![]() ![]() Audiences connected to Cobain’s raw emotion, but they might not have done so in such numbers had Vig not persuaded him to multitrack a slick wall of guitars.īeyond the sonics were Kurt’s immaculately crafted songs. Nevermind’s sonics reflect the tension between Kurt’s urge for rawness and Vig’s radio-friendly instincts. Ironically, producer Butch Vig didn’t let Nirvana sound the way they wanted. And where they had shredded, Kurt played the vocal melody. Where their distortion had come from giant amps, Kurt had a $40 Boss DS-1. Where ’80s chorus had been digitally pristine, Kurt chose an analogue MXR Small Clone. Kurt Cobain had bought his Fender Jaguar because it was the only decent lefty he could find, but it helped that it looked unlike anything on MTV. ![]() By 1991, that was the majority, and a generation embraced Nirvana for rejecting what had gone before.Īudiences connected to Cobain’s raw emotion, but they might not have done so in such numbers had Vig not persuaded him to multitrack a slick wall of guitars There had long existed a punk scene for people who felt alienated by bands like Mötley Crüe. The ’90s didn’t really begin until Nevermind came out. Somehow, Tom made it all work in context without sounding weird for the sake of it. At times he’d unplug the guitar and exploit the noises made by a live cable. His DJ scratching, created with a killswitch and a wide-open wah pedal, was brand-new. But he also had an astonishingly creative mind and a refusal to be limited by conventional approaches. Innovation is part luck, and Morello happened to be the first breakthrough guitarist with a DigiTech Whammy. Luckily, his Marshall 2205 sounded awesome. Sick of tone chasing, Morello picked one amp setting in rehearsal and has stuck with it ever since. He used his Arm the Homeless guitar for standard tuning and American Standard Telecaster for everything in drop D, with overdubs from a Les Paul. Morello’s preference for neck pickup tones on rhythms made him stand out. Morello had an astonishingly creative mind and a refusal to be limited by conventional approaches Drummer Brad Wilk had a Bonham-esque ability to hit each snare slightly late and guitarist Tom Morello also sat behind the beat, sounding like a T-Rex stomping through New York. Their debut had the best set of Jimmy Page-inspired blues riffs since Led Zeppelin II, and frontman Zack de la Rocha created slamming hooks without the need for singing. There’s a lot to say about Rage Against the Machine’s musical innovation, but ultimately every landmark album needs great songs, and Rage had ’em. ![]()
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