SOUND CITY, the just released documentary project (a record is coming as well) from -former Nirvana and currently Foo Fighter/Crooked Vulture- Dave Grohl and about the Los Angeles music studio of the same name, is in essence, and for more than one reason, a testimony of the well-known "battle" between digital and analog, the traditional and the new technologies, and the current state of both the film and music industry.
It's an interesting case; let's see, the way the documentary is being distributed is proof of what we already knew: every day is getting harder and harder for an independent project to reach the movie theaters of its origin country (not to mention the rest of the world), no matter if it has such people as Paul McCartney involved. To Dave Grohl and company's fortune, the new technologies make possible that since last Friday (February 1) anyone, with Internet and $13 bucks, can watch it online or download it (the film, by the way, was showed back in January at the Sundance festival).
Then the curious thing is that many of us are using a computer to watch a documentary that precisely talks about how the digital destroyed what everyone involved in the film loved and, on the other hand, that tries to return to the roots of the analog by the creation of an album. Yes, SOUND CITY not only tell us the story of the studio but also of Grohl's musical project – some years ago he bought Sound City's legendary console Neve, which was used to record classics by Fleetwood Mac, Neil Young, Dio and some others, and decided to use it for a brand-new record.
Some elements of SOUND CITY could be easily criticized, but in the end of the day it turns to be a must-see documentary for any rock n' roll fan, person who wants to be musician, or wants to learn more about production or basically anything related with this business. I'll begin with those questionable things, which really are few and all related to Grohl himself. Even that I really like this character, and at first sight dug his role as director, I ended thinking someone else should have made the decisions, simply to not let Grohl look like he was constantly paying homage to himself and to Nirvana.
The thing is that Nirvana and their quintessential record "Nevermind" are a vital part in Sound City's story (they basically saved the studio from going bankrupt), therefore was impossible not to pay special attention to this chapter. Also, and like I said, the documentary ends being a look at Grohl's most recent musical adventure; is just terrific and interesting to see such great musicians as McCartney and Josh Homme (from the Queens of the Stone Age) in their composition and recording process (in this case is basically the same as everything begins from improvisation sessions), but if you don't dig Dave you'll end tired of seeing him in the screen (maybe you were already tired thanks to his constant presence in the media).
At the same time, and personally, is always admirable when a real fan accomplishes a dream (and knows to spend his money in something worthy). Some time ago Quentin Tarantino bought the cinema he loved and said that "As long as I'm alive, and as long as I'm rich, the New Beverly will be there, showing double features in 35mm" – maybe Grohl didn't buy Sound City (after its final debacle thanks to the rise of Pro Tools – the studio closed its doors in 2011), but he sure is giving it new presence in the now digital world.
SOUND CITY is a professional documentary. Its structure may not be the best (with the second part it loses rhythm), but visually is highly attractive, and the use of photographs (with the covers of the albums) and music, as well as some details (like using subtitles to show what someone is thinking, ala Woody Allen in ANNIE HALL), are the positive aspects and indicate that when he wants, Grohl can tell a story in a pretty darn good way.
The story of Sound City is that of a studio that without any luxury, and lots of dirt, beer, a unique console and a great "drum sound", ended having the presence of real legends of the seventies, eighties, nineties and the past decade. Fleetwood Mac, and their relation with Buckingham Nicks (Lindsey Buckingham and Stevie Nicks), Rick Springfield and Tom Petty are the protagonists here.
The diverse interviews (we also have Neil Young, producer Rick Rubin and obviously the people who were in charge of the studio) bring us stories that are always entertaining; some bring memories about legendary encounters between Tom Petty, Carl Perkins and John Fogerty. The joy comes too from some footage; seeing, for instance, a young Petty at the studio, the clown from Slipknot with no makeup but with his distinctive style, RATM recording their classic tune "Killing in the Name", or Johnny Cash and his version of Soundgarden's "Rusty Cage". Needless to say, all of this is a real banquet for the rock n' roll fan!
*Watched it on 04 February, 2013
It's an interesting case; let's see, the way the documentary is being distributed is proof of what we already knew: every day is getting harder and harder for an independent project to reach the movie theaters of its origin country (not to mention the rest of the world), no matter if it has such people as Paul McCartney involved. To Dave Grohl and company's fortune, the new technologies make possible that since last Friday (February 1) anyone, with Internet and $13 bucks, can watch it online or download it (the film, by the way, was showed back in January at the Sundance festival).
Then the curious thing is that many of us are using a computer to watch a documentary that precisely talks about how the digital destroyed what everyone involved in the film loved and, on the other hand, that tries to return to the roots of the analog by the creation of an album. Yes, SOUND CITY not only tell us the story of the studio but also of Grohl's musical project – some years ago he bought Sound City's legendary console Neve, which was used to record classics by Fleetwood Mac, Neil Young, Dio and some others, and decided to use it for a brand-new record.
Some elements of SOUND CITY could be easily criticized, but in the end of the day it turns to be a must-see documentary for any rock n' roll fan, person who wants to be musician, or wants to learn more about production or basically anything related with this business. I'll begin with those questionable things, which really are few and all related to Grohl himself. Even that I really like this character, and at first sight dug his role as director, I ended thinking someone else should have made the decisions, simply to not let Grohl look like he was constantly paying homage to himself and to Nirvana.
The thing is that Nirvana and their quintessential record "Nevermind" are a vital part in Sound City's story (they basically saved the studio from going bankrupt), therefore was impossible not to pay special attention to this chapter. Also, and like I said, the documentary ends being a look at Grohl's most recent musical adventure; is just terrific and interesting to see such great musicians as McCartney and Josh Homme (from the Queens of the Stone Age) in their composition and recording process (in this case is basically the same as everything begins from improvisation sessions), but if you don't dig Dave you'll end tired of seeing him in the screen (maybe you were already tired thanks to his constant presence in the media).
At the same time, and personally, is always admirable when a real fan accomplishes a dream (and knows to spend his money in something worthy). Some time ago Quentin Tarantino bought the cinema he loved and said that "As long as I'm alive, and as long as I'm rich, the New Beverly will be there, showing double features in 35mm" – maybe Grohl didn't buy Sound City (after its final debacle thanks to the rise of Pro Tools – the studio closed its doors in 2011), but he sure is giving it new presence in the now digital world.
SOUND CITY is a professional documentary. Its structure may not be the best (with the second part it loses rhythm), but visually is highly attractive, and the use of photographs (with the covers of the albums) and music, as well as some details (like using subtitles to show what someone is thinking, ala Woody Allen in ANNIE HALL), are the positive aspects and indicate that when he wants, Grohl can tell a story in a pretty darn good way.
The story of Sound City is that of a studio that without any luxury, and lots of dirt, beer, a unique console and a great "drum sound", ended having the presence of real legends of the seventies, eighties, nineties and the past decade. Fleetwood Mac, and their relation with Buckingham Nicks (Lindsey Buckingham and Stevie Nicks), Rick Springfield and Tom Petty are the protagonists here.
The diverse interviews (we also have Neil Young, producer Rick Rubin and obviously the people who were in charge of the studio) bring us stories that are always entertaining; some bring memories about legendary encounters between Tom Petty, Carl Perkins and John Fogerty. The joy comes too from some footage; seeing, for instance, a young Petty at the studio, the clown from Slipknot with no makeup but with his distinctive style, RATM recording their classic tune "Killing in the Name", or Johnny Cash and his version of Soundgarden's "Rusty Cage". Needless to say, all of this is a real banquet for the rock n' roll fan!
*Watched it on 04 February, 2013