Fleetwood Mac on Dick Clark's *Primetime* New Year's Rockin' Eve

[dissention]

Originally posted by Johnny Stew
If I found myself cringing while listening to something, I'd absolutely admit that, but it's simply not the case.

I was joking, which I thought the icon would indicate; obviously not.

Originally posted by Johnny Stew
Regarding the "voice crack" you hear on the second verse of "Running Through The Garden"... do you really think that, if it was not intentional, or at least welcomed, Stevie wouldn't have insisted on recording it again??
If you're recording an album and your voice cracked while singing one of the songs, wouldn't you insist on recording it again, given the potential for millions of people to hear it?.

The constant argument that everything is intentional when it comes to a criticism of a flaw in something Stevie does is getting rather old. If intentional, as you say, what purpose does it serve? If I was recording osmething and my voice cracked, it would depend on whether I wanted to fix it or if I thought it would serve the song. But I don't see where her cracking vocals on RTTG serve the song. Please explain.

Originally posted by Johnny Stew
Now regarding "Sorcerer"... if Pro Tools weren't used on "Sorcerer" (and that is one of the songs for which a Pro Tools engineer is not listed), then what kind of "major" studio aid would have helped Stevie hit those notes? And what would be the point of faking high-notes, when she could have just sung them in her normal range and no one would have ever questioned it?

I have no idea what helped her in reaching those notes, I'm not a technical aficianado when it comes to music; I have no clue. As for the other question, asked Sheryl Crow and Stevie Nicks, I don't know. But I think she had some help.

Originally posted by Johnny Stew
Of course she shied away from them on stage... they're not in her comfortable range. And these days she's not about to risk singing notes on stage that she has to work to hit, for fear that some nights she won't acheive them, and she'll be back to the days of receiving bad reviews for her voice.
But that's not saying she CAN'T hit them, or didn't hit them in a studio environment.

She shied away from doing it because she couldn't do it onstage and if she did, it certainly would not have sounded like it did on the album. And she still gets many negative remarks on her voice and lack of effort to do anything special with it. Like I said, I believe she hit them in the studio with a bit of help.

Originally posted by Johnny Stew
I also still have a hard time figuring out how anyone could find the vocal on "Thrown Down" to be "atrocious."
Compared to what?
If we're comparing the album versions and the "Wall of Sound" versions, her voice on the latter is more nasally, and she's singing deeper than she is on the former. Seems to me that most people... if choosing a preference... would pick the album version as the "better" vocal.

I told you why I found it atrocious: it's flat, monotonal, and grating. I still have a hard time figuring out how someone loves some of the RAL vocals and the vocals on WISYA. Compared to what? Maybe personal taste??? That's wonderful if everyone else likes the album version the most, but that's not the point, I don't and we were talking about personal taste. I like the vocals on the WOS version more because they're more interesting, she doesn't sound as bad, and, to these ears, they sound more passionate and not as emotionally absent.

Originally posted by Johnny Stew
I wonder if fans of artists such as Marianne Faithful and Bob Dylan have such dissective discussions about their voices, or if they just appreciate them for the things that make those voices unique.

I've had them. I can appreciate their voices, but I hear a vocal that is just so absolutely awful compared to good vocals from them that I've heard, I say so. If someone appreciates Babs' voice and she records a song whee she sings flatly throughout, don't you think they'll say something?