[Phil]

I'm with Johnny on this one... Christine's and Lindsey's contributions were well crafted but, in my opinion, devoid of passion (with the possible exception of Big Love and Tango In The Night). Isn't It Midnight is a better than average song, particularly when compared with anything Christine released from 1982 onwards, and Little Lies is a by-numbers tune which was assisted immeasurably by Lindsey's inventive production and Stevie's superb vocal harmonising (Lindsey's work on this track alone makes me wonder what he could have achieved with Christine's 1984 solo album if given half a chance). However, the remaining L & C songs are high gloss froth and nothing more.
Without a doubt, the heart and soul of this album is provided by Stevie, who admittedly was hardly in peak form at the time. That said, her recklessness and unrestrained intensity actually nourished the album, delivering a much needed emotional depth and sense of poignancy. When I See You Again may not be her greatest moment but its starkness and naked honesty render it one of the more memorable moments within this collection of sub-standard songs. I remember reading a review of the album that George Michael had written for an English magazine in the 1980's where he referred to the absolute heartbreak of Stevie's vocal on this song and how it had profoundly moved him - that is the type of reaction I'm talking about - a visceral, human response as opposed to the contrived elevator-muzak nonsense of Everywhere.
Seven Wonders is a great song and is ably served by a powerhouse vocal, the likes of which we've never heard again. The story behind this whereby Stevie sang Sandy Stewart's lyrics to the best of her rather clouded recollection and couldn't replicate the performance with the correct lines demonstrates the intuitive approach favoured by our gal at the time. Unsurpassable.
If Seven Wonders is an example of inspired and sympathetic production from Lindsey, then his input on Welcome To The Room Sara is evidence of gross and indecent sabotage. We know that Stevie detests the released version and whether one cares for the song or not, the exuberance of the demo is undeniable not to mention that it did actually possess a tune! However, any semblance of a melody was eradicated via the rather clumsy, clunky, stilted, soulless arrangement bestowed upon it by our Lindsey ie he ****ing hated Stevie at the time.
It's ironic that Lindsey and Christine resented Stevie's absence during the bulk of recording because what they created in 18 months of slavish studio toiling and twiddling, Stevie pissed all over in the few days that she attended proceedings. It's quite hilarious when you think about it.
PS I also think that Big Love and Family Man would have benefited greatly if Stevie's backing vocals had made the final cut... perhaps a further example of Lindsey's anger and insane jealousy interfering with his judgement?