[Phil]

I've always liked "Straight Back" however I would have preferred that the the song it replaced been left where it was. Back when the "Mirage" album was being recorded Stevie was asked what she had on the new album. She said "I have three songs, one called "Gypsy", one called "That's Alright" that goes back to the Buckingham Nicks days and another called "Smile At You"."
"Smile At You" was dropped when Lindsey decided that the song was too angry and that wasn't the direction they wanted to take the album. Too bad, because the version of "Smile At You" recorded then is vastly superior to the "Say You Will" version. I think too much time had passed and the anger was gone.

I agree. I never knew Stevie had spoken about her contributions to Mirage prior to it's release, but her comments would indicate that a finished version of Smile At You from that period exists. Of all the versions I have heard, from 1976 to 2003, the Mirage sessions were definitely the best. Nothing matches the power of her vocals at that time - as ragrsrocalot says, they just sounded effortless.

It's also a shame the band didn't wish to pursue this direction for the album - I think a little anger would have humanised the sterility of proceedings. There are good to great songs aplenty but overall, it's all too subdued and ultimately, not satisfying.

This discussion just makes me pine all the more for a remastered reissue of the Mirage album. If it followed the style of the three reissues from 2004 and had a second disc of alternate versions and outtakes, it would most certainly have to include both Smile At You and the original version of Straight Back.

Why oh why won't Mick milk this opportunity that is right under his nose? The same goes for the 1980 Live album and Tango In The Night. For very little outlay, these reissues could easily recoup whatever costs were involved. Even in this digital, illegal downloading age, these could sell well, especially given the correct marketing strategy. The group's apathy concerning this matter truly mystifies me.

The lyrics actually remind me of Daedalus and Icarus a bit.

But my favorite part of the song is the "hours and hours of waiting". Waiting is as heartbreaking and compelling a component of unfulfilled love as loss is, but I don't think it gets the same representation in poems, music or literature. There's something about this song that captures both the hope and emptiness of waiting. Anticipation can buoy you one minute and then turn around and stab you in the chest, when nothing comes of it. Yet, you'd do it again, open yourself up for the same disappointment. You'll continue to wait.

I love the feelings this song stirs up. Love Christine on it. Loved the way this song preceded Hold Me on the album. Stevie talked about a rumpled ball of tuskness, but Mirage is like a rumpled ball of yearning. It's like a wound you don't feel yet, because you're still drugged. So, you're drifting in a dreamlike state, floating in gauze, anesthetic and pretty orchestration. Feels really good now, but you know the pain is coming down the line.

Michele, I love your posting - the sense of yearning contained within Mirage is apparent but could have been better exploited with a little more fire and energy.

I also always liked Christine's harmony vocal on Straight Back (particularly the "like a wolf on the run" line) and the way her piano wove around Stevie during the second verse. I agree, the sequencing from Straight Back to Hold Me was quite inspired.

By the way, I would not have omitted Straight Back, I simply would have included Smile At You as well. If the vinyl time constraints had made it necessary to ditch one track, I would have opted for either Only Over You or Oh Diane (both rubbish in my opinion).

Come to think of it, why was Stevie only relegated three songs again for this album? She was at the peak of her powers, both creatively and commercially (on the back of Bella Donna) yet she only garnered a quarter of the songs? From what I understand, she was present during the entire recording sessions, unlike what was to occur with Tango, so was she simply being punished for having made a successful solo record?

Why was this done, especially with no explanation? Is it not unheard of, to release an album, then go back and change a track, then keep releasing it? I wonder if the first pressing was rushed, to make a release date, or something....

The same thing happened with I Know I'm Not Wrong when the Tusk album was first issued on cd - different version and no explanation (I actually prefer the cd version with more prominent vocals from Stevie - it almost becomes a duet).

Of course, the single edit of Sara was also included on the first cd version but this was obviously done to conserve space and at least we already knew it existed as the single version.

Just noticed your post chiliD after I'd submitted mine. Hahaha - we seem to disagree about which particular version is the best!