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  #16  
Old 05-11-2021, 06:43 PM
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aleuzzi aleuzzi is offline
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Originally Posted by BLY View Post
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.
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  #17  
Old 05-11-2021, 10:12 PM
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Originally Posted by BombaySapphire3 View Post
Whatever happened to Steve anyway?
You mean Hopkins, not ChiliD, right?
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  #18  
Old 05-11-2021, 10:36 PM
BombaySapphire3 BombaySapphire3 is offline
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Originally Posted by HomerMcvie View Post
You mean Hopkins, not ChiliD, right?
Yeah he just disappeared abruptly a couple of months ago. Dennison has been gone for years.
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  #19  
Old 05-12-2021, 03:58 AM
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Originally Posted by BLY View Post
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
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  #20  
Old 05-12-2021, 01:00 PM
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I love the lyrics on “Everybody Finds Out.” How does it go again?

Quote:
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.
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Last edited by David; 05-12-2021 at 01:05 PM..
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  #21  
Old 05-12-2021, 02:25 PM
jbrownsjr jbrownsjr is offline
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Originally Posted by David View Post
I love the lyrics on ďEverybody Finds Out.Ē How does it go again?



I have no problem with the songs on the Say You Will album. Theyíre good songs and some of them are great. (Iím 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 Meniereís 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 ďimprovementsĒ is only relative. These engineering styles arenít 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 ďDreamsĒ 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?
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  #22  
Old 05-13-2021, 07:45 AM
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Originally Posted by jbrownsjr View Post
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. Itís so weird. It simulates an isolation chamber, which reinforces the angst of the opening lines of the lyric. She sounds trapped in that spaceóand thatís 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.
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  #23  
Old 05-13-2021, 08:55 AM
jbrownsjr jbrownsjr is offline
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Originally Posted by aleuzzi View Post
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.
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Last edited by jbrownsjr; 05-13-2021 at 09:06 AM..
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  #24  
Old 05-13-2021, 10:03 AM
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Originally Posted by jbrownsjr View Post
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.

Last edited by jbrownsjr; 05-13-2021 at 11:55 AM..
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  #25  
Old 05-13-2021, 12:17 PM
jbrownsjr jbrownsjr is offline
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Originally Posted by aleuzzi View Post
Well, I give you that: she really does sound this way ALL THE TIME these days.
When you sound horrible, EVERYBODY FINDS OUT!
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  #26  
Old 05-13-2021, 12:25 PM
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Originally Posted by aleuzzi View Post
I love that intro. Itís so weird. It simulates an isolation chamber, which reinforces the angst of the opening lines of the lyric. She sounds trapped in that spaceóand thatís 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.
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  #27  
Old 05-13-2021, 04:26 PM
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Originally Posted by mitzo View Post
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.
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  #28  
Old 05-13-2021, 04:39 PM
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All of Stevie's best songs seem to be about several things at once. This sounds like a love on the road that was tried to be kept secret. I cant remember where I read possibly it was Billy Burnette? I have no source on that just something that I heard that could be completely not true.
What I do appreciate about this song is the first line. Could it be one of her few songs that touches on her klonopin addiction while on tour?
We see no change in sight
watching her decline
She gets on a midnight plane
She's done it a thousand times
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  #29  
Old 05-15-2021, 11:10 AM
bombaysaffires bombaysaffires is offline
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Originally Posted by mitzo View Post
I always thought it was meant to sound like she was on the telephone.
same here.
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  #30  
Old 05-15-2021, 11:15 AM
bombaysaffires bombaysaffires is offline
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Quote:
Originally Posted by David View Post
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.
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