THERE IS NOTHING LEFT TO LOSE (RCA, 1999) occupies a PIVOTAL moment in the FOO FIGHTERS CAREER. 

going back, famously their debut FOO FIGHTERS (CAPITOL, 1995) was a SECRET AFFAIR and for-all-intents-and-purposes a GLORIFIED SOLO PROJECT that re-acclimated FORMER NIRVANA DRUMMER DAVE GROHL with the idea of making MUSIC again in the wake of the TRAGIC PASSING of his FRIEND and BANDMATE KURT COBAIN.  the group name itself was plural as a ploy so that friends and family wouldnt think it was just him, but an ACTUAL band.  he discovered in tracking that ALBUM by himself with the help of FRIEND and PRODUCER BARRETT JONES that MUSIC was the very VEHICLE for his RECOVERY from such a DEEP and very public EMOTIONAL BLOW.  the follow-up THE COLOUR AND THE SHAPE (CAPITOL, 1997) was a more DRAWN-OUT and TUMULTUOUS AFFAIR with ACCLAIMED PRODUCER and NOTORIOUS TASKMASTER and PERFECTIONIST GIL NORTON (PIXIES, BELLY, THROWING MUSES, CATHERINE WHEEL).  by this point the FOO FIGHTERS were an actual unit, with the ICONIC PUNK ROCK GERMS / NIRVANA GUITARIST PAT SMEAR on board as well as the rhythm section of the recently DISBANDED POST-HARDCORE standouts SUNNY DAY REAL ESTATE in BASSIST NATE MENDEL and DRUMMER WILLIAM GOLDSMITH.  ultimately GROHL replayed all of GOLDSMITH's parts on the RECORDING, which understandably crushed his will to be in the band and he soon exited on band terms.  he was replaced by ALANIS MORISSETTE's DRUMMER TAYLOR HAWKINS and there was a bit of MUSICAL CHAIRS going at guitar with SMEAR leaving and FORMER SCREAM GUITARIST FRANZ STAHL stepping in, then leaving.  by the time you get to the third ALBUM THERE IS NOTHING LEFT TO LOSE, the band was down to three members in GROHL, MENDEL and HAWKINS.

with all the TURMOIL in the lineup caused by an overly EXTENSIVE TOURING SCHEDULE schedule (SMEAR) and CHEMISTRY ISSUES exacerbated by the INTENSE RECORDING and SONGWRITING PROCESS (GOLDSMITH and STAHL), GROHL decided this go around to quietly reconvene back in the COMFORTABLE confines of his home state of VIRGINIA and setup shop in his ALEXANDRIA basement and self-record there with the technical help of PRODUCER ADAM KASPER at a slow MANAGEABLE pace.  and you can definitely pick up on that laid-back vibe in tracks like "NEXT YEAR," "AIN'T IT THE LIFE" and the standout "AURORA."  the first two FOO FIGHTERS RECORDS are ICONIC ALTERNATIVE ROCK ALBUMS with mostly AGGRESSIVE songs that are DISSONANT yet MELODIC and consciously influenced by everything from BIG BLACK, HUSKER DU and PIXIES to MELVINS and the BAD BRAINS.  GROHL has stated in interviews that for THERE IS NOTHING LEFT TO LOSE he was going for more of the consciously POP and overtly MELODIC MUSIC that was on the AM RADIO in his MOTHER's car throughout his 1970s SUBURBAN VIRGINIA youth.  specifically AM GOLD / YACHT ROCK ARTISTS like ANDREW GOLD, GERRY RAFFERTY, PHOEBE SNOW, 10cc, HELEN REDDY, CARLY SIMON, ANDY GIBB and the BEE GEES.  so yeah, this ALBUM was a total DIFFERENT VIBE.   

especially "AURORA" which might be the most BEAUTIFUL SONG GROHL ever wrote.  maybe.  its at least up there.

but that is not to say the band totally abandoned their SOUND.  TRACKS like "STACKED ACTORS" (reportedly an UNSUBTLE takedown of LONGTIME FRENEMY COURTNEY LOVE), "BREAKOUT" and "GENERATOR" all pair nicely with the more AGGRESSIVE NUMBERS from the first two records, but are largely not as MEMORABLE.  "LEARN TO FLY" is the departure that marries the aforementioned MELODIC and LAIDBACK VIBE with the DISSONANT ALTERNATIVE ROCK that one would expect from GROHL, but the SWEEPING MELODIES are what make it transcend such.  this was the FOO FIGHTERS SONG that as much as i wanted to hate it, just couldnt because it was so well constructed and executed.  it is just a classic ROCK AND ROLL song that melodically soars and one doesnt need to imagine very hard such being a successful SING-A-LONG NUMBER at a packed arena.  i wouldnt know FIRSTHAND since the last time i saw FOO FIGHTERS play was back in 2000 at a RANDOM CONCERT in RHODE ISLAND when they were on tour for the SECOND ALBUM with the RED HOT CHILI PEPPERS, who themselves were promoting their CLASSIC CALIFORNICATION (WARNER BROS, 1999) ALBUM at the time with GUITARIST JOHN FRUSCIANTE back in tow.  GREAT SHOW by the way.

THERE IS NOTHING LEFT TO LOSE is by no means my FAVORITE FOO FIGHTERS album, such is a tie between THE COLOUR AND THE SHAPE and the much later WASTING LIGHT (RCA, 2011), but within the CONTEXT of their GREATER CATALOGUE, it showcases a band artistically succeeding when internally they felt like they had their backs against the wall.  sadly there would be more ADVERSITY in the future, but i feel that will to persevere and fight is baked into their DNA as a group at this point.  part of the reason their fans are so DIEHARD and LOYAL.  they know that GROHL and company authentically live through their CRAFT.  gotta respect that.

what is there to say about NIRVANA's NEVERMIND (DGC, 1991) album that hasnt already been said again and again and again over the past three decades ad nauseam.

forget GRUNGE or ALTERNATIVE ROCK, NEVERMIND is arguably the most CELEBRATED ROCK AND ROLL album of all-time, right there with the likes of THE BEATLES' REVOLVER (PARLOPHONE, 1966) or SGT. PEPPER'S LONELY HEARTS CLUB BAND (PARLOPHONE, 1967), BOB DYLAN's BLONDE ON BLONDE (COLUMBIA, 1966) or HIGHWAY 61 REVISITED (COLUMBIA, 1965), THE VELVET UNDERGROUND's THE VELVET UNDERGROUND & NICO (VERVE, 1967),  LED ZEPPELIN's LED ZEPPELIN IV (ATLANTIC, 1971), THE CLASH'S LONDON CALLING (CBS, 1979), AC/DC's BACK IN BLACK (ATLANTIC, 1980), and THE SEX PISTOLS' NEVER MIND THE BOLLOCKS, HERE'S THE SEX PISTOLS (WARNER BROS, 1977).  unlike those records NEVERMIND made an immediate impact on AMERICAN CULTURE, effectively establishing overnight long simmering UNDERGROUND INDIE and PUNK ROCK scenes as the new mainstream gatekeepers and arbiters of quality and taste writ large.  with NEVERMIND, much like with the fossil record, there is a definite delineation of a NEW EPOCH, one in which we are still very much experience decades later.  the BRITISH INVASION reacquainted AMERICA with its MUSICAL CULTURE while helping establish ROCK AND ROLL as a vehicle, while later PUNK ROCK revitalized ROCK AND ROLL when it became stale and predictable, but only NIRVANA and NEVERMIND effectively bridged those two movements together in one band, one expression.  GIFTED SONGWRITING and AUTHENTIC ATTITUDE.

so now that i got all that out of the way. my recollection of the album, which i got as a christmas gift along with IN UTERO (DGC, 1993) from my parents while on vacation in SAN FRANCISCO in 1994, were the songs.  and not just the singles.  there is a sense when listening to tracks like "ON A PLAIN," "DRAIN YOU," "BREED," "LOUNGE ACT," "TERRITORIAL PISSINGS" and "STAY AWAY" that what you are experiencing is the aural equivalent of SOCIAL ALIENATION and general DISSATISTFACTION.   its not even about the words necessarily, which are often associative wordplay schemes rather than COGENT articulations.  the brilliance and genius of NIRVANA and KURT COBAIN as a songwriter was his preternatural ability to seamlessly translate an EMOTIONAL STATE.  his songs are unique unto him and the COMPLEX undercurrent of PAIN, DESPAIR and HELPLESSNESS that make them so POWERFUL.  even after years of WELL-INTENTIONED acolytes futilely attempting to manufacturing his STEEZE, NEVERMIND still stands UNBLEMISHED as a near PERFECT expression of our individual capacity to locate what we hate about society staring straight back at us within ourselves.

it makes sense that COBAIN was AMBIVELANT about the album and its UNEXPECTED commercial and artistic SUCCESS.  he seemed to feel a myriad of ways about multiple aspects of his life.  i dont want to glorify MENTAL ILLNESS, but that CONFLICTED MIND-STATE no doubt contributed to a record of such EMOTIONAL RESONANCE and COMPLEXITY, even on a purely sonic level.  for me that unique listening experience divorced from pre-frontal cortex intellectualizing is what separates NEVERMIND from everything else.  every time i hear it i feel a weight lifted from my shoulders, a sense of RELEASE and TRANSCENDENCE from the MUCK of life. 

its been that way ever since i first heard "SMELLS LIKE TEEN SPIRIT" from a SHAKEYS PIZZA jukebox at an after-game soccer party when i was starting second grade in 1991.  i knew that deep well of feeling and identified with it immediately on impact.

what a REMARKABLE gift that was to the world.

RIP KURT COBAIN

the UNTIMELY death of longtime and universally BELOVED FOO FIGHTERS drummer TAYLOR HAWKINS a little over a year ago while on tour in COLOMBIA was both SHOCKING and TRAGIC.  you dont have to look far in the band to see members that have lost bandmates in the past.  i think for a lot of people their thoughts immediately went to DAVE GROHL and PAT SMEAR and their close FALLEN brethren in KURT COBAIN and DARBY CRASH.  people forget that the FOO FIGHTERS project itself was created as an expression of PERSISTENCE and SURVIVAL in the face of OVERWHELMING GRIEF.  the ICONIC tribute concerts from last fall was a showcase in that ethos of LOVE and COMMUNITY in the face TRAUMA and TRAGEDY.

but the question for fans quickly became "what next?" 

in december of last year the FOO FIGHTERS announced they would carry on, but who would play drums.  i just adore the fact that they answered all these questions in a STARK long-form, black-and-white rehearsal video where you could view JOSH FREESE absolutely destroy these songs and realize the band was in some sense REVITALIZED.  im a huge DEVO fan, so i've known about FREESE for years, but i first saw him play at WARPED TOUR 2001 in VENTURA as a member of veteran ORANGE COUNTY PUNK band THE VANDALS.  he's been a session drummer of the first order for decades (CHRIS CORNELL, BLACK LIGHT BURNS, DANNY ELFMAN, KATY PERRY, BRUCE SPRINGSTEEN, QUEENS OF THE STONE AGE, KELLY CLARKSON, WEEN, AVRIL LAVIGNE, SOCIAL DISTORTION and ROB ZOMBIE) and has been the go-to drummer while on tour in a crunch for the likes of everyone from PARAMORE and GOOD CHARLOTTE to THE REPLACEMENTS, THE OFFSPRING and even STING.  he's also had stints of being a member of NINE INCH NAILS, GUNS N' ROSES, WEEZER and A PERFECT CIRCLE among other bands.  it is a RIDICULOUS resume that the FOO FIGHTERS are now a part of.  like HAWKINS, he is also from ORANGE COUNTY (which coincidently is where i lived as a child until 1996).

but the best part of the whole video knowingly moronically entitled FOO FIGHTERS: PREPARING MUSIC FOR CONCERTS is the beginning when FREESE hasnt been announced yet as the drummer and a parade of FAMOUS drummers come in for IDIOTIC reasons.  as the first CREATIVE release since the tribute concerts, the fact that they went with HUMOR was BRILLIANT.  they probably needed it and we the fans definitely did as well.

parodies by nacrowe

i get it.

some people are sick of the sight of DAVE GROHL.  in recent years he has been omnipresent in documentaries related to anything and everything ROCK N ROLL.  lazy journalists refer to him as "the nicest guy in the music industry" (which makes my lizard brain immediately counter with, yeah, to journalists) and he has become something of the TORCH BEARER for the HUMAN ELEMENT in music writ large during an era of PITCH CORRECTION and DIGITAL MANIPULATION in the production of music.  so i get the eye rolls and shirking at yet another testimonial to his supposed GREATNESS.

what gets me about GROHL is his capacity to be INCLUSIVE to musicians.  he's collaborated on COUNTLESS projects for other artists (MELVINS, EARTHLINGS?, TENACIOUS D, KILLING JOKE, THE PRODIGY, DAVID BOWIE, NINE INCH NAILS), been in numerous bands (NIRVANA, QUEENS OF THE STONE AGE, FOO FIGHTERS, SCREAM, THEM CROOKED VULTURES) and initiated projects designed to showcase the talents of others like PROBOT (LEMMY KILMISTER, MAX CAVALERA, KING DIAMOND, WINO, CRONOS), TEENAGE TIME KILLERS (JELLO BIAFRA, NEIL FALLON, MATT SKIBA, RANDY BLYTHE) and the SOUND CITY soundtrack (LEE VING, PAUL MCCARTNEY, RICK SPRINGFIELD, CHRIS GOSS, STEVIE NICKS).  oh yeah and he made the FOO FIGHTERS record an album of straight-up FUNKY BEE-GEE covers.  you should be dancing, indeed.

its one thing to be an advocate for a community, another entirely to put ENERGY into being a CREATIVE RESOURCE for them to access.  GROHL, given his unique cultural cache and commercial success with NIRVANA and FOO FIGHTERS, has time and again leveraged such a platform to spotlight those around him and causes he believes in.  i just dont see it as SELFISH.  the man has gone through more than his share of suffering from the very public premature passing of his friends and former bandmates that would crush less a person.  hes carried on the spirit and legacy of his friend KURT COBAIN for decades and i imagine the same will be the case with TAYLOR HAWKINS. all i can say is godspeed.

embedded below is a DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that originally aired at the end of 2021. the playlist includes music from throughout the DAVE GROHL's infamous catalogue. enjoy!

i thought the premise was INTERESTING: a book that recounted the life narratives of several women who raised sons and daughters that went on to become NOTABLE and INFLUENTIAL musicians.  in practice unfortunately it came out a bit INCOHERENT and TEDIOUS, almost like reading a book report.

that is not to say that i have anything against the late VIRGINIA HANLON GROHL, mother of DAVE GROHL of FOO FIGHTERS / NIRVANA fame. like her, i was an high school ENGLISH teacher so inherently i feel a sense of obligation in and of that connection to support my fellow brethren.  teaching is an identity and is something i have not been able to shake in the intervening years (this blog included), so i understand intimately that deep need to NURTURE, EDUCATE and ELEVATE others.  as such, you can palpably feel the LOVE and EMPATHY that went into creating FROM CRADLE TO STAGE:  STORIES FROM THE MOTHERS WHO ROCKED AND RAISED ROCK STARS (SEAL PRESS, 2017) and the intensive process of intelligently relaying the disparate paths of women in raising and unconditionally supporting musicians like MICHAEL STIPE (R.E.M.), MIKE D (BEASTIE BOYS), AMY WINEHOUSE, WARREN HAYES (GOV'T MULE), DR. DRE (N.W.A.), TOM MORELLO (RAGE AGAINST THE MACHINE, AUDIOSLAVE), PHARRELL WILLIAMS (N.E.R.D., THE NEPTUNES), HAIM, ADAM LEVINE (MAROON 5), DAVE MATHEWS, MIRANDA LAMBERT, ZAC BROWN, JOSH GROBAN and KELLY CLARKSON among others.

one issue is that the narratives tend to bleed into each other and taken together become a bit PREDICTABLE (i.e. tales of ENERGETIC, RAMBUNCTIOUS kids that discover music or an instrument as a preteen and then become uninterested with formal their studies, yet maintain a near compulsory self-ingrained drive to create and explore music well into high school and beyond).  there are variations to this script but those pre-teen years seem to be the through line in the lives of most of these musicians which makes EMOTIONAL and PSYCHOLOGICAL developmental sense.  i appreciate how GROHL utilizes her own narrative with her son to anchor down a base narrative to compare all others to.  that was a smart organizational device.

another issue is that the premise of this book very much downplays the role of fathers and men in the lives of their children.  unquestionably women play a gargantuan part in the EMOTIONAL, PSYCHOLOGICAL and INTELLECTUAL development of their children, but men play some role as well.  even in ABSENTIA as with the handful of musicians from divorced, single-parent households.  i thought it was an COMPELLING choice to at least not pay lip service to the contributions of the fathers that were an ACTIVE part of their child's lives, but then that is outside of the conceit of the book.  which is silly in retrospect.  i suppose that was beyond GROHL's capacity as a mother to intuitively speak AUTHENTICALLY about being a mother and not a father.  i am just point out the UNFORTUNATE omission.

far and away my favorite running feature of this book were the TOUCHING vignettes that GROHL wrote about her son that touch on his early years, musical development and later career highlights.  these vignettes very much take you behind the scenes on his INCREDIBLE career trajectory from the perspective of his mother and how the choices she made regarding his upbringing and education impacted such, pre and post-fame, during high and low points therein.  through such you get the sense that UNCONDITIONAL LOVE, SUPPORT and SECURITY is what she provided to a son that participated in an industry that is notoriously SAVAGE and CUTTHROAT.  if anything, this sense of being a one-person support network is a common dominator of all these mothers.

somewhere in this book GROHL makes mention of the fact that she has nothing but TRUST and FAITH that teachers will find ways of bridging the curriculum and lesson activities to the varied interests of their students.  this was something she took great pride in as an educator.  case in point she allowed her students to rap a scene from a SHAKESPEARE play rather than act out the actual lines of the play in class to great aplomb, so much so that decades later she was sent the original handwritten lines of the rap as a gift and token of appreciation.  this is undoubtedly a prime example of the MAGIC of the classroom and the potential for TAILORED instruction by a CONFIDENT, ENGAGED educator.  what GROHL makes explicit soon after is her lack of TRUST and FAITH in school administrators who are distanced from the classrooms and student populations they are set out to advocate on behalf of.  amen sister.  the later was my experience in no uncertain terms, which is SAD and UNFORTUNATE. 

and this is the related bigger point, the fact that our schools are FAILING students whose TALENTS and INTERESTS lay just outside the purvey of the curriculum.  many of these mothers had intensely CREATIVE sons and daughters who just got by in school and saw the whole experience as TEDIOUS and a DISTRACTION from their true calling in life.  DAVE GROHL didnt fail in his attempt to pass high school. THE EDUCATION SYSTEM FAILED HIM in not being able to support his gifts much like his family did. 

pointing that SYSTEMATIC FAILURE is such an ASTUTE observation.  this was undoubtedly my biggest takeaway from this book, which hitherto such seemed to not have a larger agenda.  i should have known and expected such from a seasoned educator and colleague.  ye of no FAITH that i am.  GROHL in essence managed to neatly sum up all my deep FRUSTRATIONS and HEARTBREAK over the education system in a TIDY little bow.  book report, indeed.

​RIP VIRGINIA HANLON GROHL

its always cool to learn about the INSPIRATION for ART.  longtime BRITISH music periodical NME on their youtube channel has for several years had an ongoing video series called SONG STORIES in which they have celebrated musicians explain the initial spark and CREATIVE PROCESS that brought about notable tracks.  past participants include JOHNNY MARR (THE SMITHS), PETER HOOK (JOY DIVISION), DAVE GROHL (FOO FIGHTERS), TWO DOOR CINEMA CLUB, BRETT ANDERSON (SUEDE), PHOENIX, OLI SYKES (BRING ME THE HORIZON), IAN MCCULLOCH (ECHO & THE BUNNYMEN), JOEY SANTIAGO & DAVID LOVERING (THE PIXIES), JIMMY EAT WORLD, GAVIN ROSSDALE (BUSH),  ROYAL BLOOD, BOBBY GILLESPIE (PRIMAL SCREAM) and COURTNEY BARNETT among many others.

while i understand that MUSIC, LITERATURE and ART all have unique narratives that brought about their CREATION, the SOLIPSISTIC truth of the matter is that their longevity is how such became intertwined in the countless personal narratives of individuals the world over.   for me music is the ultimate time transportation vehicle as i can listen to a STRANGLERS song and immediately be back in my parents old dilapidated HONDA ACCORD being driven to a weekend soccer match in the early 1990s.  the POWER OF MUSIC is not in the CREATOR but in the LISTENER, who effectively completes the circuit.

although as a fan of art i still love getting to know how songs were constructed and what value they imparted or exorcised on the part of the SONGWRITER.  endlessly INTRIGUING.  NME's SONG STORIES is definitely worth further investigation.  highly recommended.

i discovered the JUSTIN HAWKINS RIDES AGAIN channel a few months ago on YOUTUBE and was really taken aback by how INFORMATIVE it all was.  if you are unfamiliar with JUSTIN HAWKINS, he is the frontman and main songwriter for BRITISH ALTERNATIVE glam metal band THE DARKNESS who first came to fame in the 2000s along with the wave of other INDIE ROCK REVIVAL groups.  whereas other ENGLISH and SCOTTISH groups from the period (including BLOC PARTY, FRANZ FERDINAND, THE LIBERTINES, THE FUTUREHEADS and THE CRIBS) seemed heavily influenced by both the POST PUNK and INDIE ROCK movements, THE DARKNESS felt like a breath of fresh air with their stadium-sized AMBITION to be more in the vein AC/DC, MOTLEY CRUE, AEROSMITH, THE CULT or especially QUEEN.  they definitely stood apart and where not afraid to look absolutely RIDICULOUS (which i appreciate)!  personally i still rock DARKNESS singles like "GROWING ON ME," "OPEN FIRE," "NOTHIN'S GONNA STOP US," "BARBARIANS," "ROCK AND ROLL DESERVES TO DIE" and "LAST OF OUR KIND" on regular rotation while driving to work, i just have to watch my speed in the process.

the JUSTIN HAWKINS RIDES AGAIN channel is reminiscent of RICK BEATO's channel in that HAWKINS also dives into and EXPLAINS music theory and recording / production techniques on popular songs.  what differentiates it though is his sense of self-effacing HUMOR that knowingly showcases the ABSURDITY of his life's work as well as his unbridled capacity to call out musicians and industry participants.  and he does such from a place of EMPATHY.  in other words, he has actual first-hard EXPERIENCE being a ROCK N ROLL star and its that kind of insider KNOWLEDGE that makes his YOUTUBE channel FASCINATING.  HAWKINS' channel appears to be a way of BYPASSING a BRITISH press that has long abandoned and even mocked his musical efforts.  its rather BEAUTIFUL that an artist in today's DIGITAL ecosystem has the ability to CULTIVATE and COMMUNICATE directly with an audience sans middlemen and gatekeepers.

i feel its also great that he has used this new platform to promote artists he's discovered (sometimes even through his audience).  it was through him that i became aware of two INCREDIBLE modern AUSTRALIAN PUNK bands, THE CHATS and AMYL & THE SNIFFERS.  if anything, i tend to rely on HAWKINS through his channel as a vehicle for DISCOVERING new bands, which is always a fun thing.  my hope is that HAWKINS continues to be PROLIFIC with his channel and further PROMOTE an INCLUSIVE community that follows his lead as a highly IDIOSYNCRATIC, but musically KNOWLEDGEABLE and stylistically OPEN-MINDED guide to new cultural ideas and sonic terrains.

i look forward to seeing where HAWKINS takes this.

iconic ALTERNATIVE ROCK musician DAVE GROHL of NIRVANA / FOO FIGHTERS fame has been on a bit of a creative streak the past few years, diversifying his many interests into a string of well-received documentaries and HBO specials centered on the role of music and its many facets (production, recording, touring, inspiration) in society.  it doesnt seem that far-fetched that the next outlandish GROHL production would be a schlocky HORROR film that effectively parodied his self-perception as the slavedriver of the FOO FIGHTERS. 

in STUDIO 666 (ROSWELL FILMS, 2022), whose title is a reference to the band's longstanding BURBANK recording facility STUDIO 606, GROHL is demonically possessed after setting up shop in an old abandoned hillside estate and recording there.  again, this conceit is parodying GROHL's recent real-life proclivity for cooking up ever more outlandish concepts for recording albums (i.e. his home on tape for WASTING LIGHT or utilizing studios across AMERICA in SONIC HIGHWAYS, each studio a different song about that city).  its pretty funny that its actually conceivable that recording in a haunted house would could probably be the hook or premise of an actual FOO FIGHTERS album (or even recording in space or on ANTARCTICA or in a submarine).  

now i will fully admit that i am not a fan of HORROR films, especially the 1970s and 1980s SLASHER variety that thrives on gore and jump scares.  its arguably the only genre i avoid.  exceptions include early GERMAN EXPRESSIONIST films and the later inspired series of UNIVERSAL MONSTER movies.  but in STUDIO 666 i see much less GEORGE ROMERO or TOBE HOOPER and much more HERSCHEL GORDON LEWIS or even MEL BROOKS.  in essence the violence is so over-the-top and ridiculously that its beyond hilarious.  its very much reminiscent of DRACULA: DEAD AND LOVING IT (BROOKSFILMS, 1995) with regard to how the ultra-violence is interpreted and ultimately perceived.

obviously the real-world passing of drummer TAYLOR HAWKINS a month after STUDIO 666's release makes watching it a bittersweet experience.  there has been quite a bit of discussion and controversy over a universally derided hit piece by the ROLLING STONE which essentially stated that HAWKINS was overworked and suffering from exhaustion and was looking to limit the band's brutal touring schedule before and up to the time of his passing.  people close to the band have bitterly stated that this is complete utter bullshit, but its still uncomfortable that the subtext of the film's basic plot surrounds the band going along with GROHL idiosyncratic notions despite their own reservations.  its just a little unnerving and odd, thats all.

my hope is that GROHL will continue when the time's right and find the proper creative venue for his passion of connecting people through music.  its what he does and to me that is what the FOO FIGHTERS legacy very much is about.  even this goofy and schlocky labour of love deep down is ultimately about that need to connect and find a sense of community (in METAL!!!!).

sending all my love to the band at this horrible moment. 

R.I.P. TAYLOR HAWKINS

parody by nacrowe

check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the legendary production work of the notoriously perfectionist BRITISH record producer GIL NORTON!
​
​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.

and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

join us TONIGHT at 6PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the notoriously perfectionist ENGLISH record producer GIL NORTON!
​
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.

and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

there is an arc to INSULAR art and music scenes as they become discovered and heralded by forces outside the COMMUNITY, especially in the pre-internet age.  such was famously seen in SEATTLE in the early 1990s whereby a geographically secluded region ironically provided the necessary INSULATION for a cultural evolution to take place with the advent of what became marketed as ALTERNATIVE ROCK.  what is very interesting is there was very much a concurrent scene taking place in the COACHELLA VALLEY more than 100 miles east of LOS ANGELES.

DESERT AGE (BACKWOODS, 2016) is a documentary the celebrates that COMMUNITY of artists and musicians associated with the desert scene of the 1980s and early 1990s that initiated and supported that cultural movement up until its collapse as it was discovered and ultimately infiltrated by outsiders.  notable interview participants include musicians such as SEAN WHEELER (MUTUAL HATRED / ZEZO ZECE ZADFRACK / THROW RAG), MARIO "BOOMER" LALLI (DEAD ISSUE / ACROSS THE RIVER / YAWNING MAN), BRANT BJORK (KYUSS), BRIAN MALONEY (UNSOUND),  PAUL MITCHELL (TARGET 13), IAN TAYLOR (UNSOUND), SCOTT REEDER (DEAD ISSUE / ACROSS THE RIVER / KYUSS), JESSE HUGHES (EAGLES OF DEATH METAL), DAVE GROHL (FOO FIGHTERS / NIRVANA) and JOSH HOMME (KYUSS) among many others. 

what seemed to mark this scene was its DIY PUNK ROCK ethic and internal celebration of EXPERIMENTATION and INDIVIDUALITY.  there was no arms race of sorts, as in the nearby LOS ANGELES PUNK ROCK scene, to be the hardest and most HARDCORE band in the area.  instead bands were mutually encouraged to seek out their own sound.  part of this was just the nature of being in a small closed COMMUNITY with limited resources.  famously LALLI had a generator that allowed for concerts to take place beyond the city limits in the vast space of the open desert.  that unique venue alone spurred INNOVATION with the upcoming musicians of the area, who had to tackle the concept of playing in such an open venue.  at these "generator shows" it would not be odd to have a PROGRESSIVE band play next to a PUNK band and so forth.  the ETHOS really was EXPERIMENTATION and seeking out ones own sonic signature.  having shows outside the city limits, although LIBERATING in one sense, also allowed for certain local lawless, violent elements (biker gangs, meth dealers) to take advantage of the situation.

i was happy to say that this film did not devolve into an unofficial KYUSS hagiography, as they are the most famous direct export of the scene by far (as the antecedent root for the globally successful QUEENS OF THE STONE AGE).  this was my fear and i was glad to see that such an an itch was not scratched.  instead the majority of the film outlines how the efforts of key scene initiators like the older SEAN WHEELER and MARIO "BOOMER" LALLI laid the groundwork for the cultural revolution that followed.  this film is largely a celebration of their efforts to promote art and music in a barren cultural island whose true identity was the very meth-addled inversion of the popular iconography associated with celebrity playgrounds like nearby PALM SPRINGS.

interesting film worth your time if you have any interest in the desert scene or ALTERNATIVE and STONER ROCK in general.​

created as a stopgap between NEVERMIND (DGC, 1991) and IN UTERO (DGC, 1993), NIRVANA's release of the INCESTICIDE (DGC, 1992) compilation included COVERS, B-SIDES, DEMOS, OUTTAKES and BROADCAST RECORDINGS for radio stations.  there are some real gems on this record including originals like "ANEURYSM," "SLIVER," "DIVE," "BEEN A SON" and "STAIN."  in particular the track "ANEURYSM" became a concert staple and crowd favorite after this release.

one of the cool things about all the members of NIRVANA was their capacity to utilize their immense platform to promote bands they liked in television interviews and in the press.  beneficiaries of such praise included seminal INDIE ROCK veterans like THE RAINCOATS, DINOSAUR JR, THE VASELINES, SONIC YOUTH and DANIEL JOHNSTON as well as peer acts like KYUSS, BIKINI KILL, SOUNDGARDEN, THE MEAT PUPPETS, HOLE, THE BOREDOMS, THE MELVINS and THE BEAT HAPPENING.  there are three covers on INCESTICIDE that include "TURNAROUND" (DEVO), "MOLLY'S LIPS" and "SON OF A GUN" (THE VASELINES).  when considered alongside the eclectic covers from MTV UNPLUGGED IN NEW YORK (DGC, 1994), including that of DAVID BOWIE, LEADBELLY and THE MEAT PUPPETS, it just showcases a depth and range of appreciation for music that spans several genres including INDIE ROCK, GLAM ROCK, DELTA BLUES, COUNTRY and NEW WAVE among others.

but i think the biggest takeaway from INCESTICIDE is not the music per se.  in the liner notes KURT COBAIN made it explicit where he stood with his emerging fanbase, a portion of whom he felt didnt share his values of gender, sexual and racial inclusivity.  famously he concluded the liner notes with "if any of you in any way hate homosexuals, people of different color, or women, please do this one favor for us — leave us the fuck alone! Don’t come to our shows and don’t buy our records.”  when you consider that this record came directly after the generational cultural phenomenon that was NEVERMIND, it is pretty PUNK ROCK that COBAIN took such a stand to challenge his audience at what was his commercial peak.  in the liner notes of IN UTERO he went even further to forewarn that "If you’re a sexist, racist, homophobe or basically an asshole, don’t buy this CD. I don’t care if you like me, I hate you.” 

in the years since i've met many people globally who were influenced and appreciated the music of NIRVANA.  they were a global phenomenon.  but it is this social aspect of their band that gets lost in translation quite a bit.  and ive had a hard time swallowing the fact that we've worked with some artists that adore (and copy) COBAIN yet are raging homophobes and misogynists themselves.  there is a bigger debate out there of whether or not you can separate an artist's music from their individual actions.  i have a hard time with that one, in fact a very early DEER GOD RADIO show (EPISODE #2) is about that very topic: its entitled GOOD MUSIC BY BAD PEOPLE.

i just feel that for my interpretive conception of COBAIN and his career, INCESTICIDE marks that turning point where he was aware of his cultural sway and started utilizing it to promote causes he believed in and celebrate communities that were marginalized during his era.  and he should be remembered and commended for such efforts.  such are part of his true cultural legacy​.

there is nothing innately special about the concert film 1991: THE YEAR PUNK BROKE (TARA FILMS, 1992) on the surface. 

filmed on tour in 1991 while INDIE ROCK icons SONIC YOUTH was on tour in throughout EUROPE, the film has the requisite backstage antics youd expect from an underground AMERICAN band playing overseas while it was still a novel experience.  most of the live songs presented are from SONIC YOUTH, but there is also live footage of BABES IN TOYLAND, DINOSAUR JR, GUMBALL, THE RAMONES and NIRVANA.

and basically everyone who watches this film is well aware that NIRVANA was the band that broke punk into the mainstream shortly after this tour, not SONIC YOUTH.  in that sense this film functions as a historical document of NIRVANA, and KURT COBAIN specifically, arguably at their peak before the pressures of success, fame and drug abuse slowly dismantled the group over the next three years.  the fact that in this film COBAIN is not the focal point only makes it that much enticing as an portrayal of him during an enjoyable moment in time when he was surrounded by likeminded peers like KIM GORDON, J MASCIS, MARK ARM and the like overseas goofing off and introducing cuts off BLEACH (SUB POP, 1989) and the yet-to-be-released NEVERMIND (DGC, 1991) to new, unsuspecting audiences.  watching that is that moment is the real treat of this film.

speaking of goofing off, there is way too much THURSTON MOORE rambling off bullshit throughout this film.  at first it is charmingly annoying but by the end of the film it really is just annoying hearing him go off on tangents leading nowhere.  but those pointless interludes in between concert footage only goes to show that this film was originally conceived as a SONIC YOUTH vehicle culled from their footage.

is an interesting historical document with some great live performances by legendary ALTERNATIVE ROCK acts, but if you are looking for something more substantial than definitely check out the documentaries HYPE (review linked HERE), PUNK: ATTITUDE (review linked HERE) and WHEN NIRVANA CAME TO BRITAIN (review linked HERE) for additional context.​

i have this distinct memory of hearing the FOO FIGHTERS's track "THIS IS A CALL" coming from my parents bedroom alarm clock during the summer of 1995.  i was 11 and we were still living in SOUTHERN CALIFORNIA at the time.  there was a kinetic energy and a contagious passion to that song that caught my ear and made an immediate impact.  it just sounded like fun.  at the time i had no idea that this band was fronted by the drummer from all those NIRVANA records i adored.  so in a sense i heard the FOO FIGHTERS eponymous debut album FOO FIGHTERS (ROSWELL, 1995) from a fairly innocent standpoint.  so naive was i that for several months i thought that the name of the band was FOOD FIGHTERS.

​and for the record: i still think FOOD FIGHTERS is a great name.  just saying.

famously the FOO FIGHTERS began as a quick studio project for DAVE GROHL to keep his my mind on something productive months after the shocking and tragic demise of bandmate KURT COBAIN and the end of NIRVANA.  there was no plan, just a quick week of recording sessions with his friend BARRETT JONES at a local SEATTLE recording studio (ROBERT LANG STUDIOS) a block away from his house with songs written before and after GROHL's time in NIRVANA.  even the name of the project was made plural to disguise the fact that this wasnt a group, but in fact GROHL on every instrument.

the project only became a focus after GROHL declined an offer to join TOM PETTY & THE HEARTBREAKERS, and made a small series of FOO FIGHTERS tapes that he passed around to close friends and industry colleagues.  this led to a major label distribution agreement which laid the foundation for the ongoing ALTERNATIVE ROCK juggernaut that is the modern-day FOO FIGHTERS.  actually the project, unlike NIRVANA, had a steady build up to where they are now over a nearly 30 year career playing mostly straight-ahead ROCK N ROLL.  probably the most astute move GROHL ever made was starting ROSWELL RECORDS and owning his own recordings.  he is part of a short list of notable recording artists (METALLICA, U2, RIHANNA, JACK WHITE, JAY-Z, etc.) that own their own material.  it has allowed him the freedom to make his art minus the industry bullshit most have to consider when recording an album.  

its interesting to think of whether or not those pressures would have served COBAIN well if he had equal control over his catalogue.  obviously like much concerning him, it is impossible to say.

standout tracks on FOO FIGHTERS include the aforementioned "THIS IS A CALL" as well as "ALONE + EASY TARGET," "BIG ME," "I'LL STICK AROUND," "FLOATY" and my personal favorite, "FOR ALL THE COWS."  sonically and compositionally, these songs are all anthemic and radiate a light-hearted optimism that is pretty much indistinguishable from the public persona of GROHL.  needless to say, this tone is in sharp contrast to that of NIRVANA, which always seemed psychologically and emotionally complex and heavy.  this debut is indebted to bands like THE MELVINS and BIG BLACK in terms of its sonic palette, but in essence these songs serve as a popular bridge to a deeper catalogue of 1980s INDIE ROCK.  that was my experience at least.  getting into NIRVANA and later FOO FIGHTERS begot interest in PIXIES, HUSKER DU, THE REPLACEMENTS, DINOSAUR JR, SONIC YOUTH and so on.

this is not the best FOO FIGHTERS record, the follow-up THE COLOUR AND THE SHAPE (ROSWELL, 1997) is in my opinion, but it is a great transitional record by an iconic musician at a consequential crossroads in his career.  it is pretty incredible what GROHL was able to accomplish the and since.  definitely worth checking out.​

parodies by nacrowe

check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the music of ALTERNATIVE ROCK icon DAVE GROHL!
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​​past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.

and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

join us TONIGHT at 10PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist celebrating the incredibly influential career of HARDCORE / ALTERNATIVE ROCK veteran DAVE GROHL!
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past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.

and if you haven't done so already, make sure and download the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!

at this point there is a whole cottage industry of DAVE GROHL-directed media products, from documentaries (SOUND CITY, WHAT DRIVES US) to tv shows (SONIC HIGHWAYS, FROM CRADLE TO STAGE) to his recent memoir THE STORYTELLER: TALES OF LIFE AND MUSIC (DEY STREET, 2021).  oh yeah, and he makes music.

GROHL obviously has one of the most storied careers of any modern musician, having cut his teeth as a teen with the 1980s DC HARDCORE stalwarts SCREAM before serendipitously joining the legendary 1990s ALTERNATIVE ROCK group NIRVANA and then forming his own band, FOO FIGHTERS, after their demise.  he's collaborated with everyone from LEMMY KILMISTER and TRENT REZNOR to CAT POWER and JOHN PAUL JONES.  his side projects include PROBOT, THEM CROOKED VULTURES and a brief stint in QUEENS OF THE STONE AGE.  but most music fans are familiar with his biography.

and i believe he knows that, which is why his memoir is not a straight chronological telling of his personal narrative, but rather notable moments or vignettes told in sequential order.  structurally it was very reminiscent of A HOUSE ON MANGO STREET.  and i think such was a smart idea because it freed him to really dive into the meaning of certain rights of passage of his youth and that of his family without having to worry about how they fit into a broader context.  again, most of these stories are familiar to anyone who has watched or read his interviews over the years or even read former KERRANG! editor PAUL BRANNIGAN's laboriously compiled biography THIS IS A CALL: THE LIFE AND TIMES OF DAVE GROHL (review linked HERE).  what THE STORYTELLER provides is a perspective of a ROCK AND ROLL life rooted in family.  GROHL goes to great lengths to show that his love of music was almost a manifestation of his unconditional love for his mother, who supported and sacrificed tirelessly on his behalf (a contrast to that of his father).  but beyond his mother, his love of music connected him to an ever widening mandala of similarly minded friends that includes both the famous and the obscure; and they are both written about with equal wit and empathy.  his childhood friend JIMMY SWANSON is as much a part of his personal narrative (perhaps more so) as that of KURT COBAIN, which is very endearing.  given his public profile and immense cultural influence, it was likewise heartwarming to see GROHL give respect to his predecessors and influences: from NEIL PEART, PAUL MCCARTNEY and JOHN BONHAM, to LITTLE RICHARD, JOHN FOGERTY, AC/DC and JOAN JETT.  even numerous obscure HARDCORE bands from his youth.  THE STORYTELLER is in essence a vehicle for shining a light on the connective, reinvigorating force that is music, which is a common returning theme in all of his film and tv projects.  by extension music makes everyone kin.  everyone is connected on the same wavelength.

aside from its focus on musicians, the core of what i found engaging about THE STORYTELLER is how music connects him with his children. how he takes inspiration from their courage to perform publicly in front of their school peers during their elementary years or how they relate to it on the same emotional wavelength that he does.  this made me think about how i have that same musical relationship with my dad and how for GROHL and his children THE BEATLES are that connection point, THE STRANGLERS and THE SMITHS are the same with my father.  i havent read about that intergenerational connection in any previous rock memoir, maybe with the exception of KEITH RICHARDS and his mother in LIFE (review linked HERE).  i should point out that i found it odd that GROHL mentions his wife in passing (unlike his mother and daughters).  it was an interesting omission.

i thoroughly enjoyed this book and its focus on family and the nature of human connection through music or more elementally, love.  i know most readers just want to hear COBAIN stories, but i thought he walked that line of audience expectation adroitly and with much care and empathy.  THE STORYTELLER is well worth reading and i look forward to future non-musical efforts by GROHL and his ever expanding army of collaborators.

its funny how there is the psychic cultural connection between the UNITED STATES and the UNITED KINGDOM, whereby both influence the other in and out of context.  it is a dynamic that i have found endlessly fascinating.  you can see it in all the great BRITISH INVASION bands taking CHICAGO and DELTA BLUES and making it there own, or in PUNK ROCK initiating a mutual admiration society of artists turn musicians that flourished on both sides in POST PUNK, HARDCORE and INDIE ROCK of the 1980s and ALTERNATIVE ROCK in the 1990s.

so NIRVANA was a continuation of that push and pull across the pond.  what is interesting about the recent WHEN NIRVANA CAME TO BRITAIN (BBC, 2021) documentary is that it focuses on the influence of NIRVANA by those who roadied, booked and attended those early shows.  also interviewed are surviving members KRIST NOVOSELIC and DAVE GROHL as well as members of the BRITISH music press and members of THE RAINCOATS and THE VASELINES, whom KURT COBAIN famously championed.

what comes across is the organic embrace of the band pre-fame by the BRITISH public as well as an open-minded set of outsider and working-class booking agents and support staff.  NIRVANA to these people represented a conscious break from the austere conservatism of THATCHERISM and a peak into a more inclusive and freeing future.  NOVOSELIC makes the point that NIRVANA was a "feminized" band that consciously rejected the hollow machismo and outright misogyny of ROCK N ROLL during that period.  COBAIN is the very archetype of a more enlightened, progressive and ultimately inclusive form of a modern-day MASCULINITY.  the fact that within a BRITISH context he cultivated that sort of reaction by an outsider culture he so deeply felt aligned with is heartwarming.  because i dont believe he ever felt that way stateside at any point during his life, pre or post-fame.

the narrative of NIRVANA and COBAIN has been retread so many times in books, tv shows, documentaries and articles since his passing 27 years ago that the topic itself seems completely barren of surprise or insight.  i think the BBC here did an interesting job of presenting a new angle on NIRVANA by focusing on their work ethic, determination and innocence and how that touched a nerve with a small public and working-class support staff at a formative stage in their career.

WHEN NIRVANA CAME TO BRITAIN is a very touching and ultimately productive documentary worthy of investigation.

i was 10 when KURT COBAIN passed away and my initial introduction to the MTV UNPLUGGED IN NEW YORK (GEFFEN, 1994) record was at a friend's house when my family were living in SOUTHERN CALIFORNIA.  we didnt have MTV back then and in fact didnt see the actual show until it came out on DVD in 2007.  which i have to say was a pretty surreal experience given that by that point i had long since committed every nuance of the recording to memory.

obviously this record is celebrated for its focus on COBAIN the songwriter in a stripped-back intimate setting.  in my openly biased opinion several of these performances are iconic, especially "THE WHO SOLD THE WORLD," "ABOUT A GIRL," "ALL APOLOGIES" and especially "WHERE DID YOU SLEEP LAST NIGHT."  its ironic that people use this specific live recording to espouse at length about COBAIN's strength as a songwriter as six of its fourteen tracks are covers by the likes of LEADBELLY, THE VASELINES, DAVID BOWIE and THE MEAT PUPPETS.  the original songs they did opt to play were largely deep cuts with the exception of NEVERMIND (GEFFEN, 1991) single "COME AS YOU ARE," which in and of itself is quite a confident statement.

what strikes me about these performances is not COBAIN the songwriter, but COBAIN the performer.  in this bare-bones environment what really shines is his voice and his preternatural ability to connect emotionally with an audience.  at times his performances are so authentic and so real that they are almost uncomfortable to listen to, as if you are hearing close family arguing.  he comes off so vulnerable yet in firmly in command that you really sense being in the presence of a genius.  you dont sense any affectation or posturing on his part, as you do other lesser performances by peers in this series (STONE TEMPLE PILOTS, PEARL JAM, etc), with the noteworthy exception being the ALICE IN CHAINS performance in 1996.

obviously the death of COBAIN in 1994 permanently effected the public's memory of this legendary performance.  when i hear it i am transported back to my teenage years and it perfectly distills a lot of what i felt back then during that period in SOUTHERN CALIFORNIA.  that included feeling insecure and a total outsider in a close-minded, often racist ORANGE COUNTY community that i felt little in common with.  its funny to me now that i feel that i have more in common with those i met a few years later in 1996 when living in NIGERIA than i ever did back "home." 

i wonder if COBAIN felt that way ever.  if he ever found solace within a new home or community.  to my ears this record sounds like a person profoundly in touch and cognizant of his own vulnerability.  aware of his own search.

legendary performance by an iconic performer.  well-worth revisiting and further investigation.

given DAVE GROHL's reputation for being an affable, righteous dude i had some initial misgivings about reading the biography THIS IS A CALL: THE LIFE AND TIMES OF DAVE GROHL (DA CAPO, 2011) by former KERRANG! editor PAUL BRANNIGAN.  i was worried it would veer towards hagiography, especially given author's decades-long relationship interviewing and covering the towering ALTERNATIVE ROCK musician.  but i am glad to report that THIS IS A CALL is a pretty even-handed accounting of GROHL's sprawling career up to the point of the FOO FIGHTERS' WASTING LIGHT (ROSWELL RECORDS, 2011) record a decade ago.  this book is unauthorized but includes interviews with past band members and the man himself, many culled from past publications and documentaries, but also from BRANNIGAN himself.  

i should state that i have read numerous NIRVANA books at this point, but what makes this book interesting is obviously seeing it from GROHL's perspective.  at this point in 2021 GROHL is effectively the flag-waving elder-statesman of ROCK AND ROLL writ large.  this has only been further cemented given his actions over the past decade (since this book's publication) in connecting more and more musicians and their stories to a wider audience with his personal television (SONIC HIGHWAYS) and documentary projects (SOUND CITY, WHAT DRIVES US).

so it is interesting being taken along for the ride with GROHL, as his story in popular culture is so unavoidably intertwined with his time in NIRVANA and its doomed frontman KURT COBAIN.  and that is unfortunate, because the sense you get from THIS IS A CALL is that for GROHL the defining relationship of his life is with music itself.  time and time again you sense that for him music was a means of community, escape, passion and above all else, fun.  like COBAIN, GROHL lived a childhood marked by divorce.  unlike COBAIN, GROHL grew up in a nurturing, supportive environment.  my sense is that PUNK ROCK to GROHL represented an extended family/community of like-minded individuals with a similar pragmatic DIY ethos towards life and art.  i am not sure that was the case for COBAIN, who seemed to have boundless ambition maybe in hopes of proving his value.  im playing armchair psychiatrist here, and i probably shouldnt, but it seems obvious from the get-go that GROHL never had the same hangups or guilt in following his musical ambitions, especially post-NIRVANA. 

again, from the beginning GROHL's enthusiasm was all about chasing the fun of playing music.  as a child he became aware of the neighboring DC HARDCORE scene and started teenage bands in his native VIRGINIA. from his first serious project in MISSION IMPOSSIBLE to his stints in other outfits like DAIN BRAMAGE and local PUNK legends SCREAM, you get the sense these experiences provided him a vocabulary about how to interact with others.  and obviously the musical shorthand faired him well in his later career with outside projects (THEM CROOKED VULTURES, PROBOT, LATE!, QUEENS OF THE STONE AGE), session work (GARBAGE, NINE INCH NAILS, SLASH, DAVID BOWIE, KILLING JOKE and TENACIOUS D) and soundtrack work (TOUCH, RISING SUN: THE LEGEND OF SKATEBOARDER CHRISTIAN HOSOI).

but a lot of this i already knew, what made this book interesting for me where the details about how if personal life affected his lyrical content in the first few records.  there are several songs i didnt read as autobiographical that now i can plainly see were.  i also appreciate the fact that BRANNIGAN didnt shy away from presenting GROHL at times as being highly opportunistic and unempathetic to the feelings of his "friends" like former FOO FIGHTERS WILLIAM GOLDSMITH and FRANZ STAHL, both unceremoniously booted with little patience or grace, just echos and silence.

if anything, this biography is a great primer for GROHL's upcoming memoir which will highlight stories from his career.  make sense, the dude is about connecting people.  it is what makes him, well, him.