I pitched Tom on the idea, and off we went. Elliott called me and said they were in a bind on the Heatmiser record. Possibly recording at my house, like we had for parts of Beck's Mellow Gold, but it didn't come together.
Rob: "I know we had been talking about doing something together for a while. We held out for a year, for total control, and then went so far as to buy our own equipment. We were totally paranoid going into that deal. Heatmiser had signed to Virgin Records in 1995, and rented a house in Portland, OR, to record in, known as The Heatmiser House (SE Ankeny at 20th Ave.).Įlliott: "We got the check from Virgin, and we were on a big do-it-yourself kick. It's important to note that Mic City Sons and Either/Or not only were written close to the same time frame, but both share the co-production of Rob Schnapf and Tom Rothrock. Photo by Joanna BolmeĮlliott Smith labored over Either/Or through the years 19, while simultaneously finishing Heatmiser's Mic City Sons (the third, and last, album by the band he'd started in 1990 with Neil Gust and Tony Lash), promoting his second album (the self-titled Elliott Smith), and embarking on various solo and band tours. All quotes from Elliott are from the interview I did for Tape Op #4, as he was wrapping up the sequencing of Either/Or before the original mastering by Don Tyler at Precision Mastering in December 1996.įeature Photo: Elliott and Sam Coomes at Abbey Road, 1998. What follows is an adaptation of the liner notes, along with extra information added about the recording process and the gear Elliott, and his co-producers Rob Schnapf and Tom Rothrock, used in the making of this well-respected release. I was asked by his family and label, Kill Rock Stars, to oversee the remastering process for this record, source and mix bonus tracks, as well as to come up with text for the liner notes. This year marks the 20th anniversary of Either/Or, the third album by my late friend and co-conspirator Elliott Smith.
0 kommentar(er)
