Which writer has most harmonies?

[ViscountViktor]

Fleetwood Mac are known for their three part harmonies. Some of my friends who are not into Fleetwood Mac know that.

But which writer incorporates harmonies into their songs the most, and why?

I'd say Stevie, probably because her choruses are long enough for all three to harmonize in.

If one of Lindsey's songs does have a long enough chorus, he might do the harmonies himself, through "vocal engineering."

Christine does have songs with harmonies in, but sometimes her choruses are not harmonized in, and it's unclear why.

Any other thoughts?

[michelej1]

Originally Posted by ViscountViktor

Christine does have songs with harmonies in, but sometimes her choruses are not harmonized in, and it's unclear why.

Any other thoughts?

And Christine's songs are where those beautiful harmonies began, with Over My Head and SYLM. Sublime.

I remember in about 1982 Stevie said she had to drag Lindsey and make him put harmonies on Christine's songs with her because she wasn't going to stand for having no singing on that record (Mirage). I thought that was rather amusing.

To me, both Christine and Stevie's songs call for a lot of harmony.

Michele
Michele

[jbrownsjr]

I couldn't disagree more. When I think of Christine all I can think of is harmony.
I think FMac is built on harmony and chemistry. All the writers have great harmonies.

[PenguinHead]

Originally Posted by jbrownsjr

I couldn't disagree more. When I think of Christine all I can think of is harmony.
I think FMac is built on harmony and chemistry. All the writers have great harmonies.

That's true, but they don't take too much advantage of it. They don't hold a candle to Crosby Stills and Nash, or the Eagles.

Oh Daddy is one example: On the outtake of Oh Daddy, there is a lot of harmony. On the record version, there is less harmony.
In their live performances there is no harmony.

As great and strong as their harmonies can be, the best examples remain mostly recorded studio work. Now, in concert, those harmonies are fleshed out with the support of Stevie's back-up singers.

[jbrownsjr]

Originally Posted by PenguinHead

That's true, but they don't take too much advantage of it. They don't hold a candle to Crosby Stills and Nash, or the Eagles.

Oh Daddy is one example: On the outtake of Oh Daddy, there is a lot of harmony. On the record version, there is less harmony.
In their live performances there is no harmony.

As great and strong as their harmonies can be, the best examples remain mostly recorded studio work. Now, in concert, those harmonies are fleshed out with the support of Stevie's back-up singers.

Again, I couldn't disagree more. . I can't stand the sound of the live back up singers. While I do like the outtake with Stevie on Oh Daddy. I can think of many other songs like SYLM, Hold Me, Love In Store, Mystified, the list goes on.. with amazing harmonies.

[michelej1]

Originally Posted by jbrownsjr

Again, I couldn't disagree more. . I can't stand the sound of the live back up singers.

The back up singers add very little. Beautiful Child is the only exception. I think the alternating, layered vocals where they were singing one part and Lindsey was singing another against Stevie's lead vocal was very beautiful. But outside of that song, they've never impressed me. And on The Chain, for instance, the hit the song takes with just them and without Christine is really noticeable.

Michele

[PenguinHead]

Originally Posted by jbrownsjr

Again, I couldn't disagree more. . I can't stand the sound of the live back up singers. While I do like the outtake with Stevie on Oh Daddy. I can think of many other songs like SYLM, Hold Me, Love In Store, Mystified, the list goes on.. with amazing harmonies.

I actually agree with you. They rely more on the background singers now to beef up their harmonies, while they are capable of creating those harmonies on their own, but it takes an immense effort, and their vocal abilities aren't exactly up to par with what they were 40 years on. It's just the nature of business these days. The market now demands a more slick, polished and paced show. It's become a standard practice among big, old vintage bands to rely on back up players and technology to pick up the slack.

[FuzzyPlum]

When I think of harmonies I think of Christine McVie songs.
Another prime example not mentioned is Honey Hi ...beautiful, lush harmony.
...and don't forget Hold Me.

[jbrownsjr]

Originally Posted by FuzzyPlum

When I think of harmonies I think of Christine McVie songs.
Another prime example not mentioned is Honey Hi ...beautiful, lush harmony.
...and don't forget Hold Me.

Same here. and she and Bob Welch created some great harmony as well.

[aleuzzi]

Christine's songs routinely allow for the most band participation, especially with three-part harmonies. In cases like Little Lies, Honey Hi, Brown Eyes, and Love In Store, the vocal interplay between the three singers lifts the songs to a higher plane.

I think the band made the right choice in keeping a lot of Stevie's harmonies off of the final edit of Oh Daddy. The end result is a lonely, solemn feel that is punctuated by these occasional bursts of Stevie-Lindsey wails coming out of nowhere. Very dramatic.

I do wish, however, that a more audible three-part harmony could be detected on Angel, where I really only hear two voices. But then, by Fleetwood and the McVies' insistence, Fleetwood Mac has usually embraced subtlety and understatement. They're not going to flaunt anything, really.

[jbrownsjr]

Originally Posted by aleuzzi

Christine's songs routinely allow for the most band participation, especially with three-part harmonies. In cases like Little Lies, Honey Hi, Brown Eyes, and Love In Store, the vocal interplay between the three singers lifts the songs to a higher plane.

I think the band made the right choice in keeping a lot of Stevie's harmonies off of the final edit of Oh Daddy. The end result is a lonely, solemn feel that is punctuated by these occasional bursts of Stevie-Lindsey wails coming out of nowhere. Very dramatic.

I do wish, however, that a more audible three-part harmony could be detected on Angel, where I really only hear two voices. But then, by Fleetwood and the McVies' insistence, Fleetwood Mac has usually embraced subtlety and understatement. They're not going to flaunt anything, really.

Wow, what a great point. That lonely feel on Oh Daddy is haunting. Especially as it sequences right into Gold Dust Woman... And the harmonies on GDW are haunting as well.

Rumours has always felt more like an album to me than Tusk (don't worry everyone, I love Tusk) because of this. Judy's sequencing of the tracking order really helped.

But I digress, if you listen to In The Meantime, there are some fantastic harmonies. The ever hated Bad Journey, So Sincere, Friend, Forgiveness, etc.

I toured in a jazz vocal group 4-8 people. SATB. And after learning all those jazz harmonies, I could hear FMac's so well. Their blend is what also gives them magic. Hold Me has some very tricky harmonies. LB and CM are genius. Not to mention they attempted Eyes of the World live. Which reminds me of Pachelbel's Canon in D for whatever reason.