“The feel of music should be something that’s human. It should not be perfect.” – Dave Grohl
From Can to Can’t is a truly powerful track. Corey Taylor sings with such raw intensity it gives you goosebumps, and Dave Grohl behind the drums reminds us that percussion isn’t just rhythm – it’s heart. But let’s be honest – this isn’t some massive hit tearing up the charts or breaking records on Spotify. Compared to other songs I’ve written about on the blog, this one might seem… less spectacular. So why am I writing about it?
Because this song isn’t just music. It’s a story. A story about an old analog console – the Neve 8028 – on which dozens of iconic albums were recorded. A piece of gear that was nearly wiped off the face of the earth, pushed aside by digital clicks, autotune, and the sterile order of modern DAWs. If it weren’t for Dave Grohl, that beautiful machine might have ended up in a junkyard.
But it didn’t. Grohl saved it. Gave it a new life. And together with a crew of musical freaks like Corey Taylor and Rick Nielsen, he recorded something that sounds like a human being, not a machine.
From Can to Can’t is a reminder of what art sounds like when it’s made by people – full of emotion, sweat, and flaws that sound better than perfection. And that’s why this track deserves its place here. Because sometimes we need a reminder that music isn’t just sound. It’s also soul.
So join me on this analog journey – because “music should be something human. It should not be perfect.”
What Is the Sound City Project?
You know, there are places that smell of history. Places where you just have to press one button, and legends pour out of the speakers. One of those places was Sound City Studios in Van Nuys—a humble studio in an industrial part of Los Angeles that produced more musical gems than many record labels combined.
It’s where Nevermind by Nirvana was recorded, Tool’s Undertow, Rage Against the Machine’s iconic debut album, tracks by Tom Petty, Red Hot Chili Peppers… the list goes on and on, making you say, “Wow, seriously?!” But what really made the magic wasn’t just the walls—it was the Neve 8028 analog mixing console, which sounded so warm you could almost heat yourself by it in winter.
Then the digital revolution came. It swept everything off the board, leaving behind WAV files and sterile precision. Sound City fell. But then, like in a proper action movie, Dave Grohl steps in — all rock ‘n’ roll style.
Dave didn’t just buy that legendary console and bring it to his Studio 606—he also decided to tell the world its story. That’s how the documentary Sound City was born, premiering at Sundance in 2013, along with the album Real to Reel, featuring not only Grohl but also Paul McCartney, Trent Reznor, Stevie Nicks, and Corey Taylor.
What’s most beautiful about all this? Grohl wasn’t doing it for money or fame. He simply wanted to remind us that music is about emotion—that the best things happen when people play together, not when someone’s arranging samples in Ableton until 3 a.m.
The recording process was painfully old-school—one day, one song, one take. No edits, no second-guessing. That’s how, for example, “Cut Me Some Slack” came to life—a collaboration between McCartney and former Nirvana members. Crazy idea? Sure. The result? Fireworks.
The Sound City project is not just a musical time machine, but a manifesto: “Hey, let’s not forget that music is human, not algorithm.” And for that, Dave deserves eternal props.
A Rock Dream Team: How From Can to Can’t Came to Life
I don’t know about you, but I have a soft spot for supergroups. You know—the kind of lineups that form once in a decade and you just know they’re going to light it up. From Can to Can’t is exactly one of those moments when the musical planets align perfectly.
In one studio came together: Corey Taylor (Slipknot, Stone Sour), Rick Nielsen (Cheap Trick), Scott Reeder (Kyuss), and of course Dave Grohl—on drums, his natural habitat.
The result? A song buzzing with raw emotion. Corey Taylor starts quietly, almost whispering, and then… boom. An explosion. A voice pulled straight from the gut, as if he’s pouring out all his fears, mistakes, and hopes in one breath.
The lyrics? Powerful. About pain, guilt, not always making it, but still having to keep moving forward. In short—a classic emotional rock track, played and sung so intensely it tightens something deep inside you.
And as I mentioned—the song is fantastic, but the music video? Even better.
Magic Between the Lines — Behind the Scenes of “From Can to Can’t” Music Video
You know, some music videos tell a story… and then there are those that simply show how music is made. No acting, no script, no exploding cars in the background. That’s exactly what the video for From Can to Can’t is like.
You hit play and instantly know you’re in the right place. An old, dimly lit studio. Warm tube lighting. Wooden walls that have probably heard more emotions than any therapist. And a crew that needs no introduction—they just sit down and play.
The opening shots—Corey Taylor with his eyes closed, headphones on, his voice breaking then cutting deep. We see his vocal takes—some misses, some soft and calm, others full of anger and fire. Then Rick Nielsen takes center stage. The guy from Cheap Trick, a legend, laid-back with a cap on his head and a guitar that sounds like it’s having a soul-to-soul conversation with Taylor. The camera shows him recording a solo—no stress, no pretense, just that relaxed smirk like he’s saying, “Don’t worry, I got this.” And he definitely does.
But what really hits you is the atmosphere. This isn’t some sterile studio with laser lights and a white floor. It smells of sweat, dust, and inspiration. The musicians chat, joke, quietly tweak things, nodding their heads to the rhythm. It’s clear they’re not there for money or fame—they’re there because they love doing this.
This music video is more than just a making-of. It’s a peek through the keyhole at real creation. It shows that sometimes all you need is a mic, a good guitar, and a few people who feel the same—and magic happens.
A Live Rarity — From Can to Can’t in Concert Version
Alright, we’ve covered the behind-the-scenes, the studio vibe, the emotions in the booth — now it’s time for the stage. Specifically, Corey Taylor on stage, because that’s always an event in itself.
From Can to Can’t is a song that rarely made it into live setlists. So rarely, you’d think it just doesn’t work live. But in 2024, Corey decided to prove otherwise. During his solo tour — under his own name — he brought this track back. And kudos to him, because the performance was simply amazing. The voice? As always — emotions to the max. The energy? At a level that could blow the speakers apart. And on top of that, his stage charisma that’s impossible to fake.
You can find the video of that concert below. It’s worth hitting play, sitting back, and just diving in. Because even though From Can to Can’t was born in an analog studio, live it gets a second life — raw, powerful, and real.
Soul vs. Pixels!
If someone asked me what this whole From Can to Can’t post is really about, I’d say: it’s about soul. About what happens when a few people lock themselves in a room, pick up their instruments, and instead of overthinking, just play. Sometimes things don’t come out perfect. Sometimes the vocals crack. Sometimes the guitar squeaks a little. And you know what? That’s a good thing.
Because in those little imperfections lies emotion. Truth. Something no algorithm can generate, no plugin can fix. You can have the cleanest mix and the most polished vocal, but if there’s no human in it — what’s the point?
From Can to Can’t is a song that reminds us music isn’t just sound. It’s a story. An experience. Something that should move you, frustrate you, stir you — not just sound good in noise-cancelling headphones.
That’s why I’ll always stand with analog imperfection. Because it has heart. It has history. And—most importantly—it has soul.
And no plugin can ever replace soul. Not even the most expensive one.
