Some big releases are reviewed this week as Steve and Remfry delve into six new releases, including Medicine at Midnight by Foo Fighters, The Raging River by Cult of Luna, OK Human by Weezer, Sound Ancestors by Madlib, We Are Always Alone by Portrayal of Guilt and Dark Flannel by Memory of Elephants.
And news verges from the horrific to the ridiculous as we discuss the grim allegations that have come out against Marilyn Manson and the lawsuit taken out against Taylor Swift by a Utah theme park that just so happens to share a name with the latest album from the pop sensation.
In this second part of our Foo Fighters Classic Albums double, Remfry and Steve dive deep into The Colour and The Shape, the sophomore album released 20th May 1997.
The Colour and The Shape marks the first recording Foo Fighters made as a band rather than Dave Grohl solo. The recording was fraught with difficulty however, with initial sessions being scrapped almost entirely. When the band re-convened, there were even more problems which led to drummer William Goldsmith leaving the band disgruntled.
Despite these difficulties, The Colour and the Shape has become the band’s most enduring album, with mega songs My Hero, Monkeywrench and Everlong still integral parts of their set today. Remfry and Steve dive deep into the album track by track and we discover that Steve doesn’t really like Gerry Rafferty’s Baker Street (bonkers!)
For the first part of this double Classic Albums series we take a look at the humble beginnings of Foo Fighters and how Dave Grohl went from ‘the goofy kid that played drums for Nirvana’ to frontman of one of the biggest bands in modern rock.
There were tempered expectations for the 1995 self-titled album, written and recorded (almost) entirely by Grohl. Many critics seemed downright offended that a drummer (A DRUMMER!!!) would have the NERVE to step out from behind the drum stool and play guitar … AND SING!! AT THE SAME TIME!! MADNESS!
It didn’t take long for Grohl to make those critics look rather silly and 25 years on, the songs on Foo Fighters’ debut album (This is a Call, I’ll Stick Around, For All the Cows, Alone + Easy Target, Exhausted) still sound brilliant, despite (or maybe even because of) their raw, ragged production. The self-titled album served as a reminder that fuzzed-up guitars, a sweet melody and above all else, great songwriting is really all you need to deliver an album that will endure for many years to come.
Remfry leads the chat and covers the Pocketwatch demo, how Eddie Vedder gave Grohl his first big break post-Nirvana, the Robert Lang Studio sessions that would result in the self-titled record, track-by-track analysis, the chaotic Reading ‘95 show and the critical reaction; the good, the bad and the Christgau.
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Remfry and Steve return to an idea as old as Riot Act itself as they pick 8 covers each to discuss over almost 3 hours. The songs that bands decide to cover and the way that they cover them can tell you a lot about the band itself, something that the boys dissect at length.
Together, they look at covers of songs by the likes of The Beatles, Refused, The Prodigy, Nina Simone, Sunny Day Real Estate, Pink Floyd, Kate Bush, Nirvana, Iron Maiden, Weezer, Deftones, The Police, Killing Joke and Frank Sinatra