Quote:
Originally Posted by aleuzzi
A good example of class is Keith Olsen, who is basically responsible for introducing LB and SN to Polydor and then to FM. His work on the white album was exceptional, but he wasn't asked back. From what I recall, Keith liked to prominently feature the bottom end, a point of contention between him and Lindsey once they began talks about Rumours. So, bye Keith. I've never heard him bitch about this.
For what it's worth, the prominent bottom end is what really draws me to the white album. John's creative bass lines really stand out, especially on "Blue Letter," "Rhiannon," "Over My Head," "Say Your Love Me, "Sugar Daddy, " and "World Turning."
And the drums--wow--"World Turning" and "So Afraid" are truly standouts because of Mick's work.
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yes. John's playing grounds so many of Stevie's songs especially and gives them a depth they wouldn't otherwise have. I mean, the first couple bars of Dreams and you know what it is from that bass line and drums.
His playing makes Angel a thousand times more than what it is when she does it solo and the focus is on the keyboards. Rhiannon it goes without saying.
THat's my biggest bone of contention with LB's production. He slowly pushed the rhythm section further and further down in the mix. Even some of Chris's playing too.