It was tricky because it’s not just [an HBO] series, it’s [a Foo Fighters] album. And so when you’re sequencing the series, you’re sequencing the album, so what do you sequence first? And how can you write the music before you shoot the episode? How do you know what the theme is going to be and how can you tell the story? These things would keep me up at night. I’m not only thinking about the lyric I have to spin the next day, I’m thinking about how it fits into the overall arc of the history of American music. It’s meant to be the musical equivalent of the finale of Usual Suspects. Like that scene where he’s sitting there, you’re going back through the whole episode. It’s basically that.
Dave Grohl and Electric Light Orchestra’s Jeff Lynne cover “Hey Bulldog” on last night’s CBS special The Night That Changed America: A Grammy Salute to the Beatles.
Royals! Lorde hobnobs with Nirvana at last night’s pre-Grammy festivities.
Watch Dave Grohl dance to ABBA.
I mean, my band’s great – but when you augment it with Nirvana, that’s greater.
L7 with producer Butch Vig at Sound City, during the recording of Bricks Are Heavy, 1991. (Via the official L7 Facebook page) Here’s an outtake from my book, Everybody Loves Our Town: An Oral History of Grunge, in which Vig discuss the events surrounding the making of the album:
BUTCH VIG (producer) L7 were amazing. The sessions at Sound City were pretty straightforward, and then we went to Smart [Studios] back in Madison for like a month to finish overdubs and mix, and they took over the town. We rented a house a couple blocks in the studio, and it turned into the biggest fuckin’ party palace in Madison. They knew every druggie, junkie, bookie, psycho killer, man on the street. Every sort of scoundrel that Madison had, they knew. It was a parade of weirdos coming and going from the studio. It was pretty wild. To this day I still run into people going, “Man, those girls from L7, they fuckin’ knew how to party!”
Every once in a while we talk about [performing Nirvana material]. For the Sound City gig here in London we were thinking about musicians that we could invite because Stevie Nicks and John Fogerty couldn’t make it. Someone came up with the idea of doing a Nirvana song with PJ Harvey. Kurt loved her and we love her and we thought, ‘Yeah, what would we do?’ I said: ‘God, what if we were to do ‘Milk It’ from ‘In Utero’ with Polly singing?’ We all looked at each other like, ‘Woah, that would be amazing…’ and then she couldn’t do it!