KORD
This week we explore the instrumental tracks of Sheryl Crow’s 1993 chart-topping global smash “All I Wanna Do.” As always, you can hear the song and each of its stems here in KORD; sit back for a top-to-bottom analysis.
Lead Vocal: Sheryl Crow
Simple and raw, yet timeless and elegant, Sheryl Crow records only two vocal parts throughout “All I Wanna Do,” one main vocal on this track, and the harmony line overdub. However, the combination was enough to jump-start her superstardom.
Vocal Harmony: Sheryl Crow
Check out the harmony choices on each chorus. Crow eschews vocal convention by reversing the “traditional” roles of lead and harmony vocals. Note how the harmony heard here includes more melodic variation, while the main vocal remains more static. This is killer stuff that is the foundation of a truly killer hook.
Acoustic Guitar: David Baerwald
Two takes of a giant sounding 12-string acoustic guitar, one on the left, and one on the right. An interesting choice in the mixing of this song is they often left the mics open while the musicians waited to begin their parts. Many times producers and engineers will attempt to remove these otherwise silent moments, but here you can discern the creaks of chairs and little bits of laughing and talking. When listening to the final mix of the song these are imperceptible, but in this format you can hear them clearly. This is particularly true here as the acoustic guitarist practices his part a few seconds before jumping in for the real thing.
Electric Guitar: David Baerwald
A funky guitar intro that wouldn’t be out of place in a disco track from the ’70s kicks off “All I Wanna Do.” Later we hear some warm double stop licks straight out of the Curtis Mayfield and Jimi Hendrix playbooks. A nice, round, hollow-body tone with what sounds like a tube amp just on the edge of breakup saturates the analog tape.
Lap Steel Guitar: Bill Bottrell
This track consists of a lap steel which is featured quite prominently in the mix. Its winding lines throughout give the song a vaguely country feel that was unique in pop/rock music at the time. It harkened back to an earlier era of Southern California where bands like Buffalo Springfield, the Byrds, and musicians like Gram Parsons had a massive influence on the SoCal sound.
The lap steel also plays the B♭ to A descending figure that forms the intro motif of the song. It also appears later during the pre-chorus.
Electric Piano: Kevin Gilbert
A straight-ahead and funky Wurlitzer part that propels the song from underneath. This driving keyboard performance sounds fantastic both isolated, and within the final mix.
Synthesizer: Kevin Gilbert
This synth part doubles the B♭ to A phrase on what sounds like a string patch. It’s almost jarring how inorganic this isolated track sounds in comparison to the rootsy vibe of the other instruments. Yet it sits well in the mix and basically forms a mini-hook that was remarkably different from everything else on the radio at that time.
Bass: Kevin Gilbert
This wonderfully melodic bassline is so integral to the song, it’s hard to imagine the song would have resonated with so many without it. While the chord changes are simple and straightforward, the bass weaves through somewhere in the middle of the mix, bouncing along and providing a melody of its own. Check out the octave pedal effect during the chorus that is essentially inaudible within the full mix.
Percussion: Brian MacLeod, Sheryl Crow, Kevin Gilbert
Various percussion elements including handclaps, tambourine, agogo, and a guiro all combine to create a loose, funky, and fun party atmosphere.
Drums: Brian MacLeod
Totally in the pocket, and just a little behind the beat, this drum groove wouldn’t be out of place in a great disco track. Though perhaps this is a genre all its own, perhaps pop-country-folk-disco. Note the classic 4-on-the-floor kick drum pattern that makes “All I Wanna Do” a dance tune at heart.
Released: August 3, 1993
Recorded at Toad Hall, 1993
Produced By Bill Bottrell
All I Wanna Do – KORD-0016
