Those "special" musical nuances in Stevie's music...

sorcerer999 · #1 08-18-2015, 12:54 AM

I've been meaning to post about this for a long time. Part of what makes certain Stevie songs special to me are the musical nuances that other musicians or producers bring to the table. Things that have nothing to do with Stevie's original demos. Things that add an extra layer to the magic of the song and its story or the visualization/imagination within.

I've compiled a list of some of these examples...or at least the ones I can think of off the top of my head at the moment. I'm curious to hear everyone else's input as well. In my opinion, sometimes these "little things" can be just as important as the vocals or lyrical content of a song.

"Secret Love" - The basic single chord acoustic guitar part that comes in at 1:57 after she starts singing "I am not asking salvation from you..." It's been awhile since I've seen the documentary but I believe it is a Warner Brothers executive who stopped by to visit and decided to contribute this tiny part, which actually adds so much.

"Watch Chain" - The piano "chord plunks" in the second verse (1:04) after she sings "touching fingers thru the kitchen lace..." Like "Secret Love", more depth is added here with this simplistic move.

"All The Beautiful Worlds" - At 2:25 in the middle of the bridge, right after she sings the first "don't even say goodbye", the piano and synth team up for a descending "phrase" during that measure that you really have to listen for or you'll miss it. It contributes to the darkness of the moment/sentiment in my opinion.

"Sorcerer" - The magical repeating 2 note guitar part in every chorus (1:20) which is a great example of "less is more". I think this song wouldn't be nearly as interesting without it.

"Sister Honey" - Those high guitar licks starting at 2:53 after every time she sings the word "fast". I visualize lightning crashes every time I hear them.

"Rhiannon (Will You Ever Win)" - The single version of course. It is the background "Ooohs" at 0:44 as well as Lindsey's lead guitar overdubs at 1:17 that provide the spooky atmosphere which is sadly lacking in the album version.

"Enchanted" - The organ part that starts at the beginning of the second verse (0:48) and continues through to the end of the second chorus. It adds that little "spark of energy" to a song that one might consider "too plodding" if it weren't there.

"Dreams" - The faint vibraphone during the pre-choruses. The most obvious being the little flourish at 2:54 before the second chorus begins.

"24 Karat Gold" - The wind chimes, triangle, and vibro-synth that appear on every chorus (the first of which you can hear at 0:54) truly giving it that late 70's southern California Laurel Canyon/Venice Beach vibe. That is why this track sounds the most "timeless" out of all the other tracks on this album for me.

"Storms" - Just the opening of the song itself where it sounds like the band is tuning/warming up before diving right in. I also appreciate the randomness of the tambourine beginning a mere 2 beats before she starts singing. (0:11)

I really could go on and on here. There are so many phenomenal pieces that other people have shaded into her music - the mandolin part during musical interlude of "Sleeping Angel", the cyclone climax of "Everybody Finds Out" and its string synth, the breaking glass and various sound effects of "Gold Dust Woman", the unique drum pattern of the second verse of "Belle Fleur" (this is no ticket to dreamland) which deviates from the proceeding simpler pattern, Dave Stewart's "dumb ass guitar solo" (Stevie's words) of "Everybody Loves You" and of course the instantly recognizable ascending/descending guitar counter melody on "Gypsy".

Please share your thoughts! What are some of the musical subtleties in Stevie's music that are special to you?

Jondalar · #2 08-18-2015, 03:26 AM

That's what producers are for - To make a song bigger than what is was. And to hire musicians that can add something to the song.

sorcerer999 · #3 08-18-2015, 09:06 AM

Quote:

Originally Posted by Jondalar

That's what producers are for - To make a song bigger than what is was. And to hire musicians that can add something to the song.

Yes, I'm very aware of that fact. Going back to my ORIGINAL question, though...

vivfox · #4 08-18-2015, 09:19 AM

This is a good post. I like the tambourine at the beginning of Storms also.

mitzo · #5 08-18-2015, 03:56 PM

I find most of her songs on Say You Will full of these nuances, as well as the work she has done with Dave Stewart. The rest of her solo work has a few moments but we are too often subjected to hammond organ and snare drum, garage band or acoustic guitar, with grating vocal harmonies.

Jondalar · #6 08-18-2015, 04:02 PM

What about the bridge to Annabelle Lee? That made the song.

welcomechris · #7 08-18-2015, 08:22 PM

Annabel Lee - Magical, spirit filled song. The guitars are perfection. Same for 24 K Gold.

Kind of Woman - Just like Annabel, just amazing

Touched by an Angel - Beautiful song!

Twisted - Love the ending, one of the best songs in Stevie's catalog.

DauphineMarie · #8 08-19-2015, 06:51 PM

Even though it's unreleased, those haunting guitar licks on Joan of Arc are my ABSOLUTE favourite Fleetwood Mac moment.

sorcerer999 · #9 08-19-2015, 07:16 PM

Quote:

Originally Posted by DauphineMarie

Even though it's unreleased, those haunting guitar licks on Joan of Arc are my ABSOLUTE favourite Fleetwood Mac moment.

Yes!!! THANK YOU, DauphineMarie! You actually get what I'm trying to say here in this post.

And I agree. Those low haunting guitars (and even the high "eastern tinged" flourishes) get me every time! I ADORE that song!

DauphineMarie · #10 08-19-2015, 07:41 PM

Quote:

Originally Posted by sorcerer999

Yes!!! THANK YOU, DauphineMarie! You actually get what I'm trying to say here in this post.

And I agree. Those low haunting guitars (and even the high "eastern tinged" flourishes) get me every time! I ADORE that song!

Yes and thank YOU for spreading the love for good ol' Joan of Arc, seeing as many consider it to be "bottom of the barrel"

Another thing I adore are the keyboard parts during the chorus of Rock a Little the song... My favourite synthesizer work on any Stevie Nicks song.

Moz · #11 08-19-2015, 07:45 PM

Ooh, I love this thread. I'm the type of person who will listen to a song numerous times just to pick out and focus on the drums, or the bass, or the synths. I have a lot of favourite little musical nuances.

Bella Donna - the little warbling guitar part during the pre-chorus that first comes in at 0:54. I love how atmospheric the guitars are in most of Stevie's songs.
Think About It - the bells/chimes at 0:55. I can't not notice it every time I listen to this song! Also the descending piano at 1:10.
How Still My Love - the very brief piano run at 1:40, the guitar solo that begins at 2:22, when the bass builds up before the choruses, the keyboard parts at 2:52 and 2:59. The drum break that launches into the chorus at 1:58 is one of my favourite musical moments in any song of Stevie's. Can you tell I love this song and all its little nuances?

Outside the Rain - the big, sudden guitar chord at 0:56.

Wild Heart - the plunky piano solo at 3:23. It's so fun and upbeat. The echoing guitar just before and when she sings "You don't even know how to start, how to start..."
If Anyone Falls - the "shhh!"s when she sings "Maybe I'll see your shadow against the wall," of course. (Does anyone else think the synth is sort of Van Halen - Jump-y at times? I love it.)
Stand Back - the gated drums that pop in at 0:51. Very '80s.
Nothing Ever Changes - the vibraslap in the intro!
Sable on Blond - the twinkly descending piano/guitar/whatever at 1:12

I should probably stop now. I analyze every song and could spend hours picking out all my favourite parts.

sorcerer999 · #12 08-19-2015, 08:19 PM

Quote:

Originally Posted by Moz

Bella Donna - the little warbling guitar part during the pre-chorus that first comes in at 0:54. I love how atmospheric the guitars are in most of Stevie's songs.

Wild Heart - the plunky piano solo at 3:23. It's so fun and upbeat.

Sable on Blond - the twinkly descending piano/guitar/whatever at 1:12

Yes, YES and TRIPLE YES!!!

Quote:

Originally Posted by Moz

How Still My Love - the very brief piano run at 1:40

WOW!!! How have I never noticed that before...and in one of my favorite Stevie songs! THANK YOU for that! They repeat it again at 3:11 in a higher octave. Never caught that one either!

Quote:

Originally Posted by DauphineMarie

Yes and thank YOU for spreading the love for good ol' Joan of Arc, seeing as many consider it to be "bottom of the barrel"

It's so odd to think that people hate that song, isn't it? But, to each his own, as they say.

UndoingTheLaces · #13 08-19-2015, 09:45 PM

Gypsy - This is very much a Mick thing but I've always loved how the drumming in the middle of the third verse, right after "she was just a wish" (2:32), sounds like Mike is about to go into double time but then he stops himself. It sounds wrong but it works so well. People never do that when they cover the song but if it's not there I always miss it. It adds a sort of drama and urgency to what she's singing. Also, at the end during the solo right about 3:53 you can hear John do this descending bass thing which ends with Mick doing a cymbal crash. It really does show how well the two knew each other and worked together.

Sara - 4:40 Lindsey's guitar playing here always makes me melt. Someone posted a really good instrumental version of Sara on YouTube by stripping out the vocal with a processing trick and it really shows off how amazing his work on this song was. And I love all the way through that there are tons of subtle nuances with chimes and ambient guitar sounds. So lush and wonderful.

Anabel Lee - There is this awesome guitar progression that plays during the chorus that was prominent in the demo and when I heard the snippet of the album version during the early promo video I kept thinking how music often changes from demo to full on album track and I kept thinking how I hoped they would keep that same exact guitar part because it totally made the song for me in the demo version. I was very pleased that they kept it and it sounds so great. Listen to the chorus and pay close attention to the guitar. It's a great chord progression.

DauphineMarie · #14 08-19-2015, 10:48 PM

Oh! The above post about Sara reminds me of my favourite part of the song, which comes at around 5:37. It's a guitar part that once I heard, I've never forgotten, and always anticipate it when it comes on.

Jondalar · #15 08-19-2015, 11:24 PM

I just want to talk about a lyrical nuance that made the song for me....

Gate and Garden - Stevie sparingly throws out the words "Every Night" throughout the song and it keeps the song interesting. It's all in the details. That was such a nice touch throughout the song and my favorite part of it. It made it a bit haunting.