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Dave Grohl takes a personal journey through American music inDave Grohl takes a personal journey through American music inSonic HighwaysSonic Highways
The HBO series is an often-moving passion project for the Foo Fighters frontman.
By Noel Murray Oct 15, 2014 • 12:00 AM
Most rock musicians make terrible teachers, because so many of them learned through a process of trial, error, andaccidental inspiration, which makes it harder for them to explain how they wrote a song, or how other bands influenced
them. But then there are the rockers who are lovable, helpful nerds—like Dave Grohl, founder of Foo Fighters and former
drummer of Nirvana. Grohl’s someone who gushes over what he loves, and is more than happy to talk process, believing
that the particulars of how a recording studio works or where a lyric came from are cool things to know.
In 2013, Grohl poured all of that wonkishness into the documentary Sound City, a tribute to where he recorded Nevermind
with Nirvana, and a testament to the idea that when it comes to making music, location matters. Grohl’s new HBO series
Sonic Highways is partly an extension of Sound City, and partly Grohl’s way of forcing himself to make a new Foo Fighters
album in another way. Much like Sound City was anchored by a marathon recording session with Grohl and his famousfriends, each hour-long episode of Sonic Highways documents the recording of a single song. The Foo Fighters arrived in
eight different cities, in eight historically significant studios, with the music for new songs that Grohl would then finish on-
site, inspired by his surroundings. Each episode follows the progress of the song, but more importantly, the series gets into
the histor of each cit ’s music scene, and how it directl and indirectl influenced Grohl.
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TV REVIEW
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In the first two episodes of Sonic Highways, an uncomfortable question presents itself, asking whether this show is meant
to be a grand statement on American music or a Grohl autobiography. The broader approach tends to be weaker, put
across with generalities like “Chicago has always been a mecca for music of all sorts,” “You have to know your past in order
to know your future,” and “Cities are changed by the people who go there, but the people are changed, too.” It’s really only
when Sonic Highways gets personal that the series becomes something special.
The disconnect between these two modes is especially bothersome in the first episode, “Chicago.” After a quick run-through of the major musicians who made their home in Chicago—from Gene Krupa to Kanye West to Wilco to, yes,
Chicago—the episode settles into talking about Chess Records, Cheap Trick, and the city’s ’80s punk scene. Grohl has a long
interview with Buddy Guy, who talks about recording for Chess and befriending Muddy Waters, and Grohl tries his best to
tie the DIY spirits of blues and punk together. But the R&B material in “Chicago” comes off as more academic, with none of
the enthusiasm Grohl shows in the scenes of him hanging out with Cheap Trick guitarist Rick Nielsen.
But “Chicago” also shows what Grohl alone can bring to this project. Whether he’s talking with the cousin who introduced
him to punk or he’s visiting irascible producer Steve Albini (who worked with Grohl on Nirvana’s In Utero), there’s a sense
of connection that goes beyond “here are a bunch of Chicago bands you should know.” When Grohl and Albini talk aboutNaked Raygun, they bring with them memories of how the Chicago punk scene grew, one all-ages Cubby Bear show at a
time. When “Chicago” waxes rhapsodic about Wax Trax Records, it has LCD Soundsystem’s James Murphy to reminisce
about the importance of witheringly snobby record-store clerks in the development of a young person’s musical taste. The
best parts of “Chicago” are a ll like this—all first-hand.
Sonic Highways’ second episode, “Washington D.C.,” is better integrated (in every sense of the word). Grohl, who grew up
in suburban Virginia and was an active part of the 1980s D.C. scene, dives directly into the dichotomies of Washington,
exploring the divides between urban and suburban, black and white, and funk and punk. The Foo Fighters’ songwriting
and recording process is almost an afterthought in “D.C.,” which instead proceeds deliberately though a passionate mini-history of go-go clubs, Bad Brains, Minor Threat, Inner Ear Studio, and the growing politicization of the various
underground musical movements happening in Washington during the Reagan/Bush years. Again, Grohl approaches all
of this from an affectingly personal place, as someone who remembers when “downtown was a place you went on field
trips”—and again, Sonic Highways has some electrifying archival footage, of Bad Brains’ H.R. and Minor Threat’s Ian
MacKaye screaming and writhing across the stage. “D.C.” also features a lot of sound bites from the gregarious MacKaye,
whose journey from Ted Nugent fan to punk hero mirrors Grohl’s.
(Actually, “Washington D.C.” feels like it should be Sonic Highways’ first episode, but perhaps “Chicago” precedes it so that
Grohl can pay proper homage to Cheap Trick’s Live At Budokan, with a hearty “this next one is the first song on our new
album.”)
As heartfelt as it is, Sonic Highways still comes up short here and there. Grohl includes Ministry in the montage of acts in
“Chicago,” but otherwise leaves out the city’s rich history of industrial and electronic music. “Washington D.C.” focuses on
Dischord Records, but ignores the equally vital indie labels Teen Beat and Simple Machines (the latter of which put out
Grohl’s solo project Pocketwatch). And frankly, as nerdy as Grohl is,Sonic Highways could stand to be nerdier. For example,
when Grohl praises Albini’s “signature sound,” it’d be great if he explained what that sound actually is.
That said, Sonic Highways does dig deeper than a lot of other musician-centric documentaries do. The “Chicago” episode
doesn’t just mention Albini’s unorthodox “no royalties” approach to working as a producer—a stance that cost him a
healthy ongoing payday with In Utero in particular—it delves into exactly what that means for Albini, who says he has to
average $1,000 a day to keep his studio open, and has gone deep into debt several times. Similarly, when Grohl talks with
go-go pioneers Trouble Funk, he leaves in the moment when one of its members asks if maybe Trouble Funk could tour
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That kind of self-awareness from Grohl—knowing that he’s reached a level of success far beyond the people who helped
feed his roots—deepens Sonic Highways in incalculable ways. Without making too big a deal about it, Grohl contrasts
himself with Foo Fighters drummer Taylor Hawkins, who admits in “Chicago” that he doesn’t really know or care much
about the blues, and in “Washington D.C.” confesses that he’s never been part of any kind of indie scene. And Grohl
himself admits that the unusual method of recording this new Foo Fighters album is just a way for a seen-it-all/done-it-all
veteran rock band to introduce some novelty. Sonic Highways subtly acknowledges the differences between the scholarly
and the intuitive, and between the mega-millionaires and the guys still making records in their basements.
Grohl knows he’s fortunate to have played in two of the most popular rock bands of the past 25 years, and to have the
backing of HBO and the well-heeled production company Worldwide Pants Inc. (whose founder, David Letterman, is a big
Foo Fighters fan, hailing them for going out every night and “fighting foo”). But Grohl also knows none of this happened by
chance. Sonic Highways is about Chicago, D.C., Austin, Seattle, Nashville, New Orleans, New York, and Los Angeles; but it’s
also about Grohl, remembering where he came from and what he owes.
Created by: Dave Grohl
Starring: Foo Fighters
Debuts: Friday at 11 p.m. Eastern on HBO
Format: Hour-long documentary
Two episodes watched for review
FILED UNDER: TV, Dave Grohl, Foo Fighters, Sonic Highways
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