Everybody Finds Out

[BLY]

Originally Posted by Macfan4life

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.

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

[aleuzzi]

Originally Posted by BLY

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

I see it. Totally. I mean I love EFO on SYW, but as it is arranged and performed in 2003 easily could have sit between Christine and Lindsey’s material in 1987. The Rick Knowles co-write evokes the best features of “I Can’t Wait,” still a song that pales in comparison to EFO.

[Macfan4life]

Originally Posted by BLY

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

Any Stevie song put on Tango would have been an improvement. EFO is an orchestra of sound of real instruments. Of course it would have improved Tango but that's not much of a bar to reach.
I would take the other approach. Instead of putting EFO on Tango, can we make Tango more like EFO

[David]

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

When love starts out in the darkness
It doesn’t do well in the light
Affairs of the heart that start out in the dark
Usually stay with the night

When nobody sees them
At least not together [weird line, that]
She rarely goes out
She spends every day waiting for the day
When everybody finds out

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.

[jbrownsjr]

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.

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?

[aleuzzi]

Originally Posted by jbrownsjr

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?

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.

[jbrownsjr]

Originally Posted by aleuzzi

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.

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 what her regular voice sounds like now. So there was that.

[aleuzzi]

Originally Posted by jbrownsjr

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.

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

[mitzo]

Originally Posted by aleuzzi

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.

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

[aleuzzi]

Originally Posted by mitzo

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

It's possible. The effect is the same: one of disconnection and loneliness. I really like the opening to the song.

[bombaysaffires]

Originally Posted by mitzo

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

same here.

[bombaysaffires]

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.

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.