![]() While we were working on In Utero, the band would occasionally play other recordings of theirs in the control room for reference, or when trying to describe a part to one another. By the time Nevermind was being prepared for David Geffen’s label, Vig was already on familiar terms with its key songs, since he’d also recorded the demos that landed Nirvana their major label deal. Vig, who had a reputation as someone with a good ear for pop as well as for noise, had been the band’s first choice to record their second album, even before drummer Dave Grohl had joined-back when Cobain thought it would be released on the indie label Sub Pop. ![]() Especially since the rest of what comprises the various Nevermind reissues can be separated into categories of Nirvana “rarities” to which longtime fans have become accustomed (not to say bored). Now, in the “Super Deluxe” edition of the Nevermind reissue, we can hear producer Butch Vig’s original, pre-Wallace mix of Nevermind for the first time. (He cranked up the drums and the treble through compression and scrubbed some of the noise from Cobain’s guitar tracks.) In the dramatis personae of the Nirvana narrative, Albini is the pissed-off yang to the shiny-happy yin of Andy Wallace, the major-label-approved “mastering” whiz who gave Nevermind its airplay-inviting varnish. His very public dissatisfaction led directly to the band’s choice of post-punk demigod Steve Albini as the producer-or, as Albini prefers, “engineer”-of In Utero. Cobain’s ritual self-torture over the commercial capabilities of Nevermind can be considered, then, as a foundational part of Nirvana lore.
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