Originally Posted by FOH
Interesting, I'd have to see which versions I've got. what I do know is subjectively
, it's got a feel that's quite appealing.
The thing here, is that dynamic sound (even simple chord arrangements, like we have here that lend such), along with actual dynamic range, can give the impression of production excellence, even when they're as far from that as can be. Many simple songs have gained note because the mixing guy really emphasized some key chords/phrases.
Even my beloved Gaucho, beside being technically superior in over a billion ways than anything
AC/DC could ever even dream to create, counts on pro production....on top of consummate professional performers who are playing extraordinary combinations of complex and beautifully joined notes, chords and rhythms. Hell, go back and revisit Can't Buy A Thrill. Beside Do it Again
's mesmerizing lock step intro, all the other...lesser known songs are equally in check, and produced with near
shear perfection. And this was early 70's, when such recording magic was damn near unheard of. Seriously, take the recording excellence out of Do it Again, and it becomes a song that nobody ever heard of, or one that died out simply as a "somewhat catchy tune". Forget Fagan's brilliant, his "over most people's head" and intellectual lyrics, they just... flat out.. have excellent production, on top of brilliantly written, played, and well matched musical material.
Then, we also have a "raw vs defined" contrast here between AC/DC and SD. And to be totally candid, I really only agreed with your BIB assessment because you were so close to me on others, lol, and the fact that there is indeed, great dynamic parsing going on there in mixing.
Lastly, to bring the production side even further to the forefront; DSOTM - The dynamics are incredible. The music is unbelievable. The lyrics are deep and quite haunting. And as I'm about to push the point further.....the production
To bring the point home the best I can at the moment; I was never specifically a fan of Alan Parsons, but after even being drawn in by the "lame" high-airplay radio song, Wouldn't Want to Be Like You
when I was a teen, I soon realized that it wasn't the funky and very unusual lyrics, as much as it was the production itself. For those here who may not know, Alan Parsons produced DSOTM for Floyd. I purchased several of the Alan Parsons Project's works as time went on. My point? Even though Parson's music was nowhere near as "epic" as someone like Floyd's....their production alone
is seductive all by itself, and a further testament to what I'm trying to tie in here from the beginning. I think we all gravitate toward great production (I know
do), even when the "song" wouldn't normally grab our attention if recorded in a lesser way.
Sorry for the length