This is the EXACT reason, why I love Liam Howlett.
Well, okay, I don't, but it's quite near... ;-)
I have never seen an example for the mentioned talent being shown in this way again.
Maybe the early Chems. But that passed now - plus, they work together and not alone.
Which is mostly easier.
The reason why Liams workflow slowed down that much might be his manic need for perfection. Jilted was so good, and for a '93 record it had the most incredible production work in it.
It sounded up to date, fresh and rough, all at once.
It was like discovering new ways of mixing.
No one ever thought you could write an album with nearly every bassdrum having reverb on it, and no one ever did it again.
I don't really remember when Dangerous from Michael Jackson came out, and I was sort of a little boy back then ('91?... '92?), but I always thought it sounded very good and better and more clever then the rest being played on the daytime radio.
And of course Dangerous was produced by the best of the best (Quincy Jones and Bruce Swedien, for those who care), it blew me away. The first track, Jam, had that amazing glass-breaking sound in it, and those cool beats and scratching and everything... Whheee...
It was my top record, technical- and soundwise.
And then came Jilted.
And everything changed...
I looked for other records in this audible shape, but I failed to find any, still until today, by the way.
Experience was cool, and sounded good.
But of course, it stands a good piece back behind Jilted.
Yeah, so what was the question?