Making a Monster Part 6: No More Playing Around...The Producers Arrive

I sat in my blue Mitsubishi pickup truck at a location in Atlanta's Buck Head neighborhood, waiting for Patrick McCarthy to emerge. This is a really fuzzy memory, but I remember sitting outside of some Buckhead land mark, perhaps a diner or something. My truck, of course, still smelled like cat pee (see previous post entitled "Mike Mills Needs a Doctor" for a full explanation). As luck would have it, you never have to pick up anybody famous or influential when your car or truck smells great. This was the second really cool member of the music industry to be treated to my fragrant truck turned taxi cab during the past week. Patrick introduced himself with a smile and got into the truck. "Wow, what's that smell?" "It's cat pee. It's a long story.", I said.

Patrick McCarthy was a thoroughly cool individual. He was a completely relaxed and calm guy... he had a UK accent that I faintly remember as Scottish, but I can't be sure now. My apologies Patrick if you happen to read this and I got it wrong. Patrick had just finished a recording project in the UK. I can’t remember the name of the band right now, and I am too lazy to look it up. Anyway, Patrick was about the coolest person I met on the project. Looking back, I wish I could have kept in touch with him. Patrick was also a kick-ass engineer. When he walked up to a mixing board, his relaxed demeanor gave way to serious concentration... he took total control of the dizzying array of music equipment, but made it look easy. In a matter of seconds, Patrick could adjust the faders, EQs, and affects at this disposal with total precision, and be ready to capture the perfect take. Patrick was the lead engineer for the Monster project. The producer was Scott Litt.

When Scott Litt arrived, the feel of the room changed. Looking back, I am not sure whether I really liked the guy. I hardly ever talked to him... I am sure he does an awesome job, or REM wouldn't have worked with him, but he gave off a certain music industry vibe that makes you suspicious of his motives.

Up until this point, REM's daily sessions were spent writing and rehearsing; preparing for the "real" tracking sessions. Now, the large poster board duct taped to the main PA cabinets had a complete song list that closely matched the lineup of the finished album "Monster". With the arrival of the producer, the working relationship of the band changed in a subtle way. They got more serious. Each band member was more focused on their parts.

A producer's job is a bit of a mystery. What does a producer really do? In my opinion, there are a few producers that have had huge musical impacts. Terry Brown who worked with Rush comes to mind. His production work on Moving Pictures shines as a production master piece. A great producer should understand a band's music, capture it, and refine it without changing it drastically.

For the most part, that is what Scott Litt did with Monster. If REM's goal was to produce a live sounding rock album, then they achieved what they set out to do. Listening to Monster all these years later, the production stands up.

REM launched into their complete Monster song list. Patrick and Scott were behind the board. Occasionally, Scott would ask the band to stop and he would approach the stage. He might ask them what the song was about, or what they were going for with the sounds. Occasionally, he would suggest how a part could be changed. He might suggest that a song is too fast or too slow, or that some hammond organ would sound good, or that the backup vocals need to change, etc.

This process went on for a couple of days. All the while, Patrick was capturing tracks on reals of 2" recording tape. They actually used a lot more tape than I thought they would. A given song might have been tracked many times. During some takes, Michael stipe would try different vocal inflections. Peter Buck might use several guitars to get a variety of sounds.

One evening, the band decided to work late. This meant that I would have to bring in extra refreshments to keep everyone fueled. REM had been tracking *69 most of the afternoon. After many listens, I began to really like the tune. It had so many qualities that I liked about REM... the song was quick and garagy and had a catchy melody. The bass and drums were really tight. It really stuck with me. Even after listening to it all day long, I found myself humming it in my head... Michael Stipe's voice echoed between my ears... "I know you caaaalled. I know Yooouuu Caaalled... I know you Caaalled..." This song is my favorite, I thought. I wouldn't change a thing. *69 is going to be the gem of "Monster".

They played the song over and over and over... which was a sign of trouble. I sat in the hall, near the refreshment table, making coffee, and preparing fresh fruit in case the band took a break. Just then, the music stopped, and Scott Litt and Michael Stipe emerged. Instead of looking happy, Michael looked tired, and Scott looked perplexed. "Something is not right", said Scott. "I think we need to really slow the tempo down or something..."

That's all for now. Check back soon for the next installment of "Making a Monster" called "The Beverage Guy Speaks...Don't Change a Thing"

Oh, and when you get a chance, stop by and listen to some sound clips for our new CD, Max Q at http://www.theReverseEngineers.com. If you want to hear what we sound like, here is a clip: Sunshine with the Shade wma | mp3

Charles Cote
Bassist -- The Reverse Engineers