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What's the Foo up to?


Biff Tannen

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14 hours ago, Gil Bang said:

Foo 25 years as of tomorrow. Seems like yesterday.

Damn.  I was enjoying my summer before my freshman year of high school.  I was just starting to dig deep into music and they seemed like a random off shoot band that was fun, but at that time I wouldn't have thought they would become the behemoths they are.  Rock on Dave.

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On 7/3/2020 at 8:47 PM, Gil Bang said:

Foo 25 years as of tomorrow. Seems like yesterday.

Holy shit.

That's fucking crazy man. Where does time go?  I distinctly remember going and buying the self-titled CD on release day at Starship Records in Tulsa. 

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4 minutes ago, Biff Tannen said:

As does Grohl. 

Well, yeah.  That goes without saying.  It's why I give Hawkins so much credit for stepping into that role.  "Hey, Greatest Drummer in Rock, what's up?  Oh, you need a drummer for your new band?  You need recs?  Nah man, I'll do it.  Yeah, Alanis will be cool with it.  Well, probably not, but I don't care."

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What I've always been curious about with respect to drumming on post-Goldsmith FF records is, I wonder how much input Grohl gives Hawkins. In the band bio documentary from 2011, he (Grohl) danced around the issue of why Goldsmith was pushed out. He didn't say "he wasn't up to par as a drummer", but he did say that the drumming on the first pass at Colour and Shape wasn't, because Grohl had very specific ideas around what he wanted. 

When Grohl brings in a rough song idea, etc, I wonder how much direction he gives Hawkins if (as he implies in the documentary) he knows what he wants to hear drum-wise from the start, versus letting Hawkins create the drum sound himself from scratch.  

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I don't really care for "Shame Shame" and if that's the direction they go in the future, I won't have much interest in those albums.

I enjoyed the last one because it was the no frills hard rock that they've gotten down to a science.  I'm not looking to Dave Grohl for growth and new ideas at this stage in the game.

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What I've always been curious about with respect to drumming on post-Goldsmith FF records is, I wonder how much input Grohl gives Hawkins. In the band bio documentary from 2011, he (Grohl) danced around the issue of why Goldsmith was pushed out. He didn't say "he wasn't up to par as a drummer", but he did say that the drumming on the first pass at Colour and Shape wasn't, because Grohl had very specific ideas around what he wanted. 
When Grohl brings in a rough song idea, etc, I wonder how much direction he gives Hawkins if (as he implies in the documentary) he knows what he wants to hear drum-wise from the start, versus letting Hawkins create the drum sound himself from scratch.  


I would think it has evolved over time. Taylor is a pretty passionate student of music history and bluntly states at the end of B&F that he’s an artist, not a drummer. He likely looked to Dave for the first few records together, but I would have to believe has written the vast amount of his parts the last decade or so.
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7 minutes ago, Al_4_ISU said:

I don't know if it was the documentary or not, but I've either seen something or read something that made it really clear that Goldsmith was out because he wasn't a good enough drummer for Grohl.

Yeah, they go over it in the documentary.  It's fairly brutal and Dave feels bad about how he handled it.

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1 minute ago, Biff Tannen said:

Yeah, they go over it in the documentary.

Sort of. I don't think they establish what Al is saying. Grohl still wanted Goldsmith to tour in support of the record and to stay in the band; it was Goldsmith who chose to quit. To me, the documentary did not establish that Goldsmith wasn't a good enough drummer (clearly Gil Norton thought so). Grohl's objection to what Goldsmith played on the record wasn't specifically "not competent", it was:

"There was the constant feeling that, whatever song you were playing, Dave had (the) drum part for it, already, in his head or whatever."-- Goldsmith

"When I've written a song... (pause)... I have kind of a clear idea of where the basic roots accents should lie. It's a fancy way of saying 'I know what the drums should sound like, in my head, as I'm doing this thing. That's not necessarily fair, to say that, (as you're) collaborating with other musicians." -- Grohl

"I think that William played the best that he could, and that sometimes it was great, and sometimes it wasn't. If I listen to a song, and I don't think it has the thing that it needs, it's not necessarily gonna get past me, and get on an album." -- Grohl

"The conversation I eventually had with William was, I really wanted him to stay in the band, and I really wanted him to be the drummer. But, I was gonna play drums on (The Colour and the Shape). It's a tough thing to talk about, because I know William will never forgive me for playing drums on that record, and I wish things were different. But, um... I felt like this was what I had to do in order to make this album happen." -- Grohl

So Grohl thought the album would be better, and I'm sure all the record company lizards thought it would sell better, with his drumming on it. Clearly true. There's a huge gap between Grohl and Goldsmith's talent, to the point Grohl wanted to write Goldsmith's parts. There's much less of a gap, if any, between Hawkins and Grohl as drummers, and that's where I'm curious as to how much input Grohl has on the drum parts nowadays. I think @Lurch probably nailed it, it was probably "more then, less now". I am guessing that Hawkins was all along able to compose something approaching what Grohl wanted and after 20 years, can just about do it in his sleep. And those two are (apparently) close enough that it was probably always a different story when/if Grohl wanted something changed. 

 

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40 minutes ago, SwanderedTalent said:

Sort of. I don't think they establish what Al is saying. Grohl still wanted Goldsmith to tour in support of the record and to stay in the band; it was Goldsmith who chose to quit. To me, the documentary did not establish that Goldsmith wasn't a good enough drummer (clearly Gil Norton thought so). Grohl's objection to what Goldsmith played on the record wasn't specifically "not competent", it was:

"There was the constant feeling that, whatever song you were playing, Dave had (the) drum part for it, already, in his head or whatever."-- Goldsmith

"When I've written a song... (pause)... I have kind of a clear idea of where the basic roots accents should lie. It's a fancy way of saying 'I know what the drums should sound like, in my head, as I'm doing this thing. That's not necessarily fair, to say that, (as you're) collaborating with other musicians." -- Grohl

"I think that William played the best that he could, and that sometimes it was great, and sometimes it wasn't. If I listen to a song, and I don't think it has the thing that it needs, it's not necessarily gonna get past me, and get on an album." -- Grohl

"The conversation I eventually had with William was, I really wanted him to stay in the band, and I really wanted him to be the drummer. But, I was gonna play drums on (The Colour and the Shape). It's a tough thing to talk about, because I know William will never forgive me for playing drums on that record, and I wish things were different. But, um... I felt like this was what I had to do in order to make this album happen." -- Grohl

So Grohl thought the album would be better, and I'm sure all the record company lizards thought it would sell better, with his drumming on it. Clearly true. There's a huge gap between Grohl and Goldsmith's talent, to the point Grohl wanted to write Goldsmith's parts. There's much less of a gap, if any, between Hawkins and Grohl as drummers, and that's where I'm curious as to how much input Grohl has on the drum parts nowadays. I think @Lurch probably nailed it, it was probably "more then, less now". I am guessing that Hawkins was all along able to compose something approaching what Grohl wanted and after 20 years, can just about do it in his sleep. And those two are (apparently) close enough that it was probably always a different story when/if Grohl wanted something changed. 

 

You are correct.  I was confusing it with the firing of the other guitarist.  Klaus?  Hans?  Some name like that.  Where they fired him over the phone.

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Above poster is probably right that grohls demands/input was probably “more then/less now”.

Taylor and Dave are so close that Taylor most likely is now in lock step with Dave’s thinking on drumming, and hearing the same things in his head as Dave hears in his. Add in that the collaboration musically for an album/songs begins incredibly early and you have this relationship where they both envision the same thing drum wise.

Outside of some rare circumstances, Taylor is pulling most of the weight on drums. That’s my take.


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I can't imagine Goldsmith working out long term after Grohl recut his drum parts.  He might have lasted the tour, but there's almost no way he'd survive the next round in the studio.

It's almost an impossibly high bar to clear:  playing drums in a band led by one of the best few drummers in modern rock.  Good fucking luck.  Taylor Hawkins is a rare bird indeed.

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3 hours ago, SwanderedTalent said:

So Grohl thought the album would be better, and I'm sure all the record company lizards thought it would sell better, with his drumming on it. Clearly true. There's a huge gap between Grohl and Goldsmith's talent, to the point Grohl wanted to write Goldsmith's parts. There's much less of a gap, if any, between Hawkins and Grohl as drummers, and that's where I'm curious as to how much input Grohl has on the drum parts nowadays. I think @Lurch probably nailed it, it was probably "more then, less now". I am guessing that Hawkins was all along able to compose something approaching what Grohl wanted and after 20 years, can just about do it in his sleep. And those two are (apparently) close enough that it was probably always a different story when/if Grohl wanted something changed. 

 

Yeah, and on the Goldsmith thing, Pat Smear also said in the documentary (I'm paraphrasing): "Here you're in a band with the greatest rock 'n roll drummer in the world... who's just sitting there looking over your shoulder waiting for you to play it as perfectly as he can....that's just fucked-up pressure."

It was kind of fucked up and I thought it was pretty cool of Dave to have William on the documentary and to basically admit that he (Dave) handled the stuff with WIlliam poorly. 

And yeah I think it's a totally different vibe with Taylor. He's obviously a super talented drummer, but also he hit it off immediately with Dave and they basically became best friends which I'm sure helped with any "input" Dave may have had early on.

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3 hours ago, Biff Tannen said:

You are correct.  I was confusing it with the firing of the other guitarist.  Klaus?  Hans?  Some name like that.  Where they fired him over the phone.

Franz Stahl.

And yeah that was also kind of fucked up given that he and Dave were friends from his band (Scream) that Dave was in before joining Nirvana.

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19 hours ago, jimmyjazz said:

I can't imagine Goldsmith working out long term after Grohl recut his drum parts.  He might have lasted the tour, but there's almost no way he'd survive the next round in the studio.

I've tried to picture this a few times. Their third record was the one they recorded in Grohl's house in Virginia and the recording process was intentionally the opposite of The Colour and the Shape, where they worked with a total taskmaster producer. The pressure level was way different after Colour, too, since it was such a huge hit. They had a lot fewer eyes looking over their shoulder (or were better able to say "fuck off, let us do this in peace"). 

So that sounds like an environment where Goldsmith could have been comfortable and could have done his best work. Touring Colour and Shape would have given him what, 200 more gigs to learn to play the way Dave wanted, by playing another record of Dave's parts over and over again. 

But that's all best-case scenario. Who knows if the "Nothing Left to Lose" sessions would have been as peaceful, relaxed, etc, if Grohl had had to listen to Goldsmith's drumming again. I mean right prior to that they had just fired Stahl because the chemistry wasn't there and he couldn't contribute anything to their writing. It's also likely that Grohl's comfort that the band was gonna make it wasn't just "we sold a million records on our follow-up" but also "I can now concentrate on and enjoy what I'm doing without thinking about/worrying over a subpar drummer" once Hawkins was onboard, so take that variable out and maybe the third record's sessions would have been tense even without Gil Norton. 

I think keeping Goldsmith through the Colour tour would have just prolonged the inevitable and he'd have quit or gotten fired during the next session. I think he's like Jeff Cease in the Black Crowes, a totally competent and professional musician who couldn't do enough at the next level to keep up with what the band needed. 

Edited by SwanderedTalent
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4 hours ago, SwanderedTalent said:

I've tried to picture this a few times. Their third record was the one they recorded in Grohl's house in Virginia and the recording process was intentionally the opposite of The Colour and the Shape, where they worked with a total taskmaster producer. The pressure level was way different after Colour, too, since it was such a huge hit. They had a lot fewer eyes looking over their shoulder (or were better able to say "fuck off, let us do this in peace"). 

So that sounds like an environment where Goldsmith could have been comfortable and could have done his best work. Touring Colour and Shape would have given him what, 200 more gigs to learn to play the way Dave wanted, by playing another record of Dave's parts over and over again. 

But that's all best-case scenario. Who knows if the "Nothing Left to Lose" sessions would have been as peaceful, relaxed, etc, if Grohl had had to listen to Goldsmith's drumming again. I mean right prior to that they had just fired Stahl because the chemistry wasn't there and he couldn't contribute anything to their writing. It's also likely that Grohl's comfort that the band was gonna make it wasn't just "we sold a million records on our follow-up" but also "I can now concentrate on and enjoy what I'm doing without thinking about/worrying over a subpar drummer" once Hawkins was onboard, so take that variable out and maybe the third record's sessions would have been tense even without Gil Norton. 

I think keeping Goldsmith through the Colour tour would have just prolonged the inevitable and he'd have quit or gotten fired during the next session. I think he's like Jeff Cease in the Black Crowes, a totally competent and professional musician who couldn't do enough at the next level to keep up with what the band needed. 

Yeah agreed. I think Goldsmith was definitely *technically* more suited for the songs on There's Nothing Left to Lose (still my favorite Foo album, FWIW), but I think a big part of the reason that record sounds like it does is the completely laid back vibe of just having Dave, Nate and Taylor (who obviously totally click with each other) holed up at Dave's place in Virginia just recording songs and cooking BBQ, lol.

I did like in the documentary how Taylor tried to convince Dave to keep Foo Fighters as a 3-piece band after that ("like The Police!"), but Dave wasn't having it because of the need to be super loud, lol.

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