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==Production==
==Production==
Following the extended tour promoting ''[[There Is Nothing Left to Lose]]'', which kept the Foo Fighters mostly on the road between 1999 and 2001,<ref name=kerrang/> the band started composing the songs for their next album in early 2001. In August, the band went to London to perform at the [[V Festival]], and their drummer [[Taylor Hawkins]] suffered a painkiller [[drug overdose]] that left him in a coma for two days.<ref name=mojo/> After taking some time off to recover, during which frontman [[Dave Grohl]] accepted an offer to play drums for the [[Queens of the Stone Age]] on their album ''[[Songs for the Deaf]]'',<ref name="MTV 1"/> the band joined together in October 2001 to resume the composition.<ref name=billboard/> By December 2001, they were recording at Grohl's own Studio 606 in [[Alexandria, Virginia]],<ref name=story>{{cite book|year=2006|title=The Dave Grohl Story|first=Jeff|last=Apter|publisher=Music Sales Group|ISBN=9780857120212|page=339-340}}</ref> and in January 2002, with six tracks finished, the band moved to [[Los Angeles]] as they wanted a "change of scenery".<ref name=mojo>{{cite journal|title=Dave Grohl: AMERICAN HERO|journal=[[Mojo (magazine)|Mojo]]|first=Paul |last=Brannigan|date=November 2005}}</ref><ref>{{cite web|archiveurl=http://web.archive.org/web/20020213011647/http://www.foofighters.com/studiodiary/index.shtml|archivedate=2002-02-13|url=http://www.foofighters.com/studiodiary/index.shtml|title=Long Time No See|author=Grohl, Dave|publisher=The Foo Fighters Official Website|date=2002-01-15|accessdate=2012-01-24}}</ref> After working the demos on Hawkins' home studio in [[Topanga, California|Topanga]],<ref name=scream>{{cite web|url=http://www.mtv.com/news/articles/1451847/grohl-promises-heavy-foo-fighters-lp.jhtml|title='I'm Just Screaming My Balls Off The Whole Time' - Dave Grohl On New Foo|date=2002-01-22|first=Jon|last=Wiederhorn|accessdate=2012-01-24|publisher=[[MTV]]}}</ref><ref name=hammer>{{cite journal|title=At Home With... Taylor Hawkins|journal=[[Metal Hammer]]|date=November 2003}}</ref> recording took place in both Conway Studios and The Hook Studios.<ref name=credits/> Along with the producer for the previous album ''[[There Is Nothing Left to Lose]]'', [[Adam Kasper]],<ref name=credits/> the band was also working with first-time producer [[Nick Raskulinecz]], who met the band when he engineered "A320" for ''[[Godzilla: The Album]]''. Raskulinecz had just left his job at [[Sound City Studios]], and declared that the invitation to make his debut as a record producer for the Foo Fighters "sounded like heaven", feeling that he was chosen because Grohl "liked my energy and enthusiasm" and "could tell I was a fan, not one of these 'professional producers' who didn't really love music anymore". The producer also speculated that Grohl "was having a hard time finding a guy who would commit to sitting in his basement for four months."<ref>{{cite web|url=http://www.musicradar.com/news/guitars/nick-raskulinecz-on-producing-rush-foo-fighters-alice-in-chains-290080/2|title=Nick Raskulinecz on producing Rush, Foo Fighters, Alice In Chains|publisher=[[MusicRadar]]|first=Joe|last=Bosso|date=2010-11-03|accessdate=2011-12-04}}</ref>
Following the extended tour promoting ''[[There Is Nothing Left to Lose]]'', which kept the Foo Fighters mostly on the road between 1999 and 2001,<ref name=kerrang/> the band started composing the songs for their next album in early 2001. In August, the band went to London to perform at the [[V Festival]], and their drummer [[Taylor Hawkins]] suffered a painkiller [[drug overdose]] that left him in a coma for two days.<ref name=mojo/> After taking some time off to recover, during which frontman [[Dave Grohl]] accepted an offer to play drums for the [[Queens of the Stone Age]] on their album ''[[Songs for the Deaf]]'',<ref name="MTV 1"/> the band joined together in October 2001 to resume the composition.<ref name=billboard/> By December 2001, they were recording at Grohl's own Studio 606 in [[Alexandria, Virginia]],<ref name=story>{{cite book|year=2006|title=The Dave Grohl Story|first=Jeff|last=Apter|publisher=Music Sales Group|ISBN=9780857120212|page=339-340}}</ref> and in January 2002, with six tracks finished, the band moved to [[Los Angeles]] as they wanted a "change of scenery".<ref name=mojo>{{cite journal|title=Dave Grohl: AMERICAN HERO|journal=[[Mojo (magazine)|Mojo]]|first=Paul |last=Brannigan|date=November 2005}}</ref><ref>{{cite web|archiveurl=http://web.archive.org/web/20020213011647/http://www.foofighters.com/studiodiary/index.shtml|archivedate=2002-02-13|url=http://www.foofighters.com/studiodiary/index.shtml|title=Long Time No See|author=Grohl, Dave|publisher=The Foo Fighters Official Website|date=2002-01-15|accessdate=2012-01-24}}</ref> After working the demos on Hawkins' home studio in [[Topanga, California|Topanga]],<ref name=scream>{{cite web|url=http://www.mtv.com/news/articles/1451847/grohl-promises-heavy-foo-fighters-lp.jhtml|title='I'm Just Screaming My Balls Off The Whole Time' - Dave Grohl On New Foo|date=2002-01-22|first=Jon|last=Wiederhorn|accessdate=2012-01-24|publisher=[[MTV]]}}</ref><ref name=hammer>{{cite journal|title=At Home With... Taylor Hawkins|journal=[[Metal Hammer]]|date=November 2003}}</ref> recording took place in both Conway Studios and The Hook Studios.<ref name=credits/> Along with the producer for the previous album ''[[There Is Nothing Left to Lose]]'', [[Adam Kasper]],<ref name=credits/> the band was also working with first-time producer [[Nick Raskulinecz]], who met the band when he engineered "A320" for ''[[Godzilla: The Album]]'' and had just left his job at [[Sound City Studios]]. Regarding his choice, the producer speculated Grohl "was having a hard time finding a guy who would commit to sitting in his basement for four months", and eventually picked Raskulinewicz because "Dave liked my energy and enthusiasm" and "could tell I was a fan".<ref>{{cite web|url=http://www.musicradar.com/news/guitars/nick-raskulinecz-on-producing-rush-foo-fighters-alice-in-chains-290080/|title=Nick Raskulinecz on producing Rush, Foo Fighters, Alice In Chains|publisher=[[MusicRadar]]|first=Joe|last=Bosso|date=2010-11-03|accessdate=2011-12-04|pages=2-3}}</ref>
A total of 29 songs were recorded overall, which included "[[The One (Foo Fighters song)|The One]]" - featured in the film ''[[Orange County (film)|Orange County]]'' and released as a standalone single -<ref>{{cite web|url=http://www.billboard.com/news/foo-fighters-29-songs-into-fourth-album-1111294.story|title=Foo Fighters 29 Songs Into Fourth Album|date=November 16, 2001|work=Billboard|accessdate=2011-12-12}}</ref><ref>{{cite web|url=http://www.billboard.com/news/new-foo-offspring-songs-lead-orange-county-1185019.story|title=New Foo, Offspring Songs Lead 'Orange County'|date=December 11, 2001|work=Billboard|accessdate=2011-12-12}}</ref> and ten finished tracks that were considered for the upcoming album.<ref name=qmag>{{cite journal|url=http://www.markrblake.com/markrblake/pdfs/FooFighters.pdf|format=pdf|title=My! They've Scrubbed Up Well!|journal=[[Q (magazine)|Q]]|date=November 2002|first=Mark|last=Blake|accessdate=2012-12-24}}</ref> The sessions took four months of work at the cost of over $500,000.<ref name=story/><ref name=hold/> It was the first Foo Fighters album to both use [[Pro-Tools]] and have each instrument recorded separatedly.<ref name=kerrang/><ref name=scream/>
A total of 29 songs were recorded overall, which included "[[The One (Foo Fighters song)|The One]]" - featured in the film ''[[Orange County (film)|Orange County]]'' and released as a standalone single -<ref>{{cite web|url=http://www.billboard.com/news/foo-fighters-29-songs-into-fourth-album-1111294.story|title=Foo Fighters 29 Songs Into Fourth Album|date=November 16, 2001|work=Billboard|accessdate=2011-12-12}}</ref><ref>{{cite web|url=http://www.billboard.com/news/new-foo-offspring-songs-lead-orange-county-1185019.story|title=New Foo, Offspring Songs Lead 'Orange County'|date=December 11, 2001|work=Billboard|accessdate=2011-12-12}}</ref> and ten finished tracks that were considered for the upcoming album.<ref name=qmag>{{cite journal|url=http://www.markrblake.com/markrblake/pdfs/FooFighters.pdf|format=pdf|title=My! They've Scrubbed Up Well!|journal=[[Q (magazine)|Q]]|date=November 2002|first=Mark|last=Blake|accessdate=2012-12-24}}</ref> The sessions took four months of work at the cost of over $500,000.<ref name=story/><ref name=hold/> It was the first Foo Fighters album to both use [[Pro-Tools]] and have each instrument recorded separatedly.<ref name=kerrang/><ref name=scream/>
[[File:Chris Shiflett.jpg|thumb|left|Chris Shiflett, who was making his studio debut with the Foo Fighters, described the production, which included a discarded version replaced by one done in just two weeks, as "a weird way to make a record."<ref>{{cite journal|title=The Maverick&nbsp;— Chris Shiflett: My Story|journal=[[Metal Hammer]] Presents...Foo Fighters|year=2005}}</ref>|alt=A man in a white shirt plays a guitar atop a stage.]]
[[File:Chris Shiflett.jpg|thumb|left|Chris Shiflett, who was making his studio debut with the Foo Fighters, described the production, which included a discarded version replaced by one done in just two weeks, as "a weird way to make a record."<ref>{{cite journal|title=The Maverick&nbsp;— Chris Shiflett: My Story|journal=[[Metal Hammer]] Presents...Foo Fighters|year=2005}}</ref>|alt=A man in a white shirt plays a guitar atop a stage.]]
The recording sessions were considered unsatisfying. Hawkins said that "nobody had their studio chops together",<ref name=hawkins/> and Grohl considered that the band was lacking enthusiasm - "At night I'd go rehearse in a closet with Queens and be totally energised, and then come to the studio and be totally dismayed by the apathy" -<ref name=mojo/> and performing in a way too focused on production,<ref name=story/> declaring that when he considered the rough mixes "sucked a lot of the life out of the songs" and "sound[e]d like another band playing our songs".<ref name=classic>{{cite journal|title=Honor Roll|journal=[[Classic Rock (magazine)|Classic Rock]]|date=July 2005|first=Kevin|last=Murphy}}</ref> Tensions were also escalating, with arguments breaking out at the studio,<ref name=mojo/> Hawkins saying "we weren't getting on well and I didn't feel we were much of a band",<ref name=hawkins/> bassist [[Nate Mendel]] declaring he kept on being in a "shitty attitude" through the sessions for disagreements with Grohl, and guitarist [[Chris Shiflett]] adding he would at times spend whole days in the studio without playing anything.<ref name=back/>
The recording sessions were considered unsatisfying. Hawkins said that "nobody had their studio chops together",<ref name=hawkins/> and Grohl considered that the band was lacking enthusiasm<ref name=mojo/> and performing in a way too focused on production,<ref name=story/> declaring that when he considered the rough mixes "sucked a lot of the life out of the songs" and "sound[e]d like another band playing our songs".<ref name=classic>{{cite journal|title=Honor Roll|journal=[[Classic Rock (magazine)|Classic Rock]]|date=July 2005|first=Kevin|last=Murphy}}</ref> Tensions were also escalating, with arguments breaking out at the studio,<ref name=mojo/> Hawkins saying "we weren't getting on well and I didn't feel we were much of a band",<ref name=hawkins/> bassist [[Nate Mendel]] declaring he kept on being in a "shitty attitude" through the sessions for disagreements with Grohl, and guitarist [[Chris Shiflett]] adding he would at times spend whole days in the studio without playing anything.<ref name=back/>


The band also showed disappointment with the ten tracks that came out of the sessions, with Hawkins describing them as "million-dollar demos",<ref name=spin>{{cite journal|url=http://www.spin.com/articles/foo-fighters|title=The Good Fight|journal=[[Spin (magazine)|Spin]]|date=November 2002|page=72|first=Alex|last=Pappademas}}</ref> and Grohl considering the songs "far too clean, too tame and boring".<ref name=nyrock>{{cite web|url=http://www.nyrock.com/interviews/2002/foo_int.asp|title=Interview with the Foo Fighters|publisher=[[NY Rock]]|author=Gabriella|date=November 2002|accessdate=2011-12-12}}</ref> According to Grohl, the band itself only liked five of those songs, "the other five we thought were okay, but we were basically just making songs that we thought people would want to hear on an album",<ref name=spinev>{{cite web|url=http://www.spin.com/articles/9-million-words-dave-grohl|title=9 Million Words With Dave Grohl|work=Spin|date=June 19, 2003|first=Alex|last=Pappademas|accessdate=2011-12-12}}</ref> and he declared to be afraid to go out promoting "an album that I wasn't 100 per cent convinced of."<ref name=classic/> After manager John Silva listened to the recordings, he also expressed dissatisfaction, saying that "we can release it now, but I don't know if anyone would want to buy it",<ref name=back/> and adding that "I don't think that's what you guys are all about, and it's not what you guys should do."<ref name=spinev/>
The band also showed disappointment with the ten tracks that came out of the sessions, with Hawkins describing them as "million-dollar demos",<ref name=spin>{{cite journal|url=http://www.spin.com/articles/foo-fighters|title=The Good Fight|journal=[[Spin (magazine)|Spin]]|date=November 2002|page=72|first=Alex|last=Pappademas}}</ref> and Grohl considering the songs "far too clean, too tame and boring".<ref name=nyrock>{{cite web|url=http://www.nyrock.com/interviews/2002/foo_int.asp|title=Interview with the Foo Fighters|publisher=[[NY Rock]]|author=Gabriella|date=November 2002|accessdate=2011-12-12}}</ref> According to Grohl, the band itself only liked five of those songs, the others being "songs that we thought people would want to hear on an album",<ref name=spinev>{{cite web|url=http://www.spin.com/articles/9-million-words-dave-grohl|title=9 Million Words With Dave Grohl|work=Spin|date=June 19, 2003|first=Alex|last=Pappademas|accessdate=2011-12-12}}</ref> and he declared to be afraid to go out promoting "an album that I wasn't 100 per cent convinced of."<ref name=classic/> After manager John Silva listened to the recordings, he also expressed dissatisfaction, saying it was not a work that represented the band well,<ref name=spinev/> and that "we can release it now, but I don't know if anyone would want to buy it".<ref name=back/>


On April 2002, the band decided to discard the recordings and take a break.<ref name=mojo/> Afterwards, the bandmembers all started separate projects: Grohl became the full-time Queens of the Stone Age drummer for a tour,<ref name=hold>{{cite web| url = http://www.mtv.com/news/articles/1453485/20020418/foo_fighters.jhtml|title = Grohl Puts Foos On Hold, Returns To Drumkit With Queens| author = Joe D'Angelo| publisher = MTV| date = 2002-04-18| accessdate =2007-06-19}}</ref> Shiflett started the [[Viva Death]] and [[Jackson United|Jackson]] projects with his brother [[Scott Shiflett|Scott]]<ref name=nyrock/><ref>{{cite web|author=Steininger, Alex|url=http://www.inmusicwetrust.com/articles/61h03.html|title=Foo Fighters' Guitarist Chris Shiflett Talks About His Band, Jackson|work=In Music We Trust|date=July–August 2003|accessdate=2011-12-12}}</ref> and rejoined his former band [[Me First and the Gimme Gimmes]], Hawkins played with [[Jane's Addiction]] bassist [[Eric Avery]], and Mendel both played with [[Juno (band)|Juno]] and reunited with his former bandmate [[William Goldsmith]] in [[The Fire Theft]].<ref name=billboard/> Later on April, the reunited for Foo Fighters' scheduled concert at the 2002 [[Coachella Valley Music and Arts Festival]], which Grohl felt could be the last the band would perform.<ref name=mojo/> During the rehearsals, the tensions broke out in huge fights, specially between Grohl and Hawkins. The musicians decided to at least perform in Coachella before deciding whether to continue playing together or end the band. After enjoying their performance, the bandmembers decided to remain united and do again what they had recorded.<ref name=back>{{cite video|author=[[James Moll|Moll, James]] (director)|title=[[Back and Forth (documentary)|Back and Forth]]|year=2011|medium=documentary|publisher=RCA}}</ref>
On April 2002, the band decided to discard the recordings and take a break.<ref name=mojo/> Afterwards, the bandmembers all started separate projects: Grohl became the full-time Queens of the Stone Age drummer for a tour,<ref name=hold>{{cite web| url = http://www.mtv.com/news/articles/1453485/20020418/foo_fighters.jhtml|title = Grohl Puts Foos On Hold, Returns To Drumkit With Queens| author = Joe D'Angelo| publisher = MTV| date = 2002-04-18| accessdate =2007-06-19}}</ref> Shiflett started the [[Viva Death]] and [[Jackson United|Jackson]] projects with his brother [[Scott Shiflett|Scott]]<ref name=nyrock/><ref>{{cite web|author=Steininger, Alex|url=http://www.inmusicwetrust.com/articles/61h03.html|title=Foo Fighters' Guitarist Chris Shiflett Talks About His Band, Jackson|work=In Music We Trust|date=July–August 2003|accessdate=2011-12-12}}</ref> and rejoined his former band [[Me First and the Gimme Gimmes]], Hawkins played with [[Jane's Addiction]] bassist [[Eric Avery]], and Mendel both played with [[Juno (band)|Juno]] and reunited with his former bandmate [[William Goldsmith]] in [[The Fire Theft]].<ref name=billboard/> Later on April, the reunited for Foo Fighters' scheduled concert at the 2002 [[Coachella Valley Music and Arts Festival]], which Grohl felt could be the last the band would perform.<ref name=mojo/> During the rehearsals, the tensions broke out in huge fights, specially between Grohl and Hawkins. The musicians decided to at least perform in Coachella before deciding whether to continue playing together or end the band. After enjoying their performance, the bandmembers decided to remain united and do again what they had recorded.<ref name=back>{{cite video|author=[[James Moll|Moll, James]] (director)|title=[[Back and Forth (documentary)|Back and Forth]]|year=2011|medium=documentary|publisher=RCA}}</ref>


{{quote box|right|quote=""We had already spent three months and a million dollars on something that we threw away. The difference between "[[All My Life (Foo Fighters song)|All My Life]]" and "All My Life" was that this one cost a million dollars and sounded like crap, [while] this one we did in my basement for half an hour and became the biggest fucking song the band ever had."|source=&nbsp;—Dave Grohl on remaking the album<ref name=back/>| width = 27%}}
{{quote box|right|quote="We had already spent three months and a million dollars on something that we threw away. The difference between "[[All My Life (Foo Fighters song)|All My Life]]" and "All My Life" was that this one cost a million dollars and sounded like crap, [while] this one we did in my basement for half an hour and became the biggest fucking song the band ever had."|source=&nbsp;—Dave Grohl on remaking the album<ref name=back/>| width = 27%}}
Grohl decided to take a two week period before the QOTSA went on tour to work on the Foo Fighters record.<ref name="MTV 1">{{cite web| url = http://www.mtv.com/news/articles/1454981/20020604/queens_stone_age.jhtml| title = Queens of the Stone Age Flex Their Star Power| author = Jon Wiederhorn| publisher = MTV| date = 2002-06-04| accessdate = 2007-06-19}}</ref> First, Grohl visited Hawkins in Topanga to rework the songs that had already been done and show new compositions, such as "[[Times Like These (song)|Times Like These]]", "[[Low (Foo Fighters song)|Low]]", and "Disenchanted Lullaby".<ref name=hawkins>{{cite journal|title=Times Like These|journal=[[Rhythm (music magazine)|Rhythm]]|date=August 2003}}</ref><ref name=spinev/><ref name=hammer/> Then Grohl and Hawkins went to Virginia to redo the drum, vocal and guitar tracks across a twelve day period.<ref name=spinev/> Afterwards, Mendel and Shiflett were called to record their parts,<ref name=billboard>{{cite journal|url=http://books.google.com/books?id=Hw0EAAAAMBAJ&pg=PA10|title=Time Off Re-energizes the Foo Fighters|last=Katchen|first=Andrew|journal=[[Billboard (magazine)|Billboard]]|date=19 October 2002|volume=114|issue=42}}</ref> which were mostly done with the supervision of Raskulinecz, as Grohl had to go back to QOTSA.<ref name=apter350/> The only remaining track for the original sessions was "Tired of You", which features a guest appearance by [[Queen (band)|Queen]] guitarist [[Brian May]].<ref name=apter350/><ref name=dictionary>{{cite web|archiveurl=http://web.archive.org/web/20040503202840/http://www.foofighters.com/archives/dictionary.php|url=http://www.foofighters.com/archives/dictionary.php|archivedate=2004-05-03|title=Foo Dictionary|publisher=The Official Foo Fighters Site|accessdate=2011-12-12}}</ref>
Grohl decided to take a two week period before the QOTSA went on tour to work on the Foo Fighters record.<ref name="MTV 1">{{cite web| url = http://www.mtv.com/news/articles/1454981/20020604/queens_stone_age.jhtml| title = Queens of the Stone Age Flex Their Star Power| author = Jon Wiederhorn| publisher = MTV| date = 2002-06-04| accessdate = 2007-06-19}}</ref> First, Grohl visited Hawkins in Topanga to rework the songs that had already been done and show new compositions, such as "[[Times Like These (song)|Times Like These]]", "[[Low (Foo Fighters song)|Low]]", and "Disenchanted Lullaby".<ref name=hawkins>{{cite journal|title=Times Like These|journal=[[Rhythm (music magazine)|Rhythm]]|date=August 2003}}</ref><ref name=spinev/><ref name=hammer/> Then Grohl and Hawkins went to Virginia to redo the drum, vocal and guitar tracks across a twelve day period.<ref name=spinev/> Afterwards, Mendel and Shiflett were called to record their parts,<ref name=billboard>{{cite journal|url=http://books.google.com/books?id=Hw0EAAAAMBAJ&pg=PA10|title=Time Off Re-energizes the Foo Fighters|last=Katchen|first=Andrew|journal=[[Billboard (magazine)|Billboard]]|date=19 October 2002|volume=114|issue=42}}</ref> which were mostly done with the supervision of Raskulinecz, as Grohl had to go back to QOTSA.<ref name=apter350/> The only remaining track for the original sessions was "Tired of You", which features a guest appearance by [[Queen (band)|Queen]] guitarist [[Brian May]].<ref name=apter350/><ref name=dictionary>{{cite web|archiveurl=http://web.archive.org/web/20040503202840/http://www.foofighters.com/archives/dictionary.php|url=http://www.foofighters.com/archives/dictionary.php|archivedate=2004-05-03|title=Foo Dictionary|publisher=The Official Foo Fighters Site|accessdate=2011-12-12}}</ref>


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==Composition==
==Composition==
{{Listen|filename=AllMyLife.ogg|title="All My Life" | description=Sample of the album's lead single "[[All My Life (Foo Fighters song)|All My Life]]". Dave Grohl described it as representative of the album's sound for being "much more aggressive" as well as "a little darker, more romantic, creepier than anything we have done".<ref>{{cite web|url=http://www.mtv.com/news/articles/1457011/20020813/foo_fighters.jhtml|title=Foo Fighters Out To Show They Can 'Really Do It Up'|publisher=MTV|date=2002-08-14|first=Corey|last=Moss|accessdate=2011-12-12}}</ref>}}
{{Listen|filename=AllMyLife.ogg|title="All My Life" | description=Sample of the album's lead single "[[All My Life (Foo Fighters song)|All My Life]]". Dave Grohl described it as representative of the album's sound for being "much more aggressive" as well as "a little darker, more romantic, creepier than anything we have done".<ref>{{cite web|url=http://www.mtv.com/news/articles/1457011/20020813/foo_fighters.jhtml|title=Foo Fighters Out To Show They Can 'Really Do It Up'|publisher=MTV|date=2002-08-14|first=Corey|last=Moss|accessdate=2011-12-12}}</ref>}}
''One by One'' was considered the band's heaviest up to that point,<ref>{{cite journal|url=http://books.google.com/books?id=2nxQP3qCjFgC&pg=PA71|title=Albums of the Year|date=January 2003|journal=Spin|page=71}}</ref> with Grohl describing the sound of it as "different than anything we've ever done in that it is darker and more aggressive". Grohl said "the album was all about the energy of playing live",<ref name=mtv/> which lead the band to "play loud and hard, and scream, and fucking go crazy" as it was the way they "felt comfortable playing".<ref>{{cite video|url=http://www.youtube.com/watch?v=zqsHhAjzTCg|title=Foo Fighters Interview|date=2002|publisher=[[MTV]] Sweden|medium=interview|accessdate=2011-12-08}}</ref> He added that the "frenetic, just more energetic" performances were helped by the re-recordings being done in a short period of time, and said that while the previous albums had songs which were never played live, the track listing on ''One by One'' was compared to a set list where "every one of the songs I would play every night."<ref name=mtv/> As the results of the early recording sessions had manager John Silva expressing that "Half of it's really good because it sounds like nothing you've ever done before, and half of it just sounds like singles to me"<ref name=royal>{{cite web|archiveurl=http://web.archive.org/web/20031205230648/http://www.mtv.com/bands/g/grohl_david/news_feature_june_2002/index3.jhtml |url=http://www.mtv.com/bands/g/grohl_david/news_feature_june_2002/index3.jhtml|archivedate=2003-12-05|date=June 2002|first=Jon|last=Wiederhorn|title=Dave Grohl: Rock Royal|publisher=MTV|accessdate=2011-12-04}}</ref> and ending with a suggestion for Grohl to "stop trying to write hit singles and go back to being weird",<ref name=qmag/> the band decided to be more experimental in addition to writing "big songs" meant to be played in full arenas.<ref name=royal/> The variety included moody songs such as "Have It All" and "Tired of You", and the alternating dynamics of "Halo", which drew inspiration from [[Tom Petty]], [[Cheap Trick]] and [[Guided by Voices]].<ref name=apter350/> The sonority tried to blend dissonance and melody, with Grohl declaring that "We figured we're gonna get mean, we're gonna get ugly. And then I end up putting this four-part harmony on it, and all of sudden it's beautiful. Like wait a second, it was supposed to be gross, and now it's gorgeous."<ref name=royal/>
''One by One'' was considered the band's heaviest up to that point,<ref>{{cite journal|url=http://books.google.com/books?id=2nxQP3qCjFgC&pg=PA71|title=Albums of the Year|date=January 2003|journal=Spin|page=71}}</ref> with Grohl describing the sound of it as "different than anything we've ever done in that it is darker and more aggressive". Grohl said "the album was all about the energy of playing live",<ref name=mtv/> which he attributed to both the extensive touring preceding the compositions,<ref name=scream/> and the short period on which the re-recordings were done. The frontman added while the previous albums had songs which were never played live, the track listing on ''One by One'' was compared to a set list where "every one of the songs I would play every night."<ref name=mtv/> As the results of the early recording sessions had manager John Silva complimenting the songs that "sound like nothing you've ever done before"<ref name=royal>{{cite web|archiveurl=http://web.archive.org/web/20031205230648/http://www.mtv.com/bands/g/grohl_david/news_feature_june_2002/index3.jhtml |url=http://www.mtv.com/bands/g/grohl_david/news_feature_june_2002/index3.jhtml|archivedate=2003-12-05|date=June 2002|first=Jon|last=Wiederhorn|title=Dave Grohl: Rock Royal|publisher=MTV|accessdate=2011-12-04}}</ref> and suggesting Grohl to "stop trying to write hit singles and go back to being weird",<ref name=qmag/> the band decided to be more experimental in addition to writing "big songs" meant to be played in full arenas.<ref name=royal/> The variety included moody songs such as "Have It All" and "Tired of You", the seven-minute "epic opus" album closer "Come Back", and the alternating dynamics of "Halo", which drew inspiration from [[Tom Petty]], [[Cheap Trick]] and [[Guided by Voices]].<ref name=apter350/> The sonority tried to blend dissonance and melody, with Grohl declaring that "We figured we're gonna get mean, we're gonna get ugly. And then I end up putting this four-part harmony on it, and all of sudden it's beautiful. Like wait a second, it was supposed to be gross, and now it's gorgeous."<ref name=royal/>


While in previous records Grohl had "held back lyrically because you don't want to tell anyone your secrets", in ''One by One'' he found himself writing lyrics that matched "emotional level we were hinting with the music".<ref name=apter350/> ''One by One''{{'}}s tracklisting was described as "11 tortured love songs",<ref name=qmag/>
While in previous records Grohl had "held back lyrically because you don't want to tell anyone your secrets", in ''One by One'' he found himself writing lyrics that matched "emotional level we were hinting with the music", such as "Come Back", with words "revealing all these dark, shitty sides of myself".<ref name=apter350>Apter, 2006. pp.348-350</ref> Grohl said the record's major theme was "basically about surrendering to yourself",<ref name=hotpress/> describing the tracklisting as "11 tortured love songs",<ref name=qmag/>
with Grohl adding that the sequencing "is basically just like the difficult beginnings of falling in love, and then the relief of feeling comfortable in love."<ref name=mouth>{{cite journal|title=Big Mouth Strikes Again|journal=Kerrang!|date=September 2002|first=Paul|last=Brannigan}}</ref> <ref name=scream/> Grohl's new girlfriend Jordyn Blum served as an inspiration - "[''One by One''] it's just basically about surrendering to yourself. The lyrics were written in a pretty short period of time, at the time I was in a new relationship, and that’s a scary place to be if you’ve really fallen in love." -<ref name=hotpress>{{cite journal|title=What It Feels Like For A Grohl|journal=[[Hot Press]]|date=October 2002|first=Peter|last=Murphy}}</ref> as were the troubled times with the band, demonstrated in "Times Like These", where Grohl laments the absence of the Foo Fighters and ponders about their future. The album closer, "Come Back", which was a combination of two different songs clocking over seven minutes, was described by Grohl as "our epic opus", with lyrics that were "revealing all these dark, shitty sides of myself".<ref name=apter350>Apter, 2006. pp.348-350</ref> Grohl would usually write the lyrics after finishing the vocal track for another song,<ref name=scream/> and the singer said that despite the angry content of some lyrics, he drew no inspiration from [[Courtney Love]], with whom he had arguments and lawsuits regarding [[Nirvana (band)|Nirvana]] - on which Grohl and Love's late husband [[Kurt Cobain]] played&nbsp;— to which he was surprised as derogatory references to Love usually "snuck in" in songs such as "[[I'll Stick Around]]" and "[[Stacked Actors]]".<ref>Apter, 2006. p.353</ref>
with a sequencing that "is basically just like the difficult beginnings of falling in love, and then the relief of feeling comfortable in love."<ref name=mouth>{{cite journal|title=Big Mouth Strikes Again|journal=Kerrang!|date=September 2002|first=Paul|last=Brannigan}}</ref> A major inspiration was Grohl's new girlfriend Jordyn Blum,<ref name=hotpress>{{cite journal|title=What It Feels Like For A Grohl|journal=[[Hot Press]]|date=October 2002|first=Peter|last=Murphy}}</ref> as well as the troubled times with the band, demonstrated in "Times Like These", where Grohl laments the absence of the Foo Fighters and ponders about their future.<ref name=apter350/> Grohl would usually write the lyrics after finishing the vocal track for another song,<ref name=scream/> and the singer said that despite the angry content of some lyrics, he drew no inspiration from [[Courtney Love]] - with whom he had arguments and lawsuits regarding [[Nirvana (band)|Nirvana]], the band on which Grohl and Love's late husband [[Kurt Cobain]] played &nbsp;— to which he was surprised as derogatory references to Love usually "snuck in" in songs such as "[[I'll Stick Around]]" and "[[Stacked Actors]]".<ref>Apter, 2006. p.353</ref>


==Packaging and versions==
==Packaging and versions==

Revision as of 03:44, 30 January 2012

Untitled

One by One is the fourth studio album by alternative rock band Foo Fighters, released on October 22, 2002 by RCA. The album is the first to feature guitarist Chris Shiflett. Production on the album was troubled, with initial recording sessions considered unsatisfying and raising tensions between the band members. They eventually decided to redo the album from scratch during a two week period at frontman Dave Grohl's home studio in Alexandria, Virginia. The songs on the album, which include the successful singles "All My Life" and "Times Like These", have been noted for their introspective lyrics and a heavier and more aggressive sound, which Grohl said was intended to translate the energy of the Foo Fighters' live performances into a recording.

The album was a commercial success, topping the charts in Australia, Ireland and the United Kingdom and sold over one million copies in the United States. One by One was positively received by critics, winning a Grammy Award for Best Rock Album in 2004 and praised for its sound and production. However, some considered the work inferior to the band's previous albums, and the musicians themselves eventually grew distasteful of the record as a whole.

Production

Following the extended tour promoting There Is Nothing Left to Lose, which kept the Foo Fighters mostly on the road between 1999 and 2001,[2] the band started composing the songs for their next album in early 2001. In August, the band went to London to perform at the V Festival, and their drummer Taylor Hawkins suffered a painkiller drug overdose that left him in a coma for two days.[3] After taking some time off to recover, during which frontman Dave Grohl accepted an offer to play drums for the Queens of the Stone Age on their album Songs for the Deaf,[4] the band joined together in October 2001 to resume the composition.[5] By December 2001, they were recording at Grohl's own Studio 606 in Alexandria, Virginia,[6] and in January 2002, with six tracks finished, the band moved to Los Angeles as they wanted a "change of scenery".[3][7] After working the demos on Hawkins' home studio in Topanga,[8][9] recording took place in both Conway Studios and The Hook Studios.[10] Along with the producer for the previous album There Is Nothing Left to Lose, Adam Kasper,[10] the band was also working with first-time producer Nick Raskulinecz, who met the band when he engineered "A320" for Godzilla: The Album and had just left his job at Sound City Studios. Regarding his choice, the producer speculated Grohl "was having a hard time finding a guy who would commit to sitting in his basement for four months", and eventually picked Raskulinewicz because "Dave liked my energy and enthusiasm" and "could tell I was a fan".[11] A total of 29 songs were recorded overall, which included "The One" - featured in the film Orange County and released as a standalone single -[12][13] and ten finished tracks that were considered for the upcoming album.[14] The sessions took four months of work at the cost of over $500,000.[6][15] It was the first Foo Fighters album to both use Pro-Tools and have each instrument recorded separatedly.[2][8]

A man in a white shirt plays a guitar atop a stage.
Chris Shiflett, who was making his studio debut with the Foo Fighters, described the production, which included a discarded version replaced by one done in just two weeks, as "a weird way to make a record."[16]

The recording sessions were considered unsatisfying. Hawkins said that "nobody had their studio chops together",[17] and Grohl considered that the band was lacking enthusiasm[3] and performing in a way too focused on production,[6] declaring that when he considered the rough mixes "sucked a lot of the life out of the songs" and "sound[e]d like another band playing our songs".[18] Tensions were also escalating, with arguments breaking out at the studio,[3] Hawkins saying "we weren't getting on well and I didn't feel we were much of a band",[17] bassist Nate Mendel declaring he kept on being in a "shitty attitude" through the sessions for disagreements with Grohl, and guitarist Chris Shiflett adding he would at times spend whole days in the studio without playing anything.[19]

The band also showed disappointment with the ten tracks that came out of the sessions, with Hawkins describing them as "million-dollar demos",[20] and Grohl considering the songs "far too clean, too tame and boring".[21] According to Grohl, the band itself only liked five of those songs, the others being "songs that we thought people would want to hear on an album",[22] and he declared to be afraid to go out promoting "an album that I wasn't 100 per cent convinced of."[18] After manager John Silva listened to the recordings, he also expressed dissatisfaction, saying it was not a work that represented the band well,[22] and that "we can release it now, but I don't know if anyone would want to buy it".[19]

On April 2002, the band decided to discard the recordings and take a break.[3] Afterwards, the bandmembers all started separate projects: Grohl became the full-time Queens of the Stone Age drummer for a tour,[15] Shiflett started the Viva Death and Jackson projects with his brother Scott[21][23] and rejoined his former band Me First and the Gimme Gimmes, Hawkins played with Jane's Addiction bassist Eric Avery, and Mendel both played with Juno and reunited with his former bandmate William Goldsmith in The Fire Theft.[5] Later on April, the reunited for Foo Fighters' scheduled concert at the 2002 Coachella Valley Music and Arts Festival, which Grohl felt could be the last the band would perform.[3] During the rehearsals, the tensions broke out in huge fights, specially between Grohl and Hawkins. The musicians decided to at least perform in Coachella before deciding whether to continue playing together or end the band. After enjoying their performance, the bandmembers decided to remain united and do again what they had recorded.[19]

"We had already spent three months and a million dollars on something that we threw away. The difference between "All My Life" and "All My Life" was that this one cost a million dollars and sounded like crap, [while] this one we did in my basement for half an hour and became the biggest fucking song the band ever had."

 —Dave Grohl on remaking the album[19]

Grohl decided to take a two week period before the QOTSA went on tour to work on the Foo Fighters record.[4] First, Grohl visited Hawkins in Topanga to rework the songs that had already been done and show new compositions, such as "Times Like These", "Low", and "Disenchanted Lullaby".[17][22][9] Then Grohl and Hawkins went to Virginia to redo the drum, vocal and guitar tracks across a twelve day period.[22] Afterwards, Mendel and Shiflett were called to record their parts,[5] which were mostly done with the supervision of Raskulinecz, as Grohl had to go back to QOTSA.[24] The only remaining track for the original sessions was "Tired of You", which features a guest appearance by Queen guitarist Brian May.[24][25]

On the title One by One - taken from a lyric on "All My Life", and to which the spelling 1 X 1 was also considered — Grohl declared it was chosen because "it just seemed to make sense somehow", and elaborated by considering it a reference to relationships - "one person by another person, or one after another" - and the frequent appearance of the word "one" in the lyrics, with varied meanings: "It's kind of weird because it can represent loneliness — 'one is the loneliest number' — or it can represent continuation."[26][27]

Composition

One by One was considered the band's heaviest up to that point,[29] with Grohl describing the sound of it as "different than anything we've ever done in that it is darker and more aggressive". Grohl said "the album was all about the energy of playing live",[26] which he attributed to both the extensive touring preceding the compositions,[8] and the short period on which the re-recordings were done. The frontman added while the previous albums had songs which were never played live, the track listing on One by One was compared to a set list where "every one of the songs I would play every night."[26] As the results of the early recording sessions had manager John Silva complimenting the songs that "sound like nothing you've ever done before"[30] and suggesting Grohl to "stop trying to write hit singles and go back to being weird",[14] the band decided to be more experimental in addition to writing "big songs" meant to be played in full arenas.[30] The variety included moody songs such as "Have It All" and "Tired of You", the seven-minute "epic opus" album closer "Come Back", and the alternating dynamics of "Halo", which drew inspiration from Tom Petty, Cheap Trick and Guided by Voices.[24] The sonority tried to blend dissonance and melody, with Grohl declaring that "We figured we're gonna get mean, we're gonna get ugly. And then I end up putting this four-part harmony on it, and all of sudden it's beautiful. Like wait a second, it was supposed to be gross, and now it's gorgeous."[30]

While in previous records Grohl had "held back lyrically because you don't want to tell anyone your secrets", in One by One he found himself writing lyrics that matched "emotional level we were hinting with the music", such as "Come Back", with words "revealing all these dark, shitty sides of myself".[24] Grohl said the record's major theme was "basically about surrendering to yourself",[31] describing the tracklisting as "11 tortured love songs",[14] with a sequencing that "is basically just like the difficult beginnings of falling in love, and then the relief of feeling comfortable in love."[32] A major inspiration was Grohl's new girlfriend Jordyn Blum,[31] as well as the troubled times with the band, demonstrated in "Times Like These", where Grohl laments the absence of the Foo Fighters and ponders about their future.[24] Grohl would usually write the lyrics after finishing the vocal track for another song,[8] and the singer said that despite the angry content of some lyrics, he drew no inspiration from Courtney Love - with whom he had arguments and lawsuits regarding Nirvana, the band on which Grohl and Love's late husband Kurt Cobain played  — to which he was surprised as derogatory references to Love usually "snuck in" in songs such as "I'll Stick Around" and "Stacked Actors".[33]

Packaging and versions

The album artwork was done by Raymond Pettibon, known for his work with punk bands such as Black Flag and The Minutemen. Grohl was introduced to Pettibon by ex-Minutemen bassist Mike Watt and after visiting his house decided to hire him for the artwork because "we had to somehow pay tribute to Pettibon as a hero, because his stuff, those images just stuck with me my whole life."[34] Grohl came up with the heart theme used in the booklet and related singles.[35] The album was issued with two different covers, black and white.[36][37] The first 575000 units comprised a limited edition with a bonus DVD.[38]

A limited international edition features seven bonus tracks: the outtake "Walking a Line", three live songs, and three covers, The Psychedelic Furs' "Sister Europe", the Ramones' "Danny Says" - with Shiflett on the vocals — and Joe Walsh's "Life of Illusion" - sung by Hawkins.[25][37][39] A Norwegian version had an extra album with tracks recorded at the Oslo Spektrum on December 4, 2003.[40]One by One was also issued as a double vinyl LP record,[41] and a DVD-Audio with 5.1 surround sound mixes.[42][43]

Release and reception

Professional ratings
Aggregate scores
SourceRating
Metacritic75[53]
Review scores
SourceRating
Allmusic[1]
The Austin Chronicle[44]
The A.V. ClubAverage[45]
BBC OnlineAverage[46]
BillboardFavorable[47]
Robert Christgau(B-)[48]
Entertainment WeeklyFavorable[49]
Pitchfork Media[50]
PopMattersAverage[51]
Rolling Stone[52]
A bearded man wearing a white shirt plays guitar in front of a microphone.
Dave Grohl was pleased and enthusiastic with the album upon release, but he and the rest of the band changed their opinions over time.

One by One was released on October 22, 2002. That same day the band started off the One By One Tour with a concert at the Los Angeles' Wiltern Theatre.[54] The lead single "All My Life" had been released on September 7,[26][55] and the band issued three more songs as singles in 2003, "Times Like These",[56] "Low",[57] and "Have It All".[58] BMG became partners with telecom firm O2 and music provider Musiwave to promote the album in Europe with a special campaign focused on cellphones.[59]

The album debuted at third place on the Billboard 200, with 122,000 copies sold in one week,[60] and spent 50 overall weeks on the chart.[61] By 2011, One by One had sold 1.333 million units in North America,[62] being certified Platinum by the RIAA.[63] The international release was also successful, with RCA announcing One by One had surpassed 2 million copies worldwide in January 2003.[64] The album debuted at number one in the United Kingdom,[65] Ireland,[66] and Australia,[67] and outsold predecessor There Is Nothing Left to Lose in Australia, Japan and various Asian markets.[68]

Critical response

Initial critical response to One by One was positive. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 75, based on 19 reviews.[53] Reviewer Jon Pareles of Rolling Stone described the album's sound as "rock that draws power from its determination to struggle onward", with songs driven by "potent guitar riffs" and whose introspective themes are "stronger and broader than autobiography".[52] NME's April Long felt that "every note is ten times more focused and urgent", considering that "even the quieter moments bristle" and saying that the album "refutes every critic who attributed the Foos' success to Grohl's iconic rock veteran status".[69] Michael Paoletta of Billboard considered the album "among the band's best work" and that the themes gave the record "an emotional intimacy that makes it all more satisfying".[47] Entertainment Weekly's Ken Tucker rated the album A-, caling it full of "unexpected exhilaration" and saying that "sometimes the whisper-to-a-yell song construction gets repetitive, but the near-constant exploration of various relationships -- those between lovers, or friends, or Foos-to-their-fans -- never does."[49] The Austin Chronicle reviewer praised the heavy sound of the album, saying it "got serious about rocking out" and drifted from the light-hearted tone of songs such as "Big Me" while "retaining their melodic instincts".[44]

However, many reviewers felt that the album was not up to the standards of the Foo Fighters's previous work. Allmusic's Stephen Thomas Erlewine said that One by One was "the most accomplished album Foo Fighters have made, which isn't necessarily the same as the best", considering that while well-produced and played, the songwriting had "slipped slightly" compared to the previous albums, declaring that "it's still sturdy and melodic, yet not as immediate or memorable."[1] Writing for PopMatters, Margaret Schwartz considered the album "ultimately unsatisfying" despite being "tight and competent in both musical and production value, lyrically intelligent, and rhythmically driving", particularly for not drifting much from the band's typical style - "the three-dimensional Color and the Shape has given way to the binary One By One".[51] Stephen Thompson of The A.V. Club also compared it to The Colour and the Shape, saying that said record "set the bar pretty high, and Foo Fighters has been crouching modestly underneath it ever since" and that One by One ended up being "mostly middling, sticking to slick, pounding, functional rock that doesn't dig much deeper than the usual spleen-venting and loud-quiet brooding-to-bluster formula".[45] BBC's Nick Reynolds found the record inconsistent, praising the first four tracks but saying the following songs "can't maintain this quality", and concluding that "One By One is good, but it leaves you feeling just a little frustrated".[46] Eric Carr of Pitchfork Media was much critical of the album, saying it was overproduced to the point that "the last rough edge of the Foo Fighters' sound has been buffed away, leaving most of these songs with a palpable emptiness", and calling the songs "weightless, antiseptic cuts" that despite "skillful composition" came "without any real strength or character".[50]

In 2004, One by One won the Grammy Award for Best Rock Album,[70] while one year earlier at the 45th Grammy Awards "All My Life" was chosen as Best Hard Rock Performance.[71] While the band had a positive opinion about the record upon release, with Grohl saying the songs were "the best we've ever written",[72] he and the rest of Foo Fighters eventually grew distasteful about the results. Grohl has stated that "I was kinda pissed at myself for the last record... four of the songs were good, and the other seven I never played again in my life. We rushed into it, and we rushed out of it."[73] Hawkins declared that "if you think about things too much, they kinda get sterile, as we found out there", and Shiflett said in One by One "there are great songs there, and then there are... parts of great songs".[74]

Track listing

All tracks are written by Dave Grohl, Taylor Hawkins, Nate Mendel and Chris Shiflett, except where noted[10][39]

No.TitleLength
1."All My Life"4:23
2."Low"4:28
3."Have It All"4:58
4."Times Like These"4:26
5."Disenchanted Lullaby"4:33
6."Tired of You"5:12
7."Halo"5:06
8."Lonely as You"4:37
9."Overdrive"4:30
10."Burn Away"4:59
11."Come Back"7:49
Total length:55:11
Limited edition
No.TitleLength
12."Walking a Line"3:56
13."Sister Europe" (The Psychedelic Furs cover)5:10
14."Danny Says" (Ramones cover)2:58
15."Life of Illusion" (Joe Walsh cover)3:40
16."For All the Cows" (live in Amsterdam)3:31
17."Monkey Wrench" (live in Melbourne)4:01
18."Next Year" (live) (Chinese/U.K. version only)4:12
Limited bonus disc (Norway)
No.TitleLength
1."Snoof" (live)4:24
2."Times Like These" (live)4:35
3."Low" (live)4:35
4."Aurora" (live)9:08
5."Monkey Wrench" (live)8:21

Special edition DVD

The album was also originally released with a limited edition bonus DVD which contained:[75]

  • "All My Life" video / 5.1 audio / stereo audio versions
  • "Walking a Line" video / 5.1 audio / stereo audio versions
  • "The One" 5.1 audio / stereo audio versions
  • Extras — making of video + other clips
  • DVD-ROM — screensavers, buddy icons & weblinks
  • Photo gallery

Personnel

Foo Fighters[10][25]
Guest musicians
Production[10]
  • Producers: Foo Fighters, Adam Kasper, Nick Raskulinecz
  • Engineer: Nick Raskulinecz
  • Mixing: Bob Ludwig, Jim Scott
  • Mastering: A.J. Lara, Bob Ludwig, Bob Michaels
  • Production coordination: Melinda Pepler
  • Digital editing: A.J. Lara
  • Authoring: Eddie Escalante
  • Quality control: Kehni Davis
  • Graphic design: Rupesh Pattni
  • Photography: Anton Corbijn, Joshua White
  • Artwork: Raymond Pettibon
  • Illustrations: Raymond Pettibon, Joshua White
  • Liner notes: Hiro Arishima

Charts and certifications

References

  1. ^ a b c Erlewine, Stephen Thomas. "One by One — Foo Fighters". Allmusic. {{cite web}}: Unknown parameter |acccessdate= ignored (|access-date= suggested) (help)
  2. ^ a b c Winwood, Ian (March 2002). "Courtney. Kurt. Drugs. Rehab". Kerrang!.
  3. ^ a b c d e f Brannigan, Paul (November 2005). "Dave Grohl: AMERICAN HERO". Mojo.
  4. ^ a b Jon Wiederhorn (2002-06-04). "Queens of the Stone Age Flex Their Star Power". MTV. Retrieved 2007-06-19.
  5. ^ a b c Katchen, Andrew (19 October 2002). "Time Off Re-energizes the Foo Fighters". Billboard. 114 (42).
  6. ^ a b c Apter, Jeff (2006). The Dave Grohl Story. Music Sales Group. p. 339-340. ISBN 9780857120212.
  7. ^ Grohl, Dave (2002-01-15). "Long Time No See". The Foo Fighters Official Website. Archived from the original on 2002-02-13. Retrieved 2012-01-24.
  8. ^ a b c d Wiederhorn, Jon (2002-01-22). "'I'm Just Screaming My Balls Off The Whole Time' - Dave Grohl On New Foo". MTV. Retrieved 2012-01-24.
  9. ^ a b "At Home With... Taylor Hawkins". Metal Hammer. November 2003.
  10. ^ a b c d e f One by One (Media notes). RCA Records. 2002. {{cite AV media notes}}: |format= requires |url= (help); Unknown parameter |artist= ignored (|others= suggested) (help)
  11. ^ Bosso, Joe (2010-11-03). "Nick Raskulinecz on producing Rush, Foo Fighters, Alice In Chains". MusicRadar. pp. 2–3. Retrieved 2011-12-04.
  12. ^ "Foo Fighters 29 Songs Into Fourth Album". Billboard. November 16, 2001. Retrieved 2011-12-12.
  13. ^ "New Foo, Offspring Songs Lead 'Orange County'". Billboard. December 11, 2001. Retrieved 2011-12-12.
  14. ^ a b c Blake, Mark (November 2002). "My! They've Scrubbed Up Well!" (pdf). Q. Retrieved 2012-12-24.
  15. ^ a b Joe D'Angelo (2002-04-18). "Grohl Puts Foos On Hold, Returns To Drumkit With Queens". MTV. Retrieved 2007-06-19.
  16. ^ "The Maverick — Chris Shiflett: My Story". Metal Hammer Presents...Foo Fighters. 2005.
  17. ^ a b c "Times Like These". Rhythm. August 2003.
  18. ^ a b Murphy, Kevin (July 2005). "Honor Roll". Classic Rock.
  19. ^ a b c d Moll, James (director) (2011). Back and Forth (documentary). RCA.
  20. ^ Pappademas, Alex (November 2002). "The Good Fight". Spin: 72.
  21. ^ a b Gabriella (November 2002). "Interview with the Foo Fighters". NY Rock. Retrieved 2011-12-12.
  22. ^ a b c d Pappademas, Alex (June 19, 2003). "9 Million Words With Dave Grohl". Spin. Retrieved 2011-12-12.
  23. ^ Steininger, Alex (July–August 2003). "Foo Fighters' Guitarist Chris Shiflett Talks About His Band, Jackson". In Music We Trust. Retrieved 2011-12-12.
  24. ^ a b c d e Apter, 2006. pp.348-350
  25. ^ a b c "Foo Dictionary". The Official Foo Fighters Site. Archived from the original on 2004-05-03. Retrieved 2011-12-12.
  26. ^ a b c d Moss, Corey (2002-08-27). "Foo Fighters Cross The Rock Line On One By One". MTV. Retrieved 2011-12-04.
  27. ^ Foo Fighters MTV2 Interview (interview). MTV2. 2002. Retrieved 2011-12-08.
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Preceded by Australian number one album
October 28, 2002–November 4, 2002 		Succeeded by
Preceded by UK number one album
November 2, 2002–November 8, 2002 		Succeeded by
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