Tango In The Night - Which Songs Include Stevie?

[cbBen]

What Tango In The Night songs include Stevie?

In addition to her three original songs, I hear her on "Little Lies" and on "Family Man" (Wikipedia doesn't credit her, but I hear her around the 2-1/2 minute mark).

Wikipedia credits her with singing on the extended remix (but not on the album mix) of "Big Love" and with synthesizer and singing on "Everywhere" (I don't hear her voice, and for the life of me can't see why they would have her play synthesizer on one of Christine's songs).

The tour DVD demonstrates she would ideally be on "Isn't It Midnight" singing a "face of a pretty girl" counter vocal, but I don't hear her on the album version of that song either.

[Macfan4life]

This is a tough question to answer because the debate about "where is Stevie on Tango" has been raging with numerous other threads. Some claim they can hear Stevie on Everywhere while others say no. Lindsey mentioned how hard Tango was to create with the dysfunction of the band. Stevie did a quick Seven Wonders before checking into Betty Ford. When she left Betty Ford, she only attended a few more recording sessions. Lindsey is not specific but claims he had to work her voice in on parts. Which parts? Good question. If you listen closely, Stevie is not on the chorus of Little Lies. She only sings "tell me lies." We all want to know how creative Lindsey was during this process. Were these words Lindsey programmed together? Probably a stretch but its anyone's guess. Its clear to me that her voice is layered in on Family Man. So, IMHO Stevie is on her 3 songs, layered in on Family Man, and Little Lies is the wild card. For the record, there are even some that claim its not Stevie on Family Man but it's Lindsey being creative (again).
Lindsey needs to write a book.

[cbBen]

At around the 2-1/2 minute mark of "Family Man," at least to my ear, she's also doing a brief vocal turn all on her own – not something that could be faked as it is her voice distinctly.

So far, it sounds like she's on just five or six songs out of the twelve (which would make about half the album the same lineup as Buckingham McVie.)

Still eager to hear from others as to what they know/hear on this front.

[FuzzyPlum]

At around the 2-1/2 minute mark of "Family Man," at least to my ear, she's also doing a brief vocal turn all on her own – not something that could be faked as it is her voice distinctly.

So far, it sounds like she's on just five or six songs out of the twelve (which would make about half the album the same lineup as Buckingham McVie.)

Still eager to hear from others as to what they know/hear on this front.


I'd go along with Macfan4life. I'll give Little Lies but I'm one of those people who is convinced she is definitely not on Everywhere. She sounds like the 'I am what I am what I am what I am what I am...' etc on Family Man. However I concur there's a chance that could be Lindsey's creative trickery. I don't think she's on any other non-Stevie songs.

[Netter75]

What Tango In The Night songs include Stevie?

In addition to her three original songs, I hear her on "Little Lies" and on "Family Man" (Wikipedia doesn't credit her, but I hear her around the 2-1/2 minute mark).

Wikipedia credits her with singing on the extended remix (but not on the album mix) of "Big Love" and with synthesizer and singing on "Everywhere" (I don't hear her voice, and for the life of me can't see why they would have her play synthesizer on one of Christine's songs).

The tour DVD demonstrates she would ideally be on "Isn't It Midnight" singing a "face of a pretty girl" counter vocal, but I don't hear her on the album version of that song either.

My Summary of her contribution relating to Tango:

Album Cuts:
When I See You Again
Seven Wonders
Welcome to the Room... Sara
Little Lies
Family Man: She's the one going "am whadda am, am whadda am, etc" around the 2:30 mark, low in the mix with lots of distortion. You could make the case that it's Lindsey doing vocal tricks, but the same sample is played in the extended version around the 5:00 mark. Here it is slowed down, high in the mix, and clearly Stevie. She is also present on the chorus in this version.

I do not hear her on any of the other songs, including Everywhere. She may indeed be there, buried in the mix, but I cannot for the life of me hear her.

Alternate Versions:
1. Family Man: Much more prominent, see above. She also squeals a lot and talks about "mother father, sister," "I can't let go" on the Extended guitar mix around the 5:30 mix. Very RAL, i.e. erratic and drunk sounding. She is present on the chorus of this version as well.
2. Big Love: She is yelling "house up on the hill!" in the extended version, around 4:10. In the "House on the Hill Dub" mix, she is also yelling... something, "pretty girl" maybe? This starts around 1:10, and then concludes with "looking out for love" just afterwards. Somewhere in these tracks is also a vocal sample that has her yelling "Well it's a big, big love" These are likely the backing vocals she recorded for the album track that Lindsey stripped out before release. Understandable as they don't flow with the slick nature of the song.
3. Little Lies: She's more prominent. At the end she sings "Tell me lies, OH, sweet little lies, no no you can't disguise", "oohs" and repeats "sweet lies, little lies", also likely leftover vocals from her sessions that Lindsey chose not to use in the final.

So we at least have some evidence of her vocal sessions on other songs, they were used in the extended cuts instead. A user on this board (FannyMac) claims to have interned with Modern Records, Stevie's solo label, and heard an early cut of the album where her vocals were "All over it" before it was stripped to "just two songs", and then her third song was added back and her Little Lies backing vocal was reinserted.

Live:
Isn't It Midnight: The 1987-1988 and 1990 tours have her on the chorus, with an additional solo bit following the first chorus where she repeats "The face of a pretty girl" and a new closing vocal where she leads some "Welllllll Isn't it midnight"s with the others. This may be similar to how she recorded backing vocals for the album song before they were stripped, but there's no evidence of this because she is not present on any demo or alternate version.
Everywhere: The 1987-1988 and 1990 tours have her yelling "I WANNA BE WITH YOU" like an obnoxious chipmunk before she and Christine deliver the chorus. It's possible this was similar to the backing vocal she recorded for the album that she was so pissed about being removed. It's impossible to tell since it is not found on any demos or alternate versions of the song.
Big Love: She did backing vocals on the chorus for a 1998 live performance on Letterman with Lindsey.

As for Lindsey's vocal trickery, that is most promiently on display with Caroline. There's a version of the song which isolates the backing vocals (usually listed as a demo) which reveals that they belong to Lindsey with pitch increase. This pitch increase sounds a *bit* like it could be Stevie+Christine on the album, but alone it is clearly Lindsey.

I do not see any sign of her on Caroline, You and I, Ricky, Down Endless Street, Mystified, and Tango in the Night (in any version).

Songs she produced with her band that were considered for Tango but were not seriously demoed with the Mac:
What Has Rock and Roll Ever Done For You?- Mick Fleetwood's book
At the Fair- No evidence to corroborate this, but it is often found on Tango compilations.

Songs she demoed for Tango that were played by the Mac but were not used:
Joan of Arc- Not included on the expanded album because Stevie claims that she is "not done with it"
Ooh My Love: Later on OSOTM in a different arrangement
Juliet (completed instrumental in "Book of Miracles",s the "Seven Wonders" b-side). Later on OSOTM in a different arrangement.

[Macfan4life]

Many of us heard Stevie on the Buckingham/McVie album. Of course she is not on the album but Lindsey has a way of backing vocals that our brain thinks is Stevie.

[cbBen]

Thanks, Netter75, for all this detail.

It amazes me that with songs like "Candlebright" "Sorcerer" "The Dealer" "Planets Of The Universe" and "Smile At You" available, they still went with something as awful as "Welcome To The Room Sara" (maybe Stevie insisted on its inclusion). "When I See You Again" is also worse than the above songs, but not nearly so bad as "Welcome To The Room" (which really prevents the album from being able to claim masterpiece status).

[cbBen]

While we're on the subject of Tango, what does everyone think of the following?: Is Christine absent (neither playing nor singing) from any songs on the album – such as, but not limited to, "Tango In The Night" and "Caroline"?

[cbBen]

I admire when groups don't divvy up the songs politically, but just go with the best material without regard to how many songs come from each songwriter.

Bob Weir has no songs on the Grateful Dead's Workingman's Dead. David Crosby has just one song on CSN's Daylight Again. Jeremy Spencer has no songs on Then Play On.

If the group for whatever reason was refusing to consider songs five years or older, then it should have limited Stevie's contribution to "Seven Wonders."

[Macfan4life]

All of Stevie's contributions on Tango were recently written songs. I suppose she wanted to deliver something fresh to the band. When I see you again was sent to the band early on when Stevie was on the RAL tour. There was not much time after Stevie rejoined the band to explore and spend time on her songs. I suppose Welcome to the room Sara was big on her mind at the time. No doubt some of her classic songs like Running Through The Garden and Smile At You would have tremendously helped out the album. While Christine contributed some ace songs, I miss her playing. That is one reason I like Behind the Mask better than Tango. I love the way Christine plays keyboards. Just the opening of Skies the Limit gives me chills.
According to Mick's first book Stevie brought What has rock n roll ever done for you but the band picked When I see you again instead. I laugh because I bet Lindsey hated What has rock n roll ever done for you. Its a very arrogant (but fun) song.

[David]

While Christine contributed some ace songs, I miss her playing. That is one reason I like Behind the Mask better than Tango. I love the way Christine plays keyboards. You're right. They didn't have her do a lot of more-or-less traditional playing, other than synth pads (Seven Wonders) and DX7 tines (Little Lies). They should have found a place on the album for Where We Belong—I was going back and forth between "Is that a guitar?" or "Is that a keyboard?" I decided it was keyboard, and it's Christine doing it, whatever she's playing it on.

She also plays her DX7 on Mystified, but much of the atmosphere on the album is probably Lindsey and his workstation—sampling, looping, DFX, etc.

[cbBen]

Is it Lindsey and not Christine on keyboards on Tango In The Night?

That would mean there are several songs (or maybe just two?) that have neither Stevie nor Christine.

Lindsey has said in interviews that sometimes personal resentment caused him not to want to help Stevie put her best foot forward. I wonder whether that impulse got the better of him on Tango.

He could perhaps have insisted on using better older material of hers, but instead let two weak songs go on the album. That did not serve Stevie or the band well.

[bwboy]

Thanks, Netter75, for all this detail.

It amazes me that with songs like "Candlebright" "Sorcerer" "The Dealer" "Planets Of The Universe" and "Smile At You" available, they still went with something as awful as "Welcome To The Room Sara" (maybe Stevie insisted on its inclusion). "When I See You Again" is also worse than the above songs, but not nearly so bad as "Welcome To The Room" (which really prevents the album from being able to claim masterpiece status).

I also want to thank Netter75 for his descriptive post. Very helpful.

I agree, it's crazy to think the band chose those songs by Stevie over the ones you mentioned, but I'm sure they were looking at the future and not the past. Planets of the Universe is one of my favorite Stevie/FM songs, and it's inclusion would have been fabulous. However, I remember an interview where Stevie said she played the recorded version of Planets of the Universe for Lindsey, and that he praised the producer, saying he could never figure out what to do with the song. I have no idea if that's true, but if it is, that might explain why Planets never made it on a FM album.

[Mr Scarrott]

What Tango In The Night songs include Stevie?

When this has come up before, I've made a case for her appearing on the title track. I'm not 100% convinced by my own argument, though.


I sometimes think that Stevie can be heard on the title track. It's probably more fake Stevie concocted by Lindsey, though- listen from 0:56 to 1:12, for example.

I do love that tiny bit of Christine you can hear at 2:25 to 2:41 just before the guitar solo kicks in. She sounds like a lost soul about to be carried away in the night.

I've tried so many times to hear Stevie on Eveywhere.If she's there, her voice has been synthesized almost out of existence

[John Run]

I am willing to say with extreme confidence that Stevie is not playing any of the synth parts on Everywhere. She was barely there to record a coherent vocal in 1987 let alone lay down synth parts on a song she did not write.

If you look at the personnel credits on Wiki for Tango in the Night, Say You Will, EP and Buckingham McVie they are increasingly Buckingham studio craft pieces that went beyond producing and arranging to actually playing and programming lots of the parts himself. This may have been a point of consternation for the band during the production of these albums, but maybe not? Although I believe he is the principal architect of the band's gorgeous ersatz symphonic sound, sometimes the architect has to know that the mason lays better brick than he himself would.

This is a great article on Tango and the building of that album.

https://pitchfork.com/reviews/albums/22976-tango-in-the-night-deluxe-edition/

In Tango's case I think the physical and mental condition of the other band members forced his hand with many of these choices.

[BLY]

Prior to the release of Tango Stevie “threatened” that she couldn’t/wouldn’t do press on the album if she couldn’t “hear her on the album”. These are the tracks I believe she is on in addition to her songs ( some deeper in the mix like Lindsey has done with her vocals on the prior albums)

Everywhere
Mystified
Family Man
Little Lies

[cbBen]

So it seems, at least so far, the only songs where we can identify Stevie's presence beyond the almost (or totally) imperceptible are her own three songs, "Little Lies," and "Family Man."

I must say, Lindsey would have been wrong to leave her off "Little Lies." She improves it.

[David]

Is it Lindsey and not Christine on keyboards on Tango In The Night?It's a question that probably needs to be qualified by statements he made to Jim Ladd and others in the Eighties. "Often what sounds like a keyboard part is actually me playing a plectrum-style instrument and modifying it somehow on the mixing board."

It isn't necessarily that Lindsey is playing Christine's piano and electric piano on their Eighties albums. It's that he's playing at least some of them on a guitar, a dobro, a mandolin, a ukulele or probably even a stand-up bass, and then running the tape through a modified amplifier or a loop or turning weird knobs on the board or feeding everything through a sampler or whatever he did as part of his "painting."

It's very difficult for me to tell, but take a track like Straight Back. I think there are two actual keyboard tracks: a B3 and a Yamaha CP30. The rest of that wash of sound that seems initially very keyboardy is probably done with guitars.

[ricohv]

I am willing to say with extreme confidence that Stevie is not playing any of the synth parts on Everywhere. She was barely there to record a coherent vocal in 1987 let alone lay down synth parts on a song she did not write.

If you look at the personnel credits on Wiki for Tango in the Night, Say You Will, EP and Buckingham McVie they are increasingly Buckingham studio craft pieces that went beyond producing and arranging to actually playing and programming lots of the parts himself. This may have been a point of consternation for the band during the production of these albums, but maybe not? Although I believe he is the principal architect of the band's gorgeous ersatz symphonic sound, sometimes the architect has to know that the mason lays better brick than he himself would.

This is a great article on Tango and the building of that album.



https://pitchfork.com/reviews/albums/22976-tango-in-the-night-deluxe-edition/

In Tango's case I think the physical and mental condition of the other band members forced his hand with many of these choices.
John Run-THANK YOU-that Pitchfork review is brilliant! I just spent a lot of time reading that PLUS all their other FM reviews that are linked at the bottom. Very worthwhile reads & I would highly recommend them to everyone here!
Ricoh

[Macfan4life]

The funny thing is when Everywhere came out, I thought I naturally heard Stevie. I never thought much about it until Lindsey's comments. Then I listen to the song and don't hear her. Was I tricked? Did I assume? Who knows.

[petep9000]

I will go to my grave with two strongly held beliefs about Stevie's work on the "Tango" album:

1. Stevie Nicks sings the weird "amwhatIamwhatIam..." part on "Family Man"

2. Stevie Nicks is NOT in the background vocal mix for "Everywhere" despite what Mick Fleetwood's ghostwritten book says.

[bombaysaffires]

Stevie is NOT on Family Man

[HomerMcvie]

Stevie is NOT on Family Man

I'd swear that's her on the weird "amwhatIam" part. That is all.

[bombaysaffires]

I'd swear that's her on the weird "amwhatIam" part. That is all.

you'd be wrong.

[vivfox]

Stevie is NOT on Family Man


Not on the album version but she's def. on the 12 inch remix version.

[gldstwmn]

Stevie is NOT on Family Man

Correct. It's Lindsey using a VSO. He has an uncanny ability to make his voice sound just like hers.

[HomerMcvie]

you'd be wrong.

It wouldn't be the first time.

Oh wait, yes, it would.;)

[jbrownsjr]

It wouldn't be the first time.

Oh wait, yes, it would.;)

It doesn't smell like goat breath during Family Man. :lol:

[petep9000]

Not on the album version of "Family Man" yet IS on the 12" version, and sounds the same? Why would they go through the trouble.

I believe Stevie Nicks IS on the album track. Everyone can believe what they like, nobody knows for sure until we see Lindsey or Stevie actually put that on paper.

[Macfan4life]

OMG You guys are freaking me out. I always assumed it was Stevie on Family Man too. Now that I listen, I would vote no. Its subtle but when the part in question begins, you can clearly hear its Lindsey and changing his voice. But the voice transitions into a Stevie sounding sound/voice. This is why its confuses people. I also think he did this on purpose to make it sound like Stevie thus his interview on his tricks or layering, whatever you want to call it. If it was Stevie, the part would be very dramatic and obvious from the very beginning IMHO. After all these years I think I may have been wrong. Gosh, this would have been the PERFECT question to ask Lindsey at the meet and greet. Can someone ask this.

Edit: The Wikipedia page for Family Man does not credit Stevie for any contributions. Lindsey is the credit for all backing vocals.

Personnel
Mick Fleetwood – drums, percussion
John McVie – bass guitar
Christine McVie – keyboards
Lindsey Buckingham – guitars, Fairlight CMI, drum and percussion programming, lead and backing vocals

[vivfox]

Are you guys aware the 12 inch remix of Family Man was released long after LB had left FM for good? Stevie sang on the remix.

[bwboy]

This is a great article on Tango and the building of that album.

https://pitchfork.com/reviews/albums/22976-tango-in-the-night-deluxe-edition/

Very interesting article, thanks for sharing this. I also found it interesting that the articles points out Lindsey left the band after dates were secured and contracts signed for the tour... so many people on a different thread said that was not the case, it this article states very clearly that was the case. Like I said, very interesting.

[cbBen]

It says the band signed on for the tour, but doesn't speak to whether Lindsey himself signed anything.

[cbBen]

"Often what sounds like a keyboard part is actually me playing a plectrum-style instrument and modifying it somehow on the mixing board."

It isn't necessarily that Lindsey is playing Christine's piano and electric piano on their Eighties albums. It's that he's playing at least some of them on a guitar, a dobro, a mandolin, a ukulele or probably even a stand-up bass, and then running the tape through a modified amplifier or a loop or turning weird knobs on the board or feeding everything through a sampler or whatever he did as part of his "painting."

So is that riff at the beginning of (and throughout) "Seven Wonders" actually played on a stringed instrument, even though it sounds like it's from a synthesizer?

[aleuzzi]

Prior to the release of Tango Stevie “threatened” that she couldn’t/wouldn’t do press on the album if she couldn’t “hear her on the album”. These are the tracks I believe she is on in addition to her songs ( some deeper in the mix like Lindsey has done with her vocals on the prior albums)

Everywhere
Mystified
Family Man
Little Lies

I don't hear her at all on Mystified. Some people say she isn't on Everywhere, despite what Mick says, but I believe she is, at least in the last line of the chorus.

[aleuzzi]

Are you guys aware the 12 inch remix of Family Man was released long after LB had left FM for good? Stevie sang on the remix.

Yes--she picked up her involvement later on, both in tour rehearsals and in new vocal arrangements for the Tango songs. Her live contribution to "Isn't It Midnight" is incredible and I wish it were on the record.

[David]

So is that riff at the beginning of (and throughout) "Seven Wonders" actually played on a stringed instrument, even though it sounds like it's from a synthesizer?
No, I think that's a synthesizer, possibly a DX7 (which Christine is shown playing in the Big Love video).

Here's a video (https://www.youtube.com/watch?v=F3rrjQtQe5A) of the DX7 factory patches. The band probably would have fed any of these through some additional editing tools (possibly even sampled them into the Fairlight or a Prophet).

You might hear some synthy sounds on Isn't It Midnight or You and I that are triggered by a guitar—for example, the twinkly riff in the upper register that permeates that latter track (I always thought it was too prominent in the final mix because it kind of makes your ears wince).

[David]

Are you guys aware the 12 inch remix of Family Man was released long after LB had left FM for good? Stevie sang on the remix.
I didn't remember that, thanks, Viv. But it's my understanding that all the tracks you would hear on a remix like that were laid down on some reel somewhere during the album recording sessions. Can anyone confirm? When Jellybean Benitez or someone else comes along and creates a club or dance remix, he doesn't bring members of the band back in to record anything new. He gets hold of the masters and recombines them (at most, he adds a rhythm track to make it suitable for clubs). Stevie's vocals that we hear on a remix were more than likely recorded at Lindsey's helm, just not used by him for the album.

That would be true, I would think, for Stevie's dance and club remixes of Stand Back and Planets of the Universe and Long Way to Go. We hear her singing stuff that we don't hear on the album cuts. But those are parts she originally did sing—but the producer or engineer faded before she got there or took it out of the final mix.

[The Chain]

I didn't remember that, thanks, Viv. But it's my understanding that all the tracks you would hear on a remix like that were laid down on some reel somewhere during the album recording sessions. Can anyone confirm? When Jellybean Benitez or someone else comes along and creates a club or dance remix, he doesn't bring members of the band back in to record anything new. He gets hold of the masters and recombines them (at most, he adds a rhythm track to make it suitable for clubs). Stevie's vocals that we hear on a remix were more than likely recorded at Lindsey's helm, just not used by him for the album.

That would be true, I would think, for Stevie's dance and club remixes of Stand Back and Planets of the Universe and Long Way to Go. We hear her singing stuff that we don't hear on the album cuts. But those are parts she originally did sing—but the producer or engineer faded before she got there or took it out of the final mix.

Yep, that's the norm, though I've always wondered if Stevie was a special case in this situation, given her lack of involvement with Tango, and the band possibly wanting to beef up her perceived presence in the wake of Lindsey leaving.

[BLY]

I don't hear her at all on Mystified. Some people say she isn't on Everywhere, despite what Mick says, but I believe she is, at least in the last line of the chorus.


I think there is a good chance she is deep in the mix. I hear her.......but I know how Lindsey plays with the vocals but I want to believe it is Stevie.

[bombaysaffires]

No, I think that's a synthesizer, possibly a DX7 (which Christine is shown playing in the Big Love video).

Here's a video (https://www.youtube.com/watch?v=F3rrjQtQe5A) of the DX7 factory patches. The band probably would have fed any of these through some additional editing tools (possibly even sampled them into the Fairlight or a Prophet).

You might hear some synthy sounds on Isn't It Midnight or You and I that are triggered by a guitar—for example, the twinkly riff in the upper register that permeates that latter track (I always thought it was too prominent in the final mix because it kind of makes your ears wince).

the music to that was written by Sandy Stewart, so it's even possible that they used some basic tracks from her playing the synthesizer as the building blocks for adding FM layers

[Macfan4life]

It says the band signed on for the tour, but doesn't speak to whether Lindsey himself signed anything.
Exactly. If Lindsey had signed a contract to tour, he would have been obligated to tour. Lindsey is smarter than that. The meeting at Christine's house was because Lindsey was getting cold feet in agreeing to tour in which in the end he rejected.
The big machine was busy planning a tour on the assumption a tour would happen. Lindsey was always coy on the idea (public interviews in May 1987 stated he was not sure there would be a tour). The band tried to persuade him and he almost agreed. Just because he spoke of some things he would want IF he toured, was no way an agreement to tour. No tour dates were ever announced. The band never did tour rehearsals with Lindsey either. The machine was just trying to get things in place in the assumption and speculation that Lindsey would eventually sign on the dotted line. The article is mostly correct but does not state Lindsey signed anything.
"Later in 1987, the band met up in anticipation of the promotional tour for Tango, for which they had already secured dates and signed contracts. At the meeting, Buckingham announced he was quitting the band."
That's not really correct. The statement fails to state the reason for the meeting i.e. finally getting Lindsey to agree and sign on the dotted line.

Note: It does not say Lindsey ever agreed to tour but anticipated it. Yes the big machine was working behind the scenes planning. That does not equate the band ever had an agreement for Lindsey to tour with them. In fact, he NEVER agreed to do so. Ne never changed his mind either. He only spoke hypothetically IF a tour happened things he may want. The contracts were probably for vendors, etc. The band definitely put the cart before the horse on this one. Christine mentioned that she knew Lindsey was leaving the band during the Tango sessions. They were just trying to persuade him to stay long enough to tour which ultimately failed. In Mick's book, he describes Stevie doing her best to convince Lindsey to tour stating how much fun they could have. If you are trying to convince someone to tour, its obvious they knew he never fully committed. If he had agreed and signed a contract, there would be no need to have a meeting to persuade you to tour.

[Neal]

^ ^ ^

So from the band's perspective, he reneged on an oral contract...?

Sounds familiar.

:p ;)

[petep9000]

There's such a big difference between pre and post Betty Ford Stevie, if she laid new vocals for the remixes way after the fact I think we'd be able to pick it out right away.

[dreamsunwind]

Very interesting article, thanks for sharing this. I also found it interesting that the articles points out Lindsey left the band after dates were secured and contracts signed for the tour... so many people on a different thread said that was not the case, it this article states very clearly that was the case. Like I said, very interesting.

It's well known that the tour had been booked and everyone else had signed off, but Lindsey hadn't yet. At the last minute he'd said he was going to do it, but then changed his mind.

[bwboy]

It's well known that the tour had been booked and everyone else had signed off, but Lindsey hadn't yet. At the last minute he'd said he was going to do it, but then changed his mind.

That's what I thought :nod: but I think Macfan4life would disagree...

[stevierocks87]

There's such a big difference between pre and post Betty Ford Stevie, if she laid new vocals for the remixes way after the fact I think we'd be able to pick it out right away.

Agreed. The remix vocals have to be pre-Betty Ford. They're a hot mess!

[Macfan4life]

Words matter. Statement analysis 101.
I have never heard from anyone including Mick that Lindsey signed a contract to tour in 1987. Lindsey is smarter than that. He did not breach a contract because he never signed any contract. The statements thrown around from Mick's book and elsewhere are "contracts were signed." (What kind of contracts? T- shirt, promotion, hotel rooms?, etc.) However, they never mention what contracts and by whom were they signed? See my point. If Lindsey had signed a contract and then tried to back out of it, Mick and others would have said "Lindsey was contractually obligated to tour and he signed the contract agreeing to such tour dates, etc."

I hope that makes me more clear.


Personally I don't think Lindsey even ever orally agreed to tour. I say this because I heard with my own ears in May/June 1987 that Lindsey said there were "NO PLANS to tour at this time. There is silence about the matter and I don't know exactly what that means." Did it leave the door open to tour? Of course! Did it close the door? NO

YES of course there was lots of talk about touring including Lindsey. However when the time line was closing, the band realized they did not have firm commitment from Lindsey. Thus the meeting at Christine's house "Sh*t or get off the pot moment. Stevie tried her best to convince Lindsey to tour which then turned ugly.

[cbBen]

After reading the posts above and listening again, I now suspect it is not in fact Stevie at the 2-1/2 minute mark of "Family Man." I think it is instead an example of what Lindsey described as making something sound like Stevie when it in fact is not.

That would mean, regardless of whether she is technically on other songs to a negligible extent, "Little Lies" is the only song (other than her own) where Stevie is clearly identifiable.

Am I wrong?

In a sense, this was predominantly a Buckingham McVie album.

[David]

After reading the posts above and listening again, I now suspect it is not in fact Stevie at the 2-1/2 minute mark of "Family Man." I think it is instead an example of what Lindsey described as making something sound like Stevie when it in fact is not.

That would mean, regardless of whether she is technically on other songs to a negligible extent, "Little Lies" is the only song (other than her own) where Stevie is clearly identifiable.

Am I wrong?

In a sense, this was predominantly a Buckingham McVie album.I'll go that one better. I do not think Mick is drumming on Caroline. It's a combination of machinery and Lindsey himself. The attack is exactly the same as a bunch of drum tracks on Law and Order and Go Insane.

[bombaysaffires]

I'll go that one better. I do not think Mick is drumming on Caroline. It's a combination of machinery and Lindsey himself. The attack is exactly the same as a bunch of drum tracks on Law and Order and Go Insane.

the drums on that song have always sounded like a drum machine to me. I'd have to go back and listen again to see if I hear *anything* that sounds like a real drum with a real person playing it on there at all. It's one thing I'd change about his approach to a lot of his songs over the years...all the technology frequently makes them too cold and eventually makes them sound dated...I'll take real drums any day.

[gldstwmn]

After reading the posts above and listening again, I now suspect it is not in fact Stevie at the 2-1/2 minute mark of "Family Man." I think it is instead an example of what Lindsey described as making something sound like Stevie when it in fact is not.

That would mean, regardless of whether she is technically on other songs to a negligible extent, "Little Lies" is the only song (other than her own) where Stevie is clearly identifiable.

Am I wrong?

In a sense, this was predominantly a Buckingham McVie album.

It really was. I don't know if we've ever discussed John's bass parts but do we even know if those were 100% him from this time period?

[cbBen]

It really was. I don't know if we've ever discussed John's bass parts but do we even know if those were 100% him from this time period?

from this Penguin Q&A: http://www.fleetwoodmac.net/penguin/qa/johnmcvie_qa1.htm

I've been under the impression that Lindsey's Tusk tracks are mainly himself playing all the instruments, and that the same is true with Tango In The Night. Of course there are occasions where I think you are playing: the official Tusk documentary shows you in the studio laying down the bass track for "Save Me A Place". And on Tango In The Night I think you are playing on "Caroline" as well, not to forget the ending of the title track. But in general, is it just him playing nearly everything on his tracks on the Tusk and Tango In The Night albums? (Gaius, , , Finland)

Hi Gaius,
Thanks for the questions. As far as I know and remember, every bass track on a Mac album was played by me. If you find out they snuck one by me, let me know. All the best! McVie

[Mr Scarrott]

from this Penguin Q&A: http://www.fleetwoodmac.net/penguin/qa/johnmcvie_qa1.htm

I've been under the impression that Lindsey's Tusk tracks are mainly himself playing all the instruments, and that the same is true with Tango In The Night. Of course there are occasions where I think you are playing: the official Tusk documentary shows you in the studio laying down the bass track for "Save Me A Place". And on Tango In The Night I think you are playing on "Caroline" as well, not to forget the ending of the title track. But in general, is it just him playing nearly everything on his tracks on the Tusk and Tango In The Night albums? (Gaius, , , Finland)

Hi Gaius,
Thanks for the questions. As far as I know and remember, every bass track on a Mac album was played by me. If you find out they snuck one by me, let me know. All the best! McVie

Long Grey Mare and one of the Rambling Pony versions had Bob Brunning on bass as well as(I think) I believe my time ain't long (their first single). Bob was in the band at the time, not John so maybe those don't count, although I'm not sure if he was subbing for John when LGM was cut.

I've seen some sources that state that Peter Green played a six-string bass on the Green Manalishi. However, that track was never on a studio album.

That Revelation's bass parts were played by Bob Welch is well known, but Bob mentioned in a Penguin Q & A that he also played bass on Keep on Going as well, and that there were some others...

I believe Steal your heart away started out as Lindsey a Lindsey solo song with Chris, Mick and John Pierce on bass. Stevie added some backing vocals during the Say You Will sessions. Whether John McVie re-did some or all of the bass parts on that track, I don't know, but John Pierce is listed as an additional performer on the sleeve notes of Say You Will, so he must have played on something, presumably SYHA.

I can't think of any others off-hand, but I wouldn't be surprised if I were to find out that the bass on Big Love was Lindsey.

I can also detect my dear late wife Aileen Scarrott's unique bass licks on Sentimental Lady.

[secondhandchain]

[QUOTE=cbBen;1243930]After reading the posts above and listening again, I now suspect it is not in fact Stevie at the 2-1/2 minute mark of "Family Man." I think it is instead an example of what Lindsey described as making something sound like Stevie when it in fact is not.

I dont hear anything around that 2 1/2 minute mark that sounds like goat woman at all. It's very obviously Sped up and slowed down Lindsey.

[gldstwmn]

from this Penguin Q&A: http://www.fleetwoodmac.net/penguin/qa/johnmcvie_qa1.htm

I've been under the impression that Lindsey's Tusk tracks are mainly himself playing all the instruments, and that the same is true with Tango In The Night. Of course there are occasions where I think you are playing: the official Tusk documentary shows you in the studio laying down the bass track for "Save Me A Place". And on Tango In The Night I think you are playing on "Caroline" as well, not to forget the ending of the title track. But in general, is it just him playing nearly everything on his tracks on the Tusk and Tango In The Night albums? (Gaius, , , Finland)

Hi Gaius,
Thanks for the questions. As far as I know and remember, every bass track on a Mac album was played by me. If you find out they snuck one by me, let me know. All the best! McVie

I thought we'd discussed this. Like I said I've now forgotten more about FM than I remember. :laugh: The only reason I asked was because Mick said in his book or somewhere that John would come in to lay down his parts, hang out, presumably get buzzed and then go home forgetting to lay them down.:laugh: He does quantify his statement with "As far as I know and remember." :laugh: His playing is very recognizable and there are just a few of songs where I'm not quite sure.

[gldstwmn]

I can also detect my dear late wife Aileen Scarrott's unique bass licks on Sentimental Lady.

Boy she's good. Which version? :laugh:

[aleuzzi]

http://ledge.fleetwoodmac.net/showthread.php?t=46170&highlight=Tango+Vocals

This is a link to a similar discussion from 2011.

[cbBen]

Thanks.

Too bad WB insisted she have three songs, though maybe that helped the album sell as well as it did.

How the band could pass up "Whole Lotta Trouble" for "Sara" and "When I See You" is beyond me.

Sounds like Stevie is on nothing but her own songs and "Little Lies." Some people seem to think she's also on "Family Man" at the 2-1/2 minute mark (I used to), but others think it's just Lindsey using effects to make it sound like her (I am now in this camp). Sounds also like Lindsey should have left her on at least "Big Love" if not others too.

As I said, this may be one time Lindsey as producer let his resentment of Stevie get the better of him. That said, he pulled gold from ashes and made a great album.

[Macfan4life]

Thanks.

Too bad WB insisted she have three songs, though maybe that helped the album sell as well as it did.

How the band could pass up "Whole Lotta Trouble" for "Sara" and "When I See You" is beyond me.

Sounds like Stevie is on nothing but her own songs and "Little Lies." Some people seem to think she's also on "Family Man" at the 2-1/2 minute mark (I used to), but others think it's just Lindsey using effects to make it sound like her (I am now in this camp). Sounds also like Lindsey should have left her on at least "Big Love" if not others too.

As I said, this may be one time Lindsey as producer let his resentment of Stevie get the better of him. That said, he pulled gold from ashes and made a great album.
In Mick's first book he mentions Stevie brought What has rock n roll ever done for you but they preferred When I see you again.
I think Stevie wanted fresh material. However if you could go back in time, it would have been the ultimate time to bring songs like Running through the Garden, Smile at you, etc.
I think any song really would have been better than Welcome/Sara and WWISYA

[David]

How the band could pass up "Whole Lotta Trouble" for "Sara" and "When I See You" is beyond me. It's intriguing trying to imagine how Fleetwood Mac circa 1986 would have rendered Whole Lotta Trouble. What we got on the Mirror solo album is a big, horn-heavy, galumphing production—an old-fashioned blues groove of the kind that Joe Cocker and Leon Russell used to shout through. The way it was done in 1989, it never appealed to me, but based on her video commentary, it apparently appealed to Stevie as a great instance of R&B.

But what would Fleetwood Mac have done with this thing? A straight 4/4? A slow blues burn with B3? Horns? Electric guitar blues licks where the horns currently are? Cokie Stevie bellowing at random?

As I said, this may be one time Lindsey as producer let his resentment of Stevie get the better of him. That said, he pulled gold from ashes and made a great album. The assumption that LB was seething with rage at Stevie and sabotaged her earnest attempts to participate in the album doesn't go far with me. He was trying to make an amazing album, and if he thought her emotive vocals didn't fit everywhere, so be it.

On several occasions, he ditched a great vocal of hers in favor of an inferior one, as on the Angel early vocal (one of the sexiest things she ever laid down) on Tusk Deluxe. It's just a difference of opinion—his and mine! He also used an inferior vocal of That's Alright for Mirage. Her earlier takes are stronger, sweeter, more country. But he and the rest of the band obviously thought what they chose was superior. What are ya gonna do?

Dashut or Caillat did a Q&A for the Penguin, but I can't reach it. They may have addressed this issue.

[RockyRaccoon]

As I said, this may be one time Lindsey as producer let his resentment of Stevie get the better of him. That said, he pulled gold from ashes and made a great album.

I don’t think Stevie’s on any of Lindsey’s Mirage songs either. Just her three songs and “Love in Store”.

[Macfan4life]

It's intriguing trying to imagine how Fleetwood Mac circa 1986 would have rendered Whole Lotta Trouble. What we got on the Mirror solo album is a big, horn-heavy, galumphing production—an old-fashioned blues groove of the kind that Joe Cocker and Leon Russell used to shout through. The way it was done in 1989, it never appealed to me, but based on her video commentary, it apparently appealed to Stevie as a great instance of R&B.

But what would Fleetwood Mac have done with this thing? A straight 4/4? A slow blues burn with B3? Horns? Electric guitar blues licks where the horns currently are? Cokie Stevie bellowing at random?

The assumption that LB was seething with rage at Stevie and sabotaged her earnest attempts to participate in the album doesn't go far with me. He was trying to make an amazing album, and if he thought her emotive vocals didn't fit everywhere, so be it.

On several occasions, he ditched a great vocal of hers in favor of an inferior one, as on the Angel early vocal (one of the sexiest things she ever laid down) on Tusk Deluxe. It's just a difference of opinion—his and mine! He also used an inferior vocal of That's Alright for Mirage. Her earlier takes are stronger, sweeter, more country. But he and the rest of the band obviously thought what they chose was superior. What are ya gonna do?

Dashut or Caillat did a Q&A for the Penguin, but I can't reach it. They may have addressed this issue.
A cokie Stevie bellowing at random?
LMAO
That is the quote of the month IMHO ;)

[luminol]

I've learned a lot from this thread and from you guys. Thanks!

Not that this adds anything except my opinion... based on everything I've read on the album over the last 30 years and what I know about LB's production, I am with those who say that Stevie is not on anything except for her own tracks and Little Lies (which I agree she improves).

In my mind, I've always thought of Tango as a Lindsey solo album with a bunch of Christine songs mixed in (the first BuckVie album, as pointed out here) with the rhythm from Mick and John. I agree that Lindsey probably did the drums on Caroline (maybe more).

SO MUCH about Tango seems to come from Lindsey.... even the cover being from his personal art collection and clearly the title track is his own. Stevie is fortunate she was able to contribute at all, given her personal situation. I mean her best track isn't even penned by her. Glad she got help.

PS - Tango is the album that got me into FM at the formative age of 7 in 1987, and I hold it near and dear to my heart. One of my very first cassettes, which I purchased with my allowance money. I adore Seven Wonders but I skip her other tracks pretty much each listen.

[HomerMcvie]

A cokie Stevie bellowing at random?
LMAO
That is the quote of the month IMHO ;)

Everyone always used to ask where I got my old sig, "Stevie was starting to lumber around like a sod packed wheelbarrow".

That was a Davidism as well.

[cbBen]

I don’t think Stevie’s on any of Lindsey’s Mirage songs either. Just her three songs and “Love in Store”.

I don't know how anyone can hear her on the Mirage tour version of "Eyes In The World" and not miss her on the original. For all we know, however, she declined to sing on the original.

[HomerMcvie]

I don't know how anyone can hear her on the Mirage tour version of "Eyes In The World" and not miss her on the original. For all we know, however, she declined to sing on the original.

I don't think there's any way $tevie could have done the intro and break part that Christine sang. Her voice wouldn't have served that part at all.



BTW, your Tuskmas present is on it's way to you.

[cbBen]

I don't think there's any way $tevie could have done the intro and break part that Christine sang. Her voice wouldn't have served that part at all.

I agree. But on the live version the three of them together do the wordless part that appears after the verses and functions more or less as the song's chorus.

It really works, and Stevie's voice is perfect for it. See 1:07: https://www.youtube.com/watch?v=aBE2E6R7BRA

[HomerMcvie]

I agree. But on the live version the three of them together do the wordless part that appears after the verses and functions more or less as the song's chorus.

It really works, and Stevie's voice is perfect for it. See 1:07: https://www.youtube.com/watch?v=aBE2E6R7BRA

I enjoy her on that part of the song!

[moon]

Maybe I'm repeating things you said before, but there's something that tells me that Everywhere is one of the "old" songs for the album, like Big Love. I don't remember if I read it or not, but I don't see Stevie on that song. And I don't hear her voice as well.
Only if we remeber all the songs of the original album, Stevie appears in Seven Wonders, Little Lies, WTTR...S and When I See You Again. I really can't hear her backing vocals on Mystified or Tango In The Night or Family Man like we hear on Love In Store or Over & Over, for example...

[michelej1]

The assumption that LB was seething with rage at Stevie and sabotaged her earnest attempts to participate in the album doesn't go far with me.

And Stevie herself negated this myth not too many years ago. Saying she wasn’t around much for Tango.

[petep9000]

Cokie Stevie bellowing at random?


Well, cokey is better than pokey :D

[HomerMcvie]

Well, cokey is better than pokey :D

I sure wish she'd get back on the blow. Maybe she could write a decent song, and stop singing in her 3 note range. And stop being such a *****!:D

[John Run]

The "official wiki" credits don't offer much insight other than Lindsey played and programmed a lot of that album.

https://en.wikipedia.org/wiki/Tango_in_the_Night#Personnel


Lindsey Buckingham – guitars, keyboards, Fairlight CMI, bass, lap harp, percussion, synthesizer and drum programming, vocals
Stevie Nicks – vocals
Christine McVie – keyboards, synthesizers, vocals
John McVie – bass guitar
Mick Fleetwood – drums, percussion

[SteveMacD]

I’m still mad that Stevie didn’t use “Whole Lotta Trouble” for BTM. She was in what could be one of the best blues bands around, and she did that solo.

[tabruns]

Thanks, Netter75, for all this detail.

It amazes me that with songs like "Candlebright" "Sorcerer" "The Dealer" "Planets Of The Universe" and "Smile At You" available, they still went with something as awful as "Welcome To The Room Sara" (maybe Stevie insisted on its inclusion). "When I See You Again" is also worse than the above songs, but not nearly so bad as "Welcome To The Room" (which really prevents the album from being able to claim masterpiece status).

I agree with this, and it is baffling. TANGO and MASK were the Mac albums with sub-par Nicks compositions. Regarding TANGO, it would have been a rival to RUMOURS had Nicks's three songs been high quality. They would have been better off with Seven Wonders, Juliet, and Ooh My Love from those sessions, or by resurrecting If You Were My Love or Smile At You from the MIRAGE sessions.

[Macfan4life]

I agree with this, and it is baffling. TANGO and MASK were the Mac albums with sub-par Nicks compositions. Regarding TANGO, it would have been a rival to RUMOURS had Nicks's three songs been high quality. They would have been better off with Seven Wonders, Juliet, and Ooh My Love from those sessions, or by resurrecting If You Were My Love or Smile At You from the MIRAGE sessions.
Its not really baffling. Substance abuse really hurt Stevie during this era. Had she been around and not went to rehab or showed up drunk and high maybe the band would have had more to work on In Stevie's own words she says she "mailed" them "When I see you again" from the road during the RAL tour. Ooh My Love's track was stolen accidently from Petty. Stevie just did not have the time to spend with the band nor was she in the state to spend time with the band.
On BTM, Stevie was in a zombie like state.

Yes the possibilities could have been better. Imagine Tango having "Running through the Garden" and "Smile at you"
Mick stated that Stevie only contributed 4 songs. I don't think Ooh My Love was considered because Stevie pulled it based on the stolen Petty track. She contributed "What has rock n roll ever done for you" but the band passed. Not baffling at all. In fact its a miracle what Lindsey pulled off. Its really kind of spooky. I know he would never write a book but gosh could you imagine the stories he could tell.

[tabruns]

Its not really baffling. Substance abuse really hurt Stevie during this era. Had she been around and not went to rehab or showed up drunk and high maybe the band would have had more to work on In Stevie's own words she says she "mailed" them "When I see you again" from the road during the RAL tour. Ooh My Love's track was stolen accidently from Petty. Stevie just did not have the time to spend with the band nor was she in the state to spend time with the band.
On BTM, Stevie was in a zombie like state.

Yes the possibilities could have been better. Imagine Tango having "Running through the Garden" and "Smile at you"
Mick stated that Stevie only contributed 4 songs. I don't think Ooh My Love was considered because Stevie pulled it based on the stolen Petty track. She contributed "What has rock n roll ever done for you" but the band passed. Not baffling at all. In fact its a miracle what Lindsey pulled off. Its really kind of spooky. I know he would never write a book but gosh could you imagine the stories he could tell.

Yes, she and Mick both were in a pretty bad state during the making of TANGO (and hence a big part of why Buckingham didn't want to tour), but when I say "baffling" I mean baffling that the rest of the band didn't insist on better songs. As mentioned before, even going back to ones previously demo'd for MIRAGE.

As you say though maybe her state just didn't allow for them to do so, and maybe they considered it lucky to get the three that they did. It's such a disappointment though. Her songwriting was top notch through the first four Mac albums. I thought McVie slipped a bit on TUSK, Buckingham slipped on MIRAGE, and then Nicks on TANGO. Post-RUMOURS there was always one of them that wasn't up to par during a particular album.

[moon]

I thought McVie slipped a bit on TUSK, Buckingham slipped on MIRAGE, and then Nicks on TANGO. Post-RUMOURS there was always one of them that wasn't up to par during a particular album.

Hmmmm maybe...but it's hard to believe Chris could slip on an album. Her contributions are always great. In Tusk she had a good number of songs, and Over & Over, Think About Me, Brown Eyes and Never Forget are wonderful pieces...Then she had a wonderful work on Mirage, even better than Lindsey, but Lindsey ruled with Can't Go Back and Book Of Love, and made an amazing job on Chris' songs.
But Nicks always had three or four songs in every album, and there's at least ONE song that really rocks. There was not enough time to hear more from SN on the albums after Rumours. She had only three songs in Tango In The Night, and those songs were not the best she could do...Songs like Angel or Straight Back were quite better than the Tango songs, even those that were finally not included.
Her situation was different in 1990. She had another attitude with the band, and after Lindsey's departure, I think Chris needed her help on her own songs. The vocals of Nicks on As Longs As You Follow and the Behind The Mask album are great, with The Other Side Of The Mirror in the middle. She had better forces to work with the band again.

Returning to the thread, it's hard to believe that Stevie Nicks did any contribution to the Buckingham-McVie songs of Tango, more if we think that most of the songs were written between 1986 and 1987, and there was a work between Lindsey and Chris, that took color with the contribution of John and Fleetwood.

Mark.

[Macfan4life]

Yes, she and Mick both were in a pretty bad state during the making of TANGO (and hence a big part of why Buckingham didn't want to tour), but when I say "baffling" I mean baffling that the rest of the band didn't insist on better songs. As mentioned before, even going back to ones previously demo'd for MIRAGE.

As you say though maybe her state just didn't allow for them to do so, and maybe they considered it lucky to get the three that they did. It's such a disappointment though. Her songwriting was top notch through the first four Mac albums. I thought McVie slipped a bit on TUSK, Buckingham slipped on MIRAGE, and then Nicks on TANGO. Post-RUMOURS there was always one of them that wasn't up to par during a particular album.
There is a common theme about the songs Steve contributed to Tango. They were all new songs. Maybe she wanted to contribute new stuff for fear her older songs had been rejected before.
One thing I would love to know is about the vocals on When I see you again. Did Lindsey take the vocal directly from the demo that was mailed? Did Stevie actually show up in the studio to record it? Was his part added to make the song complete?
IMHO Welcome to the Room Sara is another clue. Its a song post-rehab. Clearly the band had very little material to work with while she was on the RAL tour or in rehab. Once she reappeared again there could have been panic and she just brought her most recent song. It seems her songs were just thrown into the mix at spontaneous times.

[bombaysaffires]

and let's not forget, Seven Wonders is NOT really a Stevie composition at all. It was a Sandy Stewart song in which Stevie mis-sang a few words and for that demanded listing as cowriter and got it. :distress:

So really, all she brought to the table was two songs --Welcome to the Room Sara and When I See You Again. And of course the Sandy Stewart song was the only one worthy of being a single (so if you're SS, who had to give 25% to Stevie, it would seem 75% of a Mac hit is better money than 100% of nothing). (Also interesting to note is the vocal on the released version of Seven Wonders is a slightly sped up version of how she actually sang it... slower and a bit lower. It would seem they either couldn't get her back in the studio for another take, or they couldn't get a better take out of her and had to fiddle with the one complete good take they had).

Stevie got really shady about how much her writing was petering out as time went on, and many of the songs that were Mike Campbell musical tracks that she put lyrics to were not credited as such on the actual album credits at the time. Shady.

[tabruns]

Hmmmm maybe...but it's hard to believe Chris could slip on an album. Her contributions are always great. In Tusk she had a good number of songs, and Over & Over, Think About Me, Brown Eyes and Never Forget are wonderful pieces...

For me, McVie always supplies the really commercial songs. On TUSK, that doesn't really happen - "Think About Me" is the only real "radio ready" song of hers on the album. I think "Brown Eyes" is fantastic, and none of her songs are bad, but they aren't the usual catchy pop songs she normally supplied.

[vivfox]

(Also interesting to note is the vocal on the released version of Seven Wonders is a slightly sped up version of how she actually sang it... slower and a bit lower. It would seem they either couldn't get her back in the studio for another take, or they couldn't get a better take out of her and had to fiddle with the one complete good take they had).

Somewhere out in the back of my mind I remember an interview where Lindsey said after he recorded several takes of Stevie singing that, he spliced the song together using bits and pieces of her best singing. I think he first experimented with this technique while recording the Rumours album.

[ViscountViktor]

Just chuckling at the idea of drugged up Stevie turning up to the studio to record synth (??) parts for Everywhere, a song literally written by a piano player.

[HomerMcvie]

Just chuckling at the idea of drugged up Stevie turning up to the studio to record synth (??) parts for Everywhere, a song literally written by a piano player.

I have a hard time picturing her successfully dialing a phone number.

[Macfan4life]

I have a hard time picturing her successfully dialing a phone number.
Maybe that is the inspiration for her demo "Dial the number"


:eek:

[HomerMcvie]

Maybe that is the inspiration for her demo "Dial the number"


:eek:

I'm not familiar with that. Is it about her coke dealer?

[Macfan4life]

I'm not familiar with that. Is it about her coke dealer?
dedicated to her Homer


https://www.youtube.com/watch?v=O8sHlo-Hask

[SteveMacD]

and let's not forget, Seven Wonders is NOT really a Stevie composition at all.
Much the same way “Blue Letter” and “Crystal” weren’t really Lindsey Buckingham compositions.

It was a Sandy Stewart song in which Stevie mis-sang a few words and for that demanded listing as cowriter and got it.
Seems less shady than reworking an old song and not giving the original writer credit like they did on “World Turning.”

So really, all she brought to the table was two songs
Just like Lindsey in 1975.

ETA: And, it’s not like Christine didn’t lift a little melody from George Hawkins...

https://youtu.be/ndMHOBz2uBw

[HomerMcvie]

dedicated to her Homer


https://www.youtube.com/watch?v=O8sHlo-Hask

Thanks.

Honestly, I didn't find it that catchy...do you?

[Macfan4life]

Thanks.

Honestly, I didn't find it that catchy...do you?
No but I sent you the better Wild Heart era demo. If I wanted to be cruel I would have sent the OSOTM unreleased klonopinned Kenny G version

https://www.youtube.com/watch?v=cQWlI8e8J4Y

[jbrownsjr]

Much the same way “Blue Letter” and “Crystal” weren’t really Lindsey Buckingham compositions.


Seems less shady than reworking an old song and not giving the original writer credit like they did on “World Turning.”


Just like Lindsey in 1975.

ETA: And, it’s not like Christine didn’t lift a little melody from George Hawkins...

https://youtu.be/ndMHOBz2uBw

You're right. I know it was Stevie that called for that beautiful keyboard solo at the end of Crystal; plus, the intense walking bass that was missing on B/N. And then she proceeded to arrange Blue Letter with that stellar guitar solo. It's as if the other 4 would NOT have any idea what to do if she wasn't there.

[HomerMcvie]

No but I sent you the better Wild Heart era demo. If I wanted to be cruel I would have sent the OSOTM unreleased klonopinned Kenny G version

https://www.youtube.com/watch?v=cQWlI8e8J4Y

I think I like this one better! Seriously.

Wonder what Lindsey could have done with it?:D

[ViscountViktor]

I have a hard time picturing her successfully dialing a phone number.

'What's that, E major, B major? Always write songs in F Chris, you know this. Anyway step aside, I'm here to play my synth part on your song. Mick, count me in.'

Is how I imagine the conversation to have been.

[HomerMcvie]

'What's that, E major, B major? Always write songs in F Chris, you know this. Anyway step aside, I'm here to play my synth part on your song. Mick, count me in.'

Is how I imagine the conversation to have been.

My favorite part of the Tusk doc outtakes is watching the eye rolls they give her, when they're standing behind her.

[mitzo]

My favorite part of the Tusk doc outtakes is watching the eye rolls they give her, when they're standing behind her.
She pulled in the crowds and shoppers and made the other band members into millionaires. Ingrates.

[button-lip]

You're right. I know it was Stevie that called for that beautiful keyboard solo at the end of Crystal; plus, the intense walking bass that was missing on B/N. And then she proceeded to arrange Blue Letter with that stellar guitar solo. It's as if the other 4 would NOT have any idea what to do if she wasn't there.

And she also invented Covid-19! Didn't you know that? How could YOU not know that? :lol::lol:

Where would all of us (especially that bastard Lindsey) be without her? :shrug::]

[tabruns]

She pulled in the crowds and shoppers and made them millionaires. Ingrates.

There's always been this tension among them. Nicks wasn't the musician the rest were, so they would dismiss her; yet she was also very clearly the star, and I think that probably grated on them (particularly Buckingham).

But they've all said unkind things about each other. I read an interview once where Buckingham referred to Nicks AND McVie as "lounge acts" in their solo careers and saying he found it "sad". McVie said of Nicks's songs that "most of them are rubbish". It doesn't surprise me that the director of the "Hold Me" video said no one in the band was talking to anyone else - the fights seemed to fly in every direction.

They all have healthy egos. Buckingham knows he works studio magic, McVie is likely confident she writes the best songs, and Nicks knows her charisma makes her the star and brings in the crowds. Each of them has an understandable reason for thinking they're the key to Mac's success. It's not surprising they chafe at each other.

[HomerMcvie]

She pulled in the crowds and shoppers and made the other band members into millionaires. Ingrates.

I will give her that. I will.

There's also no accounting for taste.

But she has the "IT" factor. Few people actually have that "it" that makes them a star. She does.

There are tons of fantastic singers(far better than Stevie), that just don't have the star factor. Other than her "spinning witch" persona, I really don't get why she's the star she is.

I will say that I loved her during Bella Donna and The Wild Heart. BECAUSE I thought those were great albums with great songs.

When her music went south, so did I. I was a FM fan first and foremost, and I always will be. But when she began putting out crap product, I'd had enough.

[ViscountViktor]

Alternate Versions:
1. Family Man: Much more prominent, see above. She also squeals a lot and talks about "mother father, sister," "I can't let go" on the Extended guitar mix around the 5:30 mix. Very RAL, i.e. erratic and drunk sounding. She is present on the chorus of this version as well.
2. Big Love: She is yelling "house up on the hill!" in the extended version, around 4:10. In the "House on the Hill Dub" mix, she is also yelling... something, "pretty girl" maybe? This starts around 1:10, and then concludes with "looking out for love" just afterwards. Somewhere in these tracks is also a vocal sample that has her yelling "Well it's a big, big love" These are likely the backing vocals she recorded for the album track that Lindsey stripped out before release. Understandable as they don't flow with the slick nature of the song.
3. Little Lies: She's more prominent. At the end she sings "Tell me lies, OH, sweet little lies, no no you can't disguise", "oohs" and repeats "sweet lies, little lies", also likely leftover vocals from her sessions that Lindsey chose not to use in the final.

So we at least have some evidence of her vocal sessions on other songs, they were used in the extended cuts instead. A user on this board (FannyMac) claims to have interned with Modern Records, Stevie's solo label, and heard an early cut of the album where her vocals were "All over it" before it was stripped to "just two songs", and then her third song was added back and her Little Lies backing vocal was reinserted.


What I find interesting is

a) why would Lindsey allow Stevie on his tracks on two songs on Tango, something he hadn't done since Rumours?

b) why were these vocals then taken off, what was the decision making process behind that?