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After listening to some of the Demolicious tracks (99 revs, Carpe Diem, etc.) I think there are two takeaways for Green Day's next album: (1) Take the fucking makeup off, boys, at best you don't need it and at worst, it holds you back; and (2) Chris Dugan should produce the damn thing. He knows how to capture their live sound better than anyone else can.
Crushing....nobody deserves this, especially not these guys. They've made us feel like part of their family over the past couple of years, and my heart and prayers go out to them for a speedy and complete recovery.
So it looks like no stores with copies of the CD are making it available for mail-order anywhere. If anyone picked up an extra copy of the CD today and is looking for a buyer, please PM me here or DM me on Twitter.
Tom Neely, the designer of the Demolicious cover art, just put up a blog post about his creative process and the "making of" the jacket. Great read, especially for the many talented artists around here!
Uno/Dos/Tre, and the production techinques they (mis)used in creating it.
If I could like that one 1,000 times I would. Over time I've definitely grown to like Mike's vocals as a healthy part of the mix...it's part of what makes them sound so fucking great on stage. Billie harmonizing with himself and himself alone on the records is just, well, meh.
Music and the lyrics need to work with each other. The trilogy has dark, dirty songs....set against clean, pristine music and ( ) those damn vocal filters that Billie doesn't need. Mess up the mix, you light that fire under the songs that they're missing in the final production. Well, most of them, anyway.... SD&V rocks a lot better on the demo, but even so it still has that cringe-worthy "English, math and science" line in the chorus.
Sounds like a guitar riff he throws in there...almost sounds like the guitars are echoing "BLUE!" right after Billie sings it. Both amusing and amazing.
Ha!! That's fantastic. Also love that "Tre Cool is in - da - HOUSE!!" that BJ yells out at the end of Carpe Diem.
That's a bit harsh considering that the band & Rob were both partners in this production, and that Rob is also responsible for the production of Dookie, American Idiot, and just about everything else in between.
That being said....after listening to the demos and comparing them to what we actually got on the Trilogy, it's pretty clear that (to paraphrase a comment I tweeted a few days ago) that the U/D/T production was the demos put through a dishwasher on the "sanitize" cycle. What I like about the U/D/T production is the instrument isolation -- better in my opinion than anything else that preceded it. What I don't like about that production is twofold: 1) The isolation is overdone...too much empty space in the music (not enough of BJ, Mike, and Jason playing off of each others' guitars), too much of Tre's beating the shit outta his cymbal heads filtered out of the mix, that sort of thing; and 2) FOR THE LOVE OF GOD, WHOEVER GREEN DAY WORKS WITH ON THE NEXT ALBUM NEEDS TO SHUT OFF ALL OF BILLIE'S VOCAL FILTERS. His voice is damn near fucking perfect as it is, and the producer needs to leave it the hell alone. Get rid of 1 and 2 (like we have in the demos), set your levels more evenly in the mix (like we don't have in the demos ), and you are fucking DONE. The bad-ass will be back, and so will the fans.
Haven't been around here enough lately......oh dear GOD your av....
I will say this -- One the one hand, Billie has grown and mellowed over time. But that "I don't care what you think, I'm going to do what the fuck I want" has never fully left him, and probably never will. What's the point of constructive criticism from your producer if in the end you're going to do it your way anyway? To be honest it's this piece of his approach to life, that as much as it's steeled him and benefited him and helped make Green Day a band that goes the distance, also holds it back a bit. In the next album the band needs to get out of their comfort zone like they did with Dookie and AI...and that means listening to and accepting well-reasoned advice that you don't necessarily want to hear.
Things I liked about Butch: He helped focus the band when they needed to get back to work and nail down what songs were going to make the cut for Breakdown. He also pushed Billie into vocal areas he'd never gone before.
Things I didn't like about Butch: He then proceeded to mix Billie's new, fantastic vocals and Tre's percussion into a fucking tin can, while squelching Mike's bass line. There's a reason the entire set of Breakdown songs sound much better live, and unfortunately a big part of that reason is Butch Vig's production style.
Things I liked about Rob: He knows Green Day's capabilities probably better than anyone, and in his hands they create a sound that makes the room explode.
Things I don't like about Rob: His strengths are studio work and production quality, and I think that's where they end. To me, he doesn't seem to know much more about marketing an album than the guy sitting next to you. What the fuck was this trying to market an abstract, conceptually loose, adult-oriented sex, drugs, and Rock'nRoll story of thrill, disaster, and redemption to the tweenybopper Usher set using Angry Birds, poor festival choices, and probably the most God-awful bland lead-off single that Green Day has ever put out (don't get me wrong, I do like Oh Love as a song, but it comes out of the starting blocks dull and lost even some die-hard fans before the first guitar riff was over). Rob may not have been "the" decisionmaker about all of these, and I would strongly suspect that Billie being half bombed of his ass during the late stages of production probably had something to do with the choices that were made as well, but the decisionmakers report to Rob, Rob would have been heavily involved in song selection for the trilogy, and in my opinion he could have and should have laid down a firmer hand here, maybe avoided some of the disasters.
So I'm with you here...I'd like to see Green Day go with a different producer on their next album -- one who really fits where they are now, who can get them back to basics (a single, solid album with first-rate song and single choices) and -- this is important -- someone who won't settle for telling the band what they want to hear. In other words, a real coach in the way that Butch was, but someone who can also make them sound stellar like Rob can. To be honest, I would love to see Larry Livermore produce for them again after all these years. That might be a nice fantasy, but one can dream.