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Originally Posted by foreverasskiss
anyway?, who's heard the remastered Live and Loud? my VHS sounds better i think. more bass and grit. i taped it on New Years Eve and watched it with my mom. lol
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That is good to hear, because I almost was interested in buying this box set basically just for that DVD.. Thanks for the heads up!
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Originally Posted by Steve Albini
It we assume three million sales, that works out to 400,000 dollars or so. There's no fuckin way I would ever take that much money. I wouldn't be able to sleep. How much you chose to pay me will not affect my enthusiasm for the record."
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Damn I love this dude. He is not just my favorite recordist, and the engineer on literally like five of my all time favorite records, but the guy is sincerely one of my favorite people, just for being himself. This letter should rise to the ranks alongside the now infamous
The Problem With Music, his prank phone call to Eddie Vedder (Steve Albini, pretending to be Bowie/T. Rex producer Tony Visconti, in a prank call to Eddie Vedder:
“Your voice really speaks to me, I can get you in a real band to do some recording,” Azerrad, “Vedder bought it”), and his rap feud with Odd Future
here is another gem
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5. On recording Nirvana's In Utero
Q: What happened when you were helping to produce Nirvana's In Utero? Didn't they decide to go with someone else on the singles?
Albini: Long story, but basically the standard protocol for a big record company at the time was for players in the industry to try to claim authorship of a successful record somehow -- this guy did the A&R, this guy did the legal, this guy was the producer, this guy remixed it -- so credit for success stayed within the industry and players could use it as professional capital. Nirvana made a record by themselves, outside all that influence, and it made everybody inside uncomfortable enough to try to derail it and get them to do it over. Additionally, it's normal for any band to have some slight misgivings about their record once it's in the can, everybody does. The label put pressure on the band, partially using me as a publicity scapegoat, to get them to do the record over, and that coupled with their natural uncertainty eventually created enough doubt that they re-mixed a couple of songs.
I know the label was directly involved with blaming me because I got more than one call from music journalists who said, "I just got off the phone with Gary Gersh and he says the Nirvana album is un-releasable and it's your fault."
The record that made it into the stores is the one Nirvana wanted you to hear, and I'm content with that. I have no beef with Nirvana, they were a normal bunch of guys under extraordinary stress and they behaved normally. All the motherfuckers around them, all their functionaries and managers and label parasites, those petty little people who fucked with them to preserve their positions within the industry, fuck every last one of them.
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