The "Foo Fighters" amazing, rough, and analog album "There is Nothing Left To Lose" was released on November 2, 1999, we can't believe more than 20 fucking years have passed !!!
We are delighted to review this fantastic and uplifting album that embodies the essence of what music should be...
Let's take a moment to trace the origins of this delightful and entertaining album.
In 1997, following their deep dedication to music, the band recorded an intense rock album titled "The Colour and Shape," embarked on an extensive world tour, experienced the departure of their drummer William Goldsmith during recording, and lost their guitarist Pat Smear while on tour. Shortly after, they also said goodbye to another guitarist, Franz Stahl, during the tour. Bassist Nate Mendel eventually called Dave to announce his departure, citing exhaustion from the chaos and the reunion of his previous band, "Sunny Day Real Estate." Devastated, Dave resorted to heavy drinking and destructive behavior, venting his frustrations on his car and the neighbors' lawns, as he still lived with his mother despite the band's success with two major albums. Fortunately, the following morning, Nate called Dave to retract his decision, expressing regret and confirming his commitment to remain in the band.
They agreed to create the album solely as a trio this time, without involving a record label, producers, other artists, or assistants. It would be just the three of them - Dave Grohl, Nate Mendel, and Taylor Hawkins.
Choosing to step away from the limelight of Los Angeles, Dave made the decision to move out of his mother's home and purchase a property in Virginia. To emphasize his desire for a change, Los Angeles and Virginia are approximately 4,000 miles apart, with Los Angeles located on the west coast and Virginia on the east coast. It is here that Dave initiates a lasting DIY tradition by constructing a studio within his home, resulting in the creation of his renowned "Studio 606" in the basement of his new residence.
When asked about the significance of the number 606, Dave explains that it is a well-known number that can be spotted in various places.
(Photo: Danny Clinch)
Stripped of all the fancy extras, without a record label and no one else involved except for Adam Kasper in the technical producer role, they headed down to the basement and began work on what would become one of the band's finest albums.
According to the three band members, this period was one of the most enjoyable and laid-back times of their lives. Their daily routine consisted of indulging in BBQ, whiskey, and beer, while immersing themselves in the creative process. Unburdened by commitments or external pressures, they crafted music freely, uninhibited by any constraints, almost as if they had nothing to lose...
As an additional detail, Dave insisted on recording this album in an analog fashion, eschewing computers entirely in favor of reel tape, reminiscent of the methods used in the past. Speaking of which... Dave mentioned in an interview that whenever he listens to this album, he is instantly transported back to the basement, recalling the scent wafting in through the springtime windows and the birdsong that occasionally interrupted vocal recordings.
(Photo: Danny Clinch)
The album commences with the track "Stacked Actors," featuring a powerful blend of drums and guitars, serving as a depiction of the band's departure from Los Angeles. The song delves into the theme of artificiality and insincerity, reflecting on their time in Hollywood where everyone appeared to be mere actors. While acknowledging their own participation in that facade, they have since moved on and now find humor in the past.
"Breakout" is a fantastic second track with a great rhythm. Crank up the volume, watch the music video, and you won't be able to resist jumping and letting loose. We all have a desire to break free from something, and with the Foo Fighters, it's a truly enjoyable experience.
The next track "Learn To Fly" is truly outstanding. It's not because of its musical complexity, touching lyrics, or mesmerizing performance, but simply because it's incredibly fun! This song has a universal appeal that makes you want to sing along wherever you are. It brings uncontrollable laughter when you recall the music video and is a pure joy that radiates happiness. And no, we're not overstating it! In fact, they even received a Grammy for this song in 2001, so relax...
Feel free to proceed to "Gimme Stitches", which delves into a complex relationship where both partners continuously inflict pain on each other yet choose to remain together.
Following that is "Generator", which kicks off with Dave utilizing his Talk Box, a rare occurrence, and a hi-hat opening in syncope (off-beat), adding an addictive quality to the track. The song explores the concept of making sacrifices for someone who is your foundation. This person ignites your inner drive, and you are willing to do whatever it takes to maintain it, even at the expense of your well-being.
Next up is "Aurora", one of the album's most captivating and melodious tracks. Dave mentioned their emphasis on crafting melodic songs that are enjoyable to sing and pleasing to the listener's ear throughout the album. Despite the lyrics being a collection of words that don't form a complete narrative, the song holds a special place for Dave as it reflects on his time in Seattle.
(Photo: Danny Clinch)
The next track, "Live-In Skin," was not originally intended for the album. It was written after the recordings were completed and the album was in the mixing stage. Dave spontaneously created a riff that he loved so much that he felt compelled to include it on the album. This riff is truly remarkable, and the song itself is engaging as Dave passionately expresses his emotions. By paying close attention to the following song in the sequence, where Dave greets everyone, you can appreciate the band's harmonious beauty, reminiscent of analog recordings.
"Next Year" is a remarkable song with a captivating structure and performance. The music video, inspired by the Apollo 11 mission to the moon, perfectly captures the song's ability to transport listeners to another world.
The track "Headwires" serves as a natural progression, almost like a continuation from the preceding song. The subsequent track opens with Dave delicately plucking the strings, creating a sensation akin to gliding softly on a cotton ball while gently swaying our head from side to side.
"Ain't It the Life" alludes to the unpredictable nature of fame, where stars can either rise or fall, drawing possible parallels to the era of "Nirvana."
As the second-to-last track on the Japanese version and the final track on the international release, just before Dave departs, it emphasizes his tendency to flee and abandon situations when they turn sour. He is poised to become "M.I.A" (Missing In Action), a poignant choice to conclude the album. (The Japanese version also features "Fraternity," where Dave expresses his aversion to joining a fraternity, making it a compelling closing track).
The album cover showcases a photo of the back of Dave's neck after getting the band's initials tattooed, epitomizing authenticity and a raw, analog aesthetic.
(Photo: Danny Clinch)
In 2001, this album won the band a Grammy Award for Best Rock Album. When Dave joined the band and producer on stage to receive the award, he couldn't help but think, "I'm certain this will be the only Grammy-winning album, that was made in a house basement."
We can't speak for everyone, but the last album we recall being recorded in a basement was "Ten" by "Pearl Jam". So turn up the volume and click play on: Spotify, Apple Music
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