beautiful Child
I love the intensity and drive of Sisters of the Moon
I love the poppy crispness of Angel
I do like Sara... but I always thought it was too long by about a minute
Storms quaint beauty speaks for itself... (studio that is) This last tour live.. no no no no no....

[Black_Moon]

What was so great about her work on Tusk? The White Album & Rumours are where she really shined as a songwriter. Them's her apex. Since then, everything's been dependent on a great vocal or a great, catchy orchestration (putting aside her greatness as a live singer for many years).

I think all five of her songs on Tusk have beautifully written lyrics. It's like every word serves its purpose which I think she's been quite "hit and miss" with in later years -- thus, the excessive amount of 'wells', which is lazy writing as much as I love hearing her different vocal inflections on them.

Say You Will is her best work since Trouble in Shangri-La, make no mistake. The latter was a breakthrough, probably the most consistent set of songs she'd put forward to an album since The Wild Heart (if I'm being objective, because I love all of her songs on Rock A Little and Tango in the Night). Say You Will, while for the most part her songs in my opinion are better than Lindsey's, there are only a couple that make me get that knotted feeling in my chest of a great song. It's one of those albums which I played to death when I first became a Fleetwood Mac fan, and now I'm a bit indifferent with and I haven't listened all the way through since last year.

[daniellaaarisen]

What was so great about her work on Tusk? The White Album & Rumours are where she really shined as a songwriter. Them's her apex. Since then, everything's been dependent on a great vocal or a great, catchy orchestration (putting aside her greatness as a live singer for many years).

Her stuff on Rumours (I'm going to count "Silver Springs" in this) is all very precise, both lyrically and musically. All of her words make perfect sense and follow a fundamental flow of (poetic) logic. They are concise, carefully worded and, in my opinion, absolutely perfect.

Her Tusk songs are much more fairy-like, if you will. Lyrically, she isn't anywhere close to that type of precision. She's just looser and more poetic but without as clear of an objective with her images. Take "Dreams" versus "Angel" and "Sara." In "Dreams", she stays conventional in her imagery... "thunder only happens when its raining" and the like. With "Angel" and "Sara", you have great dark wings and charmed hours and haunted songs and undone laces and ghosts in fog and basically, just a ton of crazy ****. I LOVE Stevie's stuff on Tusk because of it, but its just a very different side of her as a writer. She got looser, she experimented a little more, she took things less literally. And I think her later work is definitely a combination of Rumours Stevie and Tusk Stevie. And guess what? I'm in love with them both.

[Dodfather]

Well, again, I think that Heijira(?) defined it best by establishing that SYW should be compared to collections of songs. Even then, if I listed my TEN favorite post-tusk Stevie tracks, I don't know that they would rival SYW as a whole -- though NOTHING ever in the history of man beats Gypsy and Edge of Seventeen. . .

I took the listening challenge twice today: Bella Donna vs. Say You Will. Sorry, for me, it's not even a contest.

Make no mistake: Bella Donna is a beautiful thing. And while the vocal production is topnotch and the harmonies are delicate and the songwriting is lovely, the arrangements are... dull. I don't hear any adventure (EO17 excepted, of course). And the songs are a step down after FM, R, and T. (Now, for those who feel my preference is absurd, the country twang of BD might not be to everyone's taste.)

I might be in the minority in that I actually prefer Stevie's contributions to the mighty SYW to Lindsey's.

NOTES

My playlist of her SYW tracks begins with Not Make Believe. Wow!! The tumbling drums (Mick and John are not on Bella Donna!)! The vocals and guitars!! It's sonic bliss. Then, beginning proper, Illume 9/11 really rivals the gravity of Eo17: both songs deal with death and catastrophe by charting how they change her consciousness. What other post-9/11 song has done this better? This establishes the meaning for the rest of the album (what unites her songs with Lindsey's):

Thrown Down -- "Faith is a hard thing to hold onto / Something inside you says I don't have to"
Say You Will -- an invitiation and a social contract
Smile At You -- heartbreak; gesture (understanding)
Running Through The Garden -- how we deal with pain; how we mourn
Silver Girl -- a minor song that predates Mary Gaitskill's triumphant short story ("Mirror Ball"): "You cannot see her soul unless she lets you see her soul"!!!
EFO -- The strings!
Destiny Rules -- Tracks back to Illume to show how 9/11 has impacted her view of ... everything! ... especially Lindsey who graces the song with the loveliest guitar playing this side of Johnny Marr (i cribbed that from somewhere else... but it's so true)
Goodbye Baby -- Tears. Hard-won catharsis at last. Or deep reflection.

It's a full cycle. Adventurous. New insights. Art that addresses a great communal need. For the first time since Tusk, her work achieves (in conjunction with Lindsey's) and mystical imagery serves the purpose of a real social vision.

BD just doesn't offer that kind of spectacle (outside of Eo17).

I agree with most of this although I'm not keen on Silver Girl. The strongs on Everybody Finds Out are by far the best thing on it, they're great! Anew sound for the band too.

I was wondering, does anyone have an mp3 of Not Make Believe? Not sure if it can be posted because it may still be commercially available but if so that would be great. I;ve been looking for it for AGES because I stupidly didn;t get the special edition of Say You Will and have been kiciking myself since! Thanks everyone.

[David]

I love the the simplicity and beauty of Beautiful Child
I love the intensity and drive of Sisters of the Moon
I love the poppy crispness of Angel
I do like Sara... but I always thought it was too long by about a minute
Storms quaint beauty speaks for itself... (studio that is) This last tour live.. no no no no no....Well, as usual when we're all talking about Stevie, we start conflating everything the whole band is doing & ascribing it solely to Stevie. Fans do that a lot on her solo albums, too. They talk about what an energetic track I Can't Wait is, for example -- but she didn't compose that! She didn't compose the cool guitar work on Edge of Seventeen. She didn't compose the trancelike club rhythms on Illume. She didn't compose the "poppy crispness" on Angel (Christine is more responsible than anyone for the style & sound you love on that track.). She didn't compose the earthy arrangements on Bella Donna.

She writes the chords & the lyrics, & does the vocal.

[TrueFaith77]

Well, as usual when we're all talking about Stevie, we start conflating everything the whole band is doing & ascribing it solely to Stevie. Fans do that a lot on her solo albums, too. They talk about what an energetic track I Can't Wait is, for example -- but she didn't compose that! She didn't compose the cool guitar work on Edge of Seventeen. She didn't compose the trancelike club rhythms on Illume. She didn't compose the "poppy crispness" on Angel (Christine is more responsible than anyone for the style & sound you love on that track.). She didn't compose the earthy arrangements on Bella Donna.

She writes the chords & the lyrics, & does the vocal.

Well, that's the point of this thread. Not to judge just the chords, lyrics, and vocals but also whether or not the songs are served by the collaborations and the context.

---

Anyway, as a continuation of this fascinating thread, I thought it would be interesting to get more precise responses on the poll itself: What is Stevie's best collection of songs after TUSK?

http://ledge.fleetwoodmac.net/showthread.php?t=41935

[jbrownsjr]

She didn't compose the "poppy crispness" on Angel (Christine is more responsible than anyone for the style & sound you love on that track.)

hahaha you know that I know that... :rolleyes: However, I will say, my point was more geared toward, "I really like listening to those 'Stevie' songs vs. the nasal reverbations and slow plodding tunes on SYW."

As an arranger, I know how the composer takes the bow, while the arranger sweats out stave after stave making sure the orchestrations line up... I will say that Stevie's vocals on Tusk and Bella Donna are extremely pleasing to my ears...

[markolas]

Stevie's SYW songs are mostly mediocre, both the compositions themselves, and her vocals; the production is way overdone on most of them. Thrown Down is probably the best thing on there. The song SYW is great, but needed a third verse. Illume is pretty good, but has that awful vocal distortion thing at the end. There's a great vocal on EFO, but it's so unlike anything else on the album that it seems like it just doesn't belong there. The other songs of hers on there are weak and overproduced. How anyone can prefer it over BD is beyond me, but there's no accounting for taste. :shrug:

[David]

Stevie's SYW songs are mostly mediocre, both the compositions themselves, and her vocals; the production is way overdone on most of them.

John Gielgud once said of his not-so-friendly friend Laurence Olivier: "I often found myself marveling at his execution even if I disagreed with his conception."

Well, with Say You Will, I found myself disagreeing with the producer's conceptions AND deploring his executions. I wish I had medical records at hand, because I wouldn't be surprised to learn that there has been hearing loss in the producer. The whole album has what I call an airplane-cabin mix: It probably sounds better the more plugged up you are.

[jbrownsjr]

John Gielgud once said of his not-so-friendly friend Laurence Olivier: "I often found myself marveling at his execution even if I disagreed with his conception."

Well, with Say You Will, I found myself disagreeing with the producer's conceptions AND deploring his executions. I wish I had medical records at hand, because I wouldn't be surprised to learn that there has been hearing loss in the producer. The whole album has what I call an airplane-cabin mix: It probably sounds better the more plugged up you are.

Define "plugged up"...

[chiliD]

Better than Gypsy??

No

That's Alright?? Seven Wonders?? Juliet?? If You Ever Did Believe?? Fireflies?? Sorcerer???

MOST DEFINITELY!!!!

[TrueFaith77]

^^^:thumbsup:

-------

Now Lindsey:

http://ledge.fleetwoodmac.net/showthread.php?t=41944

You know, for science!

[Rod]

I agree with the earlier comments about Stevie's contributions to Mirage being better than those on Say You Will. In fact apart from the wondrous 'Sara' I prefer her Mirage songs to those on Tusk too. Especially if you add in her amazing unreleased Mirage era songs - 'Smile At You' and 'If You Were My Love.'

[TrueFaith77]

I agree with the earlier comments about Stevie's contributions to Mirage being better than those on Say You Will. In fact apart from the wondrous 'Sara' I prefer her Mirage songs to those on Tusk too.

For me, the only real struggle was choosing between SYW and Mirage (GYPSY!!), so I'm surprised that on the other poll Mirage has gotten no votes. Interesting. Maybe it's cuz it's just three songs. But those three songs have John & Mick.

[Rod]

Well I voted for Mirage on the other poll! I think it's a very underrated album. Gypsy is definitely the jewel in the crown but there are plenty of other treasures to be found - in Stevie's other songs and also some of Christine's finest (Love in Store & Hold Me).

[BellaDonna]

I really love her songs on Mirage rather than thoes on SYW... there is 3 or 4 on there I like but not near as much as the ones she sang on the Mirage album! :xoxo:

[David]

hAs an arranger, I know how the composer takes the bow, while the arranger sweats out stave after stave making sure the orchestrations line up... I will say that Stevie's vocals on Tusk and Bella Donna are extremely pleasing to my ears...She's a caterwauling wreck, a mainframe glitch, a whinnying old horse, a ship hitting an iceberg in the North Atlantic, an exploding roadside bomb, a subducting oceanic plate, a late-night infomercial, a fingernail on a blackboard, etc. etc. on Tusk & Bella Donna. She hasn't turned in a decent vocal since "In the Dawn" in 1970.

But we're still friends, John.

[jbrownsjr]

But we're still friends, John.

That's pleasing to my ears as well... :woohoo: