Some albums are really important to me. Grace by the one and only Jeff Buckley is one of those. Not only because of the albums greatness, but also because of Jeff. It’s going to be 21 years on Sunday since the release of this audio treasure. I had more than a pleasure of working on this album, because after finishing it, I was able to call Jeff a friend. He had that magical aura about him. Jeff would talk, but he would listen. He would want to know more. When he would leave, you would feel happy to have spent the time with him. We worked very hard on getting this album exactly how he wanted it. Jeff was that guy. Andy Wallace was the perfect partner and Clif Norrell at the desk made a great team. His band that played on the album and toured with him were perfect. When we were mastering, Jeff would be listening when you didn’t know he was listening, would comment on things that maybe you wouldn’t hear. But, he wanted this album to make a mark. A mark it made. One of the things that we mastering engineers go through in our careers is the “reissue” and the “remastering” of albums. I have done them and I have had other friends do them on albums I originally did. The thing about Grace, is that I know Jeff. I know how he heard it and I feel so proud and happy that the version we did 21 years ago, is exactly how I know he wanted it to sound. I think about Jeff all the time. I used to run into him all the time on the street downtown and he would always stop to talk. He always had time and he always wanted to know how you were. I wish more people could have met him, I wish he could have made more music and I just wish I could hear him say “Hey Howie” one more time. We lost a great soul 18 years ago, but his voice and music will last forever. This (isn’t) our Last Goodbye. Grace, Produced by Andy Wallace and Jeff Buckley, recorded by Clif Norrell, Mixed by Andy Wallace and Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #JeffBuckley #Grace #AndyWallace #ClifNorrell #MattJohnson #MichaelTighe #MickGrondahi #Bearsville #Woodstock #LastGoodbye #Grace #SoReal #EternalLife #MojoPin #Hallelujah #LoverYouShouldveComeover
Joe Strummer died way too soon. Today would have been his 63rd birthday. Joe’s first “solo” album, Earthquake Weather came two years after his (only post Clash) collaboration with Mick Jones on Big Audio Dynamite’s, No. 10 Upping Street. Joe had done some pretty great tracks for Alex Cox’s Sid And Nancy soundtrack and the Walker soundtrack with a band he put together in Los Angeles. Earthquake Weather brought all musical influences you would expect from Joe. There were reggae dub influenced songs, rockers and some of that sweet folk. His vocal performance was the real key. There was only one Joe Strummer. The passion and soul he put into his performances were always what sold anything he did. I always thought of his passion as a whole additional performer for the credits of anything he ever did. He brought in The Latino Rockabilly War (which was made pup of) Zander Schloss from Circle Jerks, Lonnie Marshall from Weapon of Choice and all around crazy bass player and Jack Irons from the Red Hot Chili Peppers and Willie MacNeil as his cast of musical support. Highlights for me on this album were “Gangsterville” and the closer “Sleepwalkers”. The cover shot by Josh Cheuse is one of my favorites and was the perfect visual for this album and depiction of Joe. Joe would take another decade before he came back with new material. He was on such a great path on his second act that his surprise passing denied us from what was to come. Happy Birthday Joe. Earthquake Weather, Produced by Joe Strummer and Mastered by Howie Weinberg #HowieWeinbergMastering #HowieWeinberg #JoeStrummer #EarthquakeWeather #ZanderSchloss #LonnieMarshall #JackIrons #WilleMacNeil #TheClash #TheLatinoRockabillyWar #EarthquakeWeather #SidAndNancy #Walker #AlexCox #RIPJoe #Legend #Pioneer #GoneTooSoon #HappyBirthdayJoe
I’m really excited for the release of the sophomore album by The Strypes. Little Victories comes out tomorrow and it’s awesome. I did this one a few months ago and have been really excited about it’s release. I got to work with these guys in 2013 on their debut album Snapshot (The Strypes album) and was blown away. Little Victories is a great step forward. After touring their asses off on Snapshot, the band just got better. Touring with Arctic Monkeys and playing with so many of their idols and influencers, including Roger Daltrey, Noel Gallagher and Paul Weller you can hear how that experience rubbed off on them on this album. The band stuck with their blues-rock roots, but stepped it up on their songwriting here. I still can’t believe how young they are to sound this mature. It’s really encouraging for the future! Wait until you hear “Queen Of The Half Crown” and “(I Wanna Be Your) Everyday.” I saw them play here at The Troubadour on their 1st tour over a year ago and can’t wait for them to get back to the States. Great live band. Great guitars, great rhythm section and great vocalist… Rock and Roll. Little Victories, Produced by Charlie Russell and Bradley Spence, Mixed by Adrian Bushby and Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #TheStrypes #JoshMcClorey #RossFarrelly #PeteOHanlon #EvanWalsh #LittleVictories #GetIntoIt #EightyFour #QueenOfTheHalfCrown #ScumbagCity #Mod #MaximumRandB #Oasis #TheJam #TheWho #ArcticMonkeys #BritishInvasioin #SiriusXM #AltNation #NME
The current ‘hip hop war” between Drake and Meek Mill is such a yawn. Hip Hop was always fun when MC’s would battle (when it was fun, not dangerous)… KRS-One/MC Shan, Busy B/Kool Moe D, LL Cool J/Kool Moe D (Why does Kool Moe D battle everyone?), Mc Hammer/ 3rd Bass, Jay Z/Nas and of course Biggie/Tupac… Luckily only one of these ended tragically…But, the battle was always fun for the controversy and the anticipation for the response. You hoped for response on record or at a show and not a violent one… In 1991, at the height of the rise of West Coast gangsta rap, came Tim Dog from the Boogie Down Bronx with his East Coast response to the new west coast sound. Fuck Compton was a bold attack on the west coast fashion, sound and a callout (by name) of the West Coasts biggest artists. He went in 100 to poke the bear. The song was both an audio and visual challenge for any takers. There were several responses, and luckily it never escalated to a physical altercation. I read recently that Tim Dog had passed away in 2013 due to complications with diabetes. Tim Dog and Fuck Compton will always have a place in hip hop history and for making “diss” tracks fun. The new guys should pay attention and do it better. Fuck Compton, Produced by Ced Gee (from Ultramagnetic MC’s), Mixed by Joe "The Butcher" Nicolo and Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #TimDog #FuckCompton #PenicillinOnWax #CedGee #UMCs #JoeNicolo #RuffhouseRecords #EastCoastWestCoast #TheBronx #Compton #NWA #IceCube #DrDre #SnoopDogg #DJQuick #ComptonsMostWanted #SiriusXM #Backspin #StraightOuttaCompton #BoogieDownBronx #Drake #MeekMill #WeakRapBeef #Yawn
I woke up this morning with the opening riff of “Rusty Cage” by Soundgarden in my head. It’s always a good way to start the day. Almost like a shot of double espresso. Badmotorfinger was the 2nd album I got to do with Soundgarden. This album was a total breakthrough album for so many reasons. 1991 was a huge year for Seatle and bands from the scene that was a little but rock and roll and a little bit of punk. All the bands had their sound, but all fit together. Badmotorfinger had breakthrough tracks that were able to fit multiple radio formats increasing their reach. All three singles from this album were just more popular moments in an album with a total of 12 killer tracks. I always talk about the greatness of the album. Badmotorfinger is a great album. I remember seeing Soundgarden on this tour at Roseland (RIP) to (what felt like) an over sold out show. One highlight, I remember Chris Cornell just falling backwards onto the crowd during Jesus Christ Pose and being carried all the way back tot he soundboard and back while performing the song. This all happened without any instruction…it was just what happened. That was a true band/audience relationship that defined the 1990’s. It was 100% real. Miss those days. Badmoterfinger Produced by Terry Date, Mixed by Ron Saint Germain and Mastered by Howie Weinberg #HowieWeinbergMastering #HowieWeinberg #SoundGarden #Badmotorfinger #ChrisCornell #MattCameron #BenShepherd #KimThayil #TerryDate #RonStGermain #RustyCage #JesusChristPose #Outshined #MindRiot #SlavesAndBulldozers #RoomAThousandYearsWide #A&M #Lollapalooza #MarkDancey #DropD #Multiplatinum #SiriusXM #Lithium #Seattle
Today in 1989, Paul’s Boutique by Beastie Boys was released. What a mark this album left. I’m not gonna lie here.. when I got these tapes, it was a “holy shit” moment. I had worked with Beastie Boys on their debut Licensed to Ill and much like every other fan, was waiting with anticipation for the follow up. Hearing Paul’s Boutique for the 1st time was confusing, exciting and a real adrenaline rush of what was coming out of the speakers. They had taken the creative process to a whole new level. A follow up, sophomore album is always the most stressful thing for an artists after a huge debut. So many routes to go… you can play it safe and just do part 2 of your debut, you can go for the compete opposite in search of credibility or you can make Paul’s Boutique. Beastie Boys teaming up with The Dust Brothers was incredible. Took them out of New York, out of Def Jam, out of everything they knew and rather than just going for the obvious, fucked up everyones heads. They created a masterpiece. This is an album that no other group will ever make. Its been done. You just leave it be and admire and get inspired by it. These guys took sampling to a whole new art level. They took samples from punk, disco, reggae, soul…nothing was off limits or wrong. The lyrics were so dusted and out there, but smart as they come to where it took even going to an encyclopedia to understand the reference (pre Wikipedia). To this day, this album has pages and pages of discussions about it, websites dedicated to it and even today, KEXP in Seattle is doing an all day celebration of the album. I can’t tell you how proud I am to have my name on this one. Mastering this album was one of those times when I couldn’t wait for everyone to hear it. I was so excited for it’s release. Critically praised, commercially a disappointment upon release proves that all good thing age with time and all genius takes longer to get noticed. Paul’s Boutique - Produced by The Dust Brothers, Recorded by Mario Caldato Jr and Mastered by Howie Weinberg #HowieWeinbergMastering #HowieWeinberg #BeastieBoys #AdRock #MCA #MCARIP #MikeD #TheDustBrothers #MikeSimpson #JohnKing #MarioCaldatoJr
A band that will forever be seen as an influencer of alternative rock is Sonic Youth. I had the pleasure of working with them on several albums and actually got to know a couple of them pretty well. I was actually cleaning out my apartment while working on one of their albums and Thurston Moore actually came to my place, and carried out over 500 vinyl LP's down 5 flights of stairs to add to his collection. Wonder what some of those would be worth today... but I digress... Not only a great and creative band that was always pushing the boundaries and experimenting, but great people too. Sonic Youth approached albums without a net. Go in, try it and see what happens. One of my favorite albums to work on was 1988’s Daydream Nation. The band recruited Nick Sansano to produce and record this album. Nick had been known mostly for his work in hip hop with artists like Public Enemy and Rob Base and DJ E-Z Rock, which for a band like Sonic Youth, would be seen as an out of the box choice, but that’s why they were Sonic Youth. Because they took those risks. For a double album, this one had no filler. It’s why albums were made. Sometimes an album like this is a peak for a band, but this was just another chapter in the influence that they would carry over to bands for years to come. 70 minutes of pure influence and creative liberties. Who would have thought that in 2006, the Library of Congress added it to the National Recording Registry. I’m honored to have been a part of this. Daydream Nation - Produced by Nick Sansano Engineering by Dave Swanson and Matt Tritto, Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #SonicYouth #DaydreamNation #ThursdonMoore #KimGordon #LeeRonaldo #SteveShelley #NickSansano #GreeneStreet #Classic #DoubleLP #TeenAgeRiot #SilverRocket #Trilogy #HeyJoni #LibraryOfCongress #GerhardRichter #Kerze
Still thinking about summer songs, one that came to mind was Cypress Hill’s debut single, How I Could Just Kill A Man, from their debut self titled album, Cypress Hill. When this song came out, it was one of those “What? Who?” moments. This group was just unique. The production by DJ Muggs, the nasal vocal delivery from B-Real and Sen Dog’s hype man that would scare the crap out of you was just so powerful that there was no way this album wouldn’t be seen as an instant classic. Coming out of Philadelphia's, red hot Ruffhouse Records, Cypress Hill was that band that without trying, was going to (and instantly did) cross over. I have had the pleasure of working with so many debut albums by artists that became icons, when I got the tapes for this album, I just knew. This album was so important, because it broke so many barriers. the lyrical content, weed references, violence, everything about it was so anti radio and anti commercial, but the fact was, there was no way to hold it back from becoming what it did. The album has several hits (both radio and street anthems) and ended up selling over 2 million copies. Cypress Hill toured like crazy and changed how people saw a “rap” group in the live/touring world. So crazy it;s been almost 24 years since it came out. They are still out there kicking ass. Cypress Hill - Produced by DJ Muggs, Recorded by Jason Roberts, Mixed by Joe Nicolo and Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #CypressHill #DJMuggs #BReal #SenDog #JasonRoberts #JoeNicolo #JoeTheButcher #RuffhouseRecords #DoublePlatinum #Debut #Icons #420 #HowICouldKillAMan #PhunkyFeelOne #HandOnThePump #LatinLingo #TheFunkyCypressHillShit #SiriusXM #Backspin #Lollapalooza #RockTheBells
There are career artists that exist that are known for their incredible live shows, but they never quite translate to the records. Red Hot Chili Peppers have always been one of those electric bands that when you left their shows you were dizzy and wide awake for days from the experience. Having built a huge following from touring and their memorable shows, in 1991, Blood Sugar Sex Magik was released that would take them to a whole new level. This album captured everything from their live shows and stepped it up to become an album full of radio hits, blowing them up to the mainstream. This album was the first with Rick Rubin and man, was he the right guy to work with these guys. The release of this album made it an immediate staple in the cross over success of an alternative band in the 90’s. The first single was Give It Away and it couldn’t have been a better choice. This song and video was the song to capture who they were, but this time as a hit song. But, to take them to the next level, the follow up single was Under The Bridge. Man, that was a game changer. What a great song too. I think they had a total of 5 hit singles on this album and when you put it on, it still blasts through those speakers! A true classic. This album ended up selling over 13 Million albums. This is another plaque I own that is a true prized possession and honor to have been a part of. Blood Sugar Sex Magik, Produced by Rick Rubin, Recorded and Mixed by Brandan O’Brian and Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #RedHotChiliPeppers #AnthonyKedis #Flea #JohnFrusciante #ChadSmith #RickRuubin #BrendanOBrien Classic #Alternative #ThirteenMillion #GiveItAway #UnderTheBridge #SuckMyKiss #BreakingTheGirl #IfYouHaveToAsk # MoOstin #Platinum
One thing about summertime is it makes me nostalgic about growing up in NYC. I can’t speak for how other people grew up, obviously, but living in Los Angeles now, there is something that is missing. The summer song. The one that in NYC you would hear coming-out of every boom box in the parks, stoops, subways and cars all summer. In 1982, I got to work with Grandmaster Flash and The Furious Five, and am so proud to have been part of the classic “The Message”. This song was known by everyone in New York. It obviously became an international classic, but that summer, that was the New York City street anthem. Although heavy on the lyrics and “message”, it had the best beat, hooks and performance that you had didn’t feel like it was a heavy the social commentary, because it was such a jam. The album carried other songs that would also become NY classics, including, “Scorpio”. The Album cover alone is a visual representation of what 1982 looked like. Grandmaster Flash and the Furious Five were the first hip hop group to be inducted in the Rock and Roll Hall of Fame. I just heard this again on SirusXM Backspin and all I can say is, we may never actually time travel, but music and songs can give me the same effect. The feeling, the smell of the city, the energy and the magic. Now I want an Italian Ice. Grandmaster Flash and The Furious Five’s The Message, Produced by Clifton “Jiggs” Chase and Ed “Duke Bootee” Fletcher, Mastered by Howie Weinberg. #HowieWeinbergMastering #HowieWeinberg #GrandmasterFlashAndTheFuriousFIve #GrandmasterFlash #KeefCowboy #RIPCowboy #GrandmasterMeleMel #TheKiddCreole #Scorpio #Rahiem #TheMessage #Scorpio #ShesFresh #OldSchool #NewYork #SouthBronx #Pioneers #RockAndRollHallOfFame #SiriusXM #Backspin
Touring bands always amazing me. The being able to build an organic fan base that transcends all generations to bring together people just for a good time. With the Grateful Dead just kicking off their Fare Thee Well, 50th Anniversary shows, i got to thinking about Phish (Especially with the Dead shows featuring Trey Anastasio). Phish always was seen as the band that took over that slot that was created and made vacant by the Grateful Dead. With 12 studio albums under their belt and even more tours, a break up, reuniting, Phish is undoubtably, this generations Grateful Dead. In 1998, I got to work with Phish on their 7th studio album, The Story of the Ghost. The album had a total loose feel to it and just had a solid grove. Much like what I think was what attracted the audience to come and see them anytime they performed. This band was never scared to experiment or take a chance. Results may vary depending on who’s listening and who’s commenting, but in the end…This is Phish. The Story of the Ghost - Produced and Mixed by Andy Wallace, Recorded by Chris Shaw and Mastered by Howie Weinberg #HowieWeinbergMastering #HowieWeinberg #Phish #TheStoryOfTheGhost #TreyAnastasio #PageMcConnell #MikeGordon #JonFishman #AndyWallace #ChrisShaw #Bearsville #Woodstock #CowFunk #Jam #Prog #PsychedelicRock #Jazz #Blues #BirdsOfAFeather #WadingInTheVelvetSea #Shafty #SiriusXM #Jam #GratefulDead #FareTheeWell #Dead50
Thinking about albums with powerful riffs, as previously mention this week, The Cult, Electric is a stand out. But, in the 1992, I got this album by Helmet. The tape of the first song got load up and when I hit play, the floor shaked. The opening riff and drop D tuning from “In The Meantime” from Helmet’s, major label debut Meantime had more power that a shot of turkish coffee. This album that was just about 35 minutes long would not only be a non stop power and adrenaline rush, but would also influence bands for decades. An album that some can say was overlooked, but I think these types of albums are the ones that continue to get discovered and inspire band to search for that sound that will define them. I remember around the time of this album, all the labels were looking for “the next Nirvana”. Lets be honest, there is only one Nirvana and just as important, there will only be one Helmet. Two bands that are so unique, that they will influence bands for decades. Guitarist, Page Hamilton has such a unique style and tone that I can hear players today that studied the book of Page. That’s what a great album will do. Even with this heavy vibe and sound, Helmet was able to get some radio play with “Unsung”. It incorporated all of the noise and sounds and heaviness that made the band, but also carried an awesome melody that just pulled the chaos all together. Meantime - Produced by Steve Albini, Mixed by Andy Wallace and Mastered by Howie Weinberg #HowieWeinbergMastering #HowieWeinberg #Helmet #Meantime #PageHamilton #HenryGogdan #PeterMengede #JohnStanier #SteveAlbini #AndyWallace #InTheMeantime #Ironhead #Unsung #DroppedDTuning #Influential #MajorLabelDebut #Gold #SiriusXM #Lithium #Faction #OzzysBoneyard
