Illume, Thrown Down, Say Goodbye are nice Lindsey and Stevie harmony songs too.

That's amazing that BTM sold 1 million plus. They toured the heck out of SYW for 135 shows and it only sold 500k total:distress:

SYW was 13 years later. That have to be one difference too.

So, let me order it...

- Tango In The Night started as a project between Lindsey and Christine, after Chris was called for an OMS or stuff, and Lindsey had the idea of a third solo album...Christine asked Lindsey, John and Mick to join. This was in 1985. Richard Dashut joined them too.

- The project turned the TITN sessions that year, while Nicks was on tour and releasing RAL. So she was unable to join them, but she sent some demos. At that time, she was on her limit with her addictions, so that's why her voice was not at her best, probably...She sent demos in 1986, because 1985 was a year for her only, as she was with a new album and a new tour coming...

- In 1986, while Nicks was starting her rehab at the Betty Ford Centre, Lindsey and Christine were working on the next songs: Big Love -which was written by Buckingham in 1985-, Everywhere, Tango In The Night, Mystified, Family Man, Ricky, You & I part I and part II (Eyes Without Shut). Most of the Chris' songs had a big part of Lindsey's work, so the real exception is Little Lies, written 100% by Chris and Eddy Quintela. This will be repeated in 2017 for the Buckingham-McVie work...

- Meanwhile, with Nicks absent, Lindsey used his Fairlight and stuff to make some Nicks' vocals look alike, to create the sensation that Nicks was on the recordings. In fact, Nicks was present before on backing vocals on some Tusk and Mirage songs, sung especially by Christine, so the idea of Stevie's voice on backing vocals wasn't totally new. Lindsey used the voices like on his solo works. Replacing Nicks with Lindsey's voice, at that point, was a choice -thought by Fleetwood??-

- In 1987, by pressures of Fleetwood, the album was released. Lindsey's third solo work was cancelled, so he put his efforts to a new FM album, by Fleetwood's..."order?". Nicks joined with only three songs, even after her voice was erased from her previous works. Some of the sessions where she worked, were recorded by herself, not with the rest of the band, and her voice looks good but not better.
Seven Wonders was written by Sandy Stewart, and recorded in 1986, so this made things easier to release another single quickly, because of Nicks situation and the band's situation itself. If the song wasn't written before, probably another song would be chosen, probably a Chris' or Lindsey's one.

- Some of the Nicks works from this 85-87 time were used later for The Other Side Of The Mirror, so we can consider that some demos for Nicks' 1989 album were rejected by Fleetwood or the rest of the band, and others, which were not rejected, were then released on the deluxe edition. Of course Book Of Miracles was instrumental, so Nicks' voice was out of danger.

- After the release, Lindsey leaves the band in a discussion with the rest of the band, especially with Fleetwood and Nicks.


I think it's a little review of what happened with the TITN sessions, but of course can have some mistakes. My bad! Think that probably by the start of 1987, 90% of the album was ready!

Miranda, Thrown Down and EFO are stellar songs. Lindsey and Stevie complement each other tremendously. I'm sorry that these entries did not come at another period in this band's life when they would have garnered the attention they deserve.

Mick's account sounds wrong. Stevie is on only four songs on Mirage too (hers, plus "Love In Store"). So why would a similar level of participation on Tango be viewed as precedent-breaking?

According to Lindsey, in his interview in Paul Zollo's book Songwriters On Songwriting, Tango started life as a Lindsey Buckingham solo album. He could turn what he had started over to the band, or keep it for himself, and make more of a cameo on a FM album, with outside producers. He opted for the former.

That said, he says there are some things on which he is only band member playing. When Zollo asks about the writing of "Mystified": "A few of the things on Tango In The Night were done in a little bit of a different way. I took a bunch of the raw material home and Christine's basic drum track and worked at home on that and on a couple of things that weren't really the band. One of the reasons we did that was because it was really hard to get everybody together.... So a few things of Christine's I took home to re-work. So I think the melody on that was her seed and whatever I put over it."

Also, FYI, he says (not in reference to Tango particularly, but in general): "Constructing harmonies is like engineering. You turn the knobs until it sounds good."

I'd love to ask Tango Lindsey how he'd feel about performing with karaoke tracks, 35 years in the future.

Mystified has always been a snoooooozer for me. And her vocals def sound tweaked, with her voice made higher than it was/is on verses.

Yesterday in the car Everywhere came on. I again tried to listen for Stevie but never heard her. But I had a great idea. I think she should have been on the ending part....da da da da. It would have been a nice punch for the song. Her voice may have overpowered other parts of the song because Lindsey crafted a very delicate back up vocal. Its not like this live where back up vocals are powerful and strong.

I always thought that was Lindsey on the chorus.

I always loved this song. It’s definitely an “altered vocal track” It’s like Don’t stop to me ….your not sure if your hearing Lindsey’s voice or Christine’s.

On the chorus, it's Christine's voice singing lead. Lindsey is singing a barely perceptible low harmony.

The backing vocals on the verses are all Lindsey.

On one of the alternative takes of Mystified on the Tango deluxe, it's clearly Lindsey singing the chorus. It works rather well, I think.

Is she also on “Book of Love” or is that Lindsey goofing around with voices? But, yeah, she’s not on a heck of a lot on Mirage. I think the difference is she appears to have been present when several of the base tracks were recorded, but not for the mixing and overdubbing. (The outtakes and early versions on the Deluxe suggest this.)

Thank you for an excuse to listen to this sublime song on my headphones at top decibel.

Stevie is on the chorus of the early version but not of the album version.
As for the 'ahhhs' throughout the verses, I'm inclined to think it is all Lindsey, but I might be wrong and Christine is layered in those somewhere.

I think some of these things we’re just not going to be able to say for sure. Someone would need to examine the tracking data from the reel-to-reel tapes to see who is singing and who is pretending to sing. I wish somebody from Warner Bros were highly active on the Ledge. We could just say, “Hey, Phil, can you go check after work?”

It’s unfortunate that fans have to play detective to figure out who is singing on certain songs. This appears to be an issue with many of the songs Lindsey produced. We should be able to know with confidence who is singing on Mystified. I’ve seen similar questions on here about Family Man, Everywhere, Little Lies, etc. I suspect this is something Lindsey enjoyed doing, starting with Tusk and continuing with Mirage and Tango. If Lindsey hadn’t left FM and had produced Behind the Mask (and I know that would have been an entirely different album if he had produced it), the harmonies of Skies the Limit, Behind the Mask, Save Me, etc would have been gone and we would have primarily heard Lindsey’s voice in the chorus of most of those songs, with little contribution from Stevie.

I think Lindsey uses all three voices but just mixes the harmonies so their almost unidentifiable . (Book of Love/Empire States/Eyes of the World/Everywhere/Mystified etc……) He did the same thing with his songs on the Buck/McVie album.

It’s weird. Sometimes that decision works (I’m not sure band presence on a few of his Tusk songs would have improved them and, in fact, might have dulled their edges), but on a song like, say, “Eyes of the World,” multi-layered three-part harmonies could have given the song additional charm. I’m also thinking of the live versions of that song from 1982, where Chris and Lindsey are singing the single note calls-and-responses on the intro (I’ve heard some things like this in African Congo music) and then Stevie belts her harmonies on the chorus. That’s classic stuff. The live version is simply better, more energized, more “up” and more rock-n-roll.

Edit: And yes, I know that opening call-response on the live version is Pachelbel, but the execution of it reminds me of Pygmy folk music I once heard in a World Music class.

There is NO WAY $tevie could have sang Christine's part on the intro and break in Eyes.

Christine and Lindsey made FM, yet the Old Goat got all the attention. That's bahhhhhhhhh'd.

Stevie would have thought it was Taco Bell's Canon vs. Pachelbel's Canon ;)

:laugh:

The timing of Stevie's overhead tamoburine clap on EOTW on the SYW tour seemed a little out of time to me. But as Lindsey has said she has a great sense of rhythm, so I guess it made sense to her.

I am very glad Lindsey chose to revive the song on that tour. Glorious.

I loved the Mirage version where they are nearly perfectly in tune on that intro. And Christine can actually clap to keep herself in time. :laugh: Unlike others in the band.

And that's the song where Stevie’s titties are about to flop out of her dress.

Of course not! But she could have sung on the chorus, like she did live. But yeah, that Lindsey - Christine vocal call-response on Eyes live is amazeballs.

I listened to it on Hi Def and didn't remember it being so succinct. "Amazeballs" works, too!! hahahaha

It's so good having you back DownonRodeo!!

You wouldn't say THAT to Bob Dylan~!!!

Only if he was thrown down like a barricade!!! And why Lindsey didn't have a problem with that lyric, I have no idea...

Maybe because the clouds never expect it when it rains... who knows?:shrug: