Quote:
Originally Posted by Macfan4life
After Tusk I dont think he helped her to the degree he did in the earlier years.
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I think you’re right. I don’t think he spent much time on songs like “That’s Alright” and “Straight Back” (a pretty straightforward pop-funk arrangement) and that godawful “Welcome to the Room, Sara” (which almost feels like a deliberately bad imitation of island). However, he
did expend a huge amount of orchestration on “Gypsy.” Who knows? Maybe he was in a better mood around her for a few weeks there — or he was challenging himself to arrange something right down to the ground and that happened to be the song on the reel-to-reel at that point.
I voted YES because when he loaded another song with a lot of great ideas and execution, we all benefited, all us listeners. If it rubbed him the wrong way to have to do so, tough.
I think that a lot of the problem Stevie had with his work on her work on the 2003 album involved that recurrent effect on her vocal of a bottomless phaser — you hear it on about four of her tracks. (It mimics listening to someone on your land line with the mouthpiece put down on a glass table.) I can’t help thinking he was doing something very deliberately in part because he knew she wouldn’t necessarily like it (something that was hugely different from her solo album vocals around that time). That’s not the same thing as trying to sabotage her, but it does involve his going ahead with what he wanted to do with production despite her wishes. And she flipped.