Quote:
Originally Posted by bombaysaffires
all these comments, the common thread seems like this guy has a real problem with women artists. is he some sort of macho misogynist jerk?  |
I'm not sure it's just women. Even The Eagles -- who at first were awestruck to be working with Glyn on their 1st two albums (even though Glyn initially passed.) They wanted Glyn because he had produced so many records that they loved the sound & sonics of, but they too ended up feeling that Glyn was a control freak, not open to any of their input in the studio, so they ended up parting ways and it really opened up their sound. Apparently Glyn feels like he has a signature sound and is a bit of a totalitarian in the studio. He even made The Eagles fly to London to record. The surprising fact is that Stevie even agreed to work with him having to had known that his reputation preceded him. I think she & her team envisioned that Glyn could get her back to the stripped-down "Bella Donna" sounding classic record that began her career so successfully. Unfortunately, it backfired for many reasons - Stevie being zonked out on Klono & Prozac, as well as not having the same caliber of songwriting she had earlier in her career.
I never really understood "Street Angel"- the song or the even liked the title, I know it's about a homeless gypsy, etc., but I never found it believable, it's far-fetched, even for a Stevie song. I've grown to like the song, but it wouldn't even register in my top 40 Stevie songs, and I do not believe it was ultimately worthy of inclusion or even esp., as the title a Stevie album. And ultimately that's the real problem with this record -- it's missing a strong anchor, some direction, it just hangs, and is aimless. It needs one killer title song, or two - and then drop "Jane", "Docklands"(love the song, just not for Stevie), "Just Like A Woman" (horrible cover) & finally kick off "Unconditional Love", unless it's arranged as the acoustic beauty of the demo w/some re-arrangement of the chorus. Add in a killer title song, "Inspiration", and "If You Were My Love." This album is hard -- because it's kind of a mess
. The Chris Lord-Alge production of "Thousand Days" & "Mirror, Mirror" really does not fit the style of this body of material. Those songs (the production) resonate too slick and are even
more early 90's adult-contemporary sounding - exactly what Stevie did not need back then. Chris is a great mixer, but they obviously didn't think he had the chops to produce an entire project, otherwise Stevie would have hired him.