You and I

[WalkAThinLine.]

Originally Posted by jbrownsjr

She added lyrics and had some key riffs that they added. She described it as, "we both had unfinished things laying around and pieced them together". (Which led me to believe some of the music for both versions were hers as well.)

I'm actually not familiar with that quote. Do you remember what newspaper or magazine published that interview?

There are several videos on YouTube (posted earlier in this thread) of both Christine and Mick attempting vocals on Part II. I would assume that some of Christine's lyrical ideas were used on the final mix (ie. phantoms crawling out of the night). Buckingham's contribution on Part II was likely the guitar riff, although a member of the Tango in the Night recording personnel (it could have been Greg Droman) mentioned in Ryan Reed's book Fleetwood Mac FAQ that one song that likely made it onto the album was built around a chord progression submitted by an adolescent in Northern California via a poor quality tape recording. He mentioned that there was an ordeal of Buckingham spending an inordinate amount of time attempting to track down the name of the individual responsible for the guitar progression so that they could receive a writing credit, but they concluded that the progression was generic enough that the effort was no longer worth it. Assuming that the story is true (which is a big assumption), "You and I Part II" would be the most likely candidate. I don't have the book on me right now, but I can provide more context on the purported series of events once it's in my possession again.

[michelej1]

Originally Posted by WalkAThinLine.

I'm actually not familiar with that quote. Do you remember what newspaper or magazine published that interview?

This is what she said in a Laura Gross interview in the late eighties.

They were sort of weird collaborations. They weren’t sitting down in a room writing songs together. In the case of Mystified, that was a piano instrumental that I had, and Lindsey took it home and put some words to it and some drum patterns that we all really liked. You and I was reversed. Lindsey had a completed beautiful guitar track with no vocals on it, so I sort of helped with him on the melody on that.

It's amusing to think of Lindsey putting lyrics on someone's song, since he's not known for lyrics. I, personally, think he's had some pretty great ones, especially in his most recent solo albums. But in the early eighties, I'm not looking to him to add lyrics to my music. Not that there's anything wrong with the Mystified lyrics. They work very well. I'm just saying, I am what I am. The Popeye problem.

[WalkAThinLine.]

Originally Posted by michelej1

This is what she said in a Laura Gross interview in the late eighties.



It's amusing to think of Lindsey putting lyrics on someone's song, since he's not known for lyrics. I, personally, think he's had some pretty great ones, especially in his most recent solo albums. But in the early eighties, I'm not looking to him to add lyrics to my music. Not that there's anything wrong with the Mystified lyrics. They work very well. I'm just saying, I am what I am. The Popeye problem.

Thank you for this. I've only listened to parts of their 1976 interview with Laura Gross, so this is helpful. This largely reaffirms what we already inferred from the demos that have circulated on the internet, although I was not previously privy to Buckingham's specific contributions to "Mystified" (the lyrics and drum programming). Have the two of them ever discussed the delegation of responsibilities for "Isn't it Midnight"?

[jbrownsjr]

Originally Posted by WalkAThinLine.

I'm actually not familiar with that quote. Do you remember what newspaper or magazine published that interview?

There are several videos on YouTube (posted earlier in this thread) of both Christine and Mick attempting vocals on Part II. I would assume that some of Christine's lyrical ideas were used on the final mix (ie. phantoms crawling out of the night). Buckingham's contribution on Part II was likely the guitar riff, although a member of the Tango in the Night recording personnel (it could have been Greg Droman) mentioned in Ryan Reed's book Fleetwood Mac FAQ that one song that likely made it onto the album was built around a chord progression submitted by an adolescent in Northern California via a poor quality tape recording. He mentioned that there was an ordeal of Buckingham spending an inordinate amount of time attempting to track down the name of the individual responsible for the guitar progression so that they could receive a writing credit, but they concluded that the progression was generic enough that the effort was no longer worth it. Assuming that the story is true (which is a big assumption), "You and I Part II" would be the most likely candidate. I don't have the book on me right now, but I can provide more context on the purported series of events once it's in my possession again.

What michele posted. Plus, I've heard her talk about she and Buck during their tour. I really love what they came up with. I can hear Mick's contributions in there, as well.

There was a point where the questions just kept coming about them two collaborating.

[Penguin Emeritus]

Originally Posted by WalkAThinLine.

Thank you for this. I've only listened to parts of their 1976 interview with Laura Gross, so this is helpful. This largely reaffirms what we already inferred from the demos that have circulated on the internet, although I was not previously privy to Buckingham's specific contributions to "Mystified" (the lyrics and drum programming). Have the two of them ever discussed the delegation of responsibilities for "Isn't it Midnight"?

Laura gross did some great interviews w all of them in the 80's, some around 82 and a couple right around when lindsey left...i have tapes of when she had john and stevie together, and chris and lindsey together. she did a video interview in 88 w mick/billy/stevie, and also one w john/chris/rick. also i believe she had LB on his own in 84. i loved her interviews..always wished they were up on youtube...

--Lis

[Villavic]

Part I is not one of my favorites, but I wouldn't have minded if they had replaced Caroline with this song.

[jbrownsjr]

Originally Posted by Villavic

Part I is not one of my favorites, but I wouldn't have minded if they had replaced Caroline with this song.

They didn't have to replace anything. For me, I would have liked to see the songs strung together like the deluxe.

They could have faded the screaming... "babaaaaaayyyyyy" into the intro guitar of Part 1followed by .... haaaaa haaaaa haaaa haaaaaa...

I love that melody of the opening synth parts ... that's gotta come from Christine, it sounds so much like her melody "vibe". It gives me a tiny Little Lies vibe.

[WalkAThinLine.]

Originally Posted by jbrownsjr

They didn't have to replace anything.

I was looking at the YouTube comments for the full version of "You and I" and a few users suggested the idea of opening Tango in the Night with Part I so that Part II would serve as the true bookend. For a late 1980s album, 13 tracks would not be completely outlandish, so I would be in favor of this idea. Behind the Mask, released just a few years later, also had 13 tracks.

Originally Posted by jbrownsjr

I love that melody of the opening synth parts ... that's gotta come from Christine, it sounds so much like her melody "vibe". It gives me a tiny Little Lies vibe.

It could be Christine, but I'm inclined to think it was actually Lindsey with a variable speed oscillator (VSO). He has used that device extensively in the studio to manipulate the sound of the guitar at least dating back to "Not That Funny". I was rather surprised when Richard Dashut revealed during the 2019 BBC documentary that the intro to "Everywhere" was created by some sped up guitars played by Lindsey. The intro to Part I actually reminds me of the opening arpeggio on "Soul Drifter", which was also achieved with a VSO.

[jbrownsjr]

Originally Posted by WalkAThinLine.

I was looking at the YouTube comments for the full version of "You and I" and a few users suggested the idea of opening Tango in the Night with Part I so that Part II would serve as the true bookend. For a late 1980s album, 13 tracks would not be completely outlandish, so I would be in favor of this idea. Behind the Mask, released just a few years later, also had 13 tracks.


It could be Christine, but I'm inclined to think it was actually Lindsey with a variable speed oscillator (VSO). He has used that device extensively in the studio to manipulate the sound of the guitar at least dating back to "Not That Funny". I was rather surprised when Richard Dashut revealed during the 2019 BBC documentary that the intro to "Everywhere" was created by some sped up guitars played by Lindsey. The intro to Part I actually reminds me of the opening arpeggio on "Soul Drifter", which was also achieved with a VSO.

I love the idea of opening and closing with You and I!

I've always known about the Everywhere guitar. You can tell that's a sample (of his own making) . Even back then.

[Villavic]

Originally Posted by jbrownsjr

I love the idea of opening and closing with You and I!

Yes, it would have been nice, but I think Big Love was the coolest opener on the album. That song really rocks.

[jbrownsjr]

Originally Posted by Villavic

Yes, it would have been nice, but I think Big Love was the coolest opener on the album. That song really rocks.

Yes, but with You And I as an intro, I think it would have been pretty kewl.

[Villavic]

Originally Posted by jbrownsjr

Yes, but with You And I as an intro, I think it would have been pretty kewl.

I was thinking last night, it would have been a decision similar to open Tusk with Over & Over. It is more kind of a soft rhythm, that clearly announced Hey, this is not Rumours 2. And it was right and wise to choose that song.

But Big Love as track 1 was like Monday Morning or Second Hand News to their respective albums. Opening with You and I Part I, sounds good but I don't think it would give the idea of what the rest of the album is about. Just a thought, actually I don't know if it's close to what Lindsey thought.

[jbrownsjr]

Originally Posted by Villavic

I was thinking last night, it would have been a decision similar to open Tusk with Over & Over. It is more kind of a soft rhythm, that clearly announced Hey, this is not Rumours 2. And it was right and wise to choose that song.

But Big Love as track 1 was like Monday Morning or Second Hand News to their respective albums. Opening with You and I Part I, sounds good but I don't think it would give the idea of what the rest of the album is about. Just a thought, actually I don't know if it's close to what Lindsey thought.

Same with Sleeping Round The Corner. Much like a SHN.

[bombaysaffires]

Listen, we all know that Stevie is the master sequencer in this band... she does the BEST sequencing of songs and has the MOST brilliant ideas... so they should have consulted with her about how to sequence Tango...what's that you say?? Drugs?? Rehab??? Maybe she wasn't available to help with that on Tango and it's not as great as it could have been....

[Villavic]

Originally Posted by bombaysaffires

Listen, we all know that Stevie is the master sequencer in this band... she does the BEST sequencing of songs and has the MOST brilliant ideas... so they should have consulted with her about how to sequence Tango...what's that you say?? Drugs?? Rehab??? Maybe she wasn't available to help with that on Tango and it's not as great as it could have been....

So it makes sense what I once read, that Stevie was secretly hired as a consultant to sequence the Time album, taking advantage of the fact that she was already rehabilitated from Klonopin.