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From: elf@utcsrgv.UUCP (Eugene Fiume)
Newsgroups: net.music
Subject: Re: Knocking Steve Lillywhite (fashionable)
Message-ID: <537@utcsrgv.UUCP>
Date: Fri, 30-Nov-84 12:48:36 EST
Article-I.D.: utcsrgv.537
Posted: Fri Nov 30 12:48:36 1984
Date-Received: Fri, 30-Nov-84 13:38:09 EST
References: <518@utcsrgv.UUCP> <1229@dciem.UUCP>, <521@utcsrgv.UUCP>, <1008@druri.UUCP> <1234@dciem.UUCP>
Organization: CSRI, University of Toronto
Lines: 24

Lillywhite strikes me as a better-than-average producer with a characteristic
"sound".  I am not paticularly enamoured with this sound, though I think I'm
in the minority.  Perhaps it's true that he is responsible for better-recorded
drum tracks, though I recall several Strawbs albums from the early 70's that
had nicely-mixed drums.  However, much as I like the sound of drums, nowadays
they tend to be placed too far forward in the mix.  Whereas in the 70's
virtually everything seemed too far back, I think everything is now too far
forward.  It makes for exciting sounds that gives one's hi-fi a good
aerobic workout, but I personally want a smidgen more depth and a more
expansive "soundstage".  As far a Lillywhite's recent work is concerned
(U2, Big C, Simple Minds), I find Big C's "The Crossing" most satisfactory
in this regard (and most others).

The Simple Minds sound I love is the one evident on their "Sons and
Fascination" album (my personal favourite).  They were not a so-called
"synth-pop" group then, and I think they are now in danger of becoming
just another rocknroll band.  Again, I'm in the minority, but judging by
their last album and by their last live appearance here in Toronto (in which
Jim Morrison--sorry Kerr--strutted his stuff at the expense of their music)
I can only hope for an about-face.

Eugene Fiume
U of Toronto
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