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.
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