Favorite production/arrangement
Apr 2, 2016 21:37:36 GMT -5
Post by Ten Pound Hammer on Apr 2, 2016 21:37:36 GMT -5
What are some of your favorite overall productions/arrangements? Here are some of mine:
* "Safe in the Arms of Love" by Martina McBride. I like how rhythmic the song is, with the bass, drums, and rhythm guitar all up-front, the subtle mandolin on the chorus, and the fretless bass riffs on the last verse.
* Almost anything that uses a big wall of voices, e.g., the opening of "My Mistake" by Cam, "Down Came a Blackbird" by Lila McCann, etc.
* "Snap Your Fingers" by Ronnie Milsap. Besides the obvious finger snapping, it has a strong bass line, and I love the combination of horns and harmonica on the instrumental break.
* "Wild West Show" by Big & Rich. I like the double-tracked acoustic guitar, the thundering drums, the pan flute, and the shaking of a peanut can (!) near the end.
* "Creepin'" and "Cold One" by Eric Church. These songs are all over the place stylistically, but I think that all of them keep their varied instrumentations going without feeling jarring.
* "Slow Me Down" by Sara Evans. The echoing pizzicato strings really create an unusual feeling. I can't think of any other country song offhand that makes use of pizzicato like that.
* "Cain's Blood" by 4 Runner. This song is downright eerie with its piano/guitar interplay and tight gospel harmonies. I also like the vibraslap near the end.
* "Tornado" by Little Big Town. The fuzzy bassline (Moog Taurus pedals) really make this song stand out.
* "Don't Rush" by Kelly Clarkson and Vince Gill. It's nice to see a Dann Huff song where he doesn't just spam the song with screaming hair metal solos and swelling string sections. This one has a lush early-80s AC vibe that I just love.
* "Love Don't Live Here" by Lady Antebellum. More double-tracked guitars from Paul Worley, an understated mandolin riff under the chorus, and some heavy bass (especially near the end).
* "Elvira" by Home Free with the Oak Ridge Boys. A wonderful a cappella revisit that invigorates an old chestnut that everyone knows. Also, I like how Home Free's bass vocalist manages to outdo even Richard Sterban on getting the "oom papa mow mow"s as deep as possible.
* "Are Your Eyes Still Blue" by Shane McAnally. I'm a mandolinist, so I like mandolin songs. This one also has a delightful sparseness, and three overall key changes that manage not to feel forced.
* "Don't Make Me Beg" by Steve Holy and "Flowers on the Wall" by Eric Heatherly. Two different songs that both take some cues from 60s rockabilly for a unique flavor in an increasingly-poppy era. The latter gets bonus points for amping up a 60's standard without stripping its initial charm.
* "Safe in the Arms of Love" by Martina McBride. I like how rhythmic the song is, with the bass, drums, and rhythm guitar all up-front, the subtle mandolin on the chorus, and the fretless bass riffs on the last verse.
* Almost anything that uses a big wall of voices, e.g., the opening of "My Mistake" by Cam, "Down Came a Blackbird" by Lila McCann, etc.
* "Snap Your Fingers" by Ronnie Milsap. Besides the obvious finger snapping, it has a strong bass line, and I love the combination of horns and harmonica on the instrumental break.
* "Wild West Show" by Big & Rich. I like the double-tracked acoustic guitar, the thundering drums, the pan flute, and the shaking of a peanut can (!) near the end.
* "Creepin'" and "Cold One" by Eric Church. These songs are all over the place stylistically, but I think that all of them keep their varied instrumentations going without feeling jarring.
* "Slow Me Down" by Sara Evans. The echoing pizzicato strings really create an unusual feeling. I can't think of any other country song offhand that makes use of pizzicato like that.
* "Cain's Blood" by 4 Runner. This song is downright eerie with its piano/guitar interplay and tight gospel harmonies. I also like the vibraslap near the end.
* "Tornado" by Little Big Town. The fuzzy bassline (Moog Taurus pedals) really make this song stand out.
* "Don't Rush" by Kelly Clarkson and Vince Gill. It's nice to see a Dann Huff song where he doesn't just spam the song with screaming hair metal solos and swelling string sections. This one has a lush early-80s AC vibe that I just love.
* "Love Don't Live Here" by Lady Antebellum. More double-tracked guitars from Paul Worley, an understated mandolin riff under the chorus, and some heavy bass (especially near the end).
* "Elvira" by Home Free with the Oak Ridge Boys. A wonderful a cappella revisit that invigorates an old chestnut that everyone knows. Also, I like how Home Free's bass vocalist manages to outdo even Richard Sterban on getting the "oom papa mow mow"s as deep as possible.
* "Are Your Eyes Still Blue" by Shane McAnally. I'm a mandolinist, so I like mandolin songs. This one also has a delightful sparseness, and three overall key changes that manage not to feel forced.
* "Don't Make Me Beg" by Steve Holy and "Flowers on the Wall" by Eric Heatherly. Two different songs that both take some cues from 60s rockabilly for a unique flavor in an increasingly-poppy era. The latter gets bonus points for amping up a 60's standard without stripping its initial charm.
