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Old 20th February 2003
  #9
Quote:
Originally posted by chrisso
A lot of the sounds were generated via the Synclavier system. Even the 'real' playing was chopped and edited on Synclavier.
I tend to listen to the album once every couple of years, but this recent time the rhythm section (bass, drums, drum programming) sounded particularly dated.
Trevor is still an amazing producer, but I think my 21st century ears have finally grown tired of the 80's excesses.

Hey Chrisso,

Even though the 80's at times were excessive(yeah I know the famous gated reverb sounds), I think Trevor Horn was an exception. I think his greatest talent lie in his orchestrations/arrangements and him being able to lay out a canvas(as Quincy would say) for his talent.

1)Yes-90125
2)Art of Noise
3)Frankie Goes to Hollywood
4)ABC's -Lexicon of Love
5)Malcolm Mclaren-Duck Rock
6) Grace Jones-Slave to the Rhythm

And not even on the list his greatest production(90's) SEAL I and
SEAL II(which was more Wendy and Lisa). Yeah he's had his share of bombs(Cher,Tina Turner,Rod Stewart) but I think every producer has.

As a synth pop producer coming up in the 80's, I remember working at Unique Studios(the most famous midi studio in its heyday) and everyone trying to figure out his orchestrations and sounds.

I think if we are going to talk about excessive or a repetitive 80's formula, than we would have to look at the british production team of SAW. They proved what is true today, that you can get a bunch of hits with the same synths and sounds(these days its the Roland JV/XV series and a Korg Triton/Trinity) if you package it right.