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Scott Litt
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Scott Warren Litt (born March 10, 1954)[1] is an American record producer who mostly works with artists in the alternative rock genre and is best known for producing six R.E.M. albums in the late 1980s and early to mid-1990s during the band's most successful period.
Biography
[edit]Litt began as an engineer in the late 1970s, working on recordings by Ian Hunter and Carly Simon.[2] He made his debut as a producer with The dB's Repercussion album in 1982, going on to work with Chris Stamey, Matthew Sweet, and Beat Rodeo.[2] His breakthrough as a producer came in 1987 with R.E.M.'s Document album.[2] Litt had first worked with the band on the track "Romance" for a film soundtrack,[3] and went on to enjoy a long and successful association with the band which included production of their albums Green (1988), Out of Time (1991), Automatic for the People (1992), Monster (1994) and New Adventures in Hi-Fi (1996). In 1997, R.E.M. and Litt discontinued their collaboration.
Apart from R.E.M., the most commercially successful act Litt worked with was Nirvana, for whom he mixed the singles "Heart-Shaped Box" and "All Apologies" from the 1993 album In Utero, and the posthumous release MTV Unplugged in New York (1994).[2] Litt also remixed "Pennyroyal Tea" and the remix was set to be released on the single, but the single was retracted shortly after Kurt Cobain's death. His remix can be found on Wal-Mart and Kmart versions of In Utero as well as Nirvana, Nirvana's greatest hits collection. In 1999 and the 2000s, Litt worked with Incubus to produce two of their records Make Yourself (1999) and Morning View (2001).[4] Litt also mixed songs for Hole including "Miss World", "Asking For It", "Jennifer's Body", and "Softer, Softest" off their album Live Through This.
He has also worked for Liz Phair,[5] Juliana Hatfield, the Indigo Girls, Paul Kelly, New Order, The Replacements, Patti Smith (Dream of Life), The Woodentops (Wooden Foot Cops on the Highway), That Petrol Emotion (Chemicrazy), Counting Crows, Days of the New,[1][6] The Get Up Kids,[7] Ziggy Marley[8] and Alela Diane.
Litt also started his own label, Outpost Recordings, initially in partnership with IRS Records employee Mark Williams, and funded and distributed by Geffen Records.[4][9][10]
References
[edit]- ^ a b Kot, Greg (November 18, 1994). "Mr. Mixit Producer Scott Litt Knows How To Put Top Bands On The Record". Chicago Tribune. p. 5. Archived from the original on December 5, 2014. Retrieved 31 May 2014.
- ^ a b c d Ankeny, Jason "Scott Litt Biography", Allmusic, retrieved 2010-04-05
- ^ Hogan, Peter (1995) The Complete Guide to the Music of R.E.M., Omnibus Press, ISBN 978-0-7119-4901-0, p. 45
- ^ a b "Incubus feature", SPIN, November 2001, retrieved 2010-04-05
- ^ Chonin, Neva (1998) "Liz Phair Whitechocolatespaceegg Review", Rolling Stone, July 30, 1998, retrieved 2010-04-05
- ^ "Scott Litt Credits", Allmusic, retrieved 2010-04-05
- ^ "THE GET UP KIDS 'On a Wire'", Washington Post, June 28, 2002
- ^ Harrington, Richard (2003) "For Once, Marley Isn't Being a Family Man", Washington Post, June 6, 2003
- ^ Morris, Chris (1998) "Flat Duo Jets Fly a New Route", Billboard, September 5, 1998, retrieved 2010-04-05
- ^ Fletcher, Tony (2002) Remarks: The Story of R.E.M., Omnibus Press, ISBN 978-0-7119-9113-2, p. 291
External links
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Scott Litt
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Early Career
Engineering Beginnings
Scott Warren Litt was born on March 10, 1954, in New York.[7] His entry into the music industry stemmed from a keen interest in recording techniques, leading him to enroll in a class on modern recording methods in Boulder, Colorado, in 1976; this experience prompted him to leave college and accept an entry-level position at an 8-track studio in Denver.[4] There, as an assistant engineer from 1976 to 1978, Litt honed foundational skills under chief engineer Paul Vastola, handling tasks such as razor-blade tape edits, voiceover sessions, and jingle productions on an Ampex 440 machine.[4] By late 1978, Litt relocated to New York City, initially working briefly at A-1 Sound Studios on projects involving artists from the local punk and rock scene, including sessions with Patti Smith and David Johansen.[4] He soon joined the prestigious Power Station studio as an assistant engineer, advancing to staff engineer by the early 1980s.[4] Early credits there included additional recording on Ian Hunter's rock album You're Never Alone with a Schizophrenic (1979)[8] and engineering vocals for Sister Sledge's disco hit "He's the Greatest Dancer" from We Are Family (1979),[4] exposing him to high-stakes commercial sessions.[2] These roles built his technical proficiency in capturing diverse sounds amid the vibrant New York studio environment. Litt's work spanned rock and pop genres, further demonstrated by his engineering and mixing contributions to Carly Simon's pop album Come Upstairs (1980), recorded at Power Station.[9] Mentored by figures like Bob Clearmountain and Tony Bongiovi, he developed expertise in tape alignment, quick mixing, and adapting to both major-label hits and indie projects, such as mixing tracks for The dB's in 1980.[4] By the early 1980s, this foundation enabled a transition to more prominent engineering positions within New York's evolving music scene, setting the stage for his later production endeavors.[2]Debut Productions
Scott Litt transitioned from engineering to production with his debut as lead producer on the dB's second album, Repercussion, released in 1982 on the British indie label Albion Records.[10] Recorded over seven weeks in London during the summer of 1981, the album marked Litt's first full production credit, building directly on his prior engineering background in New York studios.[11] He crafted a fuller, more modern sound for the power pop band's jangly guitars and harmonies, elevating their raw energy into a polished yet energetic alternative rock aesthetic.[12] Following Repercussion, Litt produced Chris Stamey's solo debut It's a Wonderful Life in 1982 on DB Recs,[13] a project rooted in the same North Carolina-to-New York indie network that spawned the dB's.[14] He also handled early recordings for Matthew Sweet in the mid-1980s, including contributions to Sweet's 1986 debut Inside on Columbia, where Litt co-produced select tracks amid a roster of alternative producers.[2] By 1986, Litt extended his work to Beat Rodeo's sophomore album Home in the Heart of the Beat on Twin/Tone Records, blending country-tinged alternative rock with crisp arrangements that highlighted the band's blue-eyed soul influences.[15] Litt's early style emphasized clean alternative rock textures, with meticulous attention to guitar tones and vocal clarity, reflecting the vibrant New York indie scene where he cut his teeth on post-punk and new wave acts.[16] These productions often involved navigating tight schedules and shoestring budgets typical of emerging indie bands on small labels, helping Litt build his reputation in underground circles despite the commercial constraints of the era.[17]Collaboration with R.E.M.
Initial Work and Breakthrough Albums
Scott Litt's initial involvement with R.E.M. came in 1987 when he engineered and co-produced the band's track "Romance" for the soundtrack to the film Made in Heaven.[18][19] This collaboration impressed the band, leading to Litt's full production role on their fifth studio album, Document, later that year.[20][21] Document, co-produced by Litt and R.E.M., was recorded primarily at Sound Emporium Studios in Nashville, Tennessee, and marked the band's sonic breakthrough under I.R.S. Records, achieving platinum status and introducing a more polished, radio-friendly sound.[20][22][23] Litt refined R.E.M.'s signature jangly guitar textures with clearer mixing and added elements of distortion and power chords, moving away from their earlier indie rock roots toward broader appeal.[24][25] The album featured hits like "The One I Love," which Litt emphasized with a bold, arena-ready production to highlight its emotional core, contributing to its chart success as R.E.M.'s first top-10 single.[24][4] Additionally, Litt's engineering enhanced Michael Stipe's vocals, building on prior clarity to make lyrics more intelligible and upfront in the mix, aiding the band's transition to mainstream audiences.[25][21] Following Document, Litt co-produced R.E.M.'s 1988 album Green with the band, recorded at Ardent Studios in Memphis, Tennessee, and Bearsville Studios in Woodstock, New York, as their major-label debut on Warner Bros. Records.[26][27] This project expanded R.E.M.'s sound into arena rock territory, incorporating bolder arrangements and experimental touches while maintaining Litt's focus on tight bass and drum grooves.[28][4] Key tracks like "Stand" and "Orange Crush" showcased this evolution, with "Orange Crush" featuring Stipe's processed vocals for a haunting effect that underscored the album's political themes.[26] Litt's production sheen positioned R.E.M. for larger-scale success, further clarifying Stipe's delivery through EQ and compression techniques to balance its dynamic range.[28][4]Peak Commercial Success
Scott Litt's collaboration with R.E.M. reached its commercial zenith with the production of Out of Time in 1991, recorded primarily through demos and overdubs at John Keane's studio in Athens, Georgia, before final sessions at Bearsville Studios in Woodstock, New York.[29] The album featured innovative integrations of mandolin—most notably on the hit single "Losing My Religion," where guitarist Peter Buck's riff drove the track's brooding introspection—and orchestral elements, including lush string arrangements that added emotional layers to songs like "Shiny Happy People."[30] Litt's mixing emphasized subtlety, layering acoustic guitars, mandolins, and strings to create a textured, folk-inflected sound that balanced the band's jangle-pop roots with newfound pop accessibility, avoiding bombast in favor of nuanced emotional depth.[30] Building on this momentum, Litt co-produced Automatic for the People in 1992, with key sessions at Kingsway Studios in New Orleans, alongside locations in New York, Florida, and Georgia.[31] The album delved deeper into introspective balladry, highlighted by tracks like "Drive" and "Everybody Hurts," where Litt focused on string arrangements crafted by Led Zeppelin bassist John Paul Jones to enhance the melancholic atmosphere and define R.E.M.'s mature, reflective sound.[32] Litt's production techniques continued to prioritize layered acoustics and restrained dynamics, using subtle swells of instrumentation to amplify the lyrical vulnerability without overpowering the core ensemble of guitars, bass, and Michael Stipe's vocals.[30] These albums marked R.E.M.'s global breakthrough, with Out of Time achieving multi-platinum status—certified 4x Platinum in the U.S. for over 4 million copies sold—and topping the UK Albums Chart, while Automatic for the People also went 4x Platinum in the U.S. and earned a Grammy nomination for Album of the Year in 1994.[33][34][35][36] The commercial success underscored Litt's role in refining R.E.M.'s evolution from cult favorites to arena-filling stars, as the albums' combined sales exceeded 30 million worldwide and spawned enduring hits that showcased his adeptness at blending subtlety with broad appeal.[29][34]Later Albums and Conclusion
Following the commercial triumphs of their early 1990s albums, R.E.M. and producer Scott Litt shifted toward a rawer, guitar-driven sound with Monster (1994), emphasizing electric instruments and a tour-ready energy that contrasted the band's prior orchestral leanings.[37] Co-produced by the band and Litt, the album was recorded primarily at Kingsway Studio in New Orleans, Louisiana, with additional sessions at other facilities including Ocean Way Recording in Los Angeles.[38] Tracks like the lead single "What's the Frequency, Kenneth?" captured this aggressive edge, peaking at No. 10 on the Billboard Modern Rock Tracks chart and becoming a staple of the band's live performances.[37] However, the subsequent Monster tour was marred by severe health crises for the band members, including drummer Bill Berry's onstage brain aneurysm in March 1995, bassist Mike Mills' abdominal surgery, and singer Michael Stipe's vocal cord polyp removal, forcing multiple cancellations and a grueling schedule that tested the group's resilience.[39] Litt's collaboration with R.E.M. concluded with New Adventures in Hi-Fi (1996), an expansive double album that drew heavily from live recordings captured during the Monster tour in arenas across the U.S. and Europe, incorporating distortion and experimental textures to evoke the immediacy of those performances.[40] Produced and mixed by Litt and the band, it featured guest appearances such as Michael Stipe duetting with Patti Smith on "E-Bow the Letter," which reached No. 4 on the UK Singles Chart, and marked a stylistic evolution toward looser, more atmospheric arrangements compared to Monster's intensity.[40] Released on Warner Bros. Records, the album debuted at No. 2 on the Billboard 200 and signaled the end of Litt's decade-long tenure with the group. Over their partnership from 1987 to 1996, Litt co-produced six R.E.M. studio albums—Document, Green, Out of Time, Automatic for the People, Monster, and New Adventures in Hi-Fi—contributing to the band's creative zenith during its mainstream ascent, though they parted ways due to the group's desire to renovate their sound with new collaborators.[3] In a nod to this era, Litt revisited Monster for its 25th anniversary reissue in 2019, remixing the tracks to enhance clarity and cohesion for contemporary listeners, addressing his long-standing dissatisfaction with the original's disjointed mixes while preserving its raw energy.[41] After 1996, Litt turned his focus to diverse projects outside R.E.M., including productions for artists in alternative rock and beyond.[4]Other Productions
Grunge and Alternative Rock Projects
In the early 1990s, Scott Litt expanded his production work into the burgeoning grunge and alternative rock scenes, applying techniques honed from his R.E.M. collaborations to refine raw sounds for broader appeal. He notably mixed two key tracks on Nirvana's third studio album In Utero (1993): "Heart-Shaped Box" and "All Apologies." These mixes, which replaced initial versions by Steve Albini, emphasized clearer vocals and balanced instrumentation, making the singles more suitable for radio play amid the band's tense creative process. Litt's involvement helped salvage the tracks for commercial release, contributing to their chart success—"Heart-Shaped Box" peaked at number one on the Billboard Modern Rock Tracks chart.[42][43] Litt further solidified his grunge credentials by handling the full mix for Nirvana's posthumous live album MTV Unplugged in New York (1994), recorded in late 1993 but released after Kurt Cobain's death. Drawing on his experience with acoustic arrangements from R.E.M., he crafted a intimate, emotionally resonant sound that highlighted the band's vulnerability, with subtle enhancements to guitar tones and vocal presence without overpowering the raw performance. The album debuted at number one on the Billboard 200 and earned a Grammy for Best Alternative Music Performance, amplifying Nirvana's legacy and introducing their unplugged style to wider audiences.[44][45] Beyond Nirvana, Litt's contributions to alternative rock included associate production and mixing on Patti Smith's comeback album Dream of Life (1988). He also mixed Hole's breakthrough second album Live Through This (1994), co-credited with J Mascis, where his polished touch amplified Courtney Love's visceral lyrics and the band's aggressive dynamics, aiding its number two Billboard 200 debut shortly after the deaths of Kristen Pfaff and Cobain. In alternative circles, Litt produced and engineered the Juliana Hatfield Three's debut Become What You Are (1993), infusing Hatfield's confessional pop-rock with crisp production that propelled singles like "My Sister" to number one on the Modern Rock chart.[46][47][48] Litt's approach in these projects often bridged the gap between grunge's abrasive authenticity and alternative rock's accessibility, using R.E.M.-inspired precision to enhance emotional depth—such as boosting vocal clarity in Nirvana's mixes—without diluting the genre's intensity, which helped several releases achieve critical and commercial breakthroughs in the mid-1990s alternative explosion.[49][50]Nu-Metal and Later Collaborations
In the late 1990s, Scott Litt expanded his production work into nu-metal and alternative rock territories, notably collaborating with Incubus on their breakthrough album Make Yourself (1999). Co-produced with the band, the record marked a pivotal shift for Incubus from their heavier, rap-infused nu-metal roots toward a more melodic alternative rock sound, blending downtuned riffs with electronic elements and introspective lyrics. This evolution was evident in singles like "Pardon Me" and "Drive," the latter becoming a major radio hit that propelled the album to multi-platinum status and broadened the band's appeal beyond underground scenes.[51][52][53] Litt continued this partnership with Incubus on Morning View (2001), recorded at the Stern House mansion in Malibu, California, where the band wrote and tracked much of the material in a residential setting to foster creativity. The album further emphasized melodic structures and atmospheric production, incorporating layered guitars, subtle electronics, and orchestral touches while retaining the band's energetic edge. Tracks like "Wish You Were Here" and "Nice to Know You" exemplified this balance, contributing to the record's commercial success and earning a Grammy nomination for Best Engineered Album, Non-Classical in 2003, shared with engineers Mike Einziger, Dave Holdredge, and Rick Will.[54][55][56] Litt's adaptability during this period also extended to soundtrack contributions, showcasing his versatility in heavier and alternative contexts. For the 1998 film Godzilla, he produced "Running Knees" by Days of the New, a track that aligned with the era's post-grunge and nu-metal influences through its brooding intensity and dynamic mixes. Similarly, on the Man on the Moon soundtrack (1999), Litt mixed R.E.M.'s "Man on the Moon," adapting his signature polished sound to the film's eclectic tribute to comedian Andy Kaufman. Earlier, in 1994, he had produced "Spin the Bottle" by the Juliana Hatfield Three for the Reality Bites soundtrack, infusing the alternative rock cover with crisp engineering that highlighted its punk-pop energy. These projects demonstrated Litt's ability to incorporate electronic and heavier production techniques while preserving artistic roots across film media.[57][58][59]Awards and Nominations
Grammy Nominations
Scott Litt has received three Grammy nominations across his career, with no wins, reflecting his significant contributions to album production and engineering in the alternative rock genre. These accolades primarily stem from his high-profile work with R.E.M. during their commercial peak and later projects with Incubus, earning him industry recognition for technical excellence and creative collaboration.[60] At the 36th Annual Grammy Awards in 1994, Litt was nominated for Album of the Year as producer for R.E.M.'s Automatic for the People, shared with band members Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. The nomination placed the album in competition with entries like Donald Fagen's Kamakiriad, produced by Walter Becker, highlighting its broad artistic impact.[61][62] Earlier, in 1992 at the 34th Annual Grammy Awards, Litt received a nomination for Album of the Year as producer for R.E.M.'s Out of Time, shared with the band, underscoring his role in shaping the album's polished sound during the band's breakthrough era.[63] Litt's other key nomination came at the 45th Annual Grammy Awards in 2003 for Best Engineered Album, Non-Classical for Incubus' Morning View, credited alongside engineers Mike Einziger, Dave Holdredge, and Rick Will. This recognition came amid Incubus's rising popularity in the nu-metal and alternative scenes.[56][64] Despite lacking wins, these nominations affirm Litt's enduring respect among peers for elevating artists like R.E.M. and Incubus to critical and commercial heights through meticulous production and engineering.[60]Other Recognitions
Scott Litt has been featured in several industry interviews highlighting his production techniques, particularly with R.E.M. In a 2011 Tape Op interview, he discussed his collaborative approach to crafting the band's sound on albums like Out of Time and Automatic for the People, emphasizing the balance between capturing raw performances and refining mixes for clarity and emotional depth. Similarly, in a 2017 Salon reflection, Litt shared insights into the creation of Automatic for the People, noting how the album's introspective tone was shaped by spontaneous studio sessions and orchestral arrangements that captured a pivotal moment in the band's evolution.[4][3] Litt contributed to R.E.M.'s 2019 25th anniversary reissue of Monster by providing a complete remix of the album, addressing his long-held dissatisfaction with the original's compressed sound and aiming for greater instrumental separation and vocal prominence. The remix was praised for its updated clarity, allowing elements like guitar textures and bass lines to emerge more vividly while preserving the raw energy of the 1994 sessions.[65][66] Beyond formal awards, Litt has received acknowledgments in rock documentaries focused on R.E.M.'s history, including the 2017 film Automatic Unearthed: The Making of R.E.M.'s Automatic for the People, where he detailed the album's recording process alongside band members, and the BBC's Seven Ages of Rock series, which highlighted his role in engineering master tapes for tracks like "The One I Love." AllMusic recognizes Litt as a pivotal figure in alternative rock production, crediting his work with R.E.M. and others for bridging underground aesthetics with mainstream appeal.[67][68] Litt's influence appears in discussions of 1990s alternative rock, where his production on albums like Incubus' Make Yourself (1999) and Morning View (2001) is noted for refining the band's sound during the era's alternative boom. Features in SPIN magazine on Incubus' rise often reference Litt's involvement in elevating their songcraft. While he has not received major lifetime achievement awards, Litt's consistent production credits span dozens of albums across genres, underscoring his enduring impact on rock music.[7]Discography and Legacy
Key Production Credits
Scott Litt's career encompasses production and mixing credits on over 40 albums, with a primary focus on the alternative rock genre spanning 1982 to 2001.[7] His early involvement in the industry includes engineering duties on Carly Simon's album Spy (1979).[2] Litt's production debut came with The dB's Repercussion (1982).[7] He gained prominence through his long-term collaboration with R.E.M., producing their albums Document (1987), Green (1988), Out of Time (1991), Automatic for the People (1992), Monster (1994), and New Adventures in Hi-Fi (1996).[3] Other significant production credits include Indigo Girls' Rites of Passage (1992), the soundtrack for Reality Bites (1994), Counting Crows' This Desert Life (1999), and Incubus' Make Yourself (1999) and Morning View (2001).[7] Notable mixing work features Nirvana's MTV Unplugged in New York (1994 mix), as well as the tracks "Heart-Shaped Box" and "All Apologies" from Nirvana's In Utero (1993).[69][70]| Year | Artist | Album/Single | Role |
|---|---|---|---|
| 1979 | Carly Simon | Spy | Engineer |
| 1982 | The dB's | Repercussion | Producer |
| 1987 | R.E.M. | Document | Producer |
| 1988 | R.E.M. | Green | Producer |
| 1991 | R.E.M. | Out of Time | Producer |
| 1992 | R.E.M. | Automatic for the People | Producer |
| 1992 | Indigo Girls | Rites of Passage | Producer |
| 1993 | Nirvana | "Heart-Shaped Box" / "All Apologies" (In Utero) | Mixer |
| 1994 | R.E.M. | Monster | Producer |
| 1994 | Nirvana | MTV Unplugged in New York | Mixer |
| 1994 | Various Artists | Reality Bites (soundtrack) | Producer |
| 1996 | R.E.M. | New Adventures in Hi-Fi | Producer |
| 1999 | Counting Crows | This Desert Life | Producer |
| 1999 | Incubus | Make Yourself | Producer |
| 2001 | Incubus | Morning View | Producer |