Superchunk's Mac McCaughan and Laura Ballance shared tributes to Steve Albini, remembering the musician/producer/engineer as a “unique and extraordinary person”, who helped the up-and-coming indie rock band sound “bigger than we were in real life ».
Albini, who died Tuesday night of a heart attack at age 61, produced Superchunk's brilliant 1991 sophomore effort, No Pocky for Kitty. McCaughan recalled that he cut the album in three nights – literally working from sundown, from 6 p.m. to 6 a.m. – at the Chicago Recording Company.
It was an experience that “changed the band and our lives,” McCaughan said. “Musically, Steve showed us how to cut fat (ie harmonies and guitar solos) and work fast, but he also made us sound huge, much bigger than we were in real life.”
McCaughan went on to reminisce about how Albini could be both lovable and sweet, like when he compared McCaughan's playing to Gary Richrath of REO Speedwagon. “I guess he meant [it] as an insult, but I was flattered as I liked REO Speedwagon,” quipped McCaughan.
He added: “After we made the record, he wrote to say he was driving around in his car listening to a tape of the mixes and something like 'he really liked it', although I knew he'd rather be listening to something. heavier.” (Read McCaughan's full tribute below.)
Ballance, meanwhile, recalled Albini's intractable “morals and opinions, which he never hesitated to make known”. She also noted his “many interests”, his “amazing handwriting” and the letters he sent her “where he wrote some of his favorite recipes for me”.
“He was serious, but also hilarious. He wrote amazing songs that inspired many of us and had an amazing ear that helped make independent music what it is today.”
Tribute to Steve Albini by Mac McCaughan
We are making our 2nd album No, Pokey for Kitty with Steve in 3 nights at Chicago Recording Company — recording and mixing from 6 p.m. to 6 a.m. — changed the band and our lives.
Musically, Steve showed us how to cut fat (ie harmonies and guitar solos) and work fast, but he also made us sound huge, much bigger than we were in real life.
In person he was welcoming and funny and friendly and he probably knew that a young band coming in as fans of his bands and records he'd made would be nervous about working with a guy whose public persona (through record reviews and other writing in places like Matter and Matter and his other writings, he would be worried about working with a guy whose public face (Forced Exposure) was wacky and sharp and intimidating.
While we were recording he compared my guitar playing to Gary Richrath, which I guess he meant as an insult, but I was flattered as I liked REO Speedwagon. After we made the record, he wrote to say he was driving around in his car listening to a tape of the mixes and something like “he really liked it” although I knew he'd rather be listening to something heavier.
Importantly, he introduced us to Corey Rusk which led to Merge's long term relationship with Touch and Go Records and allowed us to grow immeasurably as a label and band.
We mixed Foolish at his house. We recorded Come and take me in Electrical & stayed in the studio. I did a live Portastatic EP at short notice in the B-room there with Steve engineering.
Throughout our time working with him, Steve wasn't particularly interested in 2 things that the music industry as a whole is obsessed with – credit and money. He introduced us not put his name on our record because he said he would delete as many people as he cared to.
What he it was he was interested in helping people document their art and make it sound real. He was generous with his time and knowledge and his humor and a true mentor to many bands and engineers.
I've been lucky enough to see all of Steve's bands and they've always been overwhelming and exciting and edgy and powerful. He made countless records that influenced us and so many people. What's surprising is that even with his body of work, music may not even be the most important thing Albini will be remembered for. A huge loss to the music community.
RIP to a true punk. 🖤
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