With much respect, I wanted to reply to your post. No one, I'd like to think, adores Quine's contributions as much as I.

However, I have always hated Destiny Street sonically speaking. Far too many guitar tracks play over the top of one another, and the tone was shrill and treble-y. The mids and bottom are a mudhole. It was a bitter disappointment compared to it's predecessor.

I'm a guitarist, and capturing good sounds are paramount to me.

Blank Generation, in my opinion, was a very well produced album, paying close attention to the quality of guitar tones and performances. I think all players involved, including the mixer and producer, "got it" in terms of playing for the song. It remains one of my favorites after thirty years.

If Quine was here, I've no doubt that Richard would have him there. Moreover, I'm sure Quine would jump at the chance to repair the record with him.

I once emailed Richard expressing my deep sadness over Robert's being gone, and He was moved enough by what I wrote to reply. From all I've seen him write on the subject of Quine's departure, I've no doubt it is a deep loss for him. I mean, it's obvious. It doesn't mean he should've jumped into the ground with him (assuming he was buried), either physically or artistically.

All this to say, that record WAS broken, and it needs fixing. Hell's own self inflicted inability to function is to blame. The ship was rudderless, and the players just kept laying down tracks and twisting knobs. The result was a sonic disaster.

I have my copy of Destiny Street. I will soon own my copy of Repaired. I'm glad to see Richard making music again, and my beloved Robert Quine will be no worse for his efforts.

Now, if we could just get Richard to play the bass again (Quine knew how important Richard's contribution was as a player, that's why he was pissed when Hell quit playing)...