Stevie's Extra Vocals on Tango

[UndoingTheLaces]

Does anyone have any info about Stevie's extra vocals on Little Lies, Big Love and Family Man? I know Mick said in his book that Stevie was mad that she was hardly on the album so they stuck around and added her extra parts but is there any other info or tidbits about this? Any demos that feature more of these extra verses? It sounds from the various mixes of Big Love that there was a bunch of extra vocals recorded but only certain bits were sampled and used. It would be awesome to hear a full demo with Stevie singing along with Lindsey.

[mylittledemon]

The Little Lies extended (Jellybean) mix has a bit more of Stevie in it.

I'm assuming Buckingham didn't use a lot of Stevie's parts because, well, they weren't very good.

Also, I have a feeling that her contributions were minimal... Lindsey said she was "hardly" there (I think only a few weeks out of the year it took to make the record)... God knows.

[mikebise]

Stevie's awesome extra vocals sound very 1986 ~ pre~Betty Ford. I don't think she recorded them in early 1987, as Mick seems to assert.

A few months ago, someone on here posted that LB had a fit and erased Stevie from everything except for "Little Lies". This poster said that the album sounded very different before he did that. Aside from those remixes, I have no idea what else she sang on.

[UndoingTheLaces]

Yeah, the extra vocals sounded great for remixes but I can't imagine the little bits on Little Lies and Family man would have mixed well into the original mixes without sounding tacked on. I always thought Tango was the least Fleetwood Mac sounding album because Stevie was hardly on it other than her few songs. But I have to say I love her extra vocals on Big Love. I didn't care for the album cut but the remix is one of my favorite songs from that era.

I was also surprised that they didn't use the extra vocals from the end of Seven Wonders because usually in the old extended remixes they often made use of vocals that went on beyond the album cut fadeout but on listening to the Seven Wonders 12" mix they end it on a much more dramatic note by stopping where they did, so I think they made a very wise decision there. I'm also amazed at how kick ass the Seven Wonders and Big Love remixes were compared to Little Lies. That one still blows me away. The original is so good and the remix really misses the mark.

[Artemis]

But I have to say I love her extra vocals on Big Love. I didn't care for the album cut but the remix is one of my favorite songs from that era

This! I just listened to the remix on youtube to refresh my memory, and she sounds really good on it, I wish they'd kept her vocals in the main version, it would have added so much to the song, in my opinion, made it sound a bit more like Fleetwood Mac :laugh:

[mikebise]

Right before Tango came out, Ginny Kamano sent out a letter to Stevie's fans. In it, she said that LB was only going to have TWO of Stevie's songs on the album, and NONE of her vocals on the rest. Warner Brothers intervened and insisted Stevie have THREE songs of hers on the album, as well as her vocals being on at least one other song.

If WB hadn't gotten involved, there would have been even LESS Stevie on the record.

[drzubritsky]

... I always thought Tango was the least Fleetwood Mac sounding album because Stevie was hardly on it other than her few songs...

You're absolutely right on that front. Other than the lead vocals on her 3 songs, the only Stevie appearance that I can hear is her counter-melody line on "Little Lies" (which sounds somewhat tacked on). Even on her own songs, it sounds like she only has a lead vocal, with no harmonies with herself as she had done on previous albums (e.g. "Dreams", "That's Alright" where she adds a harmony line along with CM and LB to create a very full block harmony sound). That is why the choruses of "Seven Wonders" and "Wecome To The Room Sara" sound a bit thin compared to Stevie's songs on previous albums.

[Artemis]

Right before Tango came out, Ginny Kamano sent out a letter to Stevie's fans. In it, she said that LB was only going to have TWO of Stevie's songs on the album, and NONE of her vocals on the rest. Warner Brothers intervened and insisted Stevie have THREE songs of hers on the album, as well as her vocals being on at least one other song.

If WB hadn't gotten involved, there would have been even LESS Stevie on the record.

This really makes me wonder which Stevie song was the added extra, and which two were the originals.

Excellent point about Stevie not having any harmonies with herself, or appearing in the backing of any of the others' songs too. Although, I could have sworn I can hear her in Everywhere.

[AliceLover]

Right before Tango came out, Ginny Kamano sent out a letter to Stevie's fans. In it, she said that LB was only going to have TWO of Stevie's songs on the album, and NONE of her vocals on the rest. Warner Brothers intervened and insisted Stevie have THREE songs of hers on the album, as well as her vocals being on at least one other song.

If WB hadn't gotten involved, there would have been even LESS Stevie on the record.

Too bad, Christine shined on TITN.

[wheart]

Too bad, Christine shined on TITN.

her finest moments IMO!! Isn't it Midnight? Everywhere? Perfection!!

[mylittledemon]

I really think Tango would've been one of their very best records (and it already is good) if Stevie had shined as much as Christine eh

[UndoingTheLaces]

Although, I could have sworn I can hear her in Everywhere.

Well she's there in the Tango live DVD. LOL! I always figured they used all that grainy behind the scenes footage to hide the fact that Christine would cringe every time Stevie would go "I wanna be with you..." in the chorus.

[tabruns]

I think it was in Mick's book where he says they were in the recording studio listening to a playback of the album and Stevie was getting more and more upset. She complained that it was like she wasn't on the album at all. Mick asked specifically what she thought she should be on and Stevie replied "'Everywhere'....you should be able to hear me on 'Everywhere'". Christine then said that she had wanted Stevie on "Everywhere" but that they'd been working on the album for nearly a year before Stevie joined them so the fault was Stevie's. Stevie apologized for that, and then they supposedly added Stevie's vocals to "Everywhere" and according to Mick it "did sound more like Fleetwood Mac".

Thing is I can't really hear Stevie on "Everywhere". Maybe if I heard the original version that didn't have Stevie's vocals mixed in and then heard the one that ended up on Tango In The Night I might be able to say "oh yeah now I can hear her"....but just hearing the Tango "Everywhere" it doesn't sound to me like Stevie's voice is noticeable there. Anyone have any thoughts on that?

I think over-all Tango DOES sound very "Stevie light".....she's noticeable on "Little Lies" but that's about it. People think she's the female voice on "Big Love" but she's not....that's a computer-altered Lindsey vocal.

I agree that Tango could have been truly great if Stevie was more a part of the album and if she'd turned in better songs.

[mikebise]

She turned in:

"Seven Wonders"
"When I See You Again"
"Juliet"
"Whole Lotta Trouble"
"What Has Rock And Roll Ever Done For You?"
"Joan Of Arc"
"Welcome To the Room... Sara"

Pretty good songs to me!

[UndoingTheLaces]

I'm surprised "What Has Rock And Roll Ever Done For You?" hasn't turned up somewhere else. Like on a soundtrack or one of Stevie's solo albums or a b-side or something. That was a pretty wild song.

[drzubritsky]

Thing is I can't really hear Stevie on "Everywhere". Maybe if I heard the original version that didn't have Stevie's vocals mixed in and then heard the one that ended up on Tango In The Night I might be able to say "oh yeah now I can hear her"....but just hearing the Tango "Everywhere" it doesn't sound to me like Stevie's voice is noticeable there. Anyone have any thoughts on that?



If Stevie is singing on "Everywhere", then her vocals have been mixed so low as to be inaudible. Her voice is so distinctive that it is almost always recognizable on any recording, but I don't hear it here. If you listen closely to the background response vocals at the end of the chorus, there are some vaguely Stevie-like vocals but they sound much more like LB's voice slightly manipulated (ala "Book of Love").

Compare the TITN version of "Everywhere" to The Dance to get a sense of what the song sounds like with Stevie on backing vocals. I actually like The Dance version better because of the more prominent guitar and the richer backing vocal harmony. The song has a bit more oomph on The Dance as opposed to the light-as-a-feather TITN version.

[tabruns]

I'm surprised "What Has Rock And Roll Ever Done For You?" hasn't turned up somewhere else. Like on a soundtrack or one of Stevie's solo albums or a b-side or something. That was a pretty wild song.

Oh speaking of that, Stevie said once in an interview that originally "What Has Rock'n'Roll Ever Done For You" was supposed to close the Tango In The Night album, but that Christine thought it was too negative of a song. They opted instead for "You and I".

[tabruns]

She turned in:

"Seven Wonders"
"When I See You Again"
"Juliet"
"Whole Lotta Trouble"
"What Has Rock And Roll Ever Done For You?"
"Joan Of Arc"
"Welcome To the Room... Sara"

Pretty good songs to me!

Hmmm.....and the band picked the ones that they wanted from there? I haven't ever heard "Joan of Arc" so I can't comment on that. "Seven Wonders" is good but I always preferred to see Stevie-penned-only songs on Mac albums. "Juliet" is a good one, I love the "sky is crying, no the sky is blue" section. I've just never liked "When I See You Again" or "Welcome to the Room...Sara"....they both seem like weak songs, the latter one in particular, and definitely the weakest songs on the whole album (and I like Stevie's stuff more than Christine's or Lindsey's normally).

[PenguinHead]

I guess I go against the majority opinion. Of Stevie's three songs on Tango, the one I think is the most unique and intriguing is 'Welcome to the Room Sara." So very Stevie! It's more logical when you know the story behind it. Of course, she wrote it in the most obtuse manner, yet it made perfect sense to her!

Although I intially liked 'Seven Wonders" the most, it hasn't aged well with me. Her modifed lyrics leave a lot to be desired -- butchered, pedestrian and awkward. Definately a missed opportunity for a much stronger song. I feel for Sandy!

I strive to find something redeemable in "When I See You Again," but it's hard to do. Her delivery, as well as the questionable/reeking lyrics don't help the song at all. It could have been her new 'Landslide," but instead it reveals her severe limitations/issues at that point in time. Another missed opportunity, almost as if she didn't really care. That's a shame.

The other attempted song "Joan of Arc," had potential. Yet it succumbs to similar shrill repetition similar to 'When I See You Again." It's choice between " baby, baby baby.." or "Turn it to the wall, turn it to wall." It's a lot of blatent filler to pick up the slack for lazy/poor writing.

Obviously "Juliet" was attempted, but all that emerged from that was the b-side intrumental "Book of Miracles." I remember wondering, at the time, why Stevie would have a song writing credit on an intrumental song. Now we know why.

About the other songs, like "What Has Rock and Roll Ever Done For You?" ...did Fleetwood Mac actually attempt them? I always considered the demo we have of that song is a Stevie-generated demo that she brought to the band for consideration ( like the 'Welcome to the Room Sara" demo). Is there documented studio band work on that song, or on 'Whole Lotta Trouble?"

I wonder if Stevie has any regret or shame over how she behaved during that era, and how she was the weakest link in the band, and how her questionable contributions prevented Tango from ever being a really great album.

[tabruns]

Okay now this is a case where I really like Stevie's demo MUCH better than what Lindsey ended up doing to the song. Here's the demo of "Welcome to the Room...Sara":

http://www.youtube.com/watch?v=9AtfCZWIoZk

The demo has nice velvety synths.

I think what really throws me off is Lindsey's "island" style musical arrangement. Those tropical-ish synths and the congas in the song just serve to emphasize how meandering the lyric is, whereas Stevie's original demo grounds the lyrics better.

BTW the "Juliet" demo is better too....it shows that Rupert Hine hindered the song with keyboards when he produced it: http://www.youtube.com/watch?v=r_zGH7lCqeA&feature=related

[Artemis]

I think if they picked Seven Wonders, Joan of Arc and Whole Lotta Trouble, then Tango would have been an even better album. I would have liked to see What Has Rock And Roll Ever Done For You? Close the album too, I think that's a great little song :laugh:

On the four albums preceding this one, in my opinion, Stevie had the strongest material. On this one, she sank like a lead balloon, while Lindsey and Christine - especially Christine - were on fire.

[PenguinHead]

On the four albums preceding this one, in my opinion, Stevie had the strongest material. On this one, she sank like a lead balloon, while Lindsey and Christine - especially Christine - were on fire.

Without a doubt, Christine and Lindsey were in their moment. A very good thing, because they had to pick up the slack. Perhaps without Stevie's lack of involvement, they had better chemistry and worked especially well together.

[tabruns]

I think if they picked Seven Wonders, Joan of Arc and Whole Lotta Trouble, then Tango would have been an even better album. I would have liked to see What Has Rock And Roll Ever Done For You? Close the album too, I think that's a great little song :laugh:

On the four albums preceding this one, in my opinion, Stevie had the strongest material. On this one, she sank like a lead balloon, while Lindsey and Christine - especially Christine - were on fire.

I totally agree. Stevie had a hell of a run from Fleetwood Mac through Mirage but stumbled badly on Tango In The Night....which was really too bad, because, as you pointed out, Lindsey did some good work and Christine turned in really strong songs.

I think Stevie was spotty on Behind The Mask too, as well as "No Questions Asked" on Greatest Hits. It wasn't until "Paper Doll" that I thought there was a glimmer of the old Stevie magic returning. "Twisted" showed some promise as did "Sweet Girl" but it was the Trouble In Shangri-La album where I thought she'd really returned to form as a great songwriter, which was maintained by most of the new songs on the Say You Will album (In fact "Thrown Down" may be my favorite song of hers, ever). I have high hopes for In Your Dreams.

[ahafan02]

I'm just amazed so many people hate "Affairs of the Heart"...which I absolutely adore....It's always on my Stevie best of comps I make from time to time...


As for Tango...yeah Stevie was clearly on autopilot..her songs on the LP, maybe beside "Seven Wonders" (is there a 7" remix?), are very weak...Lindsey and Christine's songs are def the strongest.

[StevieNicksfann]

I believe All The King's Horses was also submitted for Tango.


And I love Affairs of the Heart and No Questions Asked very much!

[wildheart048]

totally agree with you about What Has Rock N Roll...it should have turned up somewhere...as so many of her demos should have...but that one seems to sum things up so well up to that point...I always thought if nothing else, it SHOULD have at least been on Enchanted ...
as to Tango, I wish there had been more Stevie on the (non SN) tracks, but I do love the album...the 'extended' versions are the ones I listen to most, though, as they do have more Stevie...

[Hippocampus]

Although I intially liked 'Seven Wonders" the most, it hasn't aged well with me. Her modifed lyrics leave a lot to be desired -- butchered, pedestrian and awkward. Definately a missed opportunity for a much stronger song. I feel for Sandy!

Erm if I recall correctly, the extent of Stevie's "modifications" on Seven Wonders are limited to a misheard word that morphed into "Emmiline". The rest is all Sandy.

[UndoingTheLaces]

Erm if I recall correctly, the extent of Stevie's "modifications" on Seven Wonders are limited to a misheard word that morphed into "Emmiline". The rest is all Sandy.

Yeah, the original line was something like "All the way down you held the line" and she changed it to "all the way down to Emmiline". I don't think it changed the song that much.

And I've always totally loved No Questions Asked. I can get that not everyone is gonna like every song but I'm always amazed at how many people just hate this song.

[Christopher]

I think if they picked Seven Wonders, Joan of Arc and Whole Lotta Trouble, then Tango would have been an even better album. I would have liked to see What Has Rock And Roll Ever Done For You? Close the album too, I think that's a great little song :laugh:

On the four albums preceding this one, in my opinion, Stevie had the strongest material. On this one, she sank like a lead balloon, while Lindsey and Christine - especially Christine - were on fire.

I def agree about the inclusion of Joan Of Arc, that song would have segued nicely after Tango In The Night - the song. However, I disagree about WLT, it has never been my favorite song, in fact, as it has aged, it's fallen even further near the bottom of all Stevie songs written, never been a fan of the Stevie lryical mash-up songs (*The Nightmare excluded). For Stevie's third song I would have gone with Juliet or Welcome To The Room...Sara - provided Lindsey ditched his tropical-ish arrangement:nod:. WTTRS had potential in demo form. And I also agree, it should have had layers of vocal overdubs by Stevie herself, and many more from Chris & Lindsey.

And it's a flat out crime that Stevie's harmonies are not on Everywhere at the very very least!! Because, if they are, to my ears they buried her under any audible trace of existence. Ahhhh, so many could of been moments in Fleetwood Mac & Stevie Nicks history.:o

I'm just amazed so many people hate "Affairs of the Heart"...which I absolutely adore....It's always on my Stevie best of comps I make from time to time.
I'm adore the song, just not a fan of the nanoscale production and arrangement! Sounds like the band was on auto-pilot when the whisked through this song. Even the widely traded outtake if far far better. This is a song that probably would have benefited from Lindseys help and arrangement.

[starshine]

I guess I go against the majority opinion. Of Stevie's three songs on Tango, the one I think is the most unique and intriguing is 'Welcome to the Room Sara." So very Stevie! It's more logical when you know the story behind it. Of course, she wrote it in the most obtuse manner, yet it made perfect sense to her!

Although I intially liked 'Seven Wonders" the most, it hasn't aged well with me. Her modifed lyrics leave a lot to be desired -- butchered, pedestrian and awkward. Definately a missed opportunity for a much stronger song. I feel for Sandy!

I strive to find something redeemable in "When I See You Again," but it's hard to do. Her delivery, as well as the questionable/reeking lyrics don't help the song at all. It could have been her new 'Landslide," but instead it reveals her severe limitations/issues at that point in time. Another missed opportunity, almost as if she didn't really care. That's a shame.

The other attempted song "Joan of Arc," had potential. Yet it succumbs to similar shrill repetition similar to 'When I See You Again." It's choice between " baby, baby baby.." or "Turn it to the wall, turn it to wall." It's a lot of blatent filler to pick up the slack for lazy/poor writing.

Obviously "Juliet" was attempted, but all that emerged from that was the b-side intrumental "Book of Miracles." I remember wondering, at the time, why Stevie would have a song writing credit on an intrumental song. Now we know why.

About the other songs, like "What Has Rock and Roll Ever Done For You?" ...did Fleetwood Mac actually attempt them? I always considered the demo we have of that song is a Stevie-generated demo that she brought to the band for consideration ( like the 'Welcome to the Room Sara" demo). Is there documented studio band work on that song, or on 'Whole Lotta Trouble?"

I wonder if Stevie has any regret or shame over how she behaved during that era, and how she was the weakest link in the band, and how her questionable contributions prevented Tango from ever being a really great album.I really agree with your opinions on Tango. Good observations. Tango hasn't ever been one of my favorite Mac lp's just like RAL hasn't ever been one of my favorite Stevie lp's either. I think 'When I see You Again' version we have with Lindsey and Stevie' s vocals at the end are better than just Stevie by herself. Seven Wonders really have not ever cared for. Just like Joan of Arc to repetitive verses for me. I agree with you about the lazy writing aspect of that.I think FMac would've done better with the LP if more Stevie had been on it. I do think without Stevie on it more it makes it 'less' of a FMac record to me. Its more of a Lindsey/Christine record really. Which if I'd been a member and wasn't really aloud to contribute to it that would've made me angry. Yes, Stevie had 'issue's than but they should've had some sort of understanding really. Its not like they didn't know her. I just don't think they handled well on all fronts really. Yes, Stevie was at fault too but so was FMac. Though I know this LP sold well it probably could've sold even better with more Stevie than less. Some thoughts. :shrug:

[David]

Its more of a Lindsey/Christine record really. Which if I'd been a member and wasn't really aloud to contribute to it that would've made me angry. Yes, Stevie had 'issue's than but they should've had some sort of understanding really. Its not like they didn't know her. I just don't think they handled well on all fronts really.
Agreed.

Nobody was very mature or sensible, & nobody laid down the law. Stevie Nicks should have said, way back at the Village Recorder in 1979, "The next time somebody in this band makes fun of me or my contributions, or criticizes me in a destructive rather than constructive way, I'm walking. I'm not going to stay in this band just to be belittled & mocked." And Fleetwood Mac should have told Stevie, "When this band is recording, you are expected to attend most, if not all, the sessions. Demos mailed to us in the studio from your sojourns in Australia or elsewhere will be marked RETURN TO SENDER."

TANGO's problems, as everyone seems to agree, seem attributable to drug use, unprofessionalism, & emotional fragility. Given Stevie's & John's absence & Mick Fleetwood's drunkenness day & night, Lindsey made the mistake of continuing to captain the project on through to completion. He should have said to the band during the troubled sessions, "We're done. There won't be an album -- at least one that I am creating or even participating in. I'd like you all to leave. When Stevie, Mick, & John decide to take the album seriously & commit their time & effort to it, we can reconvene & finish these tracks. If that takes six months or if that takes six years, it's up to the band members."

I now think that's what Lindsey should have done: sent everybody home. Stevie might have gone ahead with her cocaine treatment, Mick might have sought help for his drug & alcohol use (which had rendered him an obnoxious idiot by that time), & John too might have put the bottle down. The band might have reconvened in much better circumstances in 1988, 1989, or even 1990, & finished the album & toured.

[starshine]

Agreed.

Nobody was very mature or sensible, & nobody laid down the law. Stevie Nicks should have said, way back at the Village Recorder in 1979, "The next time somebody in this band makes fun of me or my contributions, or criticizes me in a destructive rather than constructive way, I'm walking. I'm not going to stay in this band just to be belittled & mocked." And Fleetwood Mac should have told Stevie, "When this band is recording, you are expected to attend most, if not all, the sessions. Demos mailed to us in the studio from your sojourns in Australia or elsewhere will be marked RETURN TO SENDER."

TANGO's problems, as everyone seems to agree, seem attributable to drug use, unprofessionalism, & emotional fragility. Given Stevie's & John's absence & Mick Fleetwood's drunkenness day & night, Lindsey made the mistake of continuing to captain the project on through to completion. He should have said to the band during the troubled sessions, "We're done. There won't be an album -- at least one that I am creating or even participating in. I'd like you all to leave. When Stevie, Mick, & John decide to take the album seriously & commit their time & effort to it, we can reconvene & finish these tracks. If that takes six months or if that takes six years, it's up to the band members."

I now think that's what Lindsey should have done: sent everybody home. Stevie might have gone ahead with her cocaine treatment, Mick might have sought help for his drug & alcohol use (which had rendered him an obnoxious idiot by that time), & John too might have put the bottle down. The band might have reconvened in much better circumstances in 1988, 1989, or even 1990, & finished the album & toured.Great post also!! Yeah, maybe none of those projects really should've been completed. For Stevie maybe RAL should've been shelved too. She should've continued her treatment instead of rushing to get out so she could tour for RAL. Of course alot of fans will probably be mad that I'm saying that but when the work is released and its really not the 'best' and you only get junk that passes off for an LP its kinda sad when you know what potential exsists esp with said members involved. I agree with your comments about Tango. It really sounds like no one in Fmac really should've been making that LP. Execept maybe Lindsey/Chris. It really should've just been Lindsey's solo LP and a Christine solo LP than. Of course thats not what occured. Other than emotional issue's with Lindsey and Stevie as well. Its just said that no one else in the FMac camp spoke up but really the record company (Warner Brothers) wants a new LP cause of the $$ aspect so why would they stop them. Sad but true. I'm guessing they were there cash cow's than still though I would think they had other bands in the 80's that were more cash cow's than (not sure whom though?).I just think and feel personally cheated with that LP so I guess thats why its not my favorite. Its ok though if others love it. Just isn't the best to me really. It could've been so much better really. :shrug:

[ahafan02]

Agreed.

Nobody was very mature or sensible, & nobody laid down the law. Stevie Nicks should have said, way back at the Village Recorder in 1979, "The next time somebody in this band makes fun of me or my contributions, or criticizes me in a destructive rather than constructive way, I'm walking. I'm not going to stay in this band just to be belittled & mocked." And Fleetwood Mac should have told Stevie, "When this band is recording, you are expected to attend most, if not all, the sessions. Demos mailed to us in the studio from your sojourns in Australia or elsewhere will be marked RETURN TO SENDER."

TANGO's problems, as everyone seems to agree, seem attributable to drug use, unprofessionalism, & emotional fragility. Given Stevie's & John's absence & Mick Fleetwood's drunkenness day & night, Lindsey made the mistake of continuing to captain the project on through to completion. He should have said to the band during the troubled sessions, "We're done. There won't be an album -- at least one that I am creating or even participating in. I'd like you all to leave. When Stevie, Mick, & John decide to take the album seriously & commit their time & effort to it, we can reconvene & finish these tracks. If that takes six months or if that takes six years, it's up to the band members."

I now think that's what Lindsey should have done: sent everybody home. Stevie might have gone ahead with her cocaine treatment, Mick might have sought help for his drug & alcohol use (which had rendered him an obnoxious idiot by that time), & John too might have put the bottle down. The band might have reconvened in much better circumstances in 1988, 1989, or even 1990, & finished the album & toured.


Interesting post but then we might never have gotten Big Love, Little Lies, Everywhere, Isn't It Midnight and Seven Wonders...

[tabruns]

Well I think that's the thing.....the band felt that they really had something with "Big Love", "Little Lies", "Everywhere", "Isn't It Midnight", "Tango In The Night" and "Caroline". That's what kept them going through the record, even though Stevie was absent. If Stevie had turned in three strong songs, like she had every prior album, Tango In The Night could have potentially rivaled Rumours.

Imagine this:
Big Love
Seven Wonders
Everywhere
Smile At You (original demo-style mix)
Tango In The Night
Mystified
Little Lies
Family Man
Planets Of The Universe (extended single version)
Caroline
Isn't It Midnight
You And I, Part II

[Fannymac]

The Little Lies extended (Jellybean) mix has a bit more of Stevie in it.

I'm assuming Buckingham didn't use a lot of Stevie's parts because, well, they weren't very good.Also, I have a feeling that her contributions were minimal... Lindsey said she was "hardly" there (I think only a few weeks out of the year it took to make the record)... God knows.

Not true.....when I was interning at Modern, I heard an early copy of the disc....Stevie was ALL OVER the disc, travelling back from the Petty/Dylan tour and just before Betty Ford....and she sounded GREAT!

It was Lindsey who got his nose in a snit about something and ERASED almost all of her vocals....he almost took her off of "Little Lies" as well, but Christine put her foot down.

Trust me, they did exist at one time, but I believe that they're long, looong gone!

[mikebise]

Not true.....when I was interning at Modern, I heard an early copy of the disc....Stevie was ALL OVER the disc, travelling back from the Petty/Dylan tour and just before Betty Ford....and she sounded GREAT!

It was Lindsey who got his nose in a snit about something and ERASED almost all of her vocals....he almost took her off of "Little Lies" as well, but Christine put her foot down.

Trust me, they did exist at one time, but I believe that they're long, looong gone!

This confirms what Ginny Kamano told fans in Early 1987 ~ Fleetwood Mac/Lindsey had decided she would only be on TWO songs period after all the recording had finished. Warner Bros. said, "No way!" and forced FM/LB to make sure Stevie had three songs of hers and could be heard on at least one other song. That was their edict, and LB kept strictly to it, deleting all of Stevie's other vocals that she'd recorded from the finished product.

[Artemis]

Not true.....when I was interning at Modern, I heard an early copy of the disc....Stevie was ALL OVER the disc, travelling back from the Petty/Dylan tour and just before Betty Ford....and she sounded GREAT!

It was Lindsey who got his nose in a snit about something and ERASED almost all of her vocals....he almost took her off of "Little Lies" as well, but Christine put her foot down.

Trust me, they did exist at one time, but I believe that they're long, looong gone!

Wow, that's really interesting. Why did Lindsey have a little bitchfit and take all her vocals off? I'm not really sure on why he'd do that at all.

[blinker12]

Fleetwood Mac/Lindsey had decided she would only be on TWO songs period after all the recording had finished. Warner Bros. said, "No way!" and forced FM/LB to make sure Stevie had three songs of hers and could be heard on at least one other song. That was their edict, and LB kept strictly to it, deleting all of Stevie's other vocals that she'd recorded from the finished product.

I thought the "I am what I am..." on the breakdown of the album version of "Family Man" was her. You can tell better on the extended remix I think.
I mean, not that it really sounds much like Stevie, but that's one other song she's on. I wonder if Lindsey even meant this as a cruel joke... Like, "Yeah I'll keep your vocal on this one but manipulate it to the point it doesn't even sound like you."

[mikebise]

Yeah, Stevie is totally obvious on the Remix. I remember delivering flowers in Austin in Fall 1987, and one of the radio stations did a dance remix lunch hour. "Family Man" came after some other song, and I hadn't bought the 12" because of being poor then. Suddenly, that sped up part slowed down and it was TOTALLY STEVIE!!!!! And then her extra vocals that had been stripped off ~ "He is what he is! Whoooaaaa OWWW!!!"

So, even there, Stevie had recorded more vocals that were taken off, and she was disguised in the track on the album.

[jbrownsjr]

She turned in:

"Seven Wonders"
"When I See You Again"
"Juliet"
"Whole Lotta Trouble"
"What Has Rock And Roll Ever Done For You?"
"Joan Of Arc"
"Welcome To the Room... Sara"

Pretty good songs to me!

Great tunes... And I don't care the she didn't write Seven Wonders.. I think it's a fantastic FM tune..

[HejiraNYC]

For me, Tango was a very sterile, pristine album. Not a single note out of place. No stray sounds or blips. No idiosyncratic bits. Every note, every syllable had its purpose. Except when it came to Stevie. Despite the very tamed, refined sound field, her vocals were raw and practically uncontrollable. To heck with precision! She would "whoaah" and "weeelll" and mutter under her breath ("Sara, er, Tara, er, Sara..."). She vamped out improvised lines at the end of her songs, which is something Lindsey or Christine couldn't/wouldn't do. In a word, Mama was wild! And quite honestly, I just can't imagine those extra Stevie vocal bits fitting in seamlessly with those Lindsey and Christine songs. I hate to say it, but it's like that old bull in a china shop analogy. She would have simply "Stevie-ized" these pristine songs, which, IMHO, is not necessarily a bad thing. But I could imagine Lindsey, wearing his producers cap, was having a hard time trying to integrate her vocals without totally disrupting the immaculate sound. And his resentment was probably further fueled by the fact that she was not available to re-record her parts when he needed her.

[jbrownsjr]

^^^^

Haha!! great post.. I will say that some of her "improvs" remind me of a drunk drag queen falling into the drums on stage...

But when mama is on.. her improvs are awesome... examples.. The Chain Mirage tour... where Stevie puts a perfect..."ahhhhhhhhhhhhhhhhhhhhh" sounds sublime...

where Lindsey is barking like a sick dog.. and Christine is doing her best man voice impression...

[GoldDustOrphan]

For me, Tango was a very sterile, pristine album. Not a single note out of place. No stray sounds or blips. No idiosyncratic bits. Every note, every syllable had its purpose. Except when it came to Stevie. Despite the very tamed, refined sound field, her vocals were raw and practically uncontrollable. To heck with precision! She would "whoaah" and "weeelll" and mutter under her breath ("Sara, er, Tara, er, Sara..."). She vamped out improvised lines at the end of her songs, which is something Lindsey or Christine couldn't/wouldn't do. In a word, Mama was wild! And quite honestly, I just can't imagine those extra Stevie vocal bits fitting in seamlessly with those Lindsey and Christine songs. I hate to say it, but it's like that old bull in a china shop analogy. She would have simply "Stevie-ized" these pristine songs, which, IMHO, is not necessarily a bad thing. But I could imagine Lindsey, wearing his producers cap, was having a hard time trying to integrate her vocals without totally disrupting the immaculate sound. And his resentment was probably further fueled by the fact that she was not available to re-record her parts when he needed her.

I agree with every single sentence - make that every single letter and punctuation mark - in the above review. Lindsey tried to poison her "WEELLLLS," but they're a force of nature. Those "wells" injected some life into the live version of "Isn't It Midnight" and her throwaway vocal on the Big Love remix is my absolute favorite moment from the entire project.

[mikebise]

I agree with every single sentence - make that every single letter and punctuation mark - in the above review. Lindsey tried to poison her "WEELLLLS," but they're a force of nature. Those "wells" injected some life into the live version of "Isn't It Midnight" and her throwaway vocal on the Big Love remix is my absolute favorite moment from the entire project.

You know, I almost posted exactly what you did! Hej just really nails it sometimes!

I still think "Joan Of Arc" would have added to the creepy Late Eighties distantness of the album. I mean, the album just screams "1987!" and rightly so. That's why it was a hit. But "When I See You Again" is part of that Late Eighties crash from the highest heights that so many people experienced. I think "Joan Of Arc" would work well, too.

And Stevie's EXTRA "Big Love" vocals are some of my favourite things, too!

[APerfectLie]

I thought the "I am what I am..." on the breakdown of the album version of "Family Man" was her. You can tell better on the extended remix I think.
I mean, not that it really sounds much like Stevie, but that's one other song she's on. I wonder if Lindsey even meant this as a cruel joke... Like, "Yeah I'll keep your vocal on this one but manipulate it to the point it doesn't even sound like you."

I always heard that that was actually Lindsey, but he altered it to make it sound like Stevie without actually putting her on the track.

[mikebise]

No, that's "Big Love".

"Family Man" is definitely Stevie, as the Extended Remix makes very clear.

[AnthonyMI]

You know, I almost posted exactly what you did! Hej just really nails it sometimes!

I still think "Joan Of Arc" would have added to the creepy Late Eighties distantness of the album. I mean, the album just screams "1987!" and rightly so. That's why it was a hit. But "When I See You Again" is part of that Late Eighties crash from the highest heights that so many people experienced. I think "Joan Of Arc" would work well, too.

And Stevie's EXTRA "Big Love" vocals are some of my favourite things, too!

I have not heard this that I am aware of.

[APerfectLie]

No, that's "Big Love".

"Family Man" is definitely Stevie, as the Extended Remix makes very clear.

Do you have this extended remix? I have a remix of Big Love that clearly has Stevie. :shrug:

[RickRobert]

Stevie's extra vocals on the Big Love remix are great! Especially the scatting.

[mikebise]

Do you have this extended remix? I have a remix of Big Love that clearly has Stevie. :shrug:

Yes, Stevie is on 3 remixes of "Big Love". I thought you were talking about LB's disguised voice that people thought was Stevie, and that's what was going on with "Family Man". But, no, as the "Family Man" remixes make clear, that is Stevie sped up and slowed down, and she has some AMAZING extra vocals not heard on the album version, a la "Big Love". Sorry I misunderstood you.

Stevie is clearly in 3 remixes of "Family Man", here in GoldDustOrphan's "Stevie Remixes Part 2" thread on the first page. Extended Vocal Remix, Extended Guitar Remix, and the I'm A Jazz Man Dub. Very much like Stevie's wild "Big Love" vocals.

[mikebise]

I meant to point out that Stevie's extra vocals are different on each remix, so you need all three of both "Big Love" and "Family Man" to get the full Stevie Effect! :)

Stevie is on "Big Love" ~ Extended Remix, Piano Dub and House On The Hill Dub.

[jbrownsjr]

I meant to point out that Stevie's extra vocals are different on each remix, so you need all three of both "Big Love" and "Family Man" to get the full Stevie Effect! :)

Stevie is on "Big Love" ~ Extended Remix, Piano Dub and House On The Hill Dub.

It seems where she was added on re-mixes and extended versions... I thought wow.. that really made the song even better...

One place I did not like her voice was I'm So Afraid Live... love the Mirage tour vers..

[WildHearted]

One place I did not like her voice was I'm So Afraid Live... love the Mirage tour vers..

Oh, really? I absolutely LOVE Stevie's harmony on I'm So Afraid (live). It's the best part of the song for me, totally makes it. :cool:

[UndoingTheLaces]

Stevie's extra vocals on the Big Love remix are great! Especially the scatting.

I don't think that is exactly scatting. Are you talking about the part where she sings "big" over and over again over the piano music? That's actually a sample of her voice played on a keyboard like an instrument. That was done a lot in remixes of that time. There was a great remix of Girls Just Want To Have Fun by Cyndi Lauper where they sample her voice singing "Girl" and play it really slow and "Fun" played really fast and high and it actually ends up sounding like a harmonica.

I loved the extra vocals in Big Love and Little Lies but on Family Man they sound forced to me. I mean, "he is what he is", I always thought that sounded kind of silly. Than again, Lindsey channeling Popeye for the chorus wasn't exactly Shakespeare either.

[RickRobert]

I don't think that is exactly scatting. Are you talking about the part where she sings "big" over and over again over the piano music? That's actually a sample of her voice played on a keyboard like an instrument. That was done a lot in remixes of that time. There was a great remix of Girls Just Want To Have Fun by Cyndi Lauper where they sample her voice singing "Girl" and play it really slow and "Fun" played really fast and high and it actually ends up sounding like a harmonica.

Oh I knew that, but it still sounds like a scatting section for what it's worth.

[mikebise]

I loved the extra vocals in Big Love and Little Lies but on Family Man they sound forced to me. I mean, "he is what he is", I always thought that sounded kind of silly.


But what about the:

"Oh ohhh.... ohhhh.... WOW!!!!!!!!!" :eek: LOVE IT!!!!!

And:

"Ooh, my sister... Ooh, my brother... Ooh, my father.... Ooh, my loved one...?"

[SaidSomething]

If anyone has been through rehab you'd know the line, Welcome to the room, Sara...it pretty much sounds like group therapy...several times a day...and you always have to go around and say your name...and they say, Welcome, Sara....which is the name Stevie checked in with a psuedonym, Sara Anderson.
Frontline, Baby...keeping her prisoner. Wasn't that the name of the management company that managed, Stevie and or Fleetwood Mac at that time? Stevie in this whole drama represents someone that has been very successful...and was paying the price of addictions, long tours, getting stronger and better...only to suffer the plight of yet another Fleetwood Mac drama...ending with Lindsey leaving the band. Couldn't have had too much to do with a year recording with Stevie...she was on the road...in rehab...and as quick as she could, into a few recording sessions...and set for another huge tour.

Joan of Arc...neat song...it was or it sounds like a story of the band collectively...and images being videos and modern stuff....etc...maybe it was too good...same with the other songs...hell, she's had massive solo hits and tours...lets bring her down a bit.

Does anyone know the original lyrics for Seven Wonders? This song was chosen for Stevie because it was hit material...and they probably paid Sandy pennies...compared to a Stevie penned song.

[mikebise]

Well, I hear Sandy made a FORTUNE from that song...

The original lyrics I do not know, but Sandy's title for it is "Aaron" , not "Seven Wonders".

I can imagine Stevie singing "Aaron..." instead of "Sara"/"Tara" on "Seven Wonders"...

[SaidSomething]

Well, I hear Sandy made a FORTUNE from that song...

The original lyrics I do not know, but Sandy's title for it is "Aaron" , not "Seven Wonders".

I can imagine Stevie singing "Aaron..." instead of "Sara"/"Tara" on "Seven Wonders"...

Was that her only extra lyric along with, all the way down to emmeline...instead of all the way you held the line?

hahahaha...

Seriously...to give her a writing credit as a member of FM?

[randydesertrat]

Well, I hear Sandy made a FORTUNE from that song...

The original lyrics I do not know, but Sandy's title for it is "Aaron" , not "Seven Wonders".

I can imagine Stevie singing "Aaron..." instead of "Sara"/"Tara" on "Seven Wonders"...

According to one source Stevie is in fact singing "Aaron" and not Sara/Tara as everyone thought. I often wondered what she was singing there and came to the same Sara/Tara conclusion but wondered because I never heard the S or T sound. When I found out the song was originally titled Aaron then it made sense when someone pointed it out that "Aaron" is what she is singing there.

[APerfectLie]

Was that her only extra lyric along with, all the way down to emmeline...instead of all the way you held the line?

hahahaha...

Seriously...to give her a writing credit as a member of FM?

Someone here said Stevie changed a number of lyrics and Sandy was not happy and wanted to then keep the song for herself, but she was convinced she'd make way more money if she let FM keep it.

[mikebise]

According to one source Stevie is in fact singing "Aaron" and not Sara/Tara as everyone thought. I often wondered what she was singing there and came to the same Sara/Tara conclusion but wondered because I never heard the S or T sound. When I found out the song was originally titled Aaron then it made sense when someone pointed it out that "Aaron" is what she is singing there.

Yeah, the last few years, I sing "Aaaarron" when I sing along with Stevie to "Seven Wonders". YES, I sing along to Stevie all the time!

And, yes, I've heard interviews that stated Stevie changed MORE THAN ONE WORD. Stevie changed quite a bit, not just a single word.

[Christopher]

Yeah, the last few years, I sing "Aaaarron" when I sing along with Stevie to "Seven Wonders". YES, I sing along to Stevie all the time!

And, yes, I've heard interviews that stated Stevie changed MORE THAN ONE WORD. Stevie changed quite a bit, not just a single word.

Kinda like Some Become Strangers, except that Stevie did not get a writing credit on her ad libs at the end of that song, as well as the killer line "I don't really need this in my life! Why don't we forget about it".

So yeah, Mike, I tend to believe Stevie got an additional writing credit due to more changes than just "to Emmiline".

[UndoingTheLaces]

I agree with every single sentence - make that every single letter and punctuation mark - in the above review. Lindsey tried to poison her "WEELLLLS," but they're a force of nature. Those "wells" injected some life into the live version of "Isn't It Midnight" and her throwaway vocal on the Big Love remix is my absolute favorite moment from the entire project.

I looked this up on YouTube after reading this and I agree, her vocals add a lot to the song for me. I think I actually used to forward past it on the video as I was never a big fan of it but seeing it now I really like this version.

http://www.youtube.com/watch?v=R9GIjhLZvIw

But I must say, if I were a member of a band and we did a concert video and one member had all their shots redone so they looked better than everyone else I'd be pretty pissed. As much as I love Stevie I'm not a fan of how she was acting at this time. I do give her the benefit of the doubt that she was going through some pretty strong problems at that time but even in interviews from Tango until The Dance she seemed kind of snarky and obnoxious. But once The Dance came out she was like a kinder gentler Stevie.

Is there an extended remix of Isn't It Midnight?

:blob1::wavey::blob1::wavey::blob1:

[Artemis]

http://www.youtube.com/watch?v=R9GIjhLZvIw

Ooh, thanks for sharing that. I loved that! I really like Stevie's vocals on that song, should have been on the album mix as well.

Gotta love just how... eighties the whole thing is as well. I wouldn't be surprised if a small family of elves lived in Stevie's hair.

[drzubritsky]

No, that's "Big Love".

"Family Man" is definitely Stevie, as the Extended Remix makes very clear.

Thanks. Although I don't have the extended remix of "Family Man", on closer listening I can now hear that it is Stevie on the "I am what I am.." repeated vocal during the section starting at 2:22 on LP version.

But to what point? Her vocal is fairly low in the mix and has been speed manipulated. It's puzzling why he would use her on vocals in this manner instead of her true gift as a harmony singer.

Which brings up a broader issue: I still don't understand why, starting in the Tusk era, FM squandered one of its greatest assets, the unique three-part harmony sound of LB, SN and CM. The signature harmony sound was used on fewer and fewer tracks with each successive album, to the point that by TITN only "Seven Wonders" and "Wecome..." featured all three vocalists singing in block harmony.

Such a shame that they weren't able to get past their personal differences during that era to leverage their strengths as a BAND.

[mitzo]

I always thought she was on a "Gone With the Wind" kick on Tango, she makes reference to "Scarlett" in WTTRS, and inserts "Tara" into 7W?

[GoldDustOrphan]

Warner never commissioned or issued remixes of "'Isn't it Midnight," and there aren't any bootleg remixes that I'm aware of.

I'll double-check to see if any have surfaced.

[UndoingTheLaces]

Warner never commissioned or issued remixes of "'Isn't it Midnight," and there aren't any bootleg remixes that I'm aware of.

I'll double-check to see if any have surfaced.

A bootleg called Tango In The Night Sessions has a version of it marked Extended but after downloading it I see it's just a remix edit. It doesn't have the background voices in the chorus so i think it's the one from The Chain box set. But it's not extended. So much for that. Thanks anyway. :)

[Keith]

Which brings up a broader issue: I still don't understand why, starting in the Tusk era, FM squandered one of its greatest assets, the unique three-part harmony sound of LB, SN and CM. The signature harmony sound was used on fewer and fewer tracks with each successive album, to the point that by TITN only "Seven Wonders" and "Wecome..." featured all three vocalists singing in block harmony.

Such a shame that they weren't able to get past their personal differences during that era to leverage their strengths as a BAND.

I hear you. I think one of the biggest flaws of Tusk is the lack of harmony on so many of the songs - mainly Lindsey's tracks. His isolation on his songs feel out of place on a Fleetwood Mac record, imho.

For example, I love when Stevie and Lindsey sing "your hands held mine so few hours" and then Christine chimes in with "I'm having to learn.." on "Beautiful Child" just gorgeous..

and "Never Forget" especially the ending .. pure Mac perfection..

[jellyman10]

As much as I love Stevie I'm not a fan of how she was acting at this time. I do give her the benefit of the doubt that she was going through some pretty strong problems at that time but even in interviews from Tango until The Dance she seemed kind of snarky and obnoxious. But once The Dance came out she was like a kinder gentler Stevie.


Not to defend snarky and obnoxious behaviour, but it strikes me that entire flocks of chickens came home to roost for Stevie circa 1987, and the reasons might have their roots in the complicated oppositions that existed among the five over the years.

To start with, it's all pretty much on record that when S&L joined in '75 she was much keener than he was, liked the other three much more than he did, and was very close to Christine, may have felt 'protected' by her personally and not really bothered at that point about how big a role she had musically.

But then all that began to change with the success of the white FM album. As Stevie herself has said, the second people started to single her out was when it changed. I think Stevie herself didn't see a problem -- her view would be that attention on her was attention on the whole band, but that wasn't how they saw it, and especially LB.

It's on record that LB felt aggrieved by how little credit/attention he was getting, especially compared with Stevie. But in 1976/1977 he found himself in a now undeniably successful band, which, although it caused him ambivalence, he just couldn't walk away from. So, with his dawning realisation that he and Stevie were finally going to transition from being a couple to being bandmates, he immersed himself in The Work.

And this, for me, is the really interesting change. Because I think LB's steady relationship with Carol Ann Harris kind of freed him up to look at FM as being about 'Lindsey and Music', and not just as another chapter in 'Lindsey and Stevie'. That then allowed him to not feel guilty about forging ahead into areas with Christine where Stevie just couldn't go.

And I think that was what made Stevie realise that the musician--musician grouping between the other four was stronger (or had certainly become stronger) than the girl--girl bond between her and Chris. In effect, she felt she lost Chris to Lindsey, and so started to depend on her girlfriends outside the band for emotional support.

I think this all started to play out on the Rumours tour, and was a big part of what drove her to Mick. He was, don't forget, essentially The Boss of the band at that time, and being close to him probably, again, made her feel more secure within the group. But then that ended, and while I'm here I'll say why I think that happened!

Mick wanted a relationship with Stevie, but Stevie was still attached to LB. That, I think, is why she didn't want LB to know about her and Mick. Yes, it would 'be the end of Fleetwood Mac', as she always says, but it would also be the end of any hope whatsoever of her and Lindsey finding their way back to each other. Mick, I'm quite sure, sensed that that was the real reason Stevie didn't want their relationship out in the open, and so he cut his losses and left her for Sara.

From Stevie's point of view, the recording of Tusk and the tour afterwards were really pretty miserable. Robin was off in Kim-land, Christine was off in Dennis-land, Lindsey was off in CAH-land, Mick was off in Sara-land. And at exactly this time, other voices in Stevie's ear -- most notably Paul Fishkin's -- started to point out what everyone else could see as plain as day: namely, Stevie Nicks didn't need Fleetwood Mac.

But what did that really mean to Stevie in 1979? I think when the solo thing first came up, it had three sides to it. 1. Commercially, it was a no-brainer, as was borne out by subsequent events. 2. Artistically, it was a half-brainer: LB had been a good producer for her, but there was other good producers around, too, it was just a question of getting the right person. And she had no shortage of decent material. 3. Emotionally was really the only side of the move that might not have been the best thing for Stevie -- however, at that point, her choice was really between a rock and a hard place. And in her own way, she did exactly what LB did: she immersed herself in The Work.

The fact that no one in FM ever spoke to her about Bella Donna is shocking, but I believe it encapsulates the dynamic that was at play in the band at that time. Basically, everyone except Stevie was in 'don't upset Lindsey' mode. LB absolutely hated the fact that Stevie had had success without his involvement, therefore the other three would just pretend it hadn't happened. (Sidebar: almost the only interesting thing I read in that recent 33 1/3 book about Tusk was the hypothesis that Mick was more than usually predisposed to indulge Lindsey on Tusk because of some feelings of guilt over banging Stevie, which seems to ring true to me.)

A lot of the things Stevie said around the time of Bella Donna point to her confusion over where her future lies. Her 'band' was, of course, composed of hired hands from other 'real' bands, and no matter how much they enjoyed the touring there was of course no future in a band being led musically by Stevie! So that drove her back to FM. But there, her solo success was kind of academic: it wasn't respected artistically by LB or CM (if they even listened to it!). It was in fact merely commercial (and commercial for her), and it didn't bring her any more credibility or influence musically. In fact, if had any effect at all, it probably caused LB to seek to take her down a peg, leading to her feeling even more isolated and irrelevant. Which, in turn, made her look for refuge in her solo career, and the spiral worsened.

The Wild Heart and Rock A Little were the really bad addiction years for Stevie, and by the time Tango came around, and she'd begun to get a grip, I think the sheer lack of contact through 1983-1986 (the Joe Walsh years -- coincidence? hmm) made for some very cagey, remote relationships going into that album.

I was very interested to read what people said about LB taking Stevie's vocals off Tango, and I totally agree that, at that time, she 'Stevie-fied' everything she touched, and it sat wrong with the hi-gloss production. So there is a justifiable aesthetic rationale for what he did. It could also be a handy smokescreen for a personal vendetta, but I'm inclined to think it's a bit of both.

What I do think is often overlooked is that when we focus on the Big Fight at Christine's house in August of '87, it's easy to assume that Stevie was the main reason that LB backed out of the tour, all the while forgetting that Mick was an absolute wreck, and John was still drinking too. I've always thought it was interesting that whenever LB talked about why he backed out, he said that however bad it is in the studio, it's always times ten out on the road. Well, square that up with the complaint that 'they never saw Stevie in the studio', and you're left wondering whose problems 'times ten' did LB not want to deal with on the road?

Stevie -- a consummate narcissist, if ever there was one -- thought LB leaving in '87 was all about her, but it wasn't. It was only partly about her. The rest of it was about the breakdown in the band as a band; about the law of diminishing returns; about the fact that the more LB did 'for' them, the more they let him do; and the fact that, artistically, he realised he might as well be doing this for himself.

For Stevie, though, going back to FM -- going back to Lindsey -- for Tango came at a very low ebb. The pressure of her solo 'success' had almost killed her. She is on record as saying she felt responsible for people's livelihoods, not to mention the way her father told her to just get on with it. She said her mother used to tell her she was 'born guilty', that she feels guilty even when she hasn't done anything.

And that all strikes me as borne out in Stevie's late '80s behaviour. She had always seemed to go between not feeling worthy of any of her success, but then lashing out because she knows she's talented but feels she doesn't get respect, equality, inclusion as a musician whose instrument is her voice. That was for sure the case within FM for many a year. Just watch the Tusk doc (if you can). It's painful, the way they mock her contributions. But she loved them, and she wanted to be part of them, so she stayed. They, I don't think, would have cared if she didn't. Oh, maybe Mick would. But the others wouldn't have lifted a finger to persuade her to stay. I think she knew that, and it hurt her to the core.

So, some of the bitchy things she's said about FM over the years are, for me, nothing more than attacks of lucidity, in which it dawns on her that she was/is emotionally dependent on a bunch of people who didn't/don't really like her as a person, didn't/don't really like her voice, didn't/don't really respect her songwriting, and weren't/aren't even grateful for the money her continuing membership of their band has made them. That's not a very comfortable berth to occupy.

To end on an upnote, though: I'm just glad that, over the years, Stevie has found people to work with who really value what she has to offer. And it would be lovely beyond anything if there could be one more Fleetwood Mac album that put Lindsey and Stevie on level pegging, with an outside producer, and got the best out of them both with that wonderful rhythm section behind them. I can but hope, right?

Loz

[SaidSomething]

Those close up shots on RAL tour and then on Tango were horrible...and distracting. However, yeah, maybe it was Stevie Vanity but, more like Corporate designed to me. I think that it was impossible to get close ups naturally at this time from a buisness sense. She looked like hell during Red Rocks...wild eyes...runny red nose...you know, stuff that pounds of make up peeling off during the show...sweating...not the Stevie tthat was glamours for Hollywood but kind of the public and Stevie being freaked out over how she looked. Again, during the Tango Tour 1st she was Heavy for the Big Love Video...then shapley and smokin' in her Signature off the shoulder velvet gold down the front dress for the tour...hot in the 7 wonders video...by the time Tango tour did the video...shed almost never been off tour for a healing of voice and such...she was steroid bloated from vocal chord shots and asthma...klonopin was kicking in dealing with stress and exhustion...and freaked without LB...again, Hollywierd and business needed a sellable thing...so studio Stevie...the sex siren labeled chick sing...and big draw for the band...and again...a butchered creepy LIVE video...with fu*ked out synthed digitized vocals...now it became horror show evident to everyone. I mean, at that time, saw the tour myself...got the video...and I'm like...Oh God...what the???

Much like Ann Wilson from Heart singing behind props in the videos showing only her face...and a stand in for her long shots.

Ummm. These are talented gifted women with feelings and vanity...and everyone is watching with a creepy critical eye...all over the world.

I would ostrich out if it were me...until everyone was gone....and I pop my ugly fat head out when no one could see me...or make me sad.

[UndoingTheLaces]

You know, you guys have a lot of good points. I thought I had read some years back about Stevie insisting on reshooting closeups, but looking back it could have just been someone's personal opinion. And it does seem like she was really mistreated in the Tusk doc. Not so much in the way it was released but in the extra scenes that are floating around YouTube.

Another way to look at it is to think of your relationship with your family and friends. Imagine the worst situations you've been in with them. Now what if those had been televised and written about in magazines. And then you were forced to be next to them for months on end when you really just wanted to get away. It had to have been hard.

[jbrownsjr]

Oh, really? I absolutely LOVE Stevie's harmony on I'm So Afraid (live). It's the best part of the song for me, totally makes it. :cool:

I just fell in love with the "LIVE" and "MIRAGE TOUR" versions where LB and CM did the harmonies. It's rare I don't like her haunting harmonies.. but this is one place.

[Spoinny]

Always loved her crazy vocals on the Big Love Remix. Come to think of it, her vocals on the Little Lies were kinda crazy too, come to think of it, she sounds totally crazy on all her vocals on this CD. I still love Christine and Lindsey's contributions which makes this one of my fav FM cd's. Imagine if Steve actually did contribute some good songs and sounded good? Boy the album would have been even more super!!!