Originally Posted by BLY (Post 1266852)

I was listening to SYW today and once again as I was listening and rocking out to EBFO I again thought how this track would have been a great song on Tango in the Night 16 years earlier. I wouldn’t replace it I would just add it after Mystified.

Originally Posted by jbrownsjr (Post 1266853)

Yes, I would love to hear this on TITN. It would fit into that album nicely.

SYW's problem is it's just a collection of songs forced into an album.
Yes, there is some stellar material here; but, it just doesn't flow well.

Originally Posted by UnwindedDreams (Post 1266857)

Say You Will should've been called Lindsey + Stevie. Would've then sounded like a collection of songs rather than an album.

When was EbFO written?

She wrote 4 new songs in 2002 for SYW, right? The Phoenix Four:
1. Say You Will
2. Silver Girl
3. Destiny Rules
4. ?

Originally Posted by aleuzzi (Post 1266867)

Illume!

Throw Down was semi-new written a couple of years before.

Originally Posted by Macfan4life (Post 1266869)

OMG
This song does not belong on Tango. It would stand out like a sore thumb. Its great on SYW. Tango is full of synthetic, programmed, synth pop. Everybody Finds Out has none of that and everyone is playing the hell out of their instruments.
I think some of you Tango worshippers unconsciously acknowledge Tango's weaknesses and always trying to put other songs on it.
While Tango was a huge success, it way underperformed in sales in the states by the amount of hit singles it had. IMHO, that sums it up. Its safe, predictable pop music but there was no rush to go buy it. Everybody Finds Out is unpredictable and unprogrammed and its perfect where it is ;)

IMHO it was refreshing to hear Lindsey's muted criticism of Tango recently about how safe and predictable it was. It was done on purpose to get Mick out of bankruptcy and be a pop success while creativity took a back seat. SYW is Lindsey at his best, always fighting for creativity and demonstrating it. To mix up these albums is comparing apples to watermelons IMHO.

Originally Posted by jbrownsjr (Post 1266877)

I disagree with just about everything you have stated here. Still love you though.

Originally Posted by Macfan4life (Post 1266878)

However, under duress we will give you Silver Girl. No questions asked. Cheaper than free. And it would be Stevie's BEST Tango contribution :lol:

Originally Posted by Macfan4life (Post 1266878)

You're not getting Everybody Finds Out for Tango. No way Jose. SYW is a fantastic album and this song highlights many of the album's wonders.

However, under duress we will give you Silver Girl. No questions asked. Cheaper than free. And it would be Stevie's BEST Tango contribution :lol:

Originally Posted by jbrownsjr (Post 1266880)

The only reason Tango was successful was because Lindsey left. :laugh:

Originally Posted by BombaySapphire3 (Post 1266881)

Whatever happened to Steve anyway?:laugh:

Originally Posted by jbrownsjr (Post 1266880)

The only reason Tango was successful was because Lindsey left. :laugh:

Originally Posted by Macfan4life (Post 1266884)

To correct the record:
It was Lindsey's departure that made Little Lies a hit, not the album ;)


I hope Steve is ok. I miss his attention to detail :)

Originally Posted by Macfan4life (Post 1266869)

OMG
This song does not belong on Tango. It would stand out like a sore thumb. Its great on SYW. Tango is full of synthetic, programmed, synth pop. Everybody Finds Out has none of that and everyone is playing the hell out of their instruments.
I think some of you Tango worshippers unconsciously acknowledge Tango's weaknesses and always trying to put other songs on it.
While Tango was a huge success, it way underperformed in sales in the states by the amount of hit singles it had. IMHO, that sums it up. Its safe, predictable pop music but there was no rush to go buy it. Everybody Finds Out is unpredictable and unprogrammed and its perfect where it is ;)

IMHO it was refreshing to hear Lindsey's muted criticism of Tango recently about how safe and predictable it was. It was done on purpose to get Mick out of bankruptcy and be a pop success while creativity took a back seat. SYW is Lindsey at his best, always fighting for creativity and demonstrating it. To mix up these albums is comparing apples to watermelons IMHO.

Originally Posted by BLY (Post 1266897)

I love EFO on SYW. My point is it could have been on Tango. Listen to it between Big Love and Family Man.

Originally Posted by BombaySapphire3 (Post 1266881)

Whatever happened to Steve anyway?:laugh:

Originally Posted by HomerMcvie (Post 1266908)

You mean Hopkins, not ChiliD, right?

Originally Posted by BLY (Post 1266897)

I love EFO on SYW. My point is it could have been on Tango. Listen to it between Big Love and Family Man.

Originally Posted by David (Post 1266927)

I love the lyrics on “Everybody Finds Out.” How does it go again?



I have no problem with the songs on the Say You Will album. They’re good songs and some of them are great. (I’m not going to list which songs are great because some of you will jump down my throat.) But there are producer choices I dislike: the flange and phase effects on the vocals, which is really excessive; the tin-horn EQ (done deliberately in the style that was popular at that time to accommodate heavy subwoofers in automobiles); and the smack engineering which gave me Meniere’s syndrome or destroyed several million inner-ear hair cells with all that pan and delay. Question for Mark Needham: does Fleetwood Mac have to sound like Flavor Flav? Mick and John are sometimes engineered to sound like human voices doing beatboxing.

Of course, the issue with the technology “improvements” is only relative. These engineering styles aren’t good or bad in an absolute sense. The question is whether they serve the songs and the personality of the band. I think Dashut, Caillat, and the band had already pioneered a personal production style in their batch of albums, and in retrospect it was a better fit for the songs than anything since. The evidence is that the original “Dreams” is much better than any of the four dozen modern remixes of the song, and the original songs on Tango are better than all those club remixes, which huff and puff like aerobics and you lose the emotional core of the song.

Originally Posted by jbrownsjr (Post 1266931)

Oh my!! I love this post.

Add to the fact, (Re: flavor flav comment). It sounds like Stevie is holding her nose or has a nose plug on her nose in the intro. How did anyone not hear how horrible that sounds?

Originally Posted by aleuzzi (Post 1266941)

I love that intro. It’s so weird. It simulates an isolation chamber, which reinforces the angst of the opening lines of the lyric. She sounds trapped in that space—and that’s part of the point.

I can see why someone would hate the opening of the song, but I think that discomfort or resistance is part of the experience of the lyric.

When I first heard it, I laughed out loud. It was so absurd and disturbing and smart at the same time.

Originally Posted by jbrownsjr (Post 1266942)

It still is to me. I feel like it's a joke. I played it for someone that doesn't care about her or FM and they laughed too. "WTF is that??!!!" I believe was the quote.
I guess it's foreshadowing of what her regular voice sounds like now. So there was that.

Originally Posted by aleuzzi (Post 1266943)

Well, I give you that: she really does sound this way ALL THE TIME these days.

Originally Posted by aleuzzi (Post 1266941)

I love that intro. It’s so weird. It simulates an isolation chamber, which reinforces the angst of the opening lines of the lyric. She sounds trapped in that space—and that’s part of the point.

I can see why someone would hate the opening of the song, but I think that discomfort or resistance is part of the experience of the lyric.

When I first heard it, I laughed out loud. It was so absurd and disturbing and smart at the same time.

Originally Posted by mitzo (Post 1266948)

I always thought it was meant to sound like she was on the telephone.

Originally Posted by mitzo (Post 1266948)

I always thought it was meant to sound like she was on the telephone.

Originally Posted by David (Post 1266927)

I love the lyrics on “Everybody Finds Out.” How does it go again?



I have no problem with the songs on the Say You Will album. They’re good songs and some of them are great. (I’m not going to list which songs are great because some of you will jump down my throat.) But there are producer choices I dislike: the flange and phase effects on the vocals, which is really excessive; the tin-horn EQ (done deliberately in the style that was popular at that time to accommodate heavy subwoofers in automobiles); and the smack engineering which gave me Meniere’s syndrome or destroyed several million inner-ear hair cells with all that pan and delay. Question for Mark Needham: does Fleetwood Mac have to sound like Flavor Flav? Mick and John are sometimes engineered to sound like human voices doing beatboxing.

Of course, the issue with the technology “improvements” is only relative. These engineering styles aren’t good or bad in an absolute sense. The question is whether they serve the songs and the personality of the band. I think Dashut, Caillat, and the band had already pioneered a personal production style in their batch of albums, and in retrospect it was a better fit for the songs than anything since. The evidence is that the original “Dreams” is much better than any of the four dozen modern remixes of the song, and the original songs on Tango are better than all those club remixes, which huff and puff like aerobics and you lose the emotional core of the song.