Favorite production and arrangement

[Ten Pound Hammer]

What are some of your favorite productions/arrangements in songs? Whether melodic, instrumental, or both. Here are a few of mine.

* "Blown Away" by Carrie Underwood. Pizzicato strings, rumbling cellos, all those big vocal tracks, the subtle distortion on the lead vocal -- they all lend the song an urgent, "stormy" feel that conveys the storm.

* "Slow Me Down" by Sara Evans -- another good use of pizzicato strings.

* "Heaven" by Los Lonely Boys. Not a country song per se, but the album was marketed on CMT and this song did chart. The whole album has some of the most crisp production I've ever heard.

* "Take Me" by Lari White. It's the only country song I know of that modulates into a lower key on the chorus before going back up, a la "Penny Lane".

* "The Lucky One" by Faith Hill. I love the use of electric mandolin and the Weissenborn (the strange acoustic slide guitar sound you hear throughout). I'm also wondering how Jay Joyce ended up doing a guitar solo on a song that he didn't produce.

* "Wild West Show" by Big & Rich. I love the double-tracked acoustic guitar, the flute, the cavernous drums, and the use of a peanut can (of all things) for percussion.

* "Creepin'", "Cold One", and a few other Eric Church songs. Jay Joyce's eccentricity at its best. "Creepin'" stands out for the use of Drop C tuning for a deeper guitar sound, and all the unusual percussion throughout, and "Cold One" has some amazing tempo shifts.

* "All Alright" by Zac Brown Band. It has some of the warmest guitar tones they've ever made.

* "Button Off My Shirt" by Ronnie Milsap. I'm still amazed that in 1987, there was a country song done literally ENTIRELY on synthesizers.

* "Snap Your Fingers" by Ronnie Milsap. Heavy bassline, finger snapping, and a harmonica fronting a horn section.

* "Are Your Eyes Still Blue" by Shane McAnally. Lots of key changes, prominent mandolin, and the only country song I can think of that uses the Pachelbel's Canon chord progression.

* "Love Done Gone" by Billy Currington. "Ba-ba-da, ba-da-ba." Do I need to say more?

* "Burning House" by Cam. Uneven time signature (7/4), light and "dreamy" feel that fits the lyrics.

[Deleted]

Jan 25, 2019 15:21:25 GMT -5 Ten Pound Hammer said:

What are some of your favorite productions/arrangements in songs? Whether melodic, instrumental, or both. Here are a few of mine.

* "Blown Away" by Carrie Underwood. Pizzicato strings, rumbling cellos, all those big vocal tracks, the subtle distortion on the lead vocal -- they all lend the song an urgent, "stormy" feel that conveys the storm.

* "Slow Me Down" by Sara Evans -- another good use of pizzicato strings.

* "Heaven" by Los Lonely Boys. Not a country song per se, but the album was marketed on CMT and this song did chart. The whole album has some of the most crisp production I've ever heard.

* "Take Me" by Lari White. It's the only country song I know of that modulates into a lower key on the chorus before going back up, a la "Penny Lane".

* "The Lucky One" by Faith Hill. I love the use of electric mandolin and the Weissenborn (the strange acoustic slide guitar sound you hear throughout). I'm also wondering how Jay Joyce ended up doing a guitar solo on a song that he didn't produce.

* "Wild West Show" by Big & Rich. I love the double-tracked acoustic guitar, the flute, the cavernous drums, and the use of a peanut can (of all things) for percussion.

* "Creepin'", "Cold One", and a few other Eric Church songs. Jay Joyce's eccentricity at its best. "Creepin'" stands out for the use of Drop C tuning for a deeper guitar sound, and all the unusual percussion throughout, and "Cold One" has some amazing tempo shifts.

* "All Alright" by Zac Brown Band. It has some of the warmest guitar tones they've ever made.

* "Button Off My Shirt" by Ronnie Milsap. I'm still amazed that in 1987, there was a country song done literally ENTIRELY on synthesizers.

* "Snap Your Fingers" by Ronnie Milsap. Heavy bassline, finger snapping, and a harmonica fronting a horn section.

* "Are Your Eyes Still Blue" by Shane McAnally. Lots of key changes, prominent mandolin, and the only country song I can think of that uses the Pachelbel's Canon chord progression.

* "Love Done Gone" by Billy Currington. "Ba-ba-da, ba-da-ba." Do I need to say more?

* "Burning House" by Cam. Uneven time signature (7/4), light and "dreamy" feel that fits the lyrics.

When I read the thread title, this song is what immediately came to mind. It's a truly mesmerizing listening experience that places the audience within the context of the song. Piggybacking off the Underwood catalog, "Low" from her latest effort Cry Pretty is similarly stunning. If you haven't heard it, you should give is a spin.

"Stealing Kisses" by Faith Hill boasts a certain kind of poignancy that--from production to vocals--that elevates the track as a whole and showcases Hill not only as a capable vocalist, but an emotional storyteller with a distinctly female perspective. It still stands as one of my favorite Lori McKenna-penned tracks.

Elsewhere, there are few tracks on Kacey Musgraves' Golden Hour that aren't worthy of addition to the conversation; it's simply a beautifully-produced record that remains cohesive while experimenting with different sonic elements throughout. I also tend to appreciate Nitty Gritty Dirt Band's perennial hit "Fishin' in the Dark" and love the banjo intro to Keith Urban's "Better Life."

[recordyear]

Good thread but I am surprised there isn't a thread before. Good production and arrangement are so under-appreciated in country music, maybe because it focuses too much on "three chords and a truth" and less on how to present the ideas well.

Anyway here are some albums and specific songs that should be included in this conversation.

Loretta Lynn's Van Lear Rose. Part of the reason why it has so many excellent reviews is because of Jack White's involvement as a producer. This gives the album a bit alternative rock edge while undeniably country. A notable example is Portland Oregon, it takes around 1:37 to first verse and the song is led by blazing guitar solos. But the most amazing thing is that it never feels noisy and is well mixed with background drums.

Emmylou Harris' Wrecking Ball. Daniel Lanois is known for percussion heavy production style, which is most obvious in Deeper Well. Now there are many songs with drum machines that sound like trap/hip-hop to blend in playlists. The sound of drums here, while sounds like drum machine, isn't from a machine (I think). Together with the often one-note keyboard, it shapes an eerie atmosphere very well. Still hope to find time to listen to Willie Nelson's Teatro which is produced by him as well.

There are many occasions of steel guitar and fiddle intertwining with each other, especially outro (WMM's Missing/Jon Pardi's She Ain't In It for instance). But I found the one in Brad Paisley's Then exceptionally well done. It is the musical representation of happy ending.

As far as lyric structure wise, WMM's Brokenhearted is one of more unique songs. It goes like chorus/pre-chorus/chorus/verse/pre-chorus/chorus/bridge/pre-chorus/chorus. Not really sure why that second part is pre-chorus (I think it relates to melody arrangement a little bit because it repeats at different times compared to verse)

Regarding genre-blending, Jon Pardi is hit or miss in California Surprise (album), but Heartache on the Dancefloor remains a great attempt of R&B leaning pop and neotraditional country. With its undeniably pop verse (looping small guitar riffs) and undeniably country chorus, together with smooth transition between parts by fiddle, this song should really receive Song of the Year considerations based on that.

[bboat11]

One of my favorite neo-traditional country arrangements is George Strait's "Run". That song is such a perfect song for his voice, yet also just doesn't really sound like anything else that I have ever heard. The steel guitar riffs throughout the song are so unique and cool! I've never heard the steel guitar used that way, but it almost sounds otherworldly. Pair that with the subtle piano and everything else, it just leads to such a dark, mysterious vibe that is so easy to get lost in. Plus the way the drums increase the urgency of the song in the chorus. It's all so perfect and moody!

Most of George Strait's production from Tony Brown has aged incredibly well, but this is one of their most magical moments imo.

[Ten Pound Hammer]

A few more I thought of:

* "Swimming in Champagne" by Eric Heatherly. It has a very odd chord pattern, it has this lush Chris Isaak kind of sound, and it's in a very off-kilter time signature. I believe it's actually in 8/8 (3+3+2).

* "Don't Make Me Beg" by Steve Holy. Another song that pulls off a kind of Chris Isaak vibe too, but at a faster pace. Wilbur C. Rimes' production usually sounded like total crap, but this one has an interesting mix of sultryness and urgency, and I really can't think of anything else that sounds like it.

* "Beautiful Goodbye" by Jennifer Hanson. One of the only country songs I can think of where the lead guitar uses an effects pedal. It gives the lead guitar a sustain and reverb that really stood out.

Jan 26, 2019 2:36:42 GMT -5 recordyear said:

Loretta Lynn's Van Lear Rose. Part of the reason why it has so many excellent reviews is because of Jack White's involvement as a producer. This gives the album a bit alternative rock edge while undeniably country. A notable example is Portland Oregon, it takes around 1:37 to first verse and the song is led by blazing guitar solos. But the most amazing thing is that it never feels noisy and is well mixed with background drums.

That's another good choice. When I first started listening to WATZ in 2004, they had a nighttime guy who loved playing a lot of "deep cuts" and that was one of his favorites.

Jan 26, 2019 2:36:42 GMT -5 recordyear said:

As far as lyric structure wise, WMM's Brokenhearted is one of more unique songs. It goes like chorus/pre-chorus/chorus/verse/pre-chorus/chorus/bridge/pre-chorus/chorus. Not really sure why that second part is pre-chorus (I think it relates to melody arrangement a little bit because it repeats at different times compared to verse)

I like songs that break from the verse-chorus-verse-chorus formula even if I don't like the song in general.

Jan 26, 2019 2:36:42 GMT -5 recordyear said:

Regarding genre-blending, Jon Pardi is hit or miss in California Surprise (album), but Heartache on the Dancefloor remains a great attempt of R&B leaning pop and neotraditional country. With its undeniably pop verse (looping small guitar riffs) and undeniably country chorus, together with smooth transition between parts by fiddle, this song should really receive Song of the Year considerations based on that.

I thought that parts of it sounded like "Drive By" by Train, but that doesn't mean I don't like the arrangement.

[Ten Pound Hammer]

I always liked the tightly plucked acoustic guitar riffs throughout "On the Verge" by Collin Raye. It's almost like the guitarist is playing their instrument more like a mandolin in the song.

And while it's more from a vocal standpoint than anything else, I was always impressed by the slow-burn "Kiss Me" by Shelly Fairchild has. Great use of vocal dynamics while feeling natural and not overstated.

[phil1996]

Cold One, Roller Coaster Ride by Eric Church. What a back - to- back on that Outsiders album