However, removing the vocals means there's no lead instrument to focus on, so that actually hurts the track more than it helps. The lyrics aren't particularly good (it was, after all, a throwaway jam to satisfy the label's demand for an 8th track), it fades in at pretty much the right spot, and though I think the fade out could be like 30 seconds later, that's probably the right pick for what the track is meant to accomplish. When the new box set came out a few months ago, one of the major revelations was the 8 minute unedited version of "What a Shame", featuring Danny Kirwan and Bob Welch trading vocals on the verses before singing the title lyric together, and then jamming a bit. ("Sisters of the Moon" at least changes things up by rocking a bit) I don't even dislike them so much as I think they would be better a bit shorter. "Beautiful Child" works at that length, but by then, you've had 3 other songs that drone on about 1 or 2 minutes beyond when they should've ended musically. The lyrics demand that much song, but the music doesn't support it. (I have been fortunate enough to hear the unedited version from the new box set, despite not actually having it.)Īs for Stevie's songs on Tusk, I have no problem with longer songs, but I feel that those specific songs do not hold up for as long as they go on. You hear the point where the sax starts to take a solo and immediately backs off? Danny started singing there. "What a Shame" is only an instrumental because the vocals were mixed out. Yes, I think that second performance of Rattlesnake Shake from that album is maybe the greatest singular performance ever recorded. With Lindsey I see what your saying some people do prefer his pop rock style and I am a big fan of it and as you said it’s most definitely presented on the white album but I’d say his best songwriting contributions were either on this album, Rumours or Tusk. Christine’s songs on Tango are brilliant I don’t know if it’s her best set of songs as the songs she produced for the other four albums were also brilliant but her songs on Tango are all great no denying that. Storms and Beautiful Child really show the vulnerable side of Stevie really well and I like what you said about Beautiful Child being their best balled ever I don’t know if it’s their best but it is certainly up there. I agree with you with Tusk having Stevie’s best songs but I think both Rumours and the white album has some of Stevie’s best songs but Tusk has the best of the three as she has more songs on this album than the other ones and those five songs are each five minutes of perfection. I like that you went for which album was the best for each writer in the classic lineup.
The true showcase is I'm So Afraid though, a moody rocker with an absolutely blistering guitar solo. The remake of Crystal also leave the original in the dust with those harmonies and amazing playing. However his true rock collaboration with Christine with World Turning is stunning as well, especially on tour, and shows a lot more of his skills as a guitar player. I'm lame and love his basic pop rock sound and this album has that down perfectly with Blue Letter and Monday Morning. I still maintain that Beautiful Child is the most amazing ballad the band ever put together. Her vocals have matured and are excellent and this album really shows her range from witchy (Sisters) to heart breaking (Storms) to the rocker we'd soon come to know (Angel). This was a tough choice but Sara, Sisters of the Moon, Storms, Beautiful Child, and Angel and just perfect. Even for the member who is known for her consistency in quality from album to album, this is by far Christine's strongest set of songs. Little Lies, Everywhere and Isn't It Midnight are some of FMs biggest bops and the 80s production on them here is immaculate. Just very consistent, every song is quality and has it's place on the album and too many amazing hits, underrated album tracks and stunning playing to be ignored.Ĭhristine: Tango in the Night.
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