There are so many brushes in a producer’s pallet (warning — mixed metaphor alert), including tone, effects, stereo image, volume, and a few more that are not at all obvious. Let’s take a popular new song and map out how it was produced in one of my favorite motifs. I’ll say more about where this motif comes from later.
The song is “I and Love and You” by the Avett Brothers. These two have worked in blue grass and punk, but this song is a beautiful ballad format. (What’s with these punk bands and ballads? Sort of like Green Day with “Time of Your Life.”)
This latest Avett Brothers album was produced by Rick Rubin, and frankly you can’t really tell what creative parts and arrangement came from the Avetts and what part is from Rick (or even their bass player, Bob Crawford).
Rick is well known in the metal and punk arena starting with his production of the Beastie Boys. He has also produced Danzig, Slayer, Linkin Park, the Red Hot Chili Peppers, Metallica, and System of a Down. On top of that he has coproduced with Johnny Cash. Quite a resume I would say.
So, let’s get to the song called “I and Love and You.” I will map the song’s arrangement. It’s a simple little thing in D. This will work best if you play the music along as you read the words and production description. Ready? Here we go.
[It starts with a simple piano line D to G]
[Then Scott starts singing]
Load the car and write the note
Grab your bag and grab your coat
Tell the ones that need to know
[Now Seth joins in for a simple harmony]
We are headed north
[Back to simple voice and piano]
One foot in and one foot back
But it don't pay, to live like that
So I cut the ties and I jumped the tracks
[Again Seth joins in harmony]
For never to return
[Bring in the bass guitar with the piano]
[Add Seth’s harmony on the whole chorus]
Ah Brooklyn Brooklyn take me in
Are you aware the shape I'm in
My hands they shake my head it spins
Ah Brooklyn Brooklyn take me in
[A nice little piano turn-around into the next verse]
[Add strings]
When at first I learned to speak
I used all my words to fight
With him and her and you and me
Ah but it's just a waste of time
Yeah it's such a waste of time
[Join some subtle drums — the kick and the bass guitar almost meld]
That woman she’s got eyes that shine
Like a pair of stolen polished dimes
She asked to dance I said it's fine
[Harmony]
I'll see you in the morning time
[Bring up the drums — let’s hear the snare and cymbals]
Ah Brooklyn Brooklyn take me in
Are you aware the shape I’m in
My hands they shake my head it spins
Ah Brooklyn Brooklyn take me in
[Time for a little Hammond organ sound (with Leslie) — getting phat]
[A little instrumental break]
[Now back to just the vocal and piano with the gentle harmony on the last line]
Three words that became hard to say
I and love and you
[Now the harmony becomes constant]
What you were then, I am today
Look at the things I do
[Bring back the bass, drums, strings, and organ]
Ah Brooklyn Brooklyn take me in
Are you aware the shape I'm in
My hands they shake my head it spins
Ah Brooklyn Brooklyn take me in
[Reprise the chorus and how let’s turn Seth loose with rhythmic counterpoint]
[Soft and simple now. Some strings and a little high register organ]
Dumbed down and numbed by time and age
Your dreams to catch the world, the cage
The highway sets the traveler's stage
All exits look the same
[End like the start — slow it down — fade it out]
Three words that became hard to say
I and love and you
I and love and you
I and love and you
And that is how it’s done!
By the way, the song motif I think this follows is one of my favorites of all time by a Knight of the Realm, Sir Paul McCartney and “Let It Be.”
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