The Smiley Smile Message Board

I've read many things over the years that speak about "The Dread Hand of Jeff Lynne" on the engineer's board and objections to the sound of his productions.  

What is the general consensus of why he has earned this reputation?  Are there specific examples like, The drums are always too loud" or "The sound is too muddy" etc?

I suggest listening to his work. Then, repost your question along with your thoughts.

I like Jeff Lynne's production style. The only bad thing I can say is that everything he touches tends to have a sameyness to it, if that makes sense.

I've listened to ELO and don't really have any objections, but was curious as to others' specific thoughts on what they don't like about his productions.

I'm mostly fine with his work. No complaints really. I will say, there is a sameness to his sound.

I think that reputation mostly has to do with the pretty dull and straightforward drum sound he had on the various production Work he did for others after shutting Down ELO. The Tom Petty stuff as well as George Harrison, Roy Orbison, Joe Cocker, 'Free as a Bird' etc. I quite like those productions but I can understand where some of the critics are coming from. It has a certain Lynne sound for sure - but you could say that with Spector, Brian and others as well so I guess it's just a matter of personal taste.

I will add though that I think Jeff Lynne has been massively underrated as a gifted songwriter and producer if you look at his ELO stuff. It's cool to see power pop fans and others in the know starting to give him the respect he deserves. 'Livin' Thing' alone is a work of genius.

Thanks for the comment.  The drum sound was the first thing that came to mind, but it really doesn't bother me.

I will forever love Jeff Lynee because he wrote and produced one of the greatest pop singles of all time... XANADU.

I like Jeff's work.  ELO, Wilburys, solo Wilburys, solo Jeff.  Pretty solid resume.

I think he's rated pretty well these days, actually.

The odd '80s drum sound he used (along with massed acoustic guitars playing rhythm parts) isn't always beloved, but few can fault his ELO work, and the best of his stuff with Petty and Harrison can't be denied either.

Like anyone with a strong sonic signature, he goes in and out of fashion. But that says more about whatever particular musical moment we're in than the actual quality of his songwriting or production.

Absolutely.

I love the sound of his productions. Nice, crisp clarity, nothing is too loud (the drums aren't an issue for me), and I love the sound of acoustic guitars in his stuff. I hear a lot of George Martin influence in the sound of the records he's produced, which makes sense.

And Xanadu is an awesome song and one of my favorite bad movies ever.

Count me as a listener who isn't a fan of his sound. Wirestone nailed it for me, these were the two things that jumped out at me without any real reflection:


That said, he was involved in so many great things, he deserves a ton of credit. I used to work myself up with a regret-and-wishful feeling about such things: if only they had done [this] instead... But that's a waste of time. I try to appreciate things as they are (and find it shockingly easy, actually!), and so whatever complaints I have about the style, I still love the Wilburys first album, Petty's best stuff with him, etc.

I thought this his production of the two Threatles reunion songs ( Free as a Bird and Real Love ) were very good.