Posts Tagged ‘Steve Albini’

Being Kurt Cobain

My first impression of Kurt Cobain, even before I knew anything about him, was that he was the kid in school who was painfully quiet, but whose mind was silently screaming. This, I remember thinking, was a kid who had spent a lot of time alone. Not because he wanted to, of course, but because, from Day One, he’d been made to feel that he was alone.

Like you (one can only presume), I have felt the odd juxtaposition of loneliness within a crowded room and written it off as self-manufactured. In Kurt’s case, loneliness was but a byproduct of absolute, unadulterated alienation, he of the broken home with no dad and a mom who couldn’t have given two shits about him if it meant any bit of sacrifice on her part.

If he and Nirvana had arrived at any other time in the history of rock & roll, they’d have gone unnoticed, but, since they came on the scene with their songs of anger and alienation at a time when the youth of this world could no longer maintain a happy façade, their music was welcomed with open arms. Sure, it didn’t happen overnight. Their first album, Bleach, was only a moderate indie success, but it had led to a deal with major label, Geffen, and the strange planetary alignment that would result in the recording and release of an album that would change the world.

Upon its arrival, Nevermind changed little, if anything. I personally remember weeks of watching MTV’s “120 Minutes,” seeing their video, and not being at all moved by the band. Then one day some three months after the album’s release, I turn on the car radio and hear “Smells Like Teen Spirit” on the local AOR radio station. I do a quick check to see if this is, indeed, the right station, because they’re more prone to play an old Pink Floyd or Billy Squier song than something like this. Whether I’ve heard the song before or not, I cannot recall, but, at that very moment, it is the single most beautiful and powerful thing I’ve ever heard. To this day, I remember every nuance of that moment like others remember where they were when JFK was assassinated.

The next day, determined to get my hands on the album this amazing song is from, I run to the local record store and find that I am not alone in my desire to procure said album. As I stand at the register, eager to part with my cash, the guy behind the counter gives the cassette (!) an odd glance — he doesn’t seem to know who Nirvana is, but mentions that a lot of people have been in the past few days looking for the album and that he’d been telling them he didn’t have it. “I should probably order some more of these,” he says as I exit the premises. (more…)

Popdose Flashback: Pixies, “Doolittle”

Pixies - DoolittlePixies – Doolittle (1989, 4AD)
purchase this album (Amazon)

To a certain extent, Doolittle – the Pixies’ most accessible (and best-selling) album – is all about tension. The tension of band trying to continue sounding raw and dirty while being pushed to adopt a more commercial tone. The tension of a band in transition from independent to major label. The tension between two vocalists and visual foci who had very different ideas about music. The tension inherent in the band’s unique-at-the-time loud-quiet-loud song arrangements. The tension between melody and abrasion, tunefulness and distortion, punk rock and surf rock, male and female…you get it.

The Pixies – singer/guitarist Black Francis (Charles Thompson, aka Frank Black), bassist/singer Kim Deal, guitarist Joey Santiago and drummer David Lovering – were the uber-college rock band of the ‘80s. Francis and Santiago met at college (UMass). They formed a band a couple of years later (circa 1986) in the quintessential college town of Boston, which, as you’d expect, is where they played most of their early gigs. Even their sound and style – especially on Doolittle – were tailor-made for the nascent “college rock” moniker and scene: not punk enough to be truly underground, and not commercial enough for mainstream radio.

Coming after the raw sonic blast of the Steve Albini-produced Surfer Rosa (my own personal favorite Pixies recording, natch, with its heavy but wide-ranging sound), Doolittle sounds positively clean cut. Chalk it up to either British producer Gil Norton (hired at the “suggestion” of the Pixies’ then-label chief, Ivo Watts-Russell), a quadrupled recording budget of $40,000, or both, but the “listenability” of Doolittle compared to the band’s earlier output is in no small part due to such material as “Here Comes Your Man,” “Monkey Gone to Heaven” (to date the only Pixies song to feature strings…though it’s Francis’ screamed “Then GOD is SEVEN/HEAVEN” line that gets me very time) and “La La Love You.” Even less overtly poppy numbers like “Gouge Away,” “Silver” and “Hey” suggest a much-toned down Pixies when compared to, say, “Something Against You” from their previous album. (more…)

The Popdose Guide to Material Issue

guidelogo.gifThe Beginning

Mike Zelenko (drummer): “I met Jim through an advertisement in the Illinois Entertainer (a local monthly music magazine) right out of high school.

He called me a couple days after the ad started running and told me to come out to Addison, IL (where he lived) right now. With him still on the phone, I’m asking my mom if I can I borrow a car. ‘I thought you were gonna mow the lawn,’ she says. In my other ear, I hear Jim saying, ‘Tell her that if you can’t borrow the car tonight, you’ll never mow another lawn.’

What impressed me the most about Jim was the fact that he was always thinking about the band in the future, planning 3 steps ahead. Forward progress was always being made.

We had a very D.I.Y. ethic, were getting college play, and were willing to work harder than other bands. We made sure to hit New York at least once a month.”

Ted Ansani (bassist): “Jim and I were friends at Columbia College and one day he asked me to start a band with him.. In turn, I asked, ‘Do you have enough music?’ He just smirked and said ‘Of course I do, man.’”

Jim was such a prolific songwriter, every day he’d write a song that was better than the song he’d written the day before.

In the beginning, we literally ran the record company out of Jim’s bedroom. We would glue the covers together, insert the vinyl, and send them out to every college radio station in the country.” (more…)