Fishtails wrote:Is anyone game enough to agree with me?
I agree, but let's cut the mastering engineer some slack - the original tape might just sound that way. I actually think KB's output diminished in sound-quality progressively after "Never for Ever", in keeping with virtually the entire recording industry throughout the eighties. She seems to have thought so, at least in the case of "Sensual World" and "Red Shoes". The result of that project - "Director's Cut" and "50 Words for Snow" (both mastered by Doug Sax!) are in another league entirely. She's got American legends on both sides of the glass (Steve Gadd on drums) and it shows.