Quote:
Originally Posted by David
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.
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The original Dreams is EXQUISITE and NO other version even comes remotely close. The production on that is utterly gorgeous and the epitome of FM production-- more lush than the first album, and not as stripped down as Tusk (though Lindsey's production on Storms is one of the most underrated strokes of genius ever). The album version of Dreams is so rich and really highlights each and every member of the band. There's too much Stevie on live versions, followed by Lindsey; not enough Chris both keyboard-wise and vocally... (when I first heard Chris's harmonies on the end of the song on The Dance after not hearing them for so long at that point, I actually teared up.) It also doesn't hurt that Stevie's voice was at the height of its powers then, before she transitioned to raspy cokehead Stevie voice.