| Christine: |
I
definitely wrote that in my room in half an hour. I remember coming in
and all the guys were in the control room. They were completely
oblivious to the fact that I was shaking in my boots cause I©d written
this song and I didn't know where it came from. And I was playing it
and all of sudden the whole studio went quiet and everyone diverted
there attention to me and when the song stopped I remember everyone
saying that was bloody fantastic. Thank God you put it on a two track. |
| Lindsey: |
To
place it right after Go Your Own Way was just so great. I actually
remember when the album was done and one of the local radio stations
had played the whole album and took a break between sides. And Richard
Dashut and I were in our car when we still lived on Putney, and listened
to this. I can remember when Go Your Own Way came in and we were so
aggressive at the end and it was a great thing. That song came off , and
then Songbird came on. And the masculinity and aggressiveness that was
the end of Go Your Own Way transformed into that intimate female,
introspective side of Songbird which followed. I honestly remember that
the DJ that addressed the listeners before playing Side Two, you could
tell she©d been crying! And that was the combination of Go Your Own
Way into Songbird. |
| Mick: |
Songbird
is always Chris alone with the audience. And we always saw it like that.
And it survives like that to this day. It hits people it's amazing.
It's like a little prayer, or a Fleetwood Mac prayer. It has a
tremendous power. |
| Christine: |
It
wasn't about anyone in particular at all. It was for everybody. |
| |
|
