“Everywhere” Production

[jbrownsjr]

Originally Posted by aleuzzi

This past week, following a viewing of a brief documentary on how 10cc’s “I’m Not In Love” got made, I listened to “Everywhere” in one of my more cavernous rooms and realized how incredible the production really is. The lush, angelic choir of voices popping out of the speaker, the arresting introductory camp underpinned by an earthy yet spacey backing track—the whole thing is exquisite, and very 10cc’s-like.

I still prefer Little Lies (and SYLM, YMLF, and HM to “Everywhere”—not including about a dozen other non-hits) but I now have a renewed enthusiasm and appreciation for it.

It’s exciting to rediscover this.

I love 10CC "I'm Not In Love"

Everywhere on my 2 Home Pods (left channel/right channel) sounds so crisp and not dated at all. It's fresh and invigorates the palette and stuns the senses. The production is genius. And, it's still very much Fweeetwood Mac (as Christine calls it).

[tango87]

Originally Posted by jbrownsjr

I love 10CC "I'm Not In Love"

Everywhere on my 2 Home Pods (left channel/right channel) sounds so crisp and not dated at all. It's fresh and invigorates the palette and stuns the senses. The production is genius. And, it's still very much Fweeetwood Mac (as Christine calls it).

I've always been in raptures about Lindsey and Richard's production on Tango. I know a lot of people disparage it as sounding cold and inorganic, but I really don't agree - I think it's so absorbing and sophisticated.

In a way, I feel it completes the mythical identity that had been part of their appeal since Stevie and Lindsey joined. I remember Rolling Stone's review saying it sounded like the band members were 'calling out to each other from the turrets of a castle through the mist,' (or something).

I was thrilled to see Richard on the recent BBC documentary about Christine, demonstrating that the iconic tinkly opening to Everywhere was actually Lindsey playing a half-speed guitar that had been sped up, rather than a Fairlight as everyone had assumed.


There's a lot more about Lindsey's incredible production in this great Salon article:

https://www.salon.com/2017/04/02/he-...-in-the-night/

[aleuzzi]

Originally Posted by tango87

I've always been in raptures about Lindsey and Richard's production on Tango. I know a lot of people disparage it as sounding cold and inorganic, but I really don't agree - I think it's so absorbing and sophisticated.

In a way, I feel it completes the mythical identity that had been part of their appeal since Stevie and Lindsey joined. I remember Rolling Stone's review saying it sounded like the band members were 'calling out to each other from the turrets of a castle through the mist,' (or something).

I was thrilled to see Richard on the recent BBC documentary about Christine, demonstrating that the iconic tinkly opening to Everywhere was actually Lindsey playing a half-speed guitar that had been sped up, rather than a Fairlight as everyone had assumed.


There's a lot more about Lindsey's incredible production in this great Salon article:

https://www.salon.com/2017/04/02/he-...-in-the-night/

I remember first hearing TANGO and being underwhelmed. I thought the only one of the three who sounded good in the new soundscape was Lindsey, that songs like “Caroline” and the title song had enough muscularity to work with with all the gloss. “Everywhere” seemed weightless and “Little Lies” sounded too synthy. But over time I realized how right the sound was. There’s a spaciousness and a sexy, sophisticated sheen over everything. Underneath it all is a loneliness, an ache for connection that speaks to the desperation of surviving the liberated seventies and persisting through the cold, corporate eighties. Of all the Mac albums, TANGO seems tethered, production-wise, to its time, but this actually MEANS something.

Anyway, over the years, the album became irresistible. Only Stevie’s two duds on side two ruin the flow.

Still, there’s a heart to “Gypsy” and a warm optimism to “Hold Me” and “Love In Store” that is absent on TANGO. It’s a smart record that expertly—and cohesively—documents estrangement. One hears in it a distance that undermines the band’s trademark chemistry. But that estrangement is its own aesthetic, and it’s compelling.

[David]

Originally Posted by tango87

I've always been in raptures about Lindsey and Richard's production on Tango. I know a lot of people disparage it as sounding cold and inorganic, but I really don't agree - I think it's so absorbing and sophisticated.

Even if some of us don’t like the arrangement decisions, we should all agree that the album’s engineering is Rolls-Royce: perfect balances, EQ, dynamics, mixing, and so on. The acoustics of every track are equal to anything on Rumours or Mirage. In 1987 there was some great engineering on the radio — Peter Gabriel, Prince, the Jesus and Mary Chain — but also a lot of sludgy crud, even from great bands (Hysteria or Tunnel of Love, anyone?). The engineering in Tango sounded great on the radio, on home systems, and in the car. It was really the last Mac studio album to sound that good. Out of the Cradle is its kindred on that level — and in other ways.

In a way, I feel it completes the mythical identity that had been part of their appeal since Stevie and Lindsey joined. I remember Rolling Stone's review saying it sounded like the band members were 'calling out to each other from the turrets of a castle through the mist,' (or something).

I think it was John Rockwell in the New York Times who also wrote a major praise of the album’s sound and emotional landscape.

I was thrilled to see Richard on the recent BBC documentary about Christine, demonstrating that the iconic tinkly opening to Everywhere was actually Lindsey playing a half-speed guitar that had been sped up, rather than a Fairlight as everyone had assumed.

I figured it was a four- or five-finger pattern programmed on a synthesizer — until I heard the beginning of “Surrender the Rain” in 1992. (I used to play that part manually in a Fleetwood tribute on a Korg synth tine — I played a five-finger pattern in the major key and dropped the 4, letting my hand go limp and just rolling ascending and descending over and over as fast as I could.)