Which writer has most harmonies?
 

Fleetwood Mac are known for their three part harmonies. Some of my friends who are not into Fleetwood Mac know that.

But which writer incorporates harmonies into their songs the most, and why?

I'd say Stevie, probably because her choruses are long enough for all three to harmonize in.

If one of Lindsey's songs does have a long enough chorus, he might do the harmonies himself, through "vocal engineering."

Christine does have songs with harmonies in, but sometimes her choruses are not harmonized in, and it's unclear why.

Any other thoughts?

And Christine's songs are where those beautiful harmonies began, with Over My Head and SYLM. Sublime.

I remember in about 1982 Stevie said she had to drag Lindsey and make him put harmonies on Christine's songs with her because she wasn't going to stand for having no singing on that record (Mirage). I thought that was rather amusing.

To me, both Christine and Stevie's songs call for a lot of harmony.

Michele
Michele

I couldn't disagree more. When I think of Christine all I can think of is harmony.
I think FMac is built on harmony and chemistry. All the writers have great harmonies.

That's true, but they don't take too much advantage of it. They don't hold a candle to Crosby Stills and Nash, or the Eagles.

Oh Daddy is one example: On the outtake of Oh Daddy, there is a lot of harmony. On the record version, there is less harmony.
In their live performances there is no harmony.

As great and strong as their harmonies can be, the best examples remain mostly recorded studio work. Now, in concert, those harmonies are fleshed out with the support of Stevie's back-up singers.

When I think of harmonies I think of Christine McVie songs.
Another prime example not mentioned is Honey Hi ...beautiful, lush harmony.
...and don't forget Hold Me.

Again, I couldn't disagree more. . I can't stand the sound of the live back up singers. While I do like the outtake with Stevie on Oh Daddy. I can think of many other songs like SYLM, Hold Me, Love In Store, Mystified, the list goes on.. with amazing harmonies.

Same here. and she and Bob Welch created some great harmony as well.

Christine's songs routinely allow for the most band participation, especially with three-part harmonies. In cases like Little Lies, Honey Hi, Brown Eyes, and Love In Store, the vocal interplay between the three singers lifts the songs to a higher plane.

I think the band made the right choice in keeping a lot of Stevie's harmonies off of the final edit of Oh Daddy. The end result is a lonely, solemn feel that is punctuated by these occasional bursts of Stevie-Lindsey wails coming out of nowhere. Very dramatic.

I do wish, however, that a more audible three-part harmony could be detected on Angel, where I really only hear two voices. But then, by Fleetwood and the McVies' insistence, Fleetwood Mac has usually embraced subtlety and understatement. They're not going to flaunt anything, really.

The back up singers add very little. Beautiful Child is the only exception. I think the alternating, layered vocals where they were singing one part and Lindsey was singing another against Stevie's lead vocal was very beautiful. But outside of that song, they've never impressed me. And on The Chain, for instance, the hit the song takes with just them and without Christine is really noticeable.

Michele

Wow, what a great point. That lonely feel on Oh Daddy is haunting. Especially as it sequences right into Gold Dust Woman... And the harmonies on GDW are haunting as well.

Rumours has always felt more like an album to me than Tusk (don't worry everyone, I love Tusk) because of this. Judy's sequencing of the tracking order really helped.

But I digress, if you listen to In The Meantime, there are some fantastic harmonies. The ever hated Bad Journey, So Sincere, Friend, Forgiveness, etc.

I toured in a jazz vocal group 4-8 people. SATB. And after learning all those jazz harmonies, I could hear FMac's so well. Their blend is what also gives them magic. Hold Me has some very tricky harmonies. LB and CM are genius. Not to mention they attempted Eyes of the World live. Which reminds me of Pachelbel's Canon in D for whatever reason.

Sometimes they drown out CM LB and/or Stevie's parts. I hate that. And they sound so generic to me. When you see bands like Steely Dan, Sting, Pink Floyd, Bruce Springsteen, David Bowie, etc. their back up singers shine. Fleetwood Mac's are just in the way.

What has made FMac so special to me is that they are quirky unique musicians. Sometimes they are flat all at once and it's great! Sometimes Christine's key makes her sound like a man, and I love it. (Love In Store, Mirage tour). Sometimes, Stevie bellows like a goat and it's fine. Lindsey barks like a dog and it's ok. (although as he gets older it feels weird to me) But who knows I am trying to like it again. I just want to see them perform warts and all together. Drop some of the extra's and play some imperfect music.

Lindsey is definetly the most stubborn on harmony in songs, wanting to have complete control and do everything himself. Which of his songs, apart from gyow and btlh have three part harmonies not done by himself?

Well, it's not 3 part, but SHN and ISA both have Stevie doing harmony, off the very top of my head.

They mix up the harmonies for sure. All three. Stevie and Lindsey and Christine and Lindsey. They did not do enough just Christine and Stevie.

First 2 albums had quite a bit.

White Album. Blue Letter, Rhiannon, Over My Head, Say You Love Me, Crystal

Rumours. SHN, Dreams, Don't Stop, You Make Loving Fun, Gold Dust Woman, IDWTK. So I think they missed the boat on Oh Daddy BUT - I can see how that song could have been picked to not have much if at all given how much on the rest of the record. The problem is - 37 years later, that could have been the one song where it was predominantly Christine and Stevie, which would be amazing.

You are so right about that!