The New Musical Express, popularly known by the initialism NME, is a music publication in the United Kingdom, published weekly since March 1952. It started as a music newspaper, and gradually moved toward a magazine format during the 1980s, changing from newsprint in 1998. It was the first British paper to include a singles chart, in the 14 November 1952 edition. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976 it was particularly associated with gonzo journalism, then became closely associated with punk rock through the writing of Tony Parsons and Julie Burchill.

An online version of NME, NME.COM, was launched in 1996. It is now the world's biggest standalone music site, with over 7 million users per month.

Krissi Murison was named the magazine's eleventh editor on 29 July 2009.^[2] She took over as the first female editor in September 2009.^[3] NME.COM is currently edited by Luke Lewis.^[4]

History[link]

The paper's first issue was published on 7 March 1952 after the “Accordion Times and Musical Express” (from October 4th 1946) was bought by London music promoter Maurice Kinn, and relaunched as the New Musical Express. It was initially published in a non-glossy tabloid format on standard newsprint. On 14 November 1952, taking its cue from the U.S. magazine Billboard, it created the first UK Singles Chart. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK. The first number one was "Here In My Heart" by Al Martino.

1960s[link]

During the 1960s the paper championed the new British groups emerging at the time. The Beatles and The Rolling Stones were frequently featured on the front cover. These and other artists also appeared at the NME Poll Winners Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert also featured an awards ceremony where the poll winners would collect their awards. The NME Poll Winners Concerts took place between 1959 and 1972. From 1964 onwards they were filmed, edited and then transmitted on British television a few weeks after they had taken place.

The latter part of the 1960s saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as Rock. The paper became engaged in a sometimes tense rivalry with its fellow weekly music paper Melody Maker; however, NME sales were healthy with the paper selling as many as 200,000 issues per week, making it one of the UK's biggest sellers.

1970s[link]

By the early 1970s NME had lost ground to the Melody Maker as its coverage of music had failed to keep pace with the development of rock music, particularly during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owners IPC (who had bought the paper from Kinn in 1963). According to Nick Kent (soon to play a prominent part in the paper's revival):

After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words 'On this, his 35th album, we find Duane in as good as voice as ever,' the NME had been told to rethink its policies or die on the vine.^[5]

Adding to the irony of this review, in the 1960 NME Reader's Poll, Duane Eddy was the winner of the award for Number One World Musical Personality, taking first place ahead of consistent winner, Elvis Presley.

Alan Smith was made editor and was given a short period of time by IPC to turn things around quickly or face closure. As a result the paper's coverage changed radically from an uncritical and rather reverential showbiz-oriented paper to something intended to be smarter, hipper, more cynical and funnier than any mainstream British music paper had previously been (an approach influenced mainly by writers such as Tom Wolfe and Lester Bangs). In order to achieve this, Smith and his assistant editor Nick Logan raided the underground press for its best writers, such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping its other weekly rivals, Melody Maker, Disc, Record Mirror and Sounds.

According to MacDonald:^[6]

I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts, that sense of style of humour and a feeling of real adventure. We also set out to beat Melody Maker on its strong suit: being the serious, responsible journal of record. We did Looking Back and Consumer Guide features that beat the competition out of sight, and we did this not just to surpass our rivals but because we reckoned that rock had finished its first wind around 1969/70 and deserved to be treated as history, as a canon of work. We wanted to see where we'd got to, sort out this huge amount of stuff that had poured out since the mid '60s. Everyone on the paper was into this.

Led Zeppelin topped "NME Pop Poll" for consecutive three years (1974–76) under the category of the best "Vocal Group".^[7] The year 1976 saw Punk arrive on what some people perceived to be a stagnant music scene. The NME gave the Sex Pistols their first music press coverage in a live review of their performance at the Marquee in February that year, but overall they were slow to cover this new phenomenon in comparison to Sounds and Melody Maker, where Jonh Ingham and Caroline Coon respectively were early champions of punk. Although articles by the likes of Mick Farren (whose article "The Titanic Sails At Dawn", a call for a new street led rock movement in response to stadium rock) were published by the NME that summer it was felt that younger blood was needed to credibly cover the emerging punk movement, and the paper advertised for a pair of "hip young gunslingers" to join their editorial staff. This resulted in the recruitment of Tony Parsons and Julie Burchill. The pair rapidly became champions of the Punk scene and created a new tone for the paper (Parsons' time at NME is reflected in his 2005 novel Stories We Could Tell, about the misadventures of three young music paper journalists on the night of 16 August 1977, the night Elvis Presley died).

The logo which, with slight variation, has been used since 1978.

In 1978 Logan moved on, and his deputy Neil Spencer was made editor. One of his earliest tasks was to oversee a redesign of the paper by Barney Bubbles, which included the logo still used on the paper's masthead today (albeit in a modified form) - this made its first appearance towards the end of 1978. Spencer's time as editor also coincided with the emergence of Post-Punk acts such as Joy Division and Gang of Four. This development was reflected in the writing of Ian Penman and Paul Morley. Danny Baker, who began as an NME writer around this time, had a more straightforward and populist style.

The paper also became more openly political during the time of Punk. Its cover would sometimes feature youth-oriented issues rather than a musical act. The paper took an editorial stance against political parties like the National Front. The election of Margaret Thatcher in 1979 saw the paper take a broadly socialist stance for much of the following decade.

1980s[link]

In 1981 the NME released the influential C81 cassette tape in conjunction with Rough Trade Records, available to readers by mail order at a low price. The tape featured a number of then up-and-coming bands, including Aztec Camera, Orange Juice, Linx and Scritti Politti, as well as a number of more established artists such as Robert Wyatt, Pere Ubu, Buzzcocks and Ian Dury. A second tape, C86, was released in 1986.

The NME responded to the Thatcher era by espousing socialism through movements such as Red Wedge. In the week of the 1987 election the paper featured an interview with the leader of the Labour Party, Neil Kinnock, who appeared on the paper's cover. He had appeared on the cover once before, in April 1985.

Writers at this time included Mat Snow, Barney Hoskyns, Paolo Hewitt, Danny Kelly, Chris Bohn (known in his later years at the paper as Biba Kopf), Steven Wells and David Quantick.

However sales were dropping, and by the mid 1980s NME had hit a rough patch and was in danger of closing. During this period (now under the editorship of Ian Pye, who replaced Neil Spencer in 1985), they were split between those who wanted to write about hip hop, a genre that was relatively new to the UK, and those who wanted to stick to rock music. Sales were apparently lower when photos of hip hop artists appeared on the front and this led to the paper suffering as the lack of direction became even more apparent to readers. A number of features entirely unrelated to music appeared on the cover in this era, including a piece by William Leith on computer crime and articles by Stuart Cosgrove on such subjects as the politics of sport and the presence of American troops in Britain, with Elvis Presley appearing on the cover not for musical reasons but as a political symbol.

The NME was generally thought to be rudderless at this time, with staff pulling simultaneously in a number of directions in what came to be known as the "hip-hop wars". It was hemorrhaging readers who were deserting NME in favour of Nick Logan's two creations The Face and Smash Hits. This was brought to a head when the paper was about to publish a poster of an insert contained in the Dead Kennedys' album Frankenchrist. The insert was a painting by H.R. Giger called Penis Landscape, then a subject of an obscenity lawsuit in the US. In the summer and autumn of 1987, three senior editorial staff were sacked, including Pye, media editor Stuart Cosgrove and art editor Joe Ewart. Former Sounds editor Alan Lewis was brought in to rescue the paper, mirroring Alan Smith's revival a decade and a half before.

Some commented at this time that the NME had become less intellectual in its writing style and less inventive musically. Initially, NME writers themselves were ill at ease with the new regime, with most signing a letter of no confidence in Alan Lewis shortly after he took over. However, this new direction for the NME proved to be a commercial success and the paper brought in new writers such as Andrew Collins, Stuart Maconie, Mary Anne Hobbs and Steve Lamacq to give it a stronger identity and sense of direction, although Mark Sinker left in 1988 after the paper refused to publish a negative review he wrote of U2's Rattle and Hum. Initially many of the bands on the C86 tape were championed as well as the rise of Goth rock bands but new bands such as Happy Mondays and The Stone Roses were coming out of Manchester. One scene over these years was Acid House which spawned Madchester which helped give the paper a new lease of life. By the end of the decade, Danny Kelly had replaced Alan Lewis as editor.

1990s[link]

The start of 1990 saw the paper in the thick of the Madchester scene, and covering the new British indie bands and shoegazers.

By the end of 1990, the Madchester scene was dying off, acid house was suffering from being the subject of a vigorous campaign to outlaw it by the John Major government, and NME had started to report on new bands coming from the US, mainly from Seattle. These bands would form a new movement called Grunge and by far the most popular bands were Nirvana and Pearl Jam. The NME took to Grunge very slowly ("Sounds" was the first British music paper to write about grunge with John Robb being the first person to interview Nirvana. Melody Maker was more enthusiastic early on, largely through the efforts of Everett True, who had previously written for NME under the name "The Legend!"). For the most part, NME only became interested in grunge after Nevermind became popular. Although it still supported new British bands, the paper was dominated by American bands, as was the music scene in general.

Although the period from 1991 to 1993 was dominated by American bands like Nirvana, British bands were not ignored. The NME still covered the Indie scene and was involved with a war of words with a new band called Manic Street Preachers who were criticising the NME for what they saw as an elitist view of bands they would champion. This came to a head in 1991 when during an interview with Steve Lamacq, Richey Edwards would confirm the band's position by carving "4real" into his arm with a razor blade.

By 1992, the Madchester scene had died and along with The Manics, some new British bands were beginning to appear. Suede were quickly hailed by the paper as an alternative to the heavy Grunge sound and hailed as the start of a new British music scene. Grunge however was still the dominant force, but the rise of new British bands would become something the paper would focus more and more upon.

In 1992, the NME also had a very public dispute with its former hero Morrissey due to allegations that he had used racist lyrics and imagery. This erupted after a concert at Finsbury Park where Morrissey was seen to drape himself in a Union Flag. The series of articles which followed in the next edition of NME^[8] soured Morrissey's relationship with the paper and this led to Morrissey's not speaking to the paper again for over a decade. When Morrissey did eventually speak to the NME in 2003, he made it clear it was because the three writers concerned had long since left.

Later in 1992, Steve Sutherland, previously assistant editor of Melody Maker, was brought in as the NME's editor to replace Danny Kelly. Andrew Collins, Stuart Maconie, Steve Lamacq and Mary Anne Hobbs all left the NME in protest, and moved to Select; Collins, Maconie and Lamacq would all also write for Q, while Lamacq would join Melody Maker in 1997. Kelly, Collins, Maconie, Lamacq and Hobbs would all subsequently become prominent broadcasters with BBC Radio 1 as it reinvented itself under Matthew Bannister.

In April 1994 Nirvana frontman Kurt Cobain was found dead, a story which affected not only his fans and readers of the NME, but would see a massive change in British music. Grunge was about to be replaced by Britpop,^[9] a new form of music influenced by British music of the 1960s and British culture. The phrase was coined by NME after the band Blur released their album Parklife in the same month of Cobain's death. Britpop began to fill the musical and cultural void left after Cobain's death, and Blur's success, along with the rise of a new group from Manchester called Oasis saw Britpop explode for the rest of 1994. By the end of the year Blur and Oasis were the two biggest bands in the UK and sales of the NME were increasing thanks to the Britpop effect. 1995 saw the NME cover many of these new bands and saw many of these bands play the NME Stage at that year's Glastonbury Festival where the paper had been sponsoring the second stage at the festival since 1993. This would be their last year sponsoring the stage, subsequently the stage would be known as the 'Other Stage'.

In August 1995 Blur and Oasis planned to release singles on the same day in a mass of media publicity. Steve Sutherland put the story on the front page of the paper. He was criticised for playing up the duel between the bands. Blur won the 'race' for the top of the charts, and the resulting fallout from the publicity led to the paper enjoying increased sales during the 1990s as Britpop became the dominant musical genre. After this peak the paper saw a slow decline as Britpop burned itself out fairly rapidly over the next few years. This left the paper directionless again, and attempts to embrace the rise of DJ culture in the late 1990s only led to the paper being criticised for not supporting rock or indie music. The paper did attempt to return to its highly politicised 1980s incarnation by running a front-cover story in March 1998 condemning Tony Blair, who had previously associated himself with Britpop bands such as Oasis, and this received a certain level of attention in the wider media, but was generally not seen as coherent or well-argued.^{[citation needed]}

Sutherland did attempt to cover newer bands but one cover feature on Godspeed You! Black Emperor in 1999 saw the paper dip to a sales low, and Sutherland later stated in his weekly editorial that he regretted putting them on the cover. For many this was seen as an affront to the principles of the paper and sales reached a low point at the turn of the millennium.

2000s[link]

From the issue of 21 March 1998 onwards, the paper has no longer been printed on newsprint, and more recently it has shifted to tabloid size: it has full, glossy, colour covers.

In 2000 Steve Sutherland left to become Brand Director of the NME, replaced as editor by 26-year-old Melody Maker writer Ben Knowles. The same year saw the closure of the Melody Maker (which officially merged with the NME) and many speculated the NME would be next as the weekly music magazine market was shrinking - the monthly magazine Select, which had thrived especially during Britpop, was closed down within a week of Melody Maker. In the early 2000s the NME also attempted somewhat to broaden its coverage again, running cover stories on hip-hop acts such as Jay-Z and Missy Elliott, electronic music pioneer Aphex Twin, Popstars winners Hear'say and R&B groups like Destiny's Child, but as in the 1980s these proved unpopular with much of the paper's readership, and were soon dropped. In 2001 the NME reasserted its position as an influence in new music and helped to introduce bands including The Strokes, The Vines, and The White Stripes.

In 2002 Conor McNicholas was appointed editor. With a new wave of photographers including Dean Chalkley, Andrew Kendall, James Looker and Pieter Van Hattem, and a high turnover of young writers. It focused on new British bands such as The Libertines, Franz Ferdinand, Bloc Party and the Kaiser Chiefs who emerged as "indie music" continued to grow in commercial success. Later, Arctic Monkeys became the standard-bearers of the post-Libertines crop of indie bands, being both successfully championed by the NME and receiving widespread commercial and critical success.

In December 2005 accusations were made that the NME end-of-year poll had been edited for commercial and political reasons.^[10] These criticisms were rebutted by McNicholas, who claimed that webzine Londonist.com had got hold of an early draft of the poll.

In October 2006 NME launched an Irish version of the magazine called NME Ireland.^[11] This coincided with the launch of Club NME in Dublin. Dublin-based band Humanzi were the first to appear on the cover of NME Ireland. Poor sales in the Republic of Ireland resulted from competition from market leader Hot Press and free music magazines Analogue Magazine, Mongrel Magazine and State Magazine. This resulted in the magazine's demise in November 2006.^[12]

After the 2008 NME Award nominations, Caroline Sullivan of The Guardian criticised the magazine's lack of diversity, saying:^[13]

"NME bands" fall within very narrow parameters. In the 80s, the paper prided itself on its coverage of hip hop, R&B and the emerging dance scene which it took seriously and featured prominently - alongside the usual Peel-endorsed indie fare. Now, though, its range of approved bands has dramatically shrunk to a strand embodied by the [Arctic] Monkeys, Babyshambles and Muse - bands who you don't need specialist knowledge to write about and who are just "indie" enough to make readers feel they're part of a club. Like everything else in publishing, this particular direction must be in response to reader demand, but it doesn't half make for a self-limiting magazine.

In May 2008 the magazine received a redesign, aimed at an older readership with a less poppy, more authoritative tone. The first issue of the redesign featured a free seven-inch Coldplay vinyl single. Circulation of the magazine has fallen continuously since 2003. In the second half of 2011, the magazine's circulation was 27,650, 62% down on a 2003 figure of 72,442.^[1]

NME.com[link]

This unreferenced section requires citations to ensure verifiability.

In 1996 under the stewardship of NME editor Steve Sutherland and then NME publisher Robert Tame, the NME started its website NME.COM. Its first editor was Brendan Fitzgerald. Later Anthony Thornton redesigned the site, focusing on music news. In November 1999 the site hosted the UK's first webcast, of Suede 'Live In Japan'. In 2001 the site gave away a free mp3 of The Strokes debut single "Last Nite" a week before its release. The site rallied around The Libertines after their debut single "What A Waster" dropped from playlists due to its profanity - giving away the single as a free mp3 download.

The website was awarded Online Magazine of the Year in 1999 and 2001; Anthony Thornton was awarded Website Editor of the Year on three occasions - 2001 and 2002 (British Society Of Magazine Editors) and 2002 (Periodical Publishers Association).

In 2004, Ben Perreau joined NME.COM as the website's third editor. He relaunched and redeveloped the title in September 2005 and the focus was migrated towards video, audio and the wider music community. It was awarded 'Best Music Website' at the Record Of The Day awards in October 2005. In 2006 NME.COM celebrated with a party at London's KOKO featuring Leicester band Kasabian and was subsequently awarded the BT Digital Music Award for Best Music Magazine and the first 'Chairman's Award' from the Association of Online Publishers awarded by the Chairman, Simon Waldman in recognition of its pioneering role in its ten-year history.

In 2007 NME.COM was launched in the USA with additional staff and plans to launch its Breaking Bands contest and the NME Awards across the Atlantic.

The site now provides news, photos, video, blogs, reviews, gig listings and videos as well as featuring downloads, merchandising and message boards.

In 2007 NME.com had a free download from The Verve, the first songs The Verve released since they got back together.

In October 2007 David Moynihan joined as the website's fourth editor. In 2008 the site won the BT Digital Music Award for Best Music Magazine, plus the Association of Online Publishers' Best Editorial Team Award, the British Society of Magazine Editors Website Editor of the Year and the Record Of The Day Award for Best Music Website.

In June 2009 NME.COM won PPA Interactive Consumer Magazine of the Year (Periodical Publishers Association). In 2010 it won both the AOP and PPA website of the year award. That same year, NME.COM expanded its coverage to include movies and TV as well as music.

Luke Lewis took over as Editor of NME.COM in March 2011, bringing a new focus on video content and user engagement, bringing comments to the fore and introducing user ratings on reviews. According to the latest traffic figures, NME.COM now has over 7 million monthly unique users (source: Omniture SiteCatalyst, 2011).

In May 2011 NME.COM launched a sister site dedicated to video, NMEVideo.com,^[14] which has featured interviews with the likes of Arctic Monkeys, Arcade Fire, Muse, Coldplay and Foo Fighters.

Also in May 2011, NME.COM unveiled theNME Festivals smartphone app.^[15] Sponsored by BlackBerry, it featured line-ups, stage times, photo galleries and backstage video interviews, and was downloaded 30,000 times. The following month, NME launched its first iPad app,^[16] dedicated to Jack White.

In September 2011, NME.COM organised and live-blogged a real-time Nirvana, 'Nevermind' Twitter listening party^[17] to mark the twentieth anniversary of the classic album. The site also launched a new series of self-produced band documentary films, entitled The Ultimate Guide.^[18]

In October 2011 the site celebrated its 15th birthday^[19] by publishing a list of the 150 best tracks of NME.COM's lifetime.^[20] The number one song was Radiohead's Paranoid Android'.^[21]

NME covers[link]

NME Awards[link]

NME Awards is an awards show held every year to celebrate the best new music of the past year. The nominations and eventual winners are voted for by the readers of the magazine.

NME Tours[link]

NME sponsors a tour of the United Kingdom by up-and-coming bands each year.

NME Originals[link]

In 2002 the NME started publishing a series of themed magazines reprinting vintage articles, interviews and reviews from the NME archives. The magazine special editions were called NME Originals, with some featuring articles from other music titles owned by IPC, including Melody Maker, Rave and Uncut magazines. Notable issues so far have featured Radiohead, The Beatles, Punk rock, Gothic rock, Britpop, The Rolling Stones, Mod, Nirvana, and the solo years of The Beatles. The series has had several editors, the most prominent of whom have been Steve Sutherland and Chris Hunt. The most recent issue of NME Originals was published in 2005.

See also[link]

• List of NME Covers
• NME album of the year
• NME Radio
• NME TV
• Melody Maker
• Q magazine
• Select
• Sounds

References[link]

External links[link]

Wikimedia Commons has media related to: NME (magazine)

• Official website
• List of articles from 1953-1969
• NME critics list from 1974 onwards
• Neil Spencer discusses his time as editor of the NME.

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Dave Grohl
Grohl, Milton Keynes National Bowl, July 3, 2011
Background information
Birth name	David Eric Grohl
Also known as	Davy Grolton, Dale Nixon, Late! (pseudonym for his solo album Pocketwatch), and Dr. G (as Tenacious D's drummer) .
Born	(1969-01-14) January 14, 1969 (age 43) Warren, Ohio
Genres	Alternative rock, grunge, post-grunge, hard rock, heavy metal
Occupations	Musician, singer-songwriter
Instruments	Vocals, drums, guitar, bass guitar, piano
Years active	1986–present
Labels	RCA, Capitol, DGC, Dischord
Associated acts	Nirvana, Foo Fighters, Scream, Dain Bramage, Probot, Queens of the Stone Age, Them Crooked Vultures, Tenacious D, The Muppets, Tom Petty and the Heartbreakers
Notable instruments
Gibson SG Custom Gibson DG-335/Trini Lopez[1] Gibson Firebird[2][3] Ampeg Dan Armstrong Plexi[4]

David Eric "Dave" Grohl (born January 14, 1969)^[5][6] is an American rock musician, multi-instrumentalist, and singer-songwriter, who is the lead vocalist, guitarist, primary songwriter and founder of the Foo Fighters, prior to which he was the drummer in the grunge band Nirvana. He is also the drummer and co-founder of the rock supergroup Them Crooked Vultures. Grohl has additionally written all the music and performed all the instruments for his short-lived side projects Late! and Probot, as well as being involved with Queens of the Stone Age numerous times throughout the past decade. He has performed session work (as a drummer) for a variety of musicians, including Garbage, Killing Joke, Nine Inch Nails, The Prodigy, Slash, Juliette Lewis, Tenacious D, Tom Petty and the Heartbreakers, and Lemmy Kilmister.

Early life[link]

As a child, Grohl's family relocated from Warren, Ohio, to Springfield, Virginia, a suburb of Washington, D.C. Three years later, when Grohl was six, his parents divorced,^[7] and Grohl grew up living with his mother.

At the age of twelve, Grohl began learning to play guitar. He quickly grew tired of lessons and instead taught himself, and began playing in bands with friends.^[5][8] A year later, Grohl and his sister spent the summer in Evanston, Illinois, at their cousin Tracy's house. Tracy introduced them to punk rock by taking the pair to shows by a variety of punk bands. His first concert was in 1982 to see Naked Raygun at The Cubby Bear in Chicago when he was 13 years old.^[9] "From then on we were totally punk," Grohl explained. "We went home and bought Maximumrocknroll and tried to figure it all out."^[8]

In Virginia, Grohl attended Thomas Jefferson High School as a freshman and sophomore. He was elected vice president of his freshman class and played bits of songs by bands like the Circle Jerks and Bad Brains over the school intercom before his morning announcements. During his junior year, Grohl and his mother decided that he should transfer to Bishop Ireton High School in Alexandria because his marijuana usage was affecting his grades.^[8]

While in high school, Grohl played in several local bands, including a stint on guitar in a band called Freak Baby. While playing in Freak Baby, he taught himself to play drums.^[5] When Freak Baby kicked out its bass player, Grohl decided to switch to drums, and the new band called themselves Mission Impossible.^[8] During his developing years as a drummer, Grohl cited John Bonham as his greatest influence, and eventually had Bonham's three-circle logo tattooed on his wrist.^[10] Mission Impossible later rebranded themselves Fast before breaking up, after which Grohl joined the post-punk-influenced hardcore punk band Dain Bramage.^[11][12]

Many of Grohl's early influences were gained at the 9:30 club, a live music venue in Washington D.C.: "I went to the 9:30 club hundreds of times. I was always so excited to get there, and I was always bummed when it closed. I spent my teenage years at the club and saw some shows that changed my life."^[13]

Musical career[link]

Scream (1986–1990)[link]

Dave Grohl with Scream, 1990.

At the age of seventeen, Grohl auditioned with local DC favorites Scream to fill the vacancy left by the departure of drummer Kent Stax. In order to be lined up for the audition, Grohl had lied about his age, claiming he was 20.^[14] To Grohl's surprise, the band asked him to join. After waffling for a brief period, Grohl accepted the offer. Grohl dropped out of high school in his junior year; he said, "I was seventeen and extremely anxious to see the world, so I did it."^[15] Over the next four years, Grohl toured extensively with the band, recording a couple of live albums (their May 4, 1990 show in Alzey, Germany being released by Tobby Holzinger as Your Choice Live Series Vol.10) and two studio albums, No More Censorship and Fumble, on which Grohl penned and sang vocals on the song "Gods Look Down".

While playing in Scream, Grohl became a fan of Melvins and eventually befriended the band. During a 1990 tour stop on the west coast, The Melvins' Buzz Osborne took a couple of his friends, Kurt Cobain and Krist Novoselic, to see the band.^[16]

Nirvana (1990–1994)[link]

A few months later, Scream unexpectedly disbanded following the departure of its bass player. Grohl called Osborne for advice, and the latter gave Grohl's phone number to Krist Novoselic, who invited Grohl to Seattle. Grohl subsequently auditioned for Nirvana, and soon joined them full-time.^[17]

At the time that Grohl joined Nirvana, the band had already recorded several demos for the follow-up to their debut album Bleach, having spent time recording with producer Butch Vig in Wisconsin. Initially, the plan was to release the album on Sub Pop, but the band received a great deal of major label interest based on the demos. Grohl spent the initial months with Nirvana traveling to various major labels as the band shopped for a deal, eventually signing with DGC Records. In the spring of 1991, the band entered the studio to record the album.

Upon its release, Nevermind exceeded all expectations and became a massive success, catapulting the band to worldwide stardom. At the same time, Grohl was struggling with his status in the band. While his drumming style was a significant element in the band's success, Grohl saw himself as just another in a long line of drummers. In his mind, Nirvana was the band that recorded Bleach; his arrival had altered that sound dramatically, and as he saw it, not necessarily in a positive way. Though Grohl had been writing songs for several years, he declined to introduce his songs to the band for fear of damaging their chemistry. Instead, he compiled and recorded them himself, releasing a cassette called Pocketwatch in 1992 on indie label Simple Machines. Rather than using his own name, Grohl released the cassette under the pseudonym "Late!".

In the later years of Nirvana, Grohl's songwriting contributions increased. In Grohl's initial months in Seattle, Cobain overheard him working on a song called "Color Pictures of a Marigold", and the two ended up working on it. Grohl would later record the song for the Pocketwatch cassette. During the sessions for In Utero, he decided to re-record the song, and the band released this version as a B-side on the "Heart-Shaped Box" single, titled simply "Marigold". Grohl also contributed the main guitar riff for "Scentless Apprentice". Cobain conceded in a late 1993 MTV interview that he initially thought the riff was "kind of boneheaded", but was gratified at how the song developed (a process captured in part in a demo on the Nirvana box set With the Lights Out). Cobain noted that he was excited at the possibility of having Novoselic and Grohl contribute more to the band's songwriting.

Prior to their 1994 European tour, the band scheduled session time at Robert Lang Studios in Seattle to work on demos. For most of the three-day session Cobain was absent, so Novoselic and Grohl worked on demos of their own songs. The duo completed several of Grohl's songs, including future Foo Fighters songs "Exhausted", "Big Me", "February Stars", and "Butterflies". On the third day of the session Cobain finally arrived and the band recorded a demo of a song later named "You Know You're Right". It was the band's final studio recording.

Foo Fighters (1994-present)[link]

Following Cobain's death in April 1994, Grohl retreated, unsure of where to go and what to do with himself. In October 1994, Grohl scheduled studio time, again at Robert Lang's Studio, and quickly recorded a fifteen-track demo. With the exception of a single guitar part on "X-Static" played by Greg Dulli of the Afghan Whigs, Grohl performed all of the instruments himself..

At the same time, Grohl wondered if his future might be in drumming for other bands. In November, Grohl took a brief turn with Tom Petty and the Heartbreakers, including a memorable performance on Saturday Night Live. Petty asked him to join permanently, but Grohl declined. He was also rumored as a possible replacement for Pearl Jam drummer Dave Abbruzzese and even performed with the band for a song or two at three shows during Pearl Jam's March 1995 Australian tour. However, by then Pearl Jam had already settled on ex- Red Hot Chili Peppers drummer Jack Irons and Grohl had other solo plans in the works.

After passing the demo around, Grohl found himself with considerable major label interest. Nirvana's A&R rep Gary Gersh had subsequently taken over as president of Capitol Records and lured Grohl to sign with the label. Grohl did not want the effort to be considered the start of a solo career so he recruited other band members: former Germs and touring Nirvana guitarist Pat Smear, and two members of the recently disbanded Sunny Day Real Estate, William Goldsmith (drums) and Nate Mendel (bass). Rather than re-record the album, Grohl's demo was given a professional mix by Rob Schnapf and Tom Rothrock and was released in July 1995 as Foo Fighters' debut album.

During a break between tours, the band entered the studio and recorded a cover of Gary Numan's "Down in the Park". In February 1996, Grohl and his then-wife Jennifer Youngblood made a brief cameo appearance on The X-Files third season episode "Pusher". (The two can be spotted walking in the FBI building, just after the Pusher character has put on his phony pass. Grohl pauses to look at his watch.)

After touring for the self-titled album for more than a year, Grohl returned home and began work on the soundtrack to the 1997 movie Touch. Grohl performed all of the instruments and vocals himself, save for vocals from Veruca Salt singer Louise Post on the title track, keyboards by Barrett Jones (who also co-produced the record) on one track, and vocals and guitar by X's John Doe on "This Loving Thing (Lynn's Song)". Grohl completed the recording in two weeks, and immediately joined Foo Fighters to work on their follow-up.

In the midst of the initial sessions for Foo Fighters' second album, tension emerged between Grohl and Goldsmith. According to Goldsmith, "Dave had me do 96 takes of one song, and I had to do thirteen hours' worth of takes on another one. ... It just seemed that everything I did wasn't good enough for him, or anyone else." Goldsmith also believed that Capitol and producer Gil Norton wanted Grohl to drum on the album.^[18] With the album seemingly complete, Grohl headed home to Virginia with a copy of the rough mixes, and found himself unhappy with the results. Grohl penned a few new songs, recording one of them, "Walking After You", by himself at a studio in Washington, DC. Inspired by the session, Grohl opted to move the band, without Goldsmith's knowledge,^[18] to Los Angeles to re-record most of the album with Grohl behind the kit. After the sessions were complete, Goldsmith officially announced his departure from the band.

Speaking about the tension surrounding the departure of Goldsmith in 2011, Grohl said, "There were a lot of reasons it didn't work out... but there was also a part of me that was like, you know, I don't know if I'm finished playing the drums yet." He would also state, "I wish that I would have handled things differently..."^[19]

Dave Grohl on stage, 2006

The effort was released in May 1997 as the band's second album, The Colour and the Shape, which eventually cemented Foo Fighters as a staple of rock radio. The album spawned several hits, including "Everlong", "My Hero", and "Monkey Wrench". Just prior to the album's release, former Alanis Morissette drummer Taylor Hawkins joined the band on drums. The following September, Smear (a close friend of Jennifer Youngblood) left the band,^[7] citing a need to settle down following a lifetime of touring. Smear was subsequently replaced by Grohl's former Scream bandmate Franz Stahl. (Stahl departed the band prior to recording of Foo Fighters' third album^[7] and was replaced by touring guitarist Chris Shiflett, who later became a full-fledged member during the recording of One by One.)

Grohl's life of non-stop touring and travel continued with Foo Fighters' popularity. During his infrequent pauses he lived in Seattle and Los Angeles before returning to Alexandria, Virginia. It was there that he turned his basement into a recording studio where the 1999 album There Is Nothing Left to Lose was recorded.