Tango in the Night POLL (Fleetwood Mac)

Yep. Classic Nicks example of wandering in search of a melody.

otoh "Running Through the Garden"! "Goodbye Baby"! The title track! "Thrown Down"!

― the Rain Man of nationalism. (Alfred, Lord Sotosyn), Wednesday, March 15, 2017 12:45 AM (six hours ago) Bookmark Flag Post Permalink

I don't mind "Illume" and think "Silver Girl" is the Nicks dud on this album. But "Destiny Rules" and "Everybody Finds Out" and "Smile At You" are awesome as well.

I guess I love almost everything on that album.

that's a great post tim, v otm

a guy once convinced me Lindsey deserved more or less all credit for Stevie's songs, and so I was really shocked when I heard those demos which make it clear she's a fantastic songwriter

she def has the best solo material

Tim F OTM

Obviously, it's a great thing that the band had multiple songwriters at their disposal and I feel they worked on each others material really well - as a great band should do anyway - and I think that people are overlooking the fact that I said earlier that Nicks provided some great material. She's still my least favourite of the songwriters, though, and for all Nicks' highlights I'll bet you I don't miss her presence on the forthcoming Buckingham-McVie record, whereas I sure as hell missed McVie on Say You Will, which would have made for a great Buckingham solo record.

I guess now I know who on here is likely to overreact if one dares to state that Nicks is their least favourite element of Fleetwood Mac.

what courage!

You're overlooking my writing that I don't care if you like her least; I disagreed with the suggestion that she needed more help than McVie or Buckingham.

Buckingham isn't capable of great solo albums. None of them are. He's released several good albums with several fine tracks.

xpost: As others have pointed out, thinking Nicks is third best is fine - pretty common in fact - but your justifications for that sit uncomfortably with me because they (perhaps inadvertently) appear to reduce the band's qualities to a two dimensional axis of pop smarts and arrangement invention, which I think as a schematic will fail to properly capture the magic of even the non-Nicks songs of that era.

I didn't mean my sarcasm, Turrican. Think of it as friendly ribbing.

It's also common for listeners to recoil, as Naive Teen Idol remarked, from Nicks' dancing, voice, and witchiness but not so common to show impatience with Buckingham or McVie: producer geniuses and workaday musician, respectively, are more traditional signs of artistic integrity than the woman who risks looking like a fool on stage every night.

*musicians

tim otm

there's a union of performance and songwriting in stevie's songs which can make her more unfinished work (e.g. the songs on tango) feel like improvisations, but this is what enhances her great songs; there's this grand narrative drift to them. they can work like paragraphs or prose-poems, where as mcvie's and buckingham's songs tend to operate within more formal restrictions (there are of course exceptions, as each songwriter's approach crept into the others'). it's not a "better" or "worse" theory of songwriting; it enriches the others as a counterpoint while also being its own captivating swirl. this is why in isolation, on their solo records, they can and often do feel imbalanced. (lol i'm wondering if i'm just repeating tim's point)

"silver girl" was the other nicks song i thought didn't really work on say you will but everything else is really wonderful. there's an imbalance to that record too but it's one i find interesting—another buckingham solo record reengineered as a fleetwood mac record, but stevie was also on a kind of a roll imo between her tracks on that record and the good songs on trouble in shangri-la, and on stuff like "thrown down" they access the aura of the trio even in mcvie's absence

if you're repeating my point you're certainly expressing it better.

And I think that's right about Say You Will - against the odds the album frequently implies McVie's presence even though she's not there.

It will be very interesting (and of course welcome, fantastic, etc.) if the Buckingham-McVie record does the same vis a vis Nicks.

btw "nicks wrote some good songs but i'd rather be hamburger meat than listen to her solo work" is the purest driven nonsense

mooncalf meat

I'd say that not checking out Nicks' solo material or being remotely interested in hearing it based on the fact that she's the element of Fleetwood Mac I'm least interested in makes absolute sense.

Guys, not sure why you are circling the wagons here. It's no crime to be put off by Stevie. It doesn't mean you're a misogynist. It doesn't mean that she doesn't add something essential to the Fleetwood Mac venn diagram. And it doesn't mean her lyrics aren't more personally involving than Lindsey or Christine's. The elaborate cultural critiques of how people listen to music and how they "refuse" to hear what makes her great seem wholly unnecessary.

Stevie isn't for everyone. For many, her bleat needs sweetening. For my part, I like her best in small doses. And while I think Say You Will to be her most consistent set of songs, I find that I miss McVie more on that record than I do Stevie on Tango In the Night.

as alfred and tim already said i don't take issue with considering nicks the least of the three fleetwood mac songwriters but i take issue with the methods by which ppl itt have arrived at that conclusion, e.g. describing nicks' songs reductively as "stock '70s california soft rock," a description that mcvie's and buckingham's songs don't necessarily escape and which is at least partially a consequence of buckingham's production

and Nicks' best solo songs ("Stand Back," "I Can't Wait," "Edge of Seventeen," "Rooms on Fire," a couple others) don't sound like California soft rock either.

as alfred and tim already said i don't take issue with considering nicks the least of the three fleetwood mac songwriters but i take issue with the methods by which ppl itt have arrived at that conclusion, e.g. describing nicks' songs reductively as "stock '70s california soft rock"

No, not all of her songs, just those songs that I applied the description to, which should have been blatantly obvious simply by reading the post.

Some serious over-reacting by the Stevie Nicks fanclub itt.

I think we can all agree that FM minus Bucky is pretty bad, and that since his addition in 1975 or whenever he has been pretty essential to its existence and operation.

They all are. Every one. Including the rhythm section, which we haven't mentioned.

Yes, what I meant is that on at least two, possibly three occasions, the band would not have released an album at all without Buckingham's intense participation.

That is, Tusk, Tango and Say You Will you're all bolstered by ready to go Buckingham solo tracks. The rhythm section absolutely makes everybody better, which is why they show up on a couple of those solo tracks, including cuts like Trouble.

Sorry for the messy voice to text, I hope any that makes any sense.

I take a crack at it. Thanks, thread!

Whenever I sing the chorus of 'Little Lies', I always pinch my nose to do Stevie's bit.

i got the reissue not that long ago so i've been listening to it a lot. it's funny to read the diverse reactions to welcome to the room....sara over the years. i didn't know it at all but it grabbed me right away--it's awkward and weird and tossed off but it has *something,* maybe in the big open chorus vocal and the way the backing vox come in, that i really like.

other big takeaway was john mcvie's playing on "little lies," a song i knew well but had never really dug into. i might think it's his best work in classic mac, which is saying something. he's the driving force in that song.

it's a perfect Christine McVie song too

I think "Everywhere" is more perfect, but "Little Lies" is more ... mysterious?

Sad seven wonders got no votes but this is a hard poll. Probably everywhere

T-ANN-GOOOOOOOOOOOOOOOOOOOOOOOOOOO

Alfred, do you still feel Honey, Hi is a dud??

Yes -- an innocuous one.

Alternative Tango coming for RSD

Stevie's interjections in the "Little Lies" extended remix are A+

This seems as a good as a place as any to air my suspicions (maybe this is common knowledge?) that the Lindsey-sung tracks on Tango (and Tusk) are pretty much all Lindsey, playing or programming everything, with a few exceptions and cameos.

I assumed so from the beginning, "Caroline" and the title track in particular.

not so much on Tusk.

Pretty sure "Big Love" is just him, too. And "Family Man." Basically anything featuring his pitch-altered/sampled vocals. With "Tusk" it's a little more obvious which tracks are just him banging around in the bathroom. Though of course stuff like the title track and "What Makes You Think You're the One" and "Walk a Thin Line" feature at least Mick banging away as well.

I saw something about having Mick replace the drums on "Big Love" with a copycat performance.

didn't he have Mick and John rerecord all the drum and bass tracks?

He might have. Mick and John pop up on his solo albums as well. There are so many drum overdubs on "Big Love," specifically - those kind of marching fills at the end, cymbal washes, little fills - that it makes sense some of that is Mick (who iirc at the time of "Tango" was totally zonked out and living in a trailer in Lindsey's yard). Most of it sounds like programming or something Lindsey could do, but Mick can be such a smooth drummer maybe it is him. Not even sure I've ever even noticed a bass on "Big Love!" Or keys. Has the band ever played it live as a band?

There are definitely a few complete Lindsey solo tracks that got ported over directly to "Say You Will" with either Mick and John on the original track or sort of dubbed on later.

They do 'Big Love' all the time but as Lindsey's Acoustic Moment.

But never as a full band, right?

Playing Big Love as a full band would just obfuscate the insane skill level required to play that guitar part and then manage to sing on top of it.

The version on Tango In The Night was such a missed opportunity. If he had recorded it in the mode of "Never Going Back Again", it would have been a classic. But it was 1987, not 1977, so instead we got the porn backing vocals and the miami vice production.

the og big love is great, how can you float "miami vice production" as a criticism and listen to the rest of the album

i'd like to suggest instead that it's lindsey's horny version of "running up that hill"

fair point, i suppose i do have the same issue with the rest of the album.

big love just feels different because of the missed opportunity. i remember when that song came out, and I just didn't connect with it all -- the "ugh/ahh" part at the end was really the defining element of the song. then several decades later, i heard a version of lindsay performing it solo, and it was stunning. i really couldn't believe it was the same song. or rather couldn't believe that the song he was playing was buried somewhere in the album version.

"running up that hill" is already v v horny
xp