Tango In the Night

[Peestie]

Am I the only one who really dislikes the Stevie parts on the Big Love remix? I just don't like it at all...

What's the Letterman version of Big Love? I don't think I've seen it. When is it from?

[strandinthewind]

La Nicks and LB sang it right after The Dance ended and they were in NYC, I think, for the R&R Hall of Fame induction ceremony. Stevie does a searingly high vocal harmony on his BIG BIG LOVE part. I looked on youtube but did not find it. Hopefully, someone will post it.

[Peestie]

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?

[strandinthewind]

Originally Posted by Peestie

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?

I may have the audio at home - if so, I'll upload tonight.

The video is worth seeing though

[danax6]

Originally Posted by Peestie

Thanks for the info. I tried YouTube earlier but didn't see it either.

Anyone have it that they could post, please?

Here's Big Love from the RRHoF:


Online Videos by Veoh.com

and from Letterman 98 (audio quality is so-so):


Online Videos by Veoh.com

Hawt!

[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

[Phil]

Strandinthewind, what you said makes perfect sense and of course, is completely valid.
For the record, despite certain people's misconceptions, I do have a high regard for Christine's work during the period 1969 - 1980. I actually consider much of her writing pre 1982 to be insightful and at times, intensely moving.
Songs such as Why, Warm Ways, Songbird, Oh Daddy, Brown Eyes and Never Make Me Cry are of a high calibre indeed and, in my opinion, rival any of Stevie's or Lindsey's greatest moments.
Even the lighter pop tracks - Remember Me, Dissatisfied, Did You Ever Love Me, Sugar Daddy, You Make Lovin' Fun, Think About Me and Honey Hi - are absolute gems and worthy of much praise and affection.
The above classics still resonate with me after all these years but I'm afraid that the same can not be said for anything she has done in the last 25 years (although Isn't It Midnight and Behind The Mask do come close).
I miss Christine's greatness but just like Stevie's reign between 1975-1983, "purple patches" are not infinite.

[strandinthewind]

^^^

I would add Hold Me to that, but maybe that is because I really like the production as well as her cool lyrics.

I do adore her

[jbrownsjr]

you want to do something really fun phil and strand.... go to the CM forum and go to the Through the Years... it's a photo thread... i haven't been in there in a long time... (HONEST!!)... and i had so much fun looking at the different perfect/mcvie/fmac photos... some i've never seen before

[strandinthewind]

Thanks - I checked it out and good times indeed!

One I love of CN is the video segment where she is carrying the huge gum package at, I think, the airport.

[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 would too if it weren't for Lindsey's and Christine's contributions...

Wow really? Lindsey and Christine made Tango for me and I am a Stevie fan. I don't hate Stevie's contributions to Tango, but they surely weren't her best. However, I really really like WISYA even though a lot of folks don't. It's just something about the emotion in her voice that makes me adore it. I like it better than her other two songs on Tango.

[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.