All language subtitles for NIRVANA - Nevermind Bonus (2005)

Drain You probably has the record
for most guitar overdubs on Nevermind.

I think, after we'd cut the basic take,
I wasn't happy with the sound,

so we went back and overdubbed a clean
sound on the intro with Kurt's vocal,

as well as one, two,
three, four, five guitars,

two tracks of the Mesa Boogie,
two tracks of the Fender Bassman

and a track we called the super-grunge,

which was a pedal into the Bassman.

And they're not all equal volume
but at points in the song they come up

and are blended and panned to give it an
almost orchestral sound with the guitars.

I'll play you the intro here.

This is what it sounds like with
Kurt's vocal and the clean guitar.

Now he's still singing from the tape,
we take that out

and we put in the basic track,
which is the drums and bass,

and the main guitar
that he cut with the live track.

So here's what it sounds like
when it kicks in.

Now what I wanted to do was
make the song kick right away

cos that first line is so key to the song.

Instead of actually having him double,
he did two takes on the lead vocal

and they matched up really close,

so all I had to do was basically
run the levels - match the levels.

So here's with both the vocals in,
the second guitar,

the Mesa that we added, so the track
is starting to build up a little.

You can hear the intro is
a little bit fuller now.

Still didn't sound big enough for me,

so we kept overdubbing guitars.

We added two more Bassmans

and a final super-grunge Bassman
with a pedal.

I don't know how I got Kurt to do it.

I think I kept saying...
I think I was lying, basically,

saying, "There's a problem with the track,
it didn't record properly,"

or, "It's out of tune,
so let's do it again."

So he thought he was doing the same part,
while I kept putting them to new tracks,

so we had a clean track
and five guitar tracks.

So now it's sounding like a rock song.

These are the two Mesa tracks.

Here's the two Bassman tracks.

Here's the super-grunge track.

It's pretty grungy.

Put them all together.

It's got a pretty glorious sound.

I guess the middle section of Drain You
is the Bohemian Rhapsody of Nevermind,

because there's more than one guitar
going on.

But, yeah, that seemed like a section

that was greatly influenced
by something that Sonic Youth would do.

It was just about atmospheric dynamics

and some sort of chaotic crescendo
or something

that would happen in the
middle of the song.

What we wanted to do

was have a section in
the middle of the song

that was like The Who.

Even Kurt said, "lt'll be
our Won't Get Fooled Again part."

The middle section is kind of
a free-form freak out,

very Sonic Youth.

As the guitar chords sort of hang.

We kept all the mics going
as Kurt did the overdubs.

You can hear some of the toys he brought
in. This little squeaky mouse toy.

It sounded great. Andy
put it through delays

and it sounded trippy,
spinning around.

Here are some of the other instruments
in here, the bass and the drums.

Of course, it sounds
cool when you put the...

guitar hits in there.

He was doing all these sound effects
that sound like steam.

Quite startling in the mix, actually.

And here's Dave's snare drum.

We went to see this band in San Francisco
called Scream.

And Kurt and Krist saw the drummer,
listened to him for a while,

and said, "Wish we could get
a drummer like that."

I hit the drums as hard as I could

and had really big drums

and Scream was a fast, hardcore
punk-rock band.

But we also played sort of rock songs.

And so it was

the most powerhouse drumming
I could possibly produce.

Every night, I just
played until I collapsed

and it was a lot of fun.

And the funny thing was,

a short time later,
maybe just a few days or a week,

the word got around that he was available
because that band had broken up

and everyone had gone home.

And so, sight unseen, they called him

and he had heard of Nirvana,
Nirvana was pretty well-known,

so it was a good opportunity for him.

I had a couple conversations with
Kurt where we talked about music

and he wanted to know
what kind of music I was into.

I listened to everything
from Public Enemy to Neil Young

to the Bad Brains.

And so we actually shared a lot of...

We had a lot in common, musically,
in the bands that we loved.

We loved punk rock but we also loved
Credence Clearwater Revival

and we loved Slayer
as much as we loved Public Enemy

and so it seemed like things
were gonna work.

Dave's solid and he's a natural musician.

He can play anything -
guitar, bass, drums, sings.

I mean, he's just a great
musician and so...

And he's just so natural,
he makes it sound so easy,

so he's easy to play with.

It's not like forced or anything

and if you have a kicking drummer,
you have a kicking band, right?

Nirvana was never a band
that complimented each other, ever.

Even after the greatest show
you've ever been to in your whole life,

you'd walk backstage
and everyone would kind of sit down

and just kind of like,
"I'm gonna get a beer."

It wasn't like, "That was amazing," and,
"You did great and you were great, too."

"Oh, we're so great."

Never, ever, ever, ever

got one compliment
in the four years I was in that band.

I remember we were supposed to go down in
April or May

and that got pushed back a couple weeks

and it would get pushed back again.

We were just dying to go down
to make the album.

We really couldn't wait.

We rehearsed so much
that we could've recorded it live

and it would sound somewhat similar
to the way it does on the album.

But we were just chomping at the bit,
we wanted to go down so bad.

Finally, once they set the date,

we decided to put a show together
to get gas money to go down,

so we played at this place, the OK Hotel.

And we thought we'd pull out the new song,
Smells Like Teen Spirit.

And the crowd went nuts to Teen Spirit

and I thought, "That's kinda cool.

"A new song that nobody knows
and they're all bouncing around."

And actually, when Kurt and I went
to go down to Los Angeles,

we started off in his little Datsun B210,

which was this car that some old woman
gave Kurt, barely worked,

and we would take that
to rehearsal every day.

We were all excited,
we got the car loaded

and we started heading down the l5
on the way down to Los Angeles

and within 20 minutes,

the temperature gauge was just pegged - we
were gonna overheat.

"What do we do?" So we pull over -
neither of us knew anything about cars -

pull over and let it cool off
and fill up the radiator

and then get back out on the highway
and start driving some more.

Ten minutes, it's just pegged.

We got to... We got into Oregon, I think,

but it took us about
five hours to get there

cos we were pulling over every 20 minutes

and just hosing down the engine block
to cool it off,

which evidently is a really bad idea.

So we thought, like, "Fuck, manl
This is torture, it's like a nightmare,

"where you're running
but you're getting farther away."

So we turned around,
we called Krist from a payphone

and said, "This car, we're not gonna
get to... We can't do it."

And he said, "Come back up to Tacoma, jump
in the van, take the van."

So we headed back up to Tacoma,
which took another five hours,

pulling over every ten minutes,

and I remember, we were so pissed off,
we pulled off into a quarry

and stoned the fucking car for half
an hour, we busted out the windows.

And still had another
half an hour to drivel

We left it in front of Krist's house
and jumped in the van and drove down.

It was interesting, where we stayed was...

There are these furnished apartments,

they're rented by the month.

So we rented this place for two months

and it was this... something
Corporate Apartments.

And it was utilised by people
in the entertainment industry,

who would come into southern California and
work on a project

but not rent a house or...

It was very affordable.

And it was like this generic '80s, kind of,
you know, furnished place.

Of course, we just completely destroyed it.
Everything was broken.

Paintings were broken,
the coffee table was broken,

chairs were broken, the place was...

By the time we were done with it,
it was just trashed. We were just raging.

We did a few days of preproduction,
which I'd never done before.

I'd made records before
but they were always in...

basement studios
and really quick one-take recordings.

Never really made a serious album,
as serious as this,

as serious as I imagined it to be -

I thought, "Whoo, we're going pro,
this is gonna be a real record."

And so we did a little preproduction
with Butch.

A lot of the songs, he was familiar with,

a lot of the newer songs
he had never heard.

And it was great.

We went to a rehearsal studio
in North Hollywood

and the band set up.

Krist had his SVT
and Kurt had a Mesa amp

and I think he had a couple of speakers
cos he wanted to be incredibly loud.

And Dave set his drums up
and there were no mics on Dave's kit.

And I walked in and met everybody
and everybody seemed cool.

They said, "Might as well play you
one of the songs."

And they got behind the kit
and they played Teen Spirit.

Starts with that scratchy guitar
and Dave did that...

And it just exploded.

I remember standing up and pacing around,

I couldn't believe how intense
and how powerful they sounded.

And there were no mics on Dave's kit
and the drums were just punishing,

it was pretty amazing sounding.

I remember breaking out into a sweat going,
"Oh, my God, this is incredible."

I didn't really know what to do
when they finished

except I paused and said, "That was
really good, you guys. Play again."

And I just needed to let
my brain digest it.

It was so good and cathartic-sounding

and, like a lot of the songs,
didn't need a lot of tinkering.

As we got into the preproduction,

we made a few changes,
tightened up things here and there,

but they sounded tight,
they had been rehearsing.

And the melodies, Kurt had figured -
I was tinkering with some of the words.

But boy, the first time they played
Teen Spirit was amazing.

I wasn't aware of Nirvana,
I'd never heard of them.

I'd come out to Los Angeles
to be a video director

and the story goes with me is,

I'd gone to someone at a record company
and said, "I'm starving and I need a gig."

And she said, "I've got this band, Nirvana,

"and they might sell
a few hundred thousand records

"and we'll give you a little bit of money
and let you do a video."

I knew I was part of something special
cos I saw them play at the Roxy,

like three weeks before the video
and they were amazing

and I had an idea
that maybe this was gonna be something.

Their idea was to do something very punk,
they wanted to do something very punk.

And they wanted to reference a movie
called Over The Edge.

And it's a movie, an obscure cult film,
with Matt Dillon,

1970s kids going... rebelling

and destroying a high school.

And they also wanted to reference
the Ramones' Rock'N'Roll High School.

So I took pieces of what they talked about

and liked the idea of the whole thing
taking place in a high school gymnasium.

Basically, nobody wanted to be there
for more than like half an hour

and I needed them there for 12 hours

so by the 11th hour,
when the band had had it with me

and the kids were so angry
and just wanted to get out of there,

they said, "Listen, can
we destroy the set?"

And I'm exhausted, I'm like, "Right, fine,
destroy the set, what do I care?

"Destroy it." So all the kids came down
from the stands and it's all real.

The last 30 seconds of that video
is those kids really destroying the set

and I just happened to have
a roll of film in the camera

and I look through the eyepiece
and I go, "That's it."

Light bulb. "That's amazing."

And filmed it
and it became the end of the video.

So, yeah, those kids
were not from central casting,

and the destruction and the rebellion
at the end of that video, it's just real.

There was a point during the video,

Kurt had done the song three or four times
and he didn't want to do it any more

and I had to go up to the record company

and say, "He's gotta do it a couple
more times or I don't have a video."

And what I remember is,
and what makes it a really strong video,

I'd like to believe,

is that Kurt was so mad about being there,

it really was like the takes
that we forced him to do that became...

When he's putting his face into the
camera so close it's out of focus

and screaming into the lens, he was really
pissed off about being there

and it's like, you know, there's a part of
me that's sorry I had to do this to you

but, wow, what a great performance.

I had a cut of the video
that had some other stuff in it,

that just wasn't that good.

There was other characters from
the high school gym, the principal and...

other very music-video cliche stuff
that was in the video.

Kurt was really unhappy
and he flew down from Seattle.

It was the last time I ever saw him.

He sat in the edit bay with me
and made some brilliant decisions.

Like during the guitar solo, he's like,

"I want to see my hands
on the wrong place on the guitar."

And he was a smart guy, you know,

he was a really smart guy.

Since then, any time I've
dealt with an artist,

it was about vanity, "What do I look like?"

He didn't care what he looked like.
He cared about...

that the video had something

that was truly about what they were about.

It literally lifted me out of obscurity
and jump-started my career

and it never would've happened
like that with another band.

Or another video.
Like for me, it was everything.

I remember one night
sitting in our apartment

with Kurt and I think Krist was there, too.

And there was a special on TV
on underwater birth.

We went to meet the artwork people

and we said, "Yeah, we saw this thing
on TV, these babies underwater

"and it kind of seemed sort of cool."

And we got... He said, "I'll go look for
a picture, see if I can find one."

I went out searching books and stuff

and every picture that I found was just
way, way too graphic and gnarly

to be used on a cover,
there was no way it could be done.

I found a stock image
of a baby swimming underwater

that I cut out and I proposed to the band
and he really liked that,

so we kind of went from there.

The photographer Kirk Weddle
set up the shoot

at a Pasadena swim school.

And he went there the week before and
enlisted parents to bring their kids down.

My mom was good friends with this guy,
Kirk Weddle.

He shot the album cover.

He called my mom up and said,
"We need someone to do the job."

And I guess that was me

because I was just born
and they needed a baby.

I'm basically the Nirvana baby.

It all fell together really organically.

Like, we got the picture of the baby

and then we kind of went back and
went, "It's gotta be something more,"

so we started thinking of different ideas.

I think he came up with the fish-hook idea.

And then we spent, like, hours
just joking around,

all the different funny things
you could put on the fish-hook

and it ended up being a dollar bill.

Kurt was very clear on what
he wanted to do with the cover.

He had it in his mind,
he knew what he wanted it to say

and I think that, you know,
in everything he did as an artist,

it had something to say, you know.

And it was really funny at the time.

Well, it was interesting at the time,

because no one took any heed
to the cover at our company,

like, "This'll be a problem."

The record blew up quickly and then
it was like, "Walmart won't take this."

And we were like, "Well, who cares?
"We're not gonna make a different cover."

Because you could take
your driver's licence

and go into Kmart or Walmart
and buy an AK-47

but they wouldn't take an album cover
with a baby's penis on it.

A couple places
where they started getting feedback,

like radio shows, about how it was
a disgusting, paedophile thing.

It's just...

We had the big posters
that went in record store windows

and they were putting stickers
over the private area.

I think it was Ventura
where a record store had

a big four by four blow-up
of the album cover in the window.

And a cop came by and made them
put a Post-it over the genitals,

a fig leaf, basically.

And I think that it's
so fitting to look back

having not given any thought,

that that album,
which was so powerful and so,

you know, so influential,

and will be for generations to come,
has a baby on the cover.

It's kind of the birth
of a lot of different things at the time,

and it'll be the birth of a lot of things
in the future.

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