LIVE NIRVANA INTERVIEW ARCHIVE January ??, 1994 - Seattle, WA, US

Interviewer(s)
Unidentified Rádio Comercial Correspondent
Interviewee(s)
Dave Grohl
Publisher Title Transcript
Rádio Comercial TBC Yes

Dave Grohl: I don't understand a lot of the music industry. Like, there's so many bands in the world, there's a million bands in the world, some of them are really great, some are really bad, but there's so many different kinds of bands, that it's hard to think of… it's hard to think of us as anything special, you know? I mean, I know that our record came out and we sold a lot of records and people considered us something really special, but it's hard for me to… it's hard for me to think of something like that because… just because… I don't know, it's hard for me to explain! [laughs] I don't think that we're the leaders of any musical movement, you know?

DG: Sub Pop had a lot to do with the Seattle scene because, after Sub Pop had started putting out records by Mudhoney and Tad and Nirvana, Seattle had its own personality. And I don't think that the rest of the country- nobody knew about Seattle until Sub Pop started selling this personality, you know? And it was an image, you know? It was this weird image of long hair and drunk people with flannel shirts on and people listening to the Stooges. It was just this weird image that nobody else in the country realized and once people saw, like, “Wow Seattle's kinda cool” then it became- Sub Pop became a kind of a big deal. So, it had an incredible influence on what happened with Nirvana. So, Sub Pop was- That was like the foundation of everything that happened. 'Cause without Sub Pop there wouldn't be any Mudhoney and there wouldn't be any… you know, there probably wouldn't be any Nirvana without Sub Pop.

DG: When we- We released the record in September of 1991 and we were on tour. We started touring and, as we were touring America, the record was selling more and more. And we were playing these small clubs, but it started getting crazier and crazier and crazier, to where we would have 700 people trying to get into a club that fit 150 people. It just started getting crazy and we were on tour the whole time. And then we came over to Europe and our record went to Number One in America and we started selling millions of records. And it was really strange because we didn't really know what was happening, we didn't realize that something big was happening. And then we went and we toured Japan and Australia. So, when we came back, all of this crazy shit had happened - we had sold 5 million records and we were all of a sudden… you know, we weren't poor any more. [laughs] It was a big difference. Like, all of a sudden, we were considered rockstars. They probably expect us to be assholes. They probably expect us to be very arrogant, very obnoxious and… I don't know… I mean, because I don't think people really do consider us rockstars any more. I mean, not here. In Seattle, people don't. In Seattle, if we go to a bar downtown, people just sorta think of you like, “Oh, there's that guy from Nirvana” and you're just a normal person. So, I don't think people consider us to be rockstars any more, just because… I think maybe they realize that we're just normal people. Like, everybody is a person. Like, Madonna - OK, she's Madonna, wow, but she shits and she eats and she sleeps - she's just a normal person. Everybody's a human being.

DG: I think that with Nevermind, when we recorded Nevermind, we wanted it to be perfect. With Nevermind, we didn't want any mistakes and we didn't want any flaws, we wanted the record to sound really perfect and really pristine. So, with In Utero, we just wanted to- we just wanted to record the songs and not pay attention to perfection. We just wanted to record them the way they sound when we play them.

DG: We loved the production that Steve Albini did with the Pixies, The Jesus Lizard and The Breeders. And he has a really really great drum sound, it was the drum sound that we always loved so much. So, when we decided to record with him, he didn't like Nirvana, he didn't like our music at all, but he said, “OK, I'll record you guys and we'll see what happens.” So, we went in and we did things really really fast. He doesn't like to be called a “producer” because he doesn't produce, really, he just records, so that's why it says “recorded by” not “produced by.” But he just did everything really fast, you know? We recorded all the songs in like 4 days and then put all the vocals down and then mixed all the songs. So, it took, I think, 12 days or something, or 13 or 14 days and we were done! And we were happy at first, but then when we started listening to some songs, like Heart-Shaped Box and All Apologies, we thought that they needed to be remixed. And Steve didn't want to remix them, he thought that they were the best that they could be, so we decided, “OK, then we'll ask somebody else to remix them.” So, we called up Scott Litt and asked him to remix some songs and he did. But, I mean, there was never any pressure from our record label to change anything. Because we have- in our contract, we have the final decision, our label can't make us do anything.

DG: It was really fun. I was worried that it was gonna suck! I thought it was gonna be really terrible, but it turned out pretty good. It was a lot of fun. That was the first time we'd ever really played really quiet. It was really hard for me because I'm used to playing drums really hard, so it was difficult for me because I had to be so quiet, but it was interesting. We liked the way it turned out, it was really great.

DG: It'll be the first one on the tour, which means it'll be the best show of the whole tour - you guys are so lucky! [laughs] It'll be the best show that we've ever played! Write that! “Get ready for the best show Nirvana's ever played!” I dunno, it should be pretty good. I mean, I'm excited. I mean, we leave next week, so I'm really excited. It's gonna be fun, man! Hey, what's the weather like there now?

© Rádio Comercial, 1994