In 1982, the Los Angeles band Fear released The Record, a pounding document of punk snarl that included such songs as .. Let's Have a War" ("... we
can hold it in New Jersey!") and "I Don't Care About You." A 13-year-old
Dave Grohl heard the album in Evanston, Ill., where his cousin Tracy played
it for him. It is, he says, the album that made him want to be a musician.
  He is relating this story onstage, in Park City, Utah, during the Sundance Film
Festival. In fact, Grohl - along with compatriots from Foo Fighter. and Nirvana
- is backing up the singer of Fear, Lee Ving. It's the first live performance
by Grohl's Sound City Players - which includes John Fogerty of Creedence Clearwater
Revival, Stevie Nicks of Fleetwood Mac and Nirvana's Krist Novoselic - and there's
barely room to breathe, let alone move, in the 8oo-capacity club Park City Live. The
toughest ticket at this world-renowned film festival will turn out to be this concert.
  Imagine a fantasy football league with rock stars and you'll have a clear idea of the
rotating bands Grohl assembled for the debut of Sound City Players. The group is an
outgrowth of his documentary "Sound City," a portrait of the dumpy Van Nuys, Calif.,
studio where Nirvana recorded Nevermind, Fleetwood Mac added Nicks and Lindsey
Buckingham to the lineup and Neil Young cut his classic After The Gold Rush.
  For three-plus hours, the Sound City Players delivered a stroll through rock'n'roll
history, a living reminder of the great records that came out of Sound City, One
impressive lineup featured Novoselic, Cheap Trick guitarist Rick Nielsen, Slipknot singer
Corey Taylor, Queens of the Stone Age's Alain Johannes on guitar and Grohl on drums.
Masters of'Reality guitarist/singer Chris Goss fronted a unit with Rage Against the
Machine drummer Brad Wilk and Grohl on bass; Foo Fighters choogled Creedence-style
backing Fogerty, then spun the mellow gold of Fleetwood Mac behind Nicks.
  Grohl was a ringleader and a fan at the concert, Not only did he gush with praise
for each act, he related his own personal history with each performer's work. Beyond
Fear, Cheap Trick's "Surrender' was the soundtrack to his drunken summer as a 16
year old in Delaware; Rage Against the Machine was the debut album that sounded
like absolutely nothing he had ever heard before. When the Sound City Players hit
the final chord, of "Jessie's Girl" while backing Rick Springfie1d, Grohl leaned into
his microphone, waved his right arm and said, "Bucket list. Check."
  To make the night happen, Grohl's first call was to the Foo Fighters with a request
that they learn 40 songs in 10 days. "Then I made these charts of each performer, the
songs we would play with them and who was going to play which instrument." Grohl
says. "It was so overwhelming, but it was like cramming for the coolest test you've ever
taken in your life. Because we had done the rehearsals separately, we had never run
the entire show, That night was the first time it had happened in sequence."
  Grohl hopes to do the show "all over the world" but realizes the logistical
nightmare of gathering 16 or 17 musicians in far-flung places. The show after the
Hollywood premiere of the film, held in the 4,400-capacity Hollywood Palladium, is
the model Grohl would like to duplicate elsewhere - performances separated by the
screening of various scenes from the film.
&NBSP "One of the great things about telling the story of a studio is there is obviously so
much history," Grohl says, comfortably stretched out on a sofa in a condo on a Park
City hillside. "Sound City has been home to so many influential
albums, but also to so many beautiful stories about people and their relationships.
  "When we [Nirvana's Kurt Cobain, Novoselic and Grohl] pulled up
to Sound City, we had no idea the next 16 days were going to change
our world. I wanted to pay tribute to that." As he says in the film,
"Sound City represents integrity, some sort of truth."
  Grohl's film unfolds as a triptych: the history of'the recording studio
and it's handmade Neve mixing console; Grohl's personal connection
to Sound City through the recording of Nevemind, and his purchase of
the Neve console in 2011 when the studio was closing; and the recording
of a new album with Sound City veterans.
  The custom-made Neve console was installed at Sound City in 1973
four year after the studio opened as a state-of-the-art facility. After
he bought it, Grohl wanted to make a short film about the board to
post on You'Tube. "It was right around the 20th anniversarv of
Nevermind so I thought, 'This will be a nice sidebar, that I'm reunited with
the board that made that album' Grohl says.
  Sound City owner Tom Skeeter brought out the paperwork to show
Grohl the original receipt for the board - about $76,000, twice as
much as a house in that section of the San Fernando Valley in 1973 -
and a 10-page spreadsheet of every album recorded at Sound City.
That list included the Grateful Dead's only studio album recorded
in Southern California, Terrapin Station, six Tom Petty albums, Rage
Against the Machine's debut and Nine Inch Nails' The Slip.
  "That's when I realized, This is not a YouTube clip," Grohl says
"It's a feature-length documenrary and we need to step it up a bit." Which led to
Grohl assembling a crew and setting a deadline for the film based on when projects
needed to be submitted for Sundance consideration.
  Grohl called on a friend from the film business, Jim Rota, a 'Chronicles of Narnia'
production supervisor, who in turn brought in John Ramsay. who had most recently
produced "Transcendent Man," a documentary on the inventor and futurist
Raymond Kurzweil. "When he came to us he said, 'I don't want anybody involved who
is connected to Hollywood," Rota remembers. "'It has to be free of anybody telling us
what to do or how to make it. I have a vision and I want to make what I think is that
story." From Grohl's perspective, the process for making a film should be no different
from making a Foo Fighters record: Retain creative
control and then hand it to a distributor to get it in front of people.
  At that first meeting with Rota and Ramsay, Grohl
sketched out his vision for the film, writing out a step-by-step script of what should be in the film. Days
before he traveled to Sundance, Grohl had come across
the journal that had the outline for the script, which
he had photographed on his iPhone. He delighted in
showing the photos to visitors: "It's exactly the movie
we made. I'm so amazed."
  Another element that amazed Grohl was the number of people willing to share their stories about the studio
that everyone - except Mick Fleetwood - described as aG
"dumpy shithole." "If you went to Capitol Records,"
Grohl says, "it was walking into Frank Sinarra's dream.
Walking into Sound City was like walking into Frank
Sinatra's nightmare." The secret, which Rick Rubin explains in the film, was in the drum sound that came out
of Sound City, which helps explain the love that
Fleetwood and Grohl - both drummers - have for the place.
Yet as Grohl explored the idea of a full-length
documentary with interview subjects ranging from drummer Jim Keltner to Neil Giraldo of Pat Benatar's band
to Trenr Reznor, the more he realized the story needed
to reach beyond the lost art of analog recording.
  Each interview was filmed for two or three hours,
discussing the events that led the interviewee into a
rock'n'roll career as well as reminiscences about the
studio itself The last question Grohl asked of each
subject: "What's your piece of advice to the next generation of musicians?"
  For inspiration he recalled the way James Moll
worked when he directed 'Foo Fighters: Back and
Forth,' the 2011 documentary that started as a chronicle
of the Foos recording their seventh album, Wasting Light,
in the garage ofGrohl's Encino, Calif., home. (It
won a Grammy Award in 2012 for best long form music
video.) Moll made the film more than a retrospective
of the band. "He wanted to ask about our relationships
with each other as people that made us survive for 20
years," Grohl says, "That's what everyone can relate to.
Who [cares] who produced our second record?"
  Rota adds, "The movie has the feel it has because
Dave did all the interviews himself. Dave gets them
to speak loose and off the cuff. It's a conversation that
makes for a more emotional interview than, 'What
tape did you use on that record?'"
  Grohl's attention to sonic detail is nothing new -
Wasting Light drew considerable attention for its use of
all analog equipment in the recording. It paid off last
year with five Grarnmys. In his acceptance speech and interviews that
followed, Grohl continued to reinforce the
notion that analog brings out the heart in
a performance.
  "His attention to the importance of
sonic excellence is right smack in the
middle of the concerns of our Producers
& Engineers Wing," Recording Academy president/CEO Neil Portnow says.
"His sensibility and desire to pass along
information to the next generation, a
generation limited to mediocre earbuds
and technology that spends pennies on
audio equipment, is incredible, He's got
a huge heart."
  The final reels of';Sound City" point
to the future rather than the past as the
filmmakers chronicle the installation
of the Neve board at Grohl's Studio
606. He starts to bring in the musicians
who made landmark records at Sound
City - Springfield, Nicks, Reznor, Homme, Keltner and others - to record new
tracks and drive home the importance
of understanding music's history.
  "There were times when we didn't
know what was going to happen,"
Grohl says, his face lighting up. "Like,
put Paul McCartney in a room with
Nirvana and cross your fingers that
something cool happens,"
  On Dec. 12, nine days after "Sound
City" was added to the Sundance festival,
Grohl, Novoselic and McCartney took
the stage at New York's Madison Square
Garden for the 12-12-12 Concert for Sandy
Relief and performed a song no one had
heard before, "Cut Me Some Slack." McCartney's name wasn't used in any of the
film's promotional material and footage
of him is nowhere to be found in the trailer
that was released in early December.
  "The McCartney song was the biggest secret," Grohl says. "A few things
leaked out, but the McCartney thing -
we couldn't give [that] away because
this is - spoiler alert - the moment. At
the first few test screenings we did, the
moment where Paul appears, there
were audible gasps in the room. When
we were editing that segment I said, 'I
don't want a "holy shit" moment, I
want a "holy fuck" moment.' I was at a
screening in Salt Lake City on Jan. 21
and that moment he appears onscreen,
you could just hear [the audience say],
'Jesus Christ,' as if the thing couldn't be
tied up with a more beautiful bow than
that. It really creates a cool moment.'
The McCartncy experiment, Grohl
came to realize, wasn't different from
his experiences with the other musicians
in the film. "They're musicians who just
want to play," he says. "Even Stevie, who
walks in and starts to do her Stevie Nicks
thing. She is really into being a musician
and working with everyone else."
  That ideal, the age-old jam session in
which musicians gather and try to turn
collective ideas into songs, permeated
the entire project for Grohl. He directly
addressed the idea of working with one
of his idols in McCartney, but somehow
it's easy to sense he may as well be talking
about all of the musicians in "Sound City."
  "If it had only been a day in the studio
and no one had ever seen it or heard it
and I had never done it again, I would
die a happy man," he says, "Just the fact
that it happened, to me, was enough."