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Band Sebadoh on Recording at Mad Hatter

Discussion in 'General Scientology Discussion' started by triumph, Feb 22, 2019.

  1. triumph

    triumph Silver Meritorious Patron

    How ‘The Sebadoh’ Killed Sebadoh
    Twenty years later, 90s indie rock icons Lou Barlow and Jason Loewenstein reflect on the tumultuous times surrounding their ill-fated and short-lived major label record deal.

    But now they were signed to Sire Records, home to Depeche Mode and Madonna, among others. This joint arrangement with Sub Pop, who still had the band under contract for one more album, immediately put Sebadoh in a position to benefit from major label budgets for the first time. Barlow, living with his wife in that house in Silver Lake, invited Loewenstein out to record in a top-of-the-line professional recording studio essentially down the street from him called Mad Hatter. Based out of Kentucky at the time, Loewenstein had recruited Russ Pollard in Louisville to substitute for fired drummer Bob Fay, who had replaced Gaffney during the Bakesale sessions and stayed on through the Harmacy days.
    “He could play anything and he was a good guy,” Loewenstein says of the decision to bring Pollard along. “Not only could he play drums but we could still switch around [instruments] as a band.”
    Not altogether surprising given Mad Hatter owner and jazz legend Chick Corea’s status as a celebrity member of Scientology, Loewenstein recalls the Church having a presence in the building, particularly on the floors above the studio. He knew a little about the group from what he’d read from defectors, and most of it scared him enough not to interact or go exploring. “The engineer was really nice, but he was like, ‘Please don’t smoke weed in here because the Scientologists will freak out,’” Loewenstein says, likening the act to “a contamination of their souls.”

    Despite his being inconveniently creeped out and compelled to smoke up elsewhere, the Mad Hatter facilities gave the band more than adequate room to work. “We had so much time,” Loewenstein says of the five weeks of recording sessions there for The Sebadoh. “You’d come in with half an idea and you could take two days and put out a wicked song.”
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