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Originally Posted by tobi is an animal
out of curiosity what do you think of the production on A Different Kind Of Truth by Van Halen? I feel like Shanks is just kind of a yes man buddy of jons at this point and can only do what is approved by jon.
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I never listened it until today. So I managed only two listens per song so this is very conditional. Production is not "bad" by any means in the context of 2010's standards. It is compressed perhaps on the upper side of acceptable (but not an outlier). On some songs perhaps too much, such as Blood and fire. Also, there isn't really a full use of stereo space, but again this is only minor, I wouldn't notice it without knowing to search for Shanks mistakes
The problem I see is following: Shanks is BFF with Jon, he was not BFF with Eddie (similar how he wasn't BFF with Jon when making HAND). So, I'll make a little narrative. When Shanks came to do HAND, similar as with Van Halen, he entered the picture as the record engineer and mixer foremost, with guiding the band in macro perspective to one consolidating production style. That's the name of the job generally. Sometimes a bit more backed, sometimes more involved, we cannot know exactly other than hearsay and their subjective opinions from album to album.
I'd argue that Shanks, when doing this kind of producing (also, add a bit of "respect" in front of Eddie and Jon) he is solid, at the very least, competent. Problem is that he is versatile and quite frankly talented as a guitarist and songwriter. He is proud to be one of propagators of "guitar pop" and has several hits to his name in that sense. But, "problem" is not this as a fact, but problem is that Jon started to rely too heavily on Shanks for songwriting and whole arrangement, and not just tinkering in front of mixing console. I presume songs often started with Shanks guitar/chords and lyrics, or have been finished with them. Richie was rather quickly being sidelined, I presume between HAND and Lost Highway due to his problems.
And then, add the most poisonous ingredient of producer vs. creative talent relationship: simultaneous friendship and completely asymmetric power between Shanks and Jon, the legendary JBJ the rock god and multimillionaire. And you have basically forces in both direction. Shanks doesn't have to go to limit in front of mixing desk, as he is fundamental as a creative force already. Jon doesn't have to go to limit, cause his friend understands (and doesn't feel the need to risk testing the waters of their relationship). I don't argue that this is conscious, rather opposite.
So, on its own, Shanks is a competent producer, as well as talented guitarist and songwriter. But with Jon, in one word, he became complacent. Of course he does what Jon wants, but Jon doesn't "know" what he wants in exact terms of musical engineering cause he is not proficient enough. I am convinced that his reliance on Shanks comes from trust and comfort and losing the feel for his own talent and possibilities (when pushed to extremes). So yes, he doesn't feel comfortable to be pushed, that's why Shanks is here, and that's why Shanks doesn't pressure him. The end result is a compilation of several subpar albums in terms of production.
And if this is what Shanks maximum is, it's not even bad: those are mostly gold records, followed by world tours, with (aggregate) hundreds of millions views on streaming platforms. But this is not the same as Bon Jovi's maximum, which was to be a planetary iconic stadium rock band that seemed to write anthems whenever they got together. But until after IML exploded as a hit, they were always underdogs faced with enormous challenges (and frankly, not complete producing control by Jon). I repeat, even if Shanks was the best of the best, you just need to change him for the sake of change. But Jon disagrees obviously