Definitely QOTSA's cleanest record... which is probably one of the reasons why they never worked with him again. A record that clean was never really Josh's style.
For all of you out there who love that flute, can't unhear it or just smile because it amazes you: Watch Qotsa live at Troubadour 2002. That very flute is played gracefully by Alain Johannes on stage. If I am correct it is Dave Grohl's first live appearance with the band and the flute is quite subtle in between Dave's badass drums and Nick's bass. Like a beautiful butterfly floating around in the fast and ecstatic Qotsa universe. I love Josh and Alain for following their inspiration and daring to play outside of the expected. Love.
That''s a great story about the "A day in the life trick", which perfectly shows how the shadow that the Beatles cast is so large that covers everyone.
I bought the Peavey,Ovation,and some of the other stuff. Now i need more specifics about the drugs. I would also appreciate a contact for Josh's hair stylist. Terrific video!
I also have Valium, vicodin substitute, mdma(close enough to extc) and c c c c cocainne. You can find your own nicotine, marijuana and alcohol. Unless you are under age in which case I will get it for you.
Did you actually buy the Peavey? That won’t get you the sound. It gets 1/3 of the bass sound and a couple guitar tones. You need an Ampeg VT40 or VT22 or even a V4B.
Not much of a genius. It Would of sounded totally Different if he had full production and mix.he wanted to turn it into another clean polished rock record much like his other productions.
@@masthomasthom what time? Because according to Josh, he mixed it with someone else in order to “prey it out of Eric valentines hands”. He said he had a lot of arguments with Eric and openly admits to hating him. Eric also could be deceiving us because now in his winter years songs for the death is one of the most notable and may be the most enduring recording he worked on , he wants as much credit is possible is his ulterior motive.
@@Gcssdvnkloiutesc Dude, you've read too many forum posts. The guy litteraly recorded the album, and also does not need to prove anything at this point since he's a reference in the rock music production for years now. Also he's totally credited on the record as producer.
@@Gcssdvnkloiutesc He demonstrates in this video that his mix sounds identical to the record. If you're too lazy to watch the video, we can't help you out. Also, Eric has done plenty of non-polished records. He recorded a Dwarves record, ffs.
After Josh mentioned the Decade in another interview a while back, guess why Peavey Decades are now over $500, although probably only worth a tenth of that. And people thought, it was his guitar sound, that had something to do with the Decade.
Thanks so much. Awesome track and a great run down of just why it sounds so good. Weird, experimental, creative studio experimentation alchemy. Brilliant.
hey Eric.. got recommended this by RU-vid today, and absolutely loved it. Thanks so much for your generosity of knowledge and transparency with the session.. so amazing to get a peek under the hood, such an incredible sounding record and song.
I had never watched this but heard about it. I was hoping this would show up again at some point in time. I'm so glad for the yt algorithm. Eric is a national treasure, unselfish beyond comprehension.
This is great. As a home recording guitarist, I LOVE hearing how these awesome sounding records are created. This recording in particular, one of THE best sounding drum recordings I've ever heard. Love the sound of this record (the songs are great too!). Eric, I thoroughly enjoyed this. I watched the whole thing. Thanks for doing this.
Thanks for that Peavey Decade anecdote! A few years back, I did some bass reamping for Dani Dettwiler (we were studio neighbours and have an Ampeg). So I did a few passes with the Ampeg and different mics, but also added a track with a 4038 picking up a little 12W Reuther solidstate amp with an 8" speaker. That amp/mic combo sounds massive and kinda has been my secret weapon for highgain guitars for years. He never told me which track made the mix, though...
Hearing music professionals gush about Dave always makes me giddy. It's a shame that recordings cannot truly convey the startling feeling a really powerful drummer can channel, almost primal. Fantastic video, a real privilege to get such an in depth look behind the curtain, especially for one of the greatest fucking rock songs ever! Thanks you for bringing to life an authentic masterpiece! Edit: And you're a Turbonegro fan too :)
You did a great job on this album, and it sounds how the band wanted it to sound, regardless of who mixed it. Everybody played their part. That's the point.
I may be a little late to the party, but I hear an erie resemblance to Alain Johannes’ early songwriting and even vocal styling in the track “No One Knows.” I followed Anthym all over Southern California in the late 70’s and early 80’s, and damn it sounds like Josh is totally channeling Alain in that track.
I don't know what controversy is around this album could be that Josh once said he wanted to do the record by himself and Joe Barresi but the record label wouldn't trust neither of them lol so they choosed Eric which was a great choice at the end, Joe Barresi will be invited to do their next album Lullabies to Paralyze, many of the techniques and tone design in SFTD is very Homme-esque so I think Josh was in charge as well.
Like most creative heads of bands, he doesnt like sharing credit with the other half dozen guys that made it sound so good. Roger Waters, Trent Reznor, Perry Farrel come to mind.
@@lb2696 Well that sure didnt translate into giving chris verenna any money at the time they were the hottest band in the world. Verenna has said at the hieght of downward spiral, after spending every minute with trent since Pretty Hate machine helping him produce that music, he was only being paid something like 100 grand a year. He left at the height of the band he helped create the sound of, and Trent did not care. Sure decades down the road, invite him and the others to the induction "gracious" gesture i guess... but im sure a little more money would have been a more gracious gesture. How much of those drum ideas and the drum programming and sample programing were Verenna's on those first 3 albums..
@@barneyrubble8255 I live in New Orleans and was out and about during that time. I ran into Trent a few times, and then again worked backstage for a festival for them in 2009. His attitude changed a lot from the 90s till then. It was pretty bad apparently for the New Orleans move, for the other guys. Richard the guitar player at the time(Filter) moved down, and was told he could deliver pizzas. But luckily he had been making his own music, and got signed to getaway from it. Trent saw it as his thing, and from what I know told a lot of guys see it as a favor…or a stepping stone. Then a lot of people were put out, or just on standby doing other gigs. He also took part on a lot of drugs back then…I had friends that rolled up to his house selling over in the garden district. Not to mention Manson was around, as an intern answering phones while working on his album. A lot of guys were trying to get off the ground, and getaway from what I know. Big reason Manson left as two big egos like that weren’t going to work well. I had another friend graduate school in 2001, knock on his studio and got a PA job for over a decade with the band. The art director was a fan site, and they picked him up till 2013. He seem to like to surround himself constantly with younger, in the know talent. Meanwhile he isolate, but I catch him out at say an Anal Cunt show on a Thursday at 12am on studio break…the guys with him were jerks trying to pick up 17 year old girls to bring back to the studio…I got into with one guy. But Trent always kept quiet and did not take part in any of that. But I dunno, seem as he went into With Teeth, he was exhausted doing it all himself…finally let others in more and gave the accolades and soften up once he got sober. From talking to Trent during his peak, then in 2009…way different person. He was very humble and nice later on. And I enjoyed getting to work around him in even a small capacity. He was a very gracious guy, and I had 9hrs to kill with him. Ate lunch, talked logic, Abelton, synths, he asked if I like a picture and generally was very nice and kept an open door policy to his trailer and very hands on friendly in 2009.
Josh Homme personally asked for it to come down. EV has mentioned this before. Glad it’s up for now. It can be found elsewhere if you search around though 😉
Another great video that was taken down had Michael Beinhorn and Warren Huart discuss the recording of "Celebrity Skin" by Hole. It would be awesome if anyone could upload that!
Hearing just how much work Eric put into this record makes me really annoyed that Josh has gone out of his way to discredit his contributions at every possible opportunity over the years. I get he didn't think it was cool to be associated with the guy who produced 3EB and Smash Mouth but for fuck's sake give the man his due for capturing these incredible sounds. #justiceforeric
Fuckin amazing, absolutely nailed it with this recording job. I know this comment will go no where probably, but if possible please do a breakdown of god is in the radio, my fave queens track. If you can.
Setting the record straight because Homme in an interview had disavowed Valentine's contributions. EV did a remarkable job capturing this sonic tour de force. Kasper, though, was probably the right man to call in for the mix; he'd recently recorded and mixed the Foos' There is Nothing Left to Lose - Grohl's best, and best-sounding, work.
Does anyone know the backstory, with regards to the claims/rumours that Eric wasn't involved in the recordings.. ? certainly at the beginning of the video it comes across to me that Eric is clearly trying to clarify that he played a big part in the recording of the tracks. I remember catching it the first time and although I picked up on vibe that he was a little 'miffed', generally he seemed super excited to share the process and it was a great informative video. When it went on to be taken down I suspected the tensions between the parties involved were maybe still a little strained... I'm sure some artists/creators like the processes involved when creating to be shrouded in a little mystery and conversely some are keen to talk and share but I suspect it was a little more than that between Josh and Eric..
there's been some rumor/speculation that Eric was kind of forced on Josh by the record company looking for more sales. That Josh wasn't particularly thrilled to be working with the guy responsible for Third Eye Blind and Smashmouth. Combine that with Daddy Eric moving them out of their hollywood "comfort zone" and the basic assumption is that Josh did as much he could tolerate doing with Eric and wanted to minimize Eric's contribution. Especially when the record became big. I have zero idea how much of any of that is true.
I’m not sure the newer but he does seems a little pissed about people questioning if he worked on the record or not. That’s part of the reason I went ahead and uploaded the video. Eric doesn’t care, QOTSA does. Fuck them.
How did Grohl beating the shit out of the cymbal pads not bleed into the drum mics? Did he over dub the cymbal tracks while playing pads on the toms and snare?
They used e-drum cymbals while tracking the kit, so the band could hear reference "cymbals" in playback, and of course later, Dave overdubbed the brass cymbal parts separately. Those rubber cymbal pads produce almost nothing acoustically when struck, so I doubt there was any bleed into the kit mics, given how loud the drums themselves would have been.
@@peachmelba1000 you can hear the rubber in some footage but that’s the camera mic. That rubber frequency won’t make it into the drum mic’s. Even if they did a little, a slight eq adjustment and they’re gone.
Dude Eric is so cool, idk what happened at the end of the record that caused all the confusion, but I am sure that it was Homme being a wierdo and not Eric.
