[Marianne]

Oczywiscie, ze wie. Tylko nie pamieta i musiał sprawdzic ;) Nie dam glowy uciac, ale chyba w ER Weissa była o tym nawet wzmianka, ale nie pamietam juz gdzie o tym czytałam. Albo w "Badx, jaki badx: historia Nirvany". W kazdym badx razie, musialbys sprawdzic, bo na pewno o tym czytałam ;)

Tako sprawdziłam w necie: link

Cytat:

Cytat:

While at Devonshire, Vig and the band also took a first stab at mixing the record. "I mixed three or four tracks with the band," says the producer, "but none of us were very happy with how they came out. To me, they sounded too rough. Kurt would say, 'Take all the high end off the guitars.' And I would say, 'I don't want them to sound muddy.' There was also a tendency to bury the vocals more. The mixes sounded more punk rock that way, but the songs didn't sound as focused to me." So they decided to call in someone else to mix the album. Geffen's Gary Gersh sent over a list of possible names. "Scott Litt was on top of the list," Vig recalls, "but Kurt said, 'No, I don't want to sound like R.E.M.' Ed Stasium was also on the list. To which Kurt said, 'No, I don't want to sound like the Smithereens.' He went all the way to the bottom of the list and Andy Wallace was there. It said 'Slayer' next to his name. And Kurt said, 'Get this guy.' The mixes were done at Scream, another San Fernando Valley studio. Basically, I'd let Andy go over the tracks by himself for a few hours," Vig recalls. "When he got everything up, he'd call me in, and I'd bring in the band and we would nitpick stuff. Basically, we mixed a song or two a day. The whole record took nine or 10 days to mix." Despite the fact that Wallace was Cobain's own choice, and that the band participated in the mixing process, Cobain would later complain to the press that Wallace's mixes made Nevermind sound too slick, and that it was "closer to Motley Crue than a punk rock record." "But I think part of that was just Kurt's reaction to having Nevermind be so successful," Vig speculates. "If it had only sold 50,000 copies, he probably wouldn't have had any comments on whether it was too slick or not slick enough."

[JAMik]

Tak się nosiłem z napisaniem tego posta sporo czasu i w końcu kolejne zaliczenie Neverminda na DVD zachęciło do napisania tego.Rzecz się tyczy w rozbieżnościach co do faktów przedstawianych a śladów z nevermind(tzw. Multitracks).

Something in the way:

Vig: Cobain leżąc na kanapie śpiewa i jest otoczony 2 mikrofonami.Jednym na wokal i 2 zbiorczym na akustyka.

Na innych śladach/piosenkach słychać w tle inne elementy podczas wokalu czy basu,ale tutaj jak puścimy Sobie wokal i gitarę osobno to się okazuje,że są idealnie odizolowane,a każdy kto zna studio to wie,że to oznacza tylko osobne nagrywanie.Oznacza to,że łączony wokal+gitara to nie była podstawa piosenki,lecz najwyżej "wzór"

Drain you:

W tej piosence jak praktyczne w każdej na Nevermind zostały nagrane 2 wokale...rożnica jest taka,że tutaj brzmi to TOTALNIE innaczej niż Vig prezentuje na DVD,W rzeczywistości są to faktycznie 2 wokale,ale nie takie same.Jeden jest normalnie z porcją reverbu a 2 o o wiele ciszej z nałożonym echem na wszystko.Jest to na tyle wyciszone,że brzmiało jakby tam był 1 wokal w zwrotce.

Jeszcze jedna sprawa.Vig mówi,że "oszukiwał" Cobaina podkładając nowe tracki by mieć 5 gitar do Drain you...zaraz potem na tym samym DVD Grohl mówi,że to było zainspirowane tym co sonik juf zrobili,więc coś nie tak.Pomijam fakt,że nie ma tutaj 1 clean giutar a są dwa tracki z czego 2 jest nagrany z tzw. off axis,czyli z mikforonu oddalonego sporo od pieca,lub o sporym reverbie.

Po tych nudnych wywodach ciekawostka,chyba bardzo istotna zwłaszcza dla fanów talentu Grohla.Vig na jednym z fachowych for internetowych o tematuce realizatoskiej,gdzie jest specjalnym gościem przyznał,że Andy przy ostatecznym mixie na stopę i werbel dołożył dodatkowe sample.czyli końcowa moc/brzmienie to tak 1/2 Grohla jesli idzie o te dwa elementy.To wyjasnia,że ździwiłem sie jak w sumie lekko Dave grał na tych śladach perki a potem taka moc niezwykła na albumie.Teraz wszystko jasne

[JAMik]

Tak też sobie napiszę,może kogoś to zainteresuje,ale pewnie większość wie.W 2011 będzie 20-lecie wydania Nevermindu.Szykuje się zapewne remaster,a może i outtake'i rozmaite jak Old age czy Sappy,a wszystko miksowane z "roboczych" nagrań chyba,że o czymś nie wiemy.

Taka ciekawostka.Dzieciak z Neverminda,z okładki.Dzisiaj i kiedyś

[beermore]

Remaster? Jak dla mnie wszystko brzmiało dobrze już za pierwszym razem. Nie wiem, co by można jeszcze z tego materiału wycisnąć. Co do outtake'ów, chyba to ktoś na forum przesłał albo sam na yt widziałem, jak Novoselic mówił, że ostatnią piosenką Nirvany było 'You Know You're Right' i że nie ma już żadnych ich piosenek, za to mnóstwo materiału video.
Znając życie zremasterują album, dodadzą jakieś numery solowe Cobaina grane na akustyku o 5 rano, zajebiste filmy z zespołem, które nigdy wcześniej nie ujrzały światla dziennego, książeczkę z kolorowymi fotografiami, zdjęcie Kurta w złotej oprawce i zrobią box za jedynie 300 złotych.

Co do gościa z okładki, ma chyba najbardziej bajeranckie i znane zdjęcie ze wszystkich gości w jego wieku. :)

[Radivaar]

Słyszałem kiedyś, że ten koleś nazywa się humorystycznie "najmłodszą gwiazdą porno", a jego ojciec pozwolił mu zrobić to zdjęcie bodajże a 200$ i nie miał świadomości, że zostanie umieszczony na okładce najlepszego albumu lat 90tych.
Sam nie interesuje się muzyką i woli grać w xbox'a ;]

[JAMik]

"That crunching noise heard in record stores across the country last week was the sound of Nirvana's 'Nevermind' (Geffen) stepping on just about every other album. In a surprise move, the album, featuring adventurous college rock, bolted to the No. 1 spot on Billboard's album charts.

It sold 373,520 copies, according to Soundscan, Billboard's sales reporting system, bumping off, in order of appearance, Garth Brooks, Hammer and U2. The big loser was Michael Jackson's 'Dangerous,' which dropped to No. 5 from No. 1. Mr. Jackson's decline actually began a week earlier, when his album was dislodged from the top spot by Mr. Brooks's 'Ropin' the Wind'; the change wasn't noted because Billboard didn't publish that week.

'From what we gather, 'Nevermind' 's audience is between 14 and 34,' said Eddie Gilreath, the vice president of sales at Geffen. 'It seems to be a project appealing to both the younger or hip set. Nirvana has outsold over the last two or three weeks U2, Hammer, Michael Jackson, Metallica: real big-name values. If you told me last year it would outsell U2 I'd probably die laughing.'

"Next week I anticipate it to go over 400,000 because the band's on 'Saturday Night Live,' which usually helps," he said of Nirvana's appearance on the show, which is to be on Saturday.

Part of the album's surge comes from the standard post-Christmas rush, when young buyers, on vacation and with Christmas money or gift certificates, hit the stores. As dramatic as the change on the charts may seem, however, the range of sales figures is not that great. Though "Nevermind" has been selling over 300,000 copies for the last four or five weeks, according to executives at Geffen, there is a pack of other albums very near it. "Nevermind" sold 373,520 copies last week while Mr. Brooks' "Ropin' The Wind" sold just 23,000 fewer copies and Mr. Jackson's album about 50,000 fewer. As several industry analysts pointed out, it wouldn't take much more than a good single to get Mr. Jackson back at the top of the chart.

All these figures look good to an industry that had looked forward to the holidays with some trepidation. Sales in the weeks before Christmas were weak, but Michael Shalett of Soundscan said 60 million records have been sold in the last 2 weeks.

The last couple of weeks customers came out, finally," said Lew Garrett, the vice president for buying at the Camelot record chain. "It was probably enough to overcome the three or four weeks prior. We think we'll see a strong week or two to come. But we're two to four percentage points ahead of where we were last year; that's our estimate." Using Drumbeats

Though a recent ruling finding the rapper Biz Markie guilty of using parts of Gilbert O'Sullivan's hit "Alone Again (Naturally)" without permission has garnered heaps of publicity, a new lawsuit has the potential to be much more widely influential. Aaron Fuchs, the president of Tuff City Records, a hip-hop and rhythm-and-blues label in New York, filed suit on Dec. 21 in Federal District Court in Manhattan against Sony Music Inc. and the Sony-distributed Def Jam Records, claiming that the producer Marlon (Marley Marl) Williams sampled part of the Honeydripper's 1973 single "Impeach the President" for use on two singles by L. L. Cool J, "Around the Way Girl" and "Six Minutes of Pleasure" as well as the Def Jam recording group EPMD's "Give the People." Mr. Fuchs controls the rights to "Impeach the President."

Several lawyers in the entertainment field said the suit differs from other sampling suits because it alleges that a drumbeat was sampled, rather than a melody or harmony, as in the Biz Markie case. (Sampling is the term for electronically copying parts of recorded songs.)

In some respects, the Markie case is an anomaly because for the most part rap producers and artists have been getting clearance for what they sample; Mr. Markie didn't, and was caught. But drumbeats are rarely cleared, and rap records are built around borrowed drumbeats. If Mr. Fuchs wins his case it means a change in the application of copyright laws. The price of clearing each single will rise because the drumbeats need to be paid for as well; this has the potential to end sampling as it is commonly practiced.

David Harleston, the president of Def Jam, said yesterday that the claim was "utterly without merit and a clear attempt by a record label which has not had any success with its records recently to feed off the success of two of our acts, L. L. Cool J and EPMD." Big Jay McNeely

The saxophonist Big Jay McNeely will come to Tramps (45 West 21st Street, Manhattan) this weekend, and his engagement will offer a chance to peer into the history of American music. Mr. McNeely is one of the most flamboyant performers to walk, crawl and lie on a stage, a rhythm-and-blues precursor to the histrionics of Little Richard and a whole line of rock-and-rollers. At the peak of his popularity, in the late 1940's and early 50's, Mr. McNeely had a handful of honking and howling instrumental hits that using a small group, harnessed the power of the large and hard-swinging dance orchestras.

But Mr. McNeeley's success came at some cost. Like most of the rhythm-and-blues performers of his day, Mr. McNeely had jazz aspirations. He grew up in Los Angeles, a friend and band mate of the saxophonist Sonny Criss and the pianist Hampton Hawes. Whenever East Coast be-boppers came through Los Angeles, Mr. McNeely and his friends made it a point to be at every show, and play music with the visitors whenever they could.

Things changed in 1948, Mr. McNeely recorded "Deacon's Hop," a rocking and noisy rhythm-and-blues tune, which became a hit. "Once you have success in one style, it's almost impossible to get recorded any other way," Mr. McNeely said. "I was poor and wanted to make money. I had made up my mind that I wanted to be an entertainer and really get crowds going, but I also wanted to record ballads and good, swinging music. But record companies wouldn't do it; they wanted hits. Now I'm not even sure I could stretch out. I'm 65, and jazz is hard to play."

Though Mr. McNeely's initial audience was black, he began drawing huge white and Mexican-Americancrowds as well. "Musicians that didn't know that I could play would say that I was destroying the music with my one-note solos," said Mr. McNeely, who is black. "Some black people didn't go for the music because they thought it was degrading. And black kids thought there wasn't enough blues in it."

Given the transitory nature of popular music, Mr. McNeely has had an active career. For the last five years, after he quit a job at the post office, he's been making his living by playing music, with regular tours to jazz festivals around the world. He still rolls around onstage, feet up in the air, honking his saxophone."

"I like doing stuff like that, people enjoy it and I like the response," said Mr. McNeely. "It's fun."

[Mosiarka]

Co myślicie o coverze Torii Amos do piosenki Smells Like Teen Spirit ?

http://www.youtube.com/watch?v=wcHNZVrxEts

[JAMik]

[JAMik]

Ed Vedder trochę o Nevermind i tamtym klimacie:

It was summertime in 
Seattle, and our record Ten was coming out in about a week. There were a few copies of Nevermind floating around on cassette before the record was out, and I remember hearing it on a Walkman, walking by myself on a rare nice day when the clouds broke for the first time in months. Just hearing that tape with the white label, it had an impact. It felt like a change. I remember in April, there were a bunch of people outside this place called the O.K. Hotel. I went up — I knew the guy who poured coffee there — and I was able to go in and see one of the first shows they played for the record. Later that summer, Fugazi were playing in the Mojave Desert. We drove in this little Toyota with Nevermind playing. You could just listen to that thing on repeat, it never dipped.

[Lua]

True or False? 8 Myths About Nirvana's 'Nevermind'

In September 1991, DGC Records released Nirvana's Nevermind, one of the most influential and revered albums of the past two decades. But much of what the general public thinks they know about the record is wrong — or at least slightly skewed. Here's the real scoop, from Kurt Cobain biographer Charles R. Cross.

MYTH NO. 1: NEVERMIND WAS KURT COBAIN'S FIRST CHOICE FOR AN ALBUM TITLE.
Kurt Cobain was a notorious planner, and his journals are filled with track listings for albums he never made. His first idea for a title for Nevermind was Sheep. He went so far as drawing an ad in his journal with typically cryptic, Cobain-esque copy: "Sheep: Because you want to not, because everyone else is," it read, with the tagline of "Abort Christ." Krist Novoselic offered up his explanation for the title: "We were thinking about calling it Sheep because we were so cynical." But that plan was abandoned by late 1990.

MYTH No. 2: NEVERMIND WAS RECORDED IN 1991.
Nirvana essentially made Nevermind twice. The session that began in April 1991 with producer Butch Vig at Sound City studios in Van Nuys, CA, was remarkably similar to a session the band had in April 1990 with Vig at Smart Studios in Madison, WI. They recorded eight songs with the producer in 1990 in Madison, and five of those ended up on Nevermind, though most were new recordings and takes. The major difference between the Madison sessions and the recordings made in Van Nuys was Dave Grohl. So while most of the album was recorded in '91, the genesis of Nevermind began a year earlier. (Bonus trivia: On several songs, Grohl played Vig's Yamaha snare — the same one used on the Smashing Pumpkin's Gish.)

MYTH No. 3: DAVE GROHL IS THE ONLY DRUMMER ON THE ALBUM.
Vig was a drummer himself, and the crisp drum sound he captured from Grohl for the album — think the start of "Smells Like Teen Spirit" or the chorus in "Drain You" — was a key ingredient to the record's sound. Vig used a "tunnel" to record all of Grohl's work at Sound City, except for "Something in the Way," where he struggled to make him play quietly. But Grohl isn't the only drummer on the album: Nirvana's Bleach-era drummer Chad Channing is featured on "Polly." This was the one track that emerged from the original Smart sessions unscathed. Channing isn't credited on the original release of Nevermind — and he didn't earn royalties from it, either.

MYTH No. 4: "SMELLS LIKE TEEN SPIRIT" WAS WRITTEN ABOUT A DEODORANT.
Everyone knows that Cobain wrote "Smells Like Teen Spirit" about a deodorant. Well, sort of. Kurt's friend, Bikini Kill frontwoman Kathleen Hanna, did indeed write, "Kurt smells like Teen Spirit" on Kurt's bedroom wall as a kind of taunt, and that was where the song title came from. But it wasn't until after the album was released that Kurt discovered there was such a thing as a Teen Spirit deodorant. Kurt wrote the song about a line of graffiti, not an antiperspirant. (Bonus trivia: Sales of Teen Spirit deodorant skyrocketed after the record came out.)

MYTH No. 5: NIRVANA ORIGINALLY MADE A CASSETTE DEMO OF "SMELLS LIKE TEEN SPIRIT" TO PROVE THEY HAD A HIT.
Nirvana first recorded "Teen Spirit" onto a boombox at a rehearsal, which is included on the forthcoming Nevermind box set. But even though the band liked the riff, no one in the group knew it would be an immediate hit. Butch Vig said he knew it was one the moment he heard it in early '91, when Cobain sent him a copy of their new material. But the real reason Nirvana started recording their demos on a boombox, according to Grohl, was because they kept forgetting how to play several songs they'd written. "So many songs got thrown away, until we finally said, 'Maybe we should start recording them on a cassette,'" he said. (Bonus trivia: The tape began with Kurt saying, "Hey Butch. We've got a new drummer, his name is Dave Grohl, and he's the best drummer in the world.").

MYTH No. 6: COBAIN WROTE NEVERMIND ABOUT DRUGS.
Drug references do spring up in several songs, but Kurt's muse was complicated, and his full-scale drug addiction didn't start until after the album was recorded. Before Nevermind, he had experimented with heroin, but he wasn't a full-blown addict. Most of the record was written about his friends, neighbors, or girlfriends. His initial plan was to break the album up into a "boy" side and a "girl" side. The "girl" side would consist of songs like "Teen Spirit," "Drain You," and "Lounge Act," most inspired by Cobain's unrequited crushes of that time. The "boy" side would contain a variety of songs, including "In Bloom," which was written for his best friend Dylan Carlson. (Bonus trivia: "Breed" is a rewrite of a song off the Smart sessions titled "Immodium," which was inspired by the intestinal problems of Tad Doyle of Tad.)

MYTH No. 7: THE COVER OF THE ALBUM WAS COBAIN'S IDEA.
Kurt did come up with the cover idea for Nevermind, but his initial idea bore little resemblance to the final image of a baby floating naked in a pool. He had seen a late night television show on underwater birthing, and wanted a photograph of a baby's head right as it began to exit the vagina — he went as far as to sketch out the image in his journal. Yet when Kurt tried to license the gory and bloody photograph, he was rebuffed. The naked baby photo was the back-up plan. Spencer Elden, the baby pictured on the cover, has since joked that he's the world's "biggest porn star" because so many people have seen his penis.

MYTH No 8: NEVERMIND IMMEDIATELY MADE COBAIN A RICH MAN.
There is a common misconception that Cobain became an overnight millionaire with the album's success. But the album didn't score Gold Record status until a month after its release, and the bulk of the sales arrived in 1992 or later. Most record companies only pay royalties twice a year, and payments lag sales by several months. As a result, Cobain earned almost no money from Nevermind in '91. His income that year totaled $29,541, and almost all of that was from a fall tour. When Cobain returned home to Olympia, WA, after recording the record in the spring, he found his belongings sitting in boxes by the curb: He had been evicted. He spent that first night sleeping in his car, while his record label completed the finishing touches on an album that would sell over twenty-five million copies.