shut up and listen

Begins with drums (tom fill) EQed to be soft and deep, a gentle tumbling intro to the song. Early 80s jangly guitar folk/rock.

Despite usual ingredients (electric guitar, bass and drums) it has a softness to it. The guitars have been recorded in such a way that the plectrum on the strings is a present sound, providing a rhythmic element. Distant (reverbed) wooden percussion enters in second verse. The reverb on drums is most noticeable in the bridge section when the guitars pause with single strums; Who you trying to get in touch with? snare/tambourine hit. In this bridge section the acoustic guitar strum stands out, panned left, and is responded to with an electric guitar strum panned right – call and response. Thin 60s electric guitar sound.

Apart from the bridges, the dynamics are fairly constant throughout. A noticeable use of hi hats and ride cymbal to raise energy levels. There is a lead in chorus for the final chorus repeats where the drums and bass drop out then build up to re enter.

The most remarkable thing about the track is the low baritone vocal. The first note is a low G ‘See…‘ (although I think there’s a low E in there too – ‘See the chains WHICH bind the men’). Such low singing is usually notoriously low in volume and in a live situation quite difficult to lift above a guitar/bass/drums ensemble. In this recording it sits perfectly above all the instruments so it has been carefully recorded and must have been compressed. In the middle chorus where the bass and drums drop out the singing sounds almost whispered or muttered, as if being told a secret. There is no really strident singing, even in the backing vocals during the main choruses. There is subtle doubling and harmonising throughout all the singing.

This makes the choice of a nylon string spanish guitar for the solo interesting, in that it is also an instrument of low volume and in that way is a perfect mirror and replacement for the lead vocal – even though it covers a much wider range of notes (interestingly, the chord sequence during the solo is different to the rest of the song).

Overall a controlled production that maintains interest despite minimal dynamics and a wall of jangly guitar almost from start to finish. For me, it is compelling to hear low volume instruments (soft low singing and nylon string acoustic guitar) sitting on top of electric rock instruments (guitar bass drums).

Notes: it is difficult to say that this sounds typical of Bob Clearmountain productions because he is deliberately trying to avoid having a signature sound. He aims to have each mix sound as if the artist has mixed it themselves. What’s interesting about this Church track and the album Clearmountain did for them is that it is a band favourite for its clarity of production while still being complex and intricate. In actual fact, nowadays the Church self produce their recordings so they have ended up literally mixing themselves.