Taylor Hawkins on rock side of 'In Your Honour'

Early Indications are that Grohl was Inspired by heavy metal side-project Probot
"Someone said it reminded them of The Who meets Fugazi, which is cool. Dave came and said, 'I have the perfect opener forthe record.' It's not really a song, it's a manifesto, if you will. And the heaviest thing we've done."

Classic Foos superhero music, but cranked up
"We all felt it would be the first single. But I think we try to have a different kind of song as the first single. 'All My Life' wasn't very typical of us. That's good, it kind of opens ears. But I love 'no way Back'; it has an anthemic quality."

The first single gives evidence the Foos have raised their game
"The thing I like about 'Best Of You' is its dynamic, there's so many levels of dynamic; it starts here, then it goes higher, it goes higher, it goes higher, then it comes back down, then it ends with this big cacophony of sound. It's an interesting choice for a single."

A new-wavish intro speeds In before crossing to the dark side
"The first version of it was really kind of small. Then we thought, 'We gotta make it bigger.' It needed something else, and now a lot of people are saying it's an obvious single, which is strange to me, because the verses are better than the choruses."

A minute-and-a-half of white-hot noise and spite, riding toward Satan on a gigantic Thin Lizzy riff
"It's a short little thing, more like an interlude to another song. Dave's not a big fan of The Who; I am, so's our bass player and so's our guitar player, and that song is very Who-ish to me. The screaming vocal reminds me of Roger Daltrey."

Another potential single, with Grohl in an aggressive mood; "This is the last song that I will dedicate to you!"
"It's what 'Breakout' should have sounded like. A lot of things on this record to me are what a lot of old past songs should have sounded like. With this record we worked on everything without beating the hell out of it; just getting the best, most intense, energetic performances."

Proof that this half is all about the riff
"I love this because it's musically challenging. The time signature is in six as opposed to four, then it goes to three over four. It's dark, coarse and it's got this rip-your-head-off, blood-curdling vocal,"

'Everlong'-style FM anthem that ushers In the first flashes of the lighter acoustic side as we head slowly out of the darkness
"We did three or four versions of it because we wanted to get the best out of it, but we maybe started overthinking it a little bit. The version that's on the record is the second version -I thought it caught the best of both worlds. We did another version that was really slow, and it nearly turned into a fuckin' Bon Jovi song'"

This Is the mellowest thing on the loud half of the album, while still maintaining a masculine thump
"There's a real swinging, 'We Are The Champions' feel. You can almost sing 'We Are The Champions' to the chorus. And I love the vocal on it, i love the drum sound on it. It's a little rawer than the rest of the album. The lyrics remind me of fuckin' Willie Nelson or something - it almost has an old-school, good, country storytelling tone to it."

Classic quiet-loud-quiet dynamics, culminating, of course, with Ia balls-out outro that is very, very, very loud indeed
"It's the most regular song on the record. It's a good ender, it's got a good pulse to it. It's not my favourite song on the record but I like it and it has it's place. It's just a song y'know? It's a big ending."

return to Hawkins' Poor Brain