Fleetwood Mac: ”Everywhere” (A Bullet-Proof Pop Song)

[Transcript included at the end of these show notes]

Fleetwood Mac's "Everywhere" is one of the greatest pop songs ever. Although forged in tumultuous times, "Everywhere" sounds like it comes straight from heaven. 

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Helpful links mentioned in the episode:

Our mixtape

The demo

That awful video

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Transcript

(easier to read on our website)

Bill:
[0:07] Let me set the stage for you, Frank. It's 2011.

Frank:
[0:11] Okay, like now or then? Gotcha.

Bill:
[0:13] Then, so bring yourself back to 2011.

Frank:
[0:19] 34 years old? Oh, what was I doing?

Bill:
[0:23] I know what I was doing.

Frank:
[0:25] Oh, yeah, that's right.

Bill:
[0:26] I was pining. So it's somewhere in March and I'm wondering if things are going to work out with me and,
Ashley because we're not back together yet. It's been this seven year stretch and things look like they're promising but there are no kind of guarantees.

Frank:
[0:44] Yeah.

Bill:
[0:52] She's actually living in France.
dating somebody else.

Frank:
[0:58] So there's a lot of obstacles stacked up against you.

Bill:
[1:03] Yeah, I got some, I got a bit of faith.

[1:09] And that's, that's what I had going for me. Gumption.

Frank:
[1:12] Yeah engumption yes.

Bill:
[1:16] Yeah, that's right. I had gumption. So it's my like week off from school and our great friend of the podcast, our mentor, Chris Newkirk,
says to me, hey, I got to go back to the States. Do you want to drive with me? I got to go for the week. It's your holiday.
Why don't we drive down and you can do we road trip it?

Frank:
[1:38] And just road trip it. Yeah, nice.

Bill:
[1:40] So I went with on this road trip with Chris Newkirk. And at one point we're doing a drive from New Jersey to Pennsylvania.
And he said, you know what? I have an iPod. He had an actual one of those old iPods, not even a phone, just iPod full of music.

Frank:
[1:58] Yeah, yeah, yeah. I had one of those up until about two years ago when it was stolen out of my car.

Bill:
[1:59] Because when we play a game.

[2:03] That's right.

Frank:
[2:04] Just so you know.

Bill:
[2:05] Yeah, that's right. No, of course not. So he said, why don't we play three songs each?

Frank:
[2:06] It's not that old. It's not that uncommon, Bill.

Bill:
[2:11] You pick three songs and you could set it up in queue and then he'd pick three songs in queue
and so that would be our way to kind of get things moving on our journey. And so I'm looking through his music which of course is way cooler than mine so I'm like I don't know this Smith song,
I don't know this Pure song. So I'm desperately trying to find a song that I could put on also to impress him because we're always kind of trying to impress him. And then I see this song,
Fleetwood Max everywhere.
And I think to myself, oh, I remember this song.
I was a kid, I loved this song. So I put it on the queue and then those opening notes come out or what would we call it? Opening beats.

Frank:
[2:55] Notes. I think you were right the first time.

Bill:
[2:56] Notes. Notes. I think you were right the first time.
Okay. And suddenly everything is right in the world. And I say to him, everything about this song,
is what makes life beautiful, something like that. I had this like profound moment that everything is gonna be okay.
This is the most joy I have felt. And suddenly when I heard this song, it brought back feelings of being a kid and full of wonder.
And it brought back sort of memories of just straight up hopefulness.
And then I knew things would be okay. And so within the week, things are looking good. I'm engaged to Ashley by June, we're married.
And then flash forward 11 years later, you're sitting amongst a ton of toys and blocks.
And I apologize, there was a diaper right at your feet. We couldn't figure out why this place smelled like sewage.
My apologies, but this is the life. This is everywhere to me.

Frank:
[3:57] In your defense, you didn't smell it because you're nose-blind. But no, this is a good place to be, and I'm glad that we can do this podcast everywhere.

Bill:
[4:12] Christine McVie just passed away recently. So people have been commenting on social media and in the news about how she really was.

Frank:
[4:14] Yeah, yeah.

Bill:
[4:24] One of the great songwriters of the past 40 years
in a sense. And with Fleetwood Mac, we love to talk about,
the Buckingham Knicks thing, the kind of craziness surrounding their albums,
but she was the sort of steady hand in terms of making consistently great songs.

Frank:
[4:44] Yeah, so after her passing, I found I was listening to the radio and they did this little thing talking about Christine McVie and how she joined the band.
So I don't know if you if you heard this necessarily.
So she she's married to the bass player John McVie,
but she has her own solo thing going on. But the tensions of like, two artists, you know, separately on the road doing different things.
She kind of took a backseat and decided like, you know, I'm gonna give up my solo career and,
I'm gonna be a wife. I'm gonna try and like that this marriage is too important like I'm gonna make the sacrifice and and just like I'll give up music as my career and,
Then I can't remember which album it was but they're in this cabin and they're,
No, no, sorry. It was it was for a tour,
tour. They're in this cabin and they're just kind of rehearsing and performing and all
this. And she's sitting there just on the sidelines. She knows all the songs because she's been with the band for as long as they've been together at this cabin rehearsing, getting
ready for this tour. And then at the last minute, it was just like, hey, do you want,
Wanna just join the band?

Bill:
[5:58] And so that's 1970. She joins Fleetwood back in 1970. By 1971, she's writing and singing in Fleetwood Mac.
And she stays right through, you know, you have Buckingham Nicks joining,
right through this album, Tango in the Night.
And then there was still behind the mask and time, albums in the 90s, she was still there.
And still writing actually pretty good music for albums that were not strong. She still was the sort of steady hand.
And then she was there for the reunion, retired, but then came back around, I think it was around 2014 or something like that. So she's back in the band and still playing up until recently.
And so she's had an incredible career,
and still released a pretty good album with Lindsay Buckingham a few years ago called Christine McVee, Lindsay Buckingham, although Buckingham McVee would have sounded way cooler.

Frank:
[6:52] Yeah, a little bit on the nose with the title of the album, right?
Yeah. But yeah, to say that Fleetwood Mac's history of personality is tumultuous, I think is a
slight understatement.

Bill:
[7:05] Oh my goodness. So, I mean, I dove deep for the last few days into the history of Fleetwood Mac and you can find it. You can find all these stories and it is a tale of massive excess. It's just insane.
All the things I was warned about with heavy metal groups, I didn't realize Fleetwood Mac was way, oh man, it is insane.
It's just insane. Just reading about the amount of drugs consumed and the amount of money spent and wasted is crazy.
So we all know that, or if you don't know that, you can just look into it. so we won't dive into it.

Frank:
[7:44] Yeah, just just Google Fleetwood Mac Gong show and then it's something you'll get the whole history.

Bill:
[7:51] So Tango in the Night, which is this album, this was originally supposed to be Lindsey Buckingham's third solo album. He's working on it. He has three songs that are decent songs,
Big Love, Caroline, and I think maybe Tango in the Night. I think that those are three songs he's already working on.
And they ask him to come back and do a Fleetwood Mac album.
So this is, I think, the record company. So his solo career is not taking off like Stevie Nicks and Christine McVie had a great album in the eighties.
You really got a hold on me. Do you remember that song?

Frank:
[8:29] Oh, yeah, yeah, yeah, big.

Bill:
[8:30] So good. So good. She's just so steady. And Lindsay Buckingham, I think might have produced it.
Either way, Buckingham's just like, okay, I'll put my solo aspirations on hold for the sake of the band.
And because he's Lindsay Buckingham, He just can't go in there and play his music. He needs to kind of take over.
So whoever was producing, they just ended up saying, okay, why don't you leave? Lindsay Buckingham, Richard Dashett will come in.
They're gonna produce. And so there's these stories about it. And basically it's just super depressing,
how much work they put in. They put in 18 months of nonstop work. It's insane. And Lindsay Buckingham is a perfectionist, but he's also experimenting with some synthesizers.
the Fairlight program we've talked about, he's experimenting with that.
He's doing so much. And so every song he'd spend weeks and weeks and weeks on.

[9:27] So let's head into the backstory. They ended up recording at his house a lot of the time.
And that wasn't good for Stevie Nicks, who was coming out of, who just came out of rehab, she wouldn't have gone in during it.
And going to her ex-boyfriend's house to record didn't make her feel well. And he's, I don't think he has like a great bedside manner anyways, Mick Fleetwood and the others ended up renting an RV
and stationing it in the driveway so they could go out of
his house and do whatever it is they're doing.
Like it sounded just like a mess. Often they would talk about how you have the sixties and they're doing all the experimenting.
And then the seventies is a lot of cocaine.
And the eighties, the drugs aren't working and that cocaine's now controlling the people more than they're using it to make their music. And this is what's going on.
Like it's just a mess. And Buckingham talks about how they're all at their worst point when they're recording this album.
I don't know much about Christine McVie in terms of this, but she brought these songs that are wonderful to this album.

Frank:
[10:33] She wrote some great songs for the album. Like there's this song in Little Lies, which is...

Bill:
[10:38] Which are the two greatest songs on the album to me.

Frank:
[10:40] Yeah, yeah, yeah. Absolutely there.

Bill:
[10:43] The amazing thing is her two songs that she brought, Little Lies and Everywhere are the
third and fourth singles. You'd think they would be the lead singles. So, yeah. So the first two singles are Big Love and Seven Wonders, which are good.

Frank:
[10:49] They're so good.

[10:51] Yeah. Well, I know, right? They're so good.

Bill:
[10:59] It's just so weird. whole time is weird because they those songs didn't stand the test of time in In terms of us, I like them. I like them all. I really like this album.

Frank:
[11:07] Well, in the context of those songs, like I don't or barely remember them.
But Little Eyes and Everywhere, yeah, in a heartbeat. say Everywhere Fleetwood Mac? Yeah, I know exactly the song you're talking about and
I know that it's awesome. Same with Little Lies.

Bill:
[11:24] Yeah. So whatever went on in production, they don't have like an interview where they talk about this. But there's a demo, which wasn't released on the deluxe edition, but I found it on YouTube.

Frank:
[11:30] Yeah.

Bill:
[11:37] So I'm assuming the demo was done by Buckingham and McVie. She brings it. He does some things to,
it, but he hasn't done the full Buckingham to it. So I'm gonna play this for you. He hasn't bucking.

Frank:
[11:49] Yeah. He hasn't Buckinghammed it.

Bill:
[11:51] Their new verb. Okay. I'm going to play a little bit of it for you. So you can hear the beginnings of it, but it doesn't have that special quality.

Frank:
[12:02] It's really quite raw. It's missing a lot of the final touches, but you can feel hints of them.
So when we played this song, it sounds magical.
It sounds like a fantasy.

Bill:
[12:15] Yeah. Well, this is it. This is why the song is so perfect. is it creates this sort of fairy-like world where people,
you can almost just see fireflies around you while the song is going on. So Richard Dashett, who is the co-producer, by co-producer, he was the encourager of Buckingham.
Like he's really good about this when he talks about it. He said, I know my role.
There's gonna be, Buckingham is the guy. So I'm there to support him and to kind of listen and do it.
He said that the beginning that we always talk about is a half speed acoustic guitar and an electric guitar combined.
And then, yeah, McV said, Buckingham slowed the tape down really slowly. So they did this all over the album, slows it down and played the part slowly.
Then when it came to the right speed,
it sounded bloody amazing. So whatever he was doing, he was playing with both acoustic and electric over top of each other and altering the speeds.

Frank:
[13:10] Mm-hmm. Yeah, okay. Yeah.

Bill:
[13:12] And so he does this actually with like voices too. Sometimes he uses his voice to become a female voice.
Yeah, there's all these things going on. So even the voices in this song, I'm not sure who they are.
And so, but apparently it is Stevie Nicks because she got into a big fight with him because she thought that he took her vocals
off of this song.
Stevie Nicks only showed up for two weeks to do any recording of this 18 month process. So just to put that out there, so Stevie Nicks is kind of to say the least.

Frank:
[13:36] Oh, tumultuous.

Bill:
[13:42] But anyways, we got everywhere out of this time and everywhere is perfect.

Frank:
[13:47] Yeah, yeah if it took 18 months to get everywhere I'm okay with that.

Bill:
[13:52] All right, so the opener, we got that already down. This is magical, this is perfect.

Frank:
[13:57] Yeah, because it's a song about those first sort of throws of being in love.

Bill:
[13:58] And so this is one of those things where the lyrics, they're just pretty straightforward, which she does well, but she also is able to kind of take in these sort of, the emotions of love.
And she's really good at singing about this feeling in love.

Frank:
[14:20] And that really giddy sort of euphoric feeling you feel.
And it's childlike and fun
and everything's great and fantastic
and the world could be crumbling around you but you're in love. So you're smiling and you're happy.

Bill:
[14:35] And what she say here, she says, Can you hear me calling out your name? You know that I'm falling and I don't know what to say.
I'll speak a little louder. I'll even shout.
You know that I'm proud and I can't get the words out.
So, okay.
Basically, when you're feeling this, everything seems right to say, or you have nothing to say.
That sound makes sense? I'm trying to find the words myself and I can't find them.

Frank:
[14:59] Yeah.
I can't mark. Just going through those lyrics. But like I immediately went back.
There's that scene in Anchorman when Ron Burgundy is falling in love.
It's like, I'm in love with Veronica Corningstone and I don't care who knows it.
It's just like, did I say that loudly? It's like, yeah, Ron, you pretty much shouted it.
That's that feeling, right? Like you don't care who knows.
Yeah.

Bill:
[15:20] I think that does speak of my 2011. Like I was just so, it just set everything in motion. And then it leads to that chorus with all those voices.

Frank:
[15:30] Yeah.

[15:31] And it's layered, right?

Bill:
[15:32] Yeah.

Frank:
[15:34] And it's soft and it's not saying a whole lot.
It's just repeating the same line twice, but it's so effective and you can feel it.

Bill:
[15:47] I can't say this enough about how his instincts
as a producer are right on the money. So he'll make his songs kind of complicated or difficult at times to listen to.
They're not that difficult, but he knows that there is this sort of pure beauty to what she's doing.
And he just highlights it and adds to it and does creative things, but they're all about this dreamlike feel,
which he does in Little Eyes as well. It's just so incredible. And I don't know how many times he's layering voices what he's doing but I can guess just from the sounds of it. It's so pleasing to our ears but,
it might have been a month of a nightmare for these other co-producers and engineers who are,
just watching him. That's right the one producer used the following two words to describe the.

Frank:
[16:34] If they have to suffer for my pleasure, I'm okay with that.

Bill:
[16:41] Experience trauma. Still thank you it was worth it. The only other verse really because then they.

Frank:
[16:44] Yeah, exactly. Yeah.

Bill:
[16:52] Start repeating things but something's happening, happening to me, my friend's saying I'm acting peculiarly. Come on baby. Did I say peculiarly right? Sure. Okay. I'm gonna say yes. Come on baby.

Frank:
[17:02] Line, the Pekirulu.

Bill:
[17:06] We better make a start. You better make it soon before you break my heart.

Frank:
[17:10] That you said, Pekirulu,
that's a good one.

Bill:
[17:16] Yeah.

Frank:
[17:17] That P word that you said, peculiar. Oh my goodness.

Bill:
[17:22] Peq- Oh, how did she say it? Peq-ular-ly. Yeah.

Frank:
[17:25] Yeah, yeah. But it's, my friends have me saying,
I'm acting this way. And that's like, when you're kind of, again, giddy in love.
I feel like I should write a song called Giddy in Love.
It'll be like the spiritual sister to Crazy in Love by Beyonce.
Anyways, when you're giddy in love,
yeah, you're acting a little bit different.
Like, you know, you're happy, you're bouncy,
you're kind of doing goofy things, I find. Like, I know that's the way I've been, like when I'm kind of really into someone and they're into me and things are going good,
before everything just falls apart.

Bill:
[18:07] Yeah, then it's a different song. I think that song you're looking for is Nowhere.

Frank:
[18:11] Yeah. That song's like every other song we've done on the podcast.

Bill:
[18:18] That's right.

[18:19] This is a brief moment of levity.

Frank:
[18:20] I know, right? Yeah, so, you know, we'll do a breakup song again pretty quick, I'm sure.

Bill:
[18:21] I know. Thank you for bringing it back down.

[18:26] Oh yeah, no question.
She did co-write this with Jonas David Kroeper.
I'm giving his full name just because it's on my songwriting sheet here. but that was her husband at the time.
So this is about their love and their early love, so much joy and...

Frank:
[18:41] Yeah, yeah, he was he was also a keyboard player, right?

Bill:
[18:44] Okay, well then that, maybe that explains...

Frank:
[18:46] Because I think they married shortly after the recording of this album.

Bill:
[18:50] Okay, right, so they're already in this sort of love.

Frank:
[18:52] Yeah, this this giddy stage.

Bill:
[18:54] She has a tendency to do that with certain songs. By tendency, I mean she wrote one other song like that.
So rumors she wrote, you make love and fun, which was about her affair or relationship,
with the lighting guy in Fleetwood Mac. But she told John McVie it was about her dog so that he wouldn't get suspicious or angry.
Oh man, so everywhere it was not about her dog. This is about this happy new relationship,
and this marriage that was coming. The power beyond those lyrics, of course, is just the sounds.
It's what Buckingham is doing with those sounds.

Frank:
[19:31] I read a quote saying that it's a bulletproof pop song, which I will not disagree with.
The song's, what, 87 it came out, so we're 36 years after this song comes out,
and it still plays, and it's still bouncy and fun and poppy and great. It's not contemporary to in 2022, but it still plays.

Bill:
[19:55] It not only still plays, Like it shows up in commercials in the UK and then re charts at like got to number 15 recently.

Frank:
[20:02] Yeah, it was used for a Chevrolet electric vehicle commercial recently.

Bill:
[20:09] And there are a lot of bands that have kind of,
arisen in the last decade, like Vampire Weekend,
there's been more than a decade I know. Paramore, there's a bunch of other bands too, who've looked towards Tango in the Night as their inspiration.
They talk about it and everywhere is covered by Vampire Weekend and Perron More.

Frank:
[20:27] Yeah, and Paramore, yeah.

Bill:
[20:29] So I think it is getting its due. And when you see like the top 50 songs, or Rolling Stone did the top 50 songs of Fleetwood Mac, this was number five. So I think it's not an unsung hero. People are realizing how incredible it is.
It's still incredible to me that this is the fourth single. So if I had to choose between these two, I would put this ahead of Little Lies. I like Little Lies, but everywhere is the one. I can't believe this wasn't the lead-off single.

Frank:
[20:56] Yeah, oh I know. And it charted relatively well. It was 14 on the US Billboard Top 100.
But I mean, ultimately, the Bill and Frank's guilt-free pleasure, the only chart we really care about is the adult contemporary chart, right?

Bill:
[21:14] Straight to number one, baby. So, and we brought this up before, even though I charted 14, whatever was number one that week.

Frank:
[21:16] Straight to number one.

[21:24] I don't even know.

Bill:
[21:24] I know I don't even care because this is the one.

Frank:
[21:25] I don't care!

Bill:
[21:28] That endures, because it was played all the time.

Frank:
[21:30] I don't want to, you know, jump the gun here, but this is a roller rink song.

Bill:
[21:30] At least when I was a kid, I remember it. And so just hearing the, oh my goodness,
there's so many bits and pieces to that song.

[21:44] Yeah. Oh yeah. This is perfect. Roller rinks still around late 80s? Okay. Would you put, would you roller skate to this at Prudhommes Landing? Did you ever roller skate at Prudhams?

Frank:
[21:46] I think so.
Yeah, I roller skated in the early 90s even.
I mean, I would if I was cool enough to roller skate at Prudhommes Landing.
No, no.

Bill:
[22:05] Oh man, this is a call back to our Prudhommes Landing episode. Just songs that remind you of.

Frank:
[22:11] If you don't know what you're talking about, just listen to all of our previous.

Bill:
[22:15] Yeah.

Frank:
[22:15] Episodes and eventually you'll get get the reference. No, no, no, no, don't tell them I'm trying to get listens here.

Bill:
[22:18] So in Gloria Stefan's bad boy, it's a, Oh, well we can get them straight to bad boy and we can see the, okay.

Frank:
[22:25] But I'm trying to get them to listen to everything.

Bill:
[22:27] Either way, if you don't know Prudhommes Landing, well, you'll know this is the summer song, not to jump into a category. We are there for jumping into these categories.

Frank:
[22:35] We're jumping into categories.

Bill:
[22:36] So, all right. I see this as a perfect breezy summer day.

Frank:
[22:44] Yes, absolutely.

Bill:
[22:46] Also, I could see this as snow falling close to Christmas. This could be like a Christmas song.

Frank:
[22:52] It's an all-season song.

Bill:
[22:53] It is because it just will make whatever situation you're in brighter.
Now, I'll tell you what's not bright is the music video.

Frank:
[23:04] Yeah, it's... not good.

Bill:
[23:06] Yeah, apparently there was two. I can't find this other version that is with Fleetwood, McV and McV.
Because by the time Everywhere comes out, this is depressing, but Buckingham has left the band.
So he had done all this work on the album And then it came down to them planning their tour.
And he just said, I can't do it. And basically saying, I can't be around you guys. You guys are destructive.
You're gonna die. I don't wanna die.
And then Stevie Nicks lunged at him while they're in Christine McVie's mansion.
And then he got so angry that he chased her. And she talked about, this is Stevie Nicks saying, she was running through the halls of this sort of house that was almost like, it feels like they're in some sort,
of maze and he's chasing her and they're end up on the street, he's still chasing her and she's afraid for her life.

Frank:
[24:05] Oh, jeez! Oh!

Bill:
[24:06] And he throws her against a car and then she threatens to have him killed by her family.
It's just awful. And this of course is bringing over their relationship from a decade earlier and it's awful. I imagine Christine McVie just sitting still there in the house and it's-

Frank:
[24:17] Yeah.
Oh my goodness.

[24:22] I just want to sing everywhere on stage.

Bill:
[24:24] I know, so he's already gone, he's left the band. And so by the time this video comes out, they film it without any members of the band.
And they think, oh, everywhere, why don't we do like something that's like a ghost story, and we do the highway man as a music video.
Now the highway man is that old poem, and you can watch the music video and it kind of just follows the story of it.
But this does not work with the song at all, because there's like...

Frank:
[24:53] Not at all. It's not, it's a song about falling in love and being in love early on and when everything's
good and fantastic and fun.

Bill:
[25:04] It's not about getting kidnapped, killed and then getting revenge and then being a ghost. Oh, that's insane. The only time I want to hear the Highwayman is from Anne Shirley when she's.

Frank:
[25:08] Yeah, by redcoats!

Bill:
[25:15] Doing her speech competition and Anna Green Gables. That's the most powerful version of
the Highwayman. Everything else doesn't matter. Oh, I'm sure he is. Megan Follows, best Highwayman.

Frank:
[25:25] Is Gilbert in the audience watching?

Bill:
[25:31] And rendition, that might've occurred at the same time. Cause standing green gables I think came around then. Sorry, Fleetwood Mac, bad choice.

Frank:
[25:35] Yeah, yeah, yeah.
Bad choice, yeah.

Bill:
[25:39] Now, if you look at the cover of the single, this cover of the single has this sort of picture of someone whose arms are kind of open up to the world.

Frank:
[25:47] Oh, okay.

Bill:
[25:48] There's a planets star.
It looks like the person who did the artwork for the little prince did the artwork for everywhere.
It's perfect. It works exactly as it should. And that's what it should have been.

Frank:
[26:02] Yeah.

[26:02] The video doesn't, yeah, it doesn't work.
And if we're going to be critical of the video, so I watched it just once.
And there's a bunch of scenes where like these British redcoats are running inside this cottage
house or whatever it is. They're going up the stairs and it's clearly animated shadows on-
so there's all these animated pieces that just like- it's like was your shadow guy on vacation?
that's why you couldn't get the lighting right? I don't know. No, no, no, no, no.

Bill:
[26:31] It's not worthy of the song. The record company spent a boatload of money on producing this album, just like they've spent it on Tusk and other things. When oh, this is awful. This is side note,
but when they would go to hotels in like the early 80s, they'd have them like bring in a grand piano.
And if they couldn't get it through the doors, I don't know how you get through a hotel door,
they have to like break open windows to get it in. They'd force them to repaint the walls white.
so that they'd have white rooms like they were just the excess was ridiculous. That's crazy. But they didn't put any of that into this music video. No. No. No. No. How dare they? Okay.

Frank:
[27:08] No, no, no, no, no. How dare they? I mean, you know me, it's the chorus, right? But it's the opening of the chorus, the oh, like, I love that sustained. I right. I love that. And then I want to be with you everywhere. It's just so fun. I love it.

Bill:
[27:13] What's your favorite part of the song?

[27:34] So that's what you're singing to in the car. Oh yeah. And you know me, I like doing backing vocals to the song so I'm doing whatever's going on in the background and trying to make those vocalizations.

Frank:
[27:36] Oh yeah, absolutely.

[27:46] Well at the end of the chorus where it's like, I want to be with you everywhere.
And then there's the sort of follow up, want to be with you everywhere.

Bill:
[27:53] Want to be with you everywhere. Yeah. Oh my goodness. Even thinking about that.

Frank:
[27:55] Yeah, yeah, yeah.

Bill:
[28:00] How could I pick a favorite part? Everything's perfect. Everything's great. Bulletproof. And the ending of the sort of vocals going back and forth. It's bubbly. It literally sounds like they're making bubbles to me. And it's just like, oh my goodness. Yeah. This is where.

Frank:
[28:02] Oh, I know.
Proof Pop song.

[28:14] Yeah, magical bubbles.

Bill:
[28:19] You go to dreamland. There's a picture of some sort of heaven where you have like grass just blowing in the wind, bubbles in the air, fairies dancing.

Frank:
[28:30] Yeah, people dancing with ribbons.

Bill:
[28:32] Yeah.

[28:33] Yes. This is it. That leads us to a category pretty naturally.
So for the talent show, you're going to be doing a floor routine.

Frank:
[28:41] Yeah.

[28:41] Gymnastics floor routine with ribbons.

Bill:
[28:42] Yeah, gymnastics floor. Yeah, with the ribbons. Yeah. Yeah, that's that. This is easy.

Frank:
[28:44] Yeah. Yeah.

Bill:
[28:46] So there you go. Category check.

Frank:
[28:48] Check. Would you sing this at karaoke?

Bill:
[28:52] No, I don't think I could do it. It's so good that it demands this sort of perfection that I don't think I could even come near it.

Frank:
[28:57] I think the only way it could be done is if there's got to be someone taking the lead,
but you need someone to harmonize on those choruses.

Bill:
[29:08] You better have someone incredible.

Frank:
[29:09] Yeah. I think Stevie Nicks would do karaoke with me, right?

Bill:
[29:14] Maybe but she might only show up for a few minutes like she did for this album.

Frank:
[29:19] Yeah. She showed up for enough for this album.

Bill:
[29:21] Oh, yeah. Okay. Hallmark movie. I have written here, no way. This needs to be a mainstream movie, not something on Hallmark TV, but this is a song that should.

Frank:
[29:28] Yeah?

[29:28] Well, it has that, well, the opening magical like sort of dreamy sequence, right?

Bill:
[29:32] Be sort of like this heads in a mixtape territory. Remember when they'd play Dreams by Cranberries all the time to sort of set the stage?
Forget Dreams. Play everywhere.

Frank:
[29:48] Well, Dreams had it too and it kind of had to because it was in the name,
But also linger same same sort of a feel so I'm sure we'll do a cranberry song at some point too, but.

Bill:
[29:56] Our usual category, we, it keeps altering in different ways. Can Michael Bolton sing this song?

Frank:
[30:08] I think he can but I don't want to hear it.

Bill:
[30:10] No. What would Mariah Carey do to it? She would Mariah Carey it it would suck.

Frank:
[30:13] She would destroy this,
Yeah, yeah, she I don't think she has the self-control not to go full Mariah on it.

Bill:
[30:23] Yeah, Celine Dion also I can't think of of anyone who could do it off the top of my head.

Frank:
[30:31] Also yeah.

[30:32] There's a subtlety about the way that Christine McVie sings the vocals.
Like she doesn't go over the top.
She's a little bit reserved, like as much as it is like a fun happy song about being
in love, she's reserved and conservative with it.

Bill:
[30:49] She does have a very British way of being, if I could say that. Yeah. She did also the song. Do you remember song, Songbird from Rumors?

Frank:
[30:52] Yeah.
Stiff upper lip.

Bill:
[31:01] They closed every concert with it. So Eva Cassidy, if you remember Eva Cassidy.

Frank:
[31:03] Uh, yes. Yeah.

Bill:
[31:06] She did a version of Songbird, which is near perfect. It probably is perfect. I still don't
know if Eva Cassidy could have done everywhere because there needs to be a bounciness that I,
I never pictured with her, but maybe she could have done it. But there is something special about Christine McVie is both unassuming, but also is in these grand songs because she can go along with Buckingham.
They always got along. So Buckingham, notoriously difficult to get along with, but he never had a bad thing to say about McVie
and vice versa. They could do albums together. They understood each other.
And she wasn't into all the drama. I mean, she partied hard, but compared to the rest of Fleetwood Mac, I think she's a girl guide.

Frank:
[31:45] Yeah, the rest of them. Yeah, she was... Yeah.

Bill:
[31:48] And she was also with Dennis Wilson from, um, the beach boys for a while. Yeah. There's a whole, she's got her own backstory and sadness too, right?

Frank:
[31:52] Oh, really? Okay.

Bill:
[31:56] About all that stuff.
Mix tape.

Frank:
[31:59] You're just going to name Ashley's album?

Bill:
[32:01] You want me to go first?
So I decided in honor of the person who was the catalyst for this song, kind of coming back to my life and then defining my 2011.

Frank:
[32:16] You're just gonna name Ashley's album?

Bill:
[32:18] You're just.
Oh yeah. Well, we love you too, Ashley. But I'm thinking of Chris Newkirk. I'm dedicating this to Chris Newkirk.

Frank:
[32:20] Oh, that's fantastic.

Bill:
[32:26] Sorry, Ashley.
So. She'll never listen to this. She'll never listen to this. So these are songs that I heard while hanging out with Chris Newkirk in 2011.

Frank:
[32:31] She'll never listen to it.

Bill:
[32:40] Not all of them actually, but they made me think about Chris Newkirk and his love of this sort of big dreamy sort of pop song. Okay, so everywhere we'll open it of course.

Frank:
[32:52] I'm sorry.

Bill:
[32:56] There's a song called I L U by the school of seven bells. It is insane.
And the woman who sings lead also passed away few years ago, but in her 30s, I think.

Frank:
[33:08] Okay, oh.

[33:09] Yeah, so Bill just played the song for me and it'll be in the show notes, but my goodness they gave me goosebumps
bumps it's it's ethereal and and and dreamy and oh man that's good.

Bill:
[33:21] I heard that also on that same drive. Chris Newkirk. Wow.
Great taste in music. And so also on the drive, we heard cloud busting by Kate Bush.
I'm pretty sure that's like just so good.
So hands of love from Kate Bush also inspired the production of Tango in the Night.
So Kate Bush's style and her relentless drive was where Lindsay Buckingham was
was looking towards for making this. Also, I don't think I'll ever be able to pronounce this right, but one more Chris Newkirk, number three. Hoppipolla, Hoppipolla.

Frank:
[34:02] Happy pool! That doesn't sound at all at least.

Bill:
[34:05] Yeah, that doesn't sound at all like Sigur Ross, but it is.
And it's a Sigur Ross, like the major song, which played when Chris and Jade, I think we're walking down the aisle after their wedding.

Frank:
[34:09] That's like a new song.

[34:15] Oh really?
Oh nice.

Bill:
[34:16] So incredible song. So we were just discussing this as I was playing it,
but cinematic in scope as is all these songs, as as is everywhere.
Okay, and then I threw a couple more in, Fleet Fox's Can I Believe You?
And one more song, Everywhere by Brandvan 3000, which I love.

Frank:
[34:42] Was that on that trip too or no?

Bill:
[34:45] No, but I just think I should have played it on the trip. I don't know if he would have liked it. Do you remember everywhere? Yes. Oh, I don't know if it fits. However, you know, those first three were something else.

Frank:
[34:51] Yeah, yeah, yeah, yeah.

[34:57] Mix tapes are allowed to have an outlier, right?

Bill:
[35:01] Yeah, and maybe it transitions into yours.

Frank:
[35:03] All right. So my mixtape is, I tried to keep it like happy songs, like giddy songs, fun songs about
falling in love. So Walking on Sunshine by Katrina and the Waves. Butterflies by Kacey Musgraves.

Bill:
[35:13] Okay, oh good.

[35:20] Okay not crazy town.

Frank:
[35:22] No, surprisingly not.

Bill:
[35:25] No, okay, great.

Frank:
[35:26] He just threw me right off there.

Bill:
[35:31] Yeah, sorry about that.

Frank:
[35:33] The way you are by Bruno Mars. Love is in the Air by John Paul Young and then we
finish it off with Sunshine Lollipops and Rainbows by Leslie Gore. Sunshine
lollipops and rainbows everywhere that's how I feel when I feel that we're,
together that's a and then finishing it off with the sunshine lollipops and.

Bill:
[36:00] Got it okay perfect well this mixtape just good thing i put in brandman 3000 it's just a transition straight to walking on sunshine oh good.

Frank:
[36:14] Rainbows.

Bill:
[36:15] Yeah, yeah. future I'm sure it's a future episode.

Frank:
[36:18] Well I'm sure yes so I before we before we came to record this song I was
talking to my friend Becca and saying, oh, we got to go.
I got to go and record this podcast. And he's asking, what song are you doing?
I said, Everywhere by Fleetwood Mac.
And she said, I love that song. When her and her partner were in New Zealand, they had this this,
crappy garbage car and that had a tape deck.
So her and Blake went to a thrift store to buy tapes just to play.
and they bought Tango in the Night and just listened to that on repeat and this was far and
away their favorite song on the album. I told Becca just like, all right I'm gonna tell that story if you're okay with it and well here it is it might actually make the cut.

Bill:
[37:06] I will and you know what? We don't often do these call-outs. I try to listen to other podcasts because often they're like, hey here's the name of our show which we... do we even say what we're called? Yes you did once but you have to be an astute listener but of course you also have been.

Frank:
[37:18] Great.

Bill:
[37:22] An astute enough person that if you're listening to our podcast you're looking at it and the name
of our podcast is right in front of you. So we really are glad you're listening to Bill and Frank's.

Frank:
[37:28] Yeah, exactly.

Bill:
[37:31] Skill-free pleasures we don't have patreon right now for you to give us money or anything like that but what we would like is to hear your story about Fleetwood Max everywhere tell us how this song,
has made your life brighter.

Frank:
[37:48] And also you can just mail cash to us to our addresses.

Bill:
[37:51] It's right.

Frank:
[37:52] We'll put those in the show notes.

Bill:
[37:53] That's right.

Frank:
[37:56] It's been a fun and fantastic experience putting this podcast out every week.
And this song is coming out at the beginning of 2023. And we just want to thank everyone for listening to us and being with us and downloading and
taking this on your drives, on your walks, wherever you listen to it.
I listen to podcasts at work all the time instead of working.
Bill and I would like to say we want to be with you everywhere.

Bill:
[38:25] Boop-a-doo-doo-doo.