Country IA — pedal steel, fiddle, récits de route et de terre.
tempo moyen 116 BPM (de 64 à 178) · 35 titres · énergie moyenne 62 %
Les consignes réellement utilisées pour produire les 35 titres Country du catalogue, relevées sur les morceaux eux-mêmes.
classic country, weeping pedal steel guitar answering every vocal line, clean twangy telecaster with light spring reverb, brushed snare and rimshot backbeat, upright-feel electric bass walking the roots, fiddle doubling the melody on the chorus, acoustic guitar strumming underneath, warm honest male lead vocal with a slight drawl and no affectation, close family-style harmony on the chorus, live analog Nashville room sound, storytelling pace with space between lines, no synths, no programmed drums, no distortion, slow waltz in three, sparse arrangement, steel guitar carrying the emotion — 9 titres, dont « Two Towns Over »folk-rock quebecois, violon traditionnel, guitare acoustique, basse electrique ronde, batterie directe, voix masculine a l accent quebecois, choeurs de gang, prise live en piece, Ballade lente a 72 BPM en sol mineur. Guitare seule en arpeges pendant tout le premier couplet, la voix tres proche du micro. La basse entre au deuxieme couplet, la batterie seulement au troisieme, aux balais. Le violon ne joue que la derniere minute, en tenue longue. Aucun refrain crie : le meme refrain revient trois fois, chaque fois un peu plus fourni. Se termine sur la guitare seule. — 9 titres, dont « Les Rangs D'Asphalte »Modern pop country with electronic drops, Canadian Franco-Ontarian country, resonator dobro slides and banjo rolls over heavy 808 sub bass, pedal steel guitar swells, fiddle lines filtered and pitched up into the drop, French-Canadian foot percussion and stomps layered under crisp trap hi-hats and claps, big stomp-and-clap chorus, wide arena-sized acoustic and electric guitars, a half-time drop after each chorus where the drums fall away and a filtered fiddle hook takes over, warm rugged male lead voice singing in French with a Northern Ontario French-Canadian accent, rowdy gang vocals on the hooks, tight modern country production, bright polished punchy mix, anthemic and warm, no distortion on the vocals, no rap verses — 8 titres, dont « Moonbeam »Warm rugged working-class male voice with a thick Quebecois French-Canadian accent, heavy joual diction, rough and nasal like a singer from rural Quebec, never Parisian French. Opens on a lone acoustic guitar and a harmonica, first verse sung softly close-mic, then the band builds into a huge final sing-along. Quebecois folk-rock anthem with electronic drops, fiddle, diatonic accordion, banjo, mandolin, piano, pedal steel, podorythmie foot stomps, heavy 808 sub bass and crisp trap hi-hats arriving at the first chorus, a crowd of friends singing la la la on the last choruses, a half-time drop after each chorus where the drums fall away and a filtered fiddle hook takes over, rowdy gang vocals on the hooks, fatalistic but joyful and cathartic, bright wide arena mix, no distortion on the vocals, no rap verses — 1 titre, dont « Le monde part en couille »Opens on a lone resonator banjo roll and heavy foot stomps on a wooden floor, then the whole band crashes in. Quebecois neo-trad country-rock anthem with electronic drops, fiddle and diatonic accordion trading the main riff, French-Canadian podorythmie foot percussion, heavy 808 sub bass and crisp trap hi-hats under wide arena-sized acoustic and electric guitars, pedal steel swells, defiant working-class mood, big stomp-and-clap chorus, a half-time drop after each chorus where the drums fall away and a filtered fiddle hook takes over, warm rugged male lead voice singing in French with a thick French-Canadian accent and Quebecois joual diction, rowdy gang vocals on the hooks, tight modern country production, bright punchy mix, anthemic and proud, no distortion on the vocals, no rap verses — 1 titre, dont « Quarante-cinq pour cent »Opens with brasserie crowd chatter, clinking beer glasses and a TV in the background, then a strummed acoustic guitar and an accordion start the groove. Festive Quebecois tavern country-folk sing-along with electronic drops, mid-tempo two-step groove, fiddle and accordion hook, upright piano, banjo, tambourine, French-Canadian foot stomps, 808 sub bass and crisp trap hi-hats under the band, the whole bar singing the chorus with cheers, a half-time drop after each chorus where the drums fall away and a filtered fiddle hook takes over, warm rugged male lead voice singing in French with a thick French-Canadian accent and Quebecois joual diction, rowdy gang vocals on the hooks, humorous and warm live-room feel, bright punchy mix, no distortion on the vocals, no rap verses — 1 titre, dont « Quatre-vingt-dix à zéro »Opens on a hockey arena organ riff and a clapping crowd, then a fast fiddle reel kicks in. Rowdy Quebecois trad folk-rock reel with electronic drops, driving two-step polka beat, fiddle, diatonic accordion, banjo and mandolin playing the reel together, French-Canadian podorythmie foot tapping and spoons, heavy 808 sub bass and crisp trap hi-hats under the reel, shouted hey on the hooks, tavern sing-along chorus, a half-time drop after each chorus where the drums fall away and a filtered fiddle reel takes over, warm rugged male lead voice singing in French with a thick French-Canadian accent and Quebecois joual diction, rowdy gang vocals on the hooks, humorous and defiant party energy, bright punchy mix, no distortion on the vocals, no rap verses — 1 titre, dont « Les coudes levés »Opens on a honky-tonk upright piano and a harmonica lick over a crackling car radio, then the band comes in. Playful Quebecois country shuffle with electronic drops, walking bass, train-beat snare, twangy telecaster, pedal steel, accordion stabs, banjo rolls, light 808 sub bass and crisp trap hi-hats on the choruses, satirical storytelling verses half-sung with a wink, big sing-along chorus, a half-time drop after each chorus where the drums fall away and a filtered harmonica and fiddle hook takes over, warm rugged male lead voice singing in French with a thick French-Canadian accent and Quebecois joual diction, rowdy gang vocals on the hooks, mischievous and warm, bright polished mix, no distortion on the vocals, no rap verses — 1 titre, dont « Des faces su' les poteaux »