Holiday Road
Does anyone know who sings the backing vocals (the oohooh bit)
on Holiday road? Sounds like Stevie , but if it is why is she not credited anywhere? Or is it Lindsey's own voice in a higher pitch? Anyone ? |
i'm almost entirely sure its LB himself doing all the vocals.
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Lindsey has never had any of the other Mac vocalists on either of his three solo albums but Stevie had him on TISL and Chris had him on her solo album too. Just thought I'd point that out :)
Matt |
Lindsey was the first of the Rumours Macsters to have Mac mates guest on a solo album. Mick's on "Trouble" and Christine is on "Shadow of the West" on Law & Order.
**** Woops, sorry Chili. Same thought at the same time! |
Not quite accurate, Matt.
Christine sang backgrounds on "Shadows Of The West" on "Law & Order". Well, it looks like you beat me to the punch on that one, Les. :) |
DUH!
I completely forgot about Shadow Of The West!
Matt |
Don't forget that a couple of Christine's "one-off" recordings even though BILLED as "Christine McVie & Friends" was for all intents & purposes, Fleetwood Mac (just minus Stevie Nicks):
"Can't Help Falling In Love With You": Christine: keyboards, vocals Lindsey: guitar, vocals John: bass Mick: drums & percussion "Roll With Me, Henry": Christine: piano, vocals Billy Burnette: rhythm guitar, answer vocals Rick Vito: lead guitar John: bass Mick: drums Steve Douglas: sax (Duane Eddy's sax player) |
Something I find odd
Lindsey's invited everyone except Stevie to help out on his albums. Although John never appeared on one, during the Dance's "isn't that weird" story, Lindsey mentions inviting him to lay down bass for his "upcoming" solo album.
Of course, Stevie didn't invite him until TISL, but still. Perhaps it's because, since Stevie was so visible in the group, having her on a solo album would equate a Fleetwood Mac song to the public? Or was it an intentional snub, considering their history? I just think it's weird that Lindsey would rather manipulate his voice to sound like Stevie than actually ask her to participate on something of his! At least pre-Dance. Just an observation. |
It was that recording of "can't help falling in love" (from the aptly titled film "A fine mess") that brought the band together (in 1986), and which lead to the recording of Tango in the Night.
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Re: Something I find odd
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-Brian P.S. Regarding The Dance, it seems to me Stevie wasn't really ever in the plans with GOS. It looks to me that the way it went was that John, Mick, Lindsey, and Christine were laying down tracks and they all thought "well hey, let's get Stevie in on this too". I don't know, it just really seems to me that there was (and may still be) the band, and Stevie with the band. That's just me probably... -Brian |
Re: Something I find odd
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Also, their musical tastes and career goals became significantly divergent at the stage when they began their solo careers. That didn't preclude either of them asking the other to appear, but it probably made the prospect of it more daunting. |
Probably one of the biggest reasons Stevie & Lindsey seem to have felt a more pressing need to "prove themselves" to each other, while Christine and John did not, was the fact that Christine was very successful prior to joining FM, and of course John was successful inside and outside of FM before Chris joined.
Because of that "package deal" thing, I imagine there were a lot of little insecurities running around inside of Lindsey & Stevie's heads, and a burning need to prove that they could each make it without the other. Les is right, Stevie has mentioned this more often that Lindsey has, but Sulumith has a great Lindsey quote on this subject in her signature.... "I fought to prove something to her as well as to myself. You wonder what you gave up in order to prove that." I've said this before, and my hippie side is totally coming out, but to me, the most impressive thing about both Stevie & Lindsey as people, is their ability to finally, after all the years of rancor, work together, and *want* to do so. Johnny Stew |
Thanx All
Thanx for all the feedback you guys and i think i have to get shadow of the west out again (didn't know about that chris vocal on it.
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All these years of listening to this song- I never really considered the female vocal. When I was young I assumed it to be Stevie. Later in life I assumed it to be some unknown singer or even a girlfriend.
Never in a million years did I ever consider it was Lindsey himself. After listening to it today though, I decided to look up who it was and couldn't find anything. I feel silly asking this, but can somebody confirm it really was Lindsey after all? Considering what he did on TITN its clear he was able to pull off just about any sonic trickery he wanted. Even so, for 1983 that's just so convincing. |
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I was shocked, floored and could not believe that the Family Man bridge was not Stevie. It sounds like her but when I heard it was not her, I could hear it was Lindsey and it blew my mind. |
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Even more importantly, DOO WOP. We don’t talk about it much — we usually just all decide that Lindsey is trying to simulate Stevie Nicks’s voice with a VSO on his own tracks — but Lindsey is steeped in the doo-wop tradition of pop recording, and that tradition is filled with male singers who use falsetto and their upper registers to give what can only be called a female energy to their recordings, from Gary Paxton (Skip and Flip, who wrote “It Was I”) to Del Shannon to Frankie Valli and the Four Seasons (“Big Girls Don’t Cry”) to the Five Satins to Dion to the Platters to Gene Chandler, and on and on. Lindsey cut his teeth on the early era of rock and roll — you can hear it everywhere in his music, from his backup vocal arrangements (even the scat lyrics they used in the old recordings wind up on Lindsey Buckingham and Fleetwood Mac tracks) to the pop-savvy instrumentation (drum roll intros, frequent rhythm breaks, rolls, turnarounds, and so on). I really don’t think it’s ever been his artistic motive to simulate Stevie Nicks on his own tracks as much as to recall earlier traditions of doo-wop. |
This does not speak directly to Holiday Road, but the below is from a 2017 article in Pitchfork about the 30th anniversary and re-release of Tango in the Night and speaks to Lindsey's approach to constructing layered vocal parts. It may offer you some clues.
"Most of the vocal parts were recorded track by track,” he told the New York Times in 1987. “The voices used in the textured vocal choruses were mostly mine. I used a Fairlight synthesizer that samples real sounds and blends them orchestrally.” Out of these newly available materials, he could practically build an entire band, which was useful at the time. Mick Fleetwood was almost entirely consumed by his cocaine habit, and the band had been experiencing an internal drift for years. “Constructing such elaborate layering is a lot like painting a canvas and is best done in solitude,” Buckingham added. |
Looked up the credits on LB Anthology. All instrumentation & vocals by Lindsey Buckingham except* ( a small list of contributions to various songs- but not many). Nothing about any other vocalist for HR.
My mind is officially blown on this one. For more than 30 years I thought it was a female singer. re: Doo Wop- I guess there are actually elements of Doo-Wop style elsewhere in the make up of this particular song. |
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Now, Stevie mentioned him sounding like Christine on SYW. She said she had to ask him was it him or Christine. He may have been trying to sound like Christine at that time. |
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Red Sun and on Game of Pretend for sure. |
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OWTS as well. |
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Though Mick appeared en Lindsey's Law and Order, and Lindsey appeared in Christine's 1984 album, I don't think Lindsey would collaborate in any of Stevie solo works. And of course viceversa. Twisted is one of the clues that The Dance was coming soon. But that was 1996. |
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I take your point, but don’t forget Soundstage. |
I should specify more. My point was about the 80s. Soldier's Angel and Soundstage are from the before The Dance era. That's why I mentioned Twisted. That was the clue that things started to change.
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A longstanding fantasy of mine has been to see and hear them do a version of that song live before one of us (them or me) kicks. There seemed a slim chance when there was talk about re-issuing BN on cd for the anniversary. Kiss that goodbye now.:distress: |
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But as for her memories, there was some news story this week about a man with dementia writing a song which the BBC Philharmonic performed and it made me think of that Glen Campbell documentary. Could you imagine if Stevie had Alzheimer’s but she could still sing all of her songs and perform? |
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