Quote:
Originally Posted by aleuzzi
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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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.