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For Nirvana, putting out their first major-label record was like getting into a new car. But the runaway success was like suddenly discovering that the car was a Ferrari and the accelerator pedal was Krazy Glued to the floorboard.

Michael Azerrad

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Michael Azerrad
Age: 63
Born: 1961
Born: May 8
Author
Journalist
Music Critic
Music Journalist
Writer
New York City
New York
Car
Nirvana
Record
Label
Records
Discovering
Accelerator
Getting
Labels
Pedal
Success
Suddenly
Glued
Firsts
Majors
Pedals
First
Major
Runaway
Like
Putting
Ferrari

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Bon Jovi's trick is to use heavy-metal chords and still sound absolutely safe. Rock & roll used to be rebellion disguised as commercialism now so much of it is commercialism disguised as rebellion.
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I would roll out of bed and immediately start working, and keep working until it was so late at night that I couldn't stay awake anymore. Then I'd go to sleep and wake up the next morning and do the same thing all over again. I did that every day for three years.
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Now that the generation that grew up on '80s indie-rock has attained influential positions in the culture, that music is the new yardstick. And that will shift yet again some day.
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The online musical universe has become Balkanized, with many sites focusing on minute niches. That works well for reaching very specific demographics, which is wonderful for advertising, but it flies in the face of the common wisdom that people's tastes have become more diverse as music of any description has become a mouse-click away.
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You didn't have to be a huge rock star you just had to do well enough to continue doing what you wanted to do. It wasn't about hitting the jackpot, it was about sustainability.
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There's a whole apparatus for indie bands now, but back in the eighties it was just getting built. The early people really took it on the chin.
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Nine Inch Nails' sound is dominated by clanging synths and sardonic, shrieking vocals.
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There's no glamour in Nirvana, no glamour at all, in fact.
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I just wanted to tell the story of a bunch of musicians who had never had their story told before. There's no preaching or theorizing.
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Just as not all popular albums are wonderful, not all wonderful albums are popular.
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There's no law that says anybody has to do an interview.
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As a journalist, I'm not supposed to be the subject, but as an author, I'm fair game - another ingredient in the media soup.
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I have this theory, bands with enigmatic lyrics attract crazies.
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The American indie underground made music for like-minded people who thought for themselves. Thinking for yourself is intrinsically subversive.
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I'm not sure I ever try to make a case for the music. I mean, sometimes the music isn't even that good. I just tell the band's stories if I describe the music, it's to explain how it moved the overall story along.
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People shared everything: information, equipment, their floors, whatever. There was strength in unity.
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A lot of music fans are still interested in insightful perspectives on music - maybe even more interested than ever, since everyone needs help making sense of the incredible variety of sounds that have sprung up in the wake of the Internet revolution. There's a lot of room for unique, qualified voices who can provide good reads.
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People didn't get to see how other towns interpreted the underground ethos, and so they developed their own unique versions of it.
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When you're writing, you're only a brain and some fingers, but drumming, you're involving all four limbs, and you're hearing stuff and you're converting your ideas into physical motions, getting physical feedback from things you are touching - it's pretty cool. It's a really a nice contrast to writing.
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Critics and fans use the music of their youth as reference points. For years, people seriously wondered who the next Beatles were going to be, and classic rock bands were the de facto yardstick for rock quality.
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