Besides that, you’re a therapist, that’s your job. When you’re a producer it’s probably 20, 30 percent musical talent. But yeah I’m very in touch with a record from the beginning to the end. The producer at the end of the day means making the song happen. And then there’s some producers who are really anal who have to be there the entire process and constantly fiddle with things and are very involved in the songwriting. And then there’s some producers who just make beats and they send it off and get a mix.
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Some producers don’t ever touch a piece of music equipment, and they’re some of the greatest producers in the world, but they just know how to put the right people together, how to pick the right song, they have great taste. You’re like the guy who has to wear many different types of hats. Your only job is to make sure that the song gets done and that everyone doesn’t kill each other before the song’s done. You’re the guy who has to make sure no one fucks up. Whether it’s making some beats, writing some of the lyrics, mixing the song. Oh my God to this day my Dad is like “What do you do?”Ī producer is someone who sees a piece of music, a song, from the beginning to the end. THE ROLE OF THE PRODUCER, OR HOW TO EXPLAIN YOUR DAY JOB TO YOUR FATHER I wanna have a comfortable, amazing experience when I make music every time. I also don’t want to make music with people unless I’m friends with them. I’m not gonna be productive unless I’m chilin’, I’m with my friends. And then when you’re least expecting it, it comes to you. If you’re with an artist and you notice the situation is going south a little bit, it’s like “You wanna play ping-pong or foosball?” Or, “You wanna go grab somethin’ to eat?” And then you just like talk to them and relax them and get them comfortable and get yourself comfortable. I always have a ping-pong table in the studio. Sometimes when I’m working with an artist I’ll be like “OK it’s not working, let’s go walk in the park, let’s all jump on one leg and do the Macarena backwards.” It’s different things every time. Any time I’ve forced something you can hear it in the music. Right after you make a song you don’t have to be like “Someone has to do this song!” I have songs that are like 3, 4 years old that are just coming out now. And you have to be like that’s not good, let me put that to the side.
You have to recognize like, okay, not everything I do is gonna be good. I don’t wanna be where it’s like $2,000 a day and if you don’t finish a song we’ll stick this pineapple in your ass. I just like making music with my friends, telling dick and fart jokes. You know what, I’m actually just gonna stay inside for the next three days so I can make music.” You know what I’m gonna be in my pajamas. I want to wake up and be like, “You know I’m gonna make music today in my underwear.
He spoke to Co.Create from his home studio about the many creative threads that are woven together to create a hit song and how he negotiates his intertwining roles as a hit-making songwriter and producer. Blanco co-founded Get Well Soon, a children’s charity that brings pop stars to the hospital bedside and he is a sometime guest lecturer at NYU’s Clive Davis Institute of Recorded Music. He was one of this year’s Songwriter of the Year winners at the BMI Pop Awards. The Virginia native grew up making beats in his bedroom before learning the fine points of writing and producing music from Disco D, Spank Rock and famed writer/producer Dr.
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