Tango In the Night

[Johnny Stew]

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.

[jbrownsjr]

Originally Posted by Johnny Stew

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.

Flavorless... they are too flavorful... if anything... overproduced... yeah... but flavorless... don't know if i agree... When I See You Again is a beautiful song... the vocals are a little rough.. but the song itself moves me ....

my favorite song here is Tango In the Night...

[danax6]

Originally Posted by Johnny Stew

Lindsey's & Christine's 'Tango' songs are, sonically, brilliant. Extremely well played, sung & produced. But, thematically, they're rather flavorless. At least to me.

Stevie's tracks are dark and confessional, and they provide the album's emotional weight and pathos. Because of that, they may seem out of place next to songs like "Mystified," "You And I, part 2" and "Family Man," but, without them, the album would be little more than ear candy.

IMO.

I agree. Although 'Welcome to the Room...Sara' remains one of my least favourite tracks, both 'Seven Wonders' and 'When I See You Again' more than make up for that. The latter especially is so emotionally honest, you forget all about the repetitive lyrics and just get swept into what she must have been going through while writing this song. I love it.

[JazmenFlowers]

Originally Posted by danax6

I agree. Although 'Welcome to the Room...Sara' remains one of my least favourite tracks, both 'Seven Wonders' and 'When I See You Again' more than make up for that. The latter especially is so emotionally honest, you forget all about the repetitive lyrics and just get swept into what she must have been going through while writing this song. I love it.

I love WISYA for the same reasons. WTTRS is ok. not one of my all-time favs, but it's ok. I lump it in with the "Affairs of the Heart Category".

[WildHeart69]

hmm, I really like WTTRS... the only FM album Stevie song I dont like is Silver Girl...just bleh

[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?

[PenguinHead]

Originally Posted by 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 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?

Thanks for your post. This is one of the most interesting and intelligent assessments I've ever read about any Fleetwood Mac album. Your perspective is patently unique and thoughtful....do I dare say "scholarly"? It certainly makes me think differently about Stevie's somewhat dicey contributions to the album. Cheers!

[skcin]

Originally Posted by PenguinHead

Thanks for your post. This is one of the most interesting and intelligent assessments I've ever read about any Fleetwood Mac album. Your perspective is patently unique and thoughtful....do I dare say "scholarly"? It certainly makes me think differently about Stevie's somewhat dicey contributions to the album. Cheers!

I agree. I really enjoyed reading that post.

[jbrownsjr]

Originally Posted by 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?

although i disagree, i think your opinion's are well put and quite observant... and funny too.... poor Lindseed... always so jealous of Stephanie lol

[strandinthewind]

Originally Posted by jbrownsjr

although i disagree, i think your opinion's are well put and quite observant... and funny too.... poor Lindseed... always so jealous of Stephanie lol

I think that maybe many people view CM as not producing deep or musically/lyrically interesting songs. In the traditional sense, CM's songs on TITN are fun, happy pop songs and break no new ground. And, I LOVE them. But, LB is seen as a the maverick, petulant, brilliant producer; La Nicks the mysterious, confessing, beauty - and their songs on TITN show that. So, CM is sort of, right or wrong, placed in the middle by most. I think she is comfortable in that position because she has never actively sought the spot light of stage, said she identifies more with the rhythm section, and comes across as no nonsense. I think that is reflected in her songs on TITN, which again I love, which are coll fun pop songs.

I hope that made sense.

Also - this is no slam on CM. Obviously being the perceived middle personage has made them and her millions and produced some great music

[aleuzzi]

Originally Posted by Phil

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

Does somebody have an MP3 to share of this demo? I'd love to hear it... And while we're at it, does anyone have an MP3 of Stevie's other, un-issued Tango song, "What Has Rock and Roll ever done for you?" (forgive me if I got the title wrong.

[aleuzzi]

By the way, with re: to Chris and Lindsey's material on Tango, I love the songs on paper. And I think instrumentally they're very impressive. I'm just not crazy about the echoe-y and breathy vocals...Chris doesn't really sound like the warm, earthy Chris we've come to know and love. Her vocals appear to have been filtered through something...not sure what the technical terms are here.

If the band re-recorded the entire record now I'd bet the material would sound fleshier, more passionate.

[Dreamz19]

Originally Posted by 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?

Great post! I don't agree with everything you said but you are dead on with WISYA, Isn't it Midnight and Little Lies.