End of Stevie's songs
 

does anyone agree that the ends of her songs with fleetwood mac are better than the beginnings?

Rhiannon (live)
Silver Springs
Gold Dust Woman (live)

I bet there are a lot more, but for example

i agree chris
 

those 3 songs do have special endings and i believe its only those 3 songs that stevie added a whole new sound to the endings...the beat even changes and its more emotional in all three of those songs...hugs pat

Sara and Storms have an extra kick in them in their endings during this current tour.

oh and Edge live!

I didn't know how Storms would transition to the stage...but it was F'N AWESOME!!

I agree! Storms rocked! She does have some kicka$$ endings on her songs. I gotta love 'em!!! :xoxo:

Yes, but IMHO the beginning of Sara is still the best part. It's my ringtone.

The ending for the studio version of GDW is pretty friggin' awesome, too.

Here's an interesting question that I don't know the answer to offhand...

How many of Stevie's songs (and Lindsey's & Chris's for that matter) actually have an ending, and don't just fade out?

The endings of Stevie's songs are often more powerful due to the way she worked up to a high level of vocal intensity. For instance, the "Rhiannon" finale in its live 70s incarnation is one of the all-time great female rock vocals. Unfortunately, it has never received a proper release (the FM Live version gets close but is poorly recorded and the vocal does not reach the intensity peaks of the Rosebud version).

The Dance version of "Silver Springs" is another example; hard to top that finale.

However, the intro to "Sara" is fantastic, IMO. It really sets a mood.

And the album version of "I Can't Wait" has a great acapella intro, which created quite a striking effect for the album opener.

But the ending of "Blue Lamp" is frustrating. It fades out just when she's getting cranked up. I would bet there's a great, intense vocal coda on the multi-track tapes. This one should have been mixed differently, with an extended coda; a version like that would have been perfect for the Bella Donna album, in place of "Think About It".

That one is from one of the nights at the Rainbow in London in April 1977. I guess to really get the Joplinesque screaming, they should have released one of the 1975 or 1976 performances.

It sure did. Remember the first time you heard it? Your eyes opened & Stevie had your full attention. For some reasons, after hearing that the first day I did, I started dreaming about the Stevie Nicks tour to come (I figured there'd be one), but my dreams were all about Stevie Nicks gigs in Japan. Why Japan, I don't know. I remember how high-tech everything seemed for these Japanese concerts, with the lights & the stage technology -- totally unlike what the tour actually turned out to be (a really old-fashioned guitar show that was very unchoreographed & very loose).

That is a good question! Hmmm.

On the White album, only Monday Morning and Landslide are not fade outs.

On Rumors: Songbird, Never Going Back Again, I Don't Wanna' Know

On Tusk: That's Enough for Me, Save Me a Place, Never Make Me Cry, I Know I'm Not Wrong, Walk a Thin Line

On Mirage: Can't Go Back, That's Alright, and (can't remember!) Oh Diane?

On Tango: Caroline (I don't recall any other song sans fade out.)

Someone else will have to list Behind the Mask (which I've never heard the whole way through), Time (which I haven't heard in a long time), and Say You Will. Not to mention all the pre BN songs!

And Dreams!

Tony counted a bunch of them up. Now I'm trying to think of songs that fade out in concert. "Gold Dust Woman" is the only one I can think of.

I'm also trying to think of songs that don't start on the tonic or root chord. Obviously most of them do (like most pop songs). But these don't:

"Warm Ways" (starts on a slight variation of the dominant)
"Landslide" (opens on the subdominant)
"You Make Loving Fun" (cool opening on a minor 7th)
"Second Hand News" (strummed opening on the dominant, but that doesn't really count because it's more of a rhythm intro)
"Angel" Nicks (dominant)
"Angel" Welch (cool opening on a minor 7th, like "You Make Loving Fun")
"I Know I'm Not Wrong" (cheating somewhat but it's a suspended 4 on the tonic)
"Walk a Thin Line" (weird tonicless tonic)
"That's All for Everyone" (another weird tonicless tonic)
"Sentimental Lady" (subdominant)
"Prove Your Love"

I think those three examples in particular are really derived off of the fact that the emotional intensity increases as the song progresses. The lyrics start very image heavy and during the endings, she is singing words describing emotion rather than "painting a picture." I think it shows how she works as a writer-- she starts with a series of images that strike her as beautiful and then she gets deeper and deeper into what she's trying to depict with that image in the first place. It's like the process of writing the first half of the song is really meant to help you-- and herself-- figure out the ending.