Source:
Billboard, v. 106, no. 13 (Mar. 26, 1994)
submitted by Sally Tseng
Lillywhite moves beyond
the ‘Drum Thing.’
Producer Brings Vocals-First Approach To
Morrissey Set
NEW YORK—Steve Lillywhite
doesn’t do that drum thing anymore, he
explains by telephone from his home in London.
It’s kind of a Lillywhite handle-or was:
that wallop heard to great effect on albums by
the likes of U2 and Marshall Crenshaw in the
‘80s.
The subject in play is producer trademarks, and
if that drum thing once qualified as
Lillywhite’s, it has long since ceased to,
and hasn’t been replaced by anything, well,
definable, he admits.
"What a producer should be able to give to a
project is something you can’t necessarily
define," he says. "It’s difficult
to explain. I mean, you want to notice a
production, but in a way have it not be noticed.
You want to bring out exactly the best of what an
act has to offer, and just that. And for me, with
a well-produced record, the first thing you say
isn’t, ‘wow, that’s a
well-produced record.’ You say,
‘that’s a great record,’ and you
only discover the
production—maybe—after a few
listens."
It’s safe to say Lillywhite’s
production has been discovered often, and with
delight, throughout his 15-year career. Since
moving from tea boy (American translation:
"gofer") to tape op to engineer and
producer in the ‘70s, he has racked up an
enviable resume that ranges from first-credit
Siouxsie & the Banshees in the late ‘70s
through XTC, Peter Gabriel, U2, Simple Minds,
Rolling Stones, Talking Heads, Kirsty MacColl,
the Pogues, David Byrne, and World Party Most
recently, he wrapped Morrissey’s latest,
"Vauxhall And I," due March 22 from
Sire. And next up is an English country music
act—his first.
If there’s a common thread tying that
timeline together, Lillywhite isn’t looking
to unravel the mystery, although he agrees with
the assessment that he likely gravitates toward
artists with strong voices. "They’re
not fools," he says.
Literally speaking, recording vocals is one thing
Lillywhite will admit to doing well, or at least
to especially enjoying doing. That feel shows in
his sure handling of "Vauxhall And I,"
which lets Morrissey’s vocal and lyrical
subtleties shine in a lush, but uncluttered,
setting.
"I thought when I took on Morrissey, what do
people buy a Morrissey record for? They buy it
for his voice and for his wonderful lyrics,"
Lillywhite says. "And this was my main
concern—to get the singing right there. I
think, on Morrissey’s new album, what
you’ll find is that there’s a real
improvement, or rather that the singing just
sounds very good. I think the previous Morrissey
album, ‘Your Arsenal’ was a great
record for getting up and going out, but
‘Vauxhall And I’ is more of a sit back
and really get into it affair. I’m very
pleased with the result."
The recording process itself was "just real
pleasant," Lillywhite says, and exemplified
his approach to preproduction and production.
"We started with demos, and we’d record
the songs and then we’d do the vocals, and
then realize that maybe we needed to change all
the music," he says. "So we’d keep
the voice and change all the music, and then do
the voice again. So the preproduction was all
part of the recording process. Because we had
copies of the demos of the songs, but we
didn’t know what Morrissey was going to sing
on until I got him in to sing, and then we’d
reevaluate and see what we needed to do on top of
that. It worked."
"Vauxhall" was recorded analog,
Lillywhite’s preferred method. "To be
able to immediately cut a tape and join it onto
another piece of tape is just very
satisfying," he says. He doesn’t have a
preferred studio—"I’m happy as
long as there’s a mike and tape
recorder"—but has found a new favorite
in the new Eventides, the DSP 4000s, through
which he’s been getting "some really
interesting stuff coming out," he says.
"You can gang up on it, and use lots of
different sounds with each other."
And speaking of interesting stuff and different
sounds, what about that country act? "His
name’s Bo," Lillywhite says. "Bo
Walton. And yes, that’s his real name.
He’s a kid who’s English but signed to
Arista Records, and he’s got a great country
voice. You’ll be hearing a lot about him
later this year."
Walloping fiddles? We’ll see.
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