I have no time for swifties, theres too much fun to be had elsewhere.

not really because he most likely wouldve been presented with at least some songs in demo form so he could decide if he wanted to do it so he shouldnt of got involved if he knows so much about great music.

if he agreed to do it before he heard any songs then thats his own fault, you should be getting at least an idea of what you will be working with. The failure of DGSS lies with beady eye, the songs simply were not up to par but steve lillywhite is a questionable character to work with a band then slag them off over their song quality, if they were so poor then why were you producing their album for a time?

hes either foolish or unprofessional. 

I will say though that him leaving shouldve been a kick up the ass for beady eye that they should rethink the album, not plough ahead with no new producer when clearly it wasnt good enough to put out in its current state, especially when a producer with enough experience doesnt want to do anything with it anymore, that decision basically cost them in the long run.

fact is lillyshite shouldve been able to roll the turd in glitter like sitek did if nothing else, SBOTA probably wouldve been totally forgettable and completely awful had it not been for sitek which made it into something that at least sounds half decent.

the funny thing is he walked away because he didnt think much of the songs but he still got credited on the album so he ended up with his name on something he didnt even finish so therefore might be even worse than had he completed it, he didnt escape not having his name attributed to the thing, probably why he had to slag them off, just to put some distance in there, classy.

theres no reason why he couldnt act in a professional way, do his job to the best of his ability and then stand back and say "Ive done the best I can but the songs simply wernt that good", you can still enjoy the production of a song even if its not that good aka sitek but he simply shot himself in the foot by not finishing it.

I was thinking the same...

That gif...

I'm listening to the album "Kite" by late Mrs. Lillywhite (Kirsty MacColl) with respect as I type.

I would also like to add that none of us received "demos." None of us were in the studio. None of us know how much Sitek really put in. Without hearing the original demos we will never know. However, the quality of songwriting on BE is clearly superior to DGSS, and I mean clearly. Some of that could be Sitek's work, but some of that could be that he was working with clearly better songs.

And I'm going to push back that a producer's job is to turn a "turd into glitter." Quite frankly, that's bullshit. You come in with a shit tune, it's staying a shit tune. Wind Up Dream is a bad song. Not even Sitek is doing something with it. Every song on DGSS stretches on for a minute too long, and most only last for 3 minutes. People may not like Lillywhite's aesthetics as a producer, but that's different from questioning his ability.

Quite honestly, Sitek got a band that was desperate and willing to take any advice after the failure of DGSS, compounded by the fact that they hadn't even found a producer. He was given unlimited control, writing credits, and a movement of home base for production to his home turf. Lillywhite came into a completely different situation. He came to a band who had previously been part of the biggest band of their generation only a few months prior, a band that wanted to get a product out, and a band that in their previous iteration had not previously worked as closely with a producer to get their final product out there. They didn't need to be desperate. They didn't need to change their songwriting or style, and they had already had plenty of success. Lillywhite came into a completely different situation than Sitek. In the end, the people you're producing have to be receptive to the producer's thoughts, and Sitek had an audience because of circumstance where Lillywhite didn't. That is a crucial factor that is being missed here.

With a completely non-ironic and spectacularly missing the point cover of this Dead Kennedys classic surely? 

Owen Morris turned songs a lot of songs into gold. Those fan remasters of Some Might Say are really boring.

Lol i'm not a BDI fanatic, far from it. but let's move on.

It's all a matter of opinion. Those guys had a successful career in Oasis, which was way bigger than Lilywhite ever was, there are not talentless people. BDI failed not because of DGSS, but because of many other reasons. Wrong choices were made.

Basically, you are implying that the Beatles would have been the same without George Martin, for instance. I disagree.

Many many songs are not listenable in acoustic form.Tomorrow Never Knows isn't the best songs ever, if they had left it acoustic, who would remember it ? But in the studio, they managed to make it one of the most memorable song of all time. A Day in The Life was a collage of leftovers. Same goes for Abbey Road, side B. Leftovers. The idea came in a studio, from a producer, or a band member, to use those bits that would otherwise been dumped.

A producer is a mentor, and need to show the way for a song to reveal its true potential, which sometimes, is hidden, especially when a band is starting or starting over. And if a song is not good enough, it's his job to refuse to produce it or to do its best to make it listenable.

He didn't do the job, he didn't select the right tunes, didn't put his foot down when needed and instead left. It doesn't matter how many records or awards he's had in the past.

Sitek had a batch of tunes, probably rejected some, picked others that weren't the band's first choice and managed to make them listenable although the songwriting is more or less of the same level.

Their success with Oasis proves they are bigger.... that small bloke who was the lead guitarist might have something to say about that.

Also, the George Martin/Beatles analogy is wildly off the mark. I said you cannot make shit standard pop songs good. Tomorrow Never Knows is NOT a standard pop song. How can you even possibly compare it - The Beatles rarely wrote shit songs anyhow, unlike Beady Eye.

The greatness of Tomorrow Never Knows lies in the fact that it is a sonic mindtrip that relies on studio trickery to evoke a psychedelic feel, Lennon's vocal melody is just one of the ingredients that contributes to the overall character of the song. And, heck, even then, Lennon's melody in this is miles superior to anything Beady Eye and post-90s Oasis ever did) and would still sound good acoustically. It was never a shit song - it was a very good song that was brought up to the level of greatness in the studio. Its potential was fulfilled. The Abbey Road side 2 medley works because it is a medley and a completely different style of composition which contains a narrative and has ambition - something which the extremely derivative Beady Eye were never going to do. And A Day In The Life - whether its McCartney's music hall middle eight or Lennon's verses, it sounds great on acoustic. Again, has ambition - and these are not 'standard pop songs'. These are songs that inspired different genres, whether that be electronica (Tomorrow Never Knows) or prog rock (second half of Abbey Road or A Day In The Life).

Do you seriously think Bell-era Hurricane No 1 and that bloke from Gary Glitter tribute act Heavy Stereo had the capabilities to do this? Of course not. All very good Beatles songs, or pieces, whose potential was fulfilled in the studio. There is absolutely nothing wrong with standard pop songs - the early Beatles excelled at it, Abba excelled at it, and Noel Gallagher excelled at it. Beady Eye approached songwriting in the same manner, and did not, quite frankly, excel at it.

Now add tape loops, sped up acoustics, and backwards electric guitar on to songs like Kill For A Dream or Wind Up Dream, then are you seriously suggesting that these songs would have sounded good? Of course not, put Eno style ambience on there, Nigel Godrich style electro/trip hop effects, Spector wall of sound approach, etc on to these songs and they'd still be crap. Case in point - Don't Brother Me and putting that ambient effects onto it didn't lift it at all. The point is that many of them are beyond redemption.

And barring a couple of good songs from BE which were Beady Eye's best songs, it's not as if Lillywhite was spoilt for choice in terms of quality. Production wise, there isn't much wrong with Different Gear Still Speeding - there's a clarity to the vocals and I can pick out the individual instruments on it. It's got better production that the awful sound of High Flying Birds (which has good songs absolutely butchered in the studio by Sardy).

It still find it amazing that no matter who it is - damon alburn, phil collins, steve lillywhite, they get a more passionate defence against the Gallaghers than either liam or noel get vise versa.

Theres no doubt he was the wrong choice for this album.

I actually dont think the songs were the issue as a whole. Noel sold alot of albums because his name was on his album and he got one song on a commercial to form it into a hit. Its sad that those tactics are whats needed, but they are.

If Beady Eye were smart, The Roller could have been their what a life quite easily. Four Letter Word and Morning son were euqally as good at being strong singles for them. Theres no denying songs on the record arent up to the standard Liam Gallagher should be singing but it wouldnt have mattered too much if the above had been carried out. The early reviews of DGSS certainly were good enough too.

After that, it was kind of like they had nowhere to go. I think Liam will definetely benefit from the mistakes he has learned in Beady Eye and i think it will shock alot of people on this forum just how much it will benefit him just having his name as his act like Noel has.