FOO FIGHTERS Debut LP ( Ultra-Rare, 1st Pressing,Viny

	£		48
	$		64

RARE ORIGINAL 1995 VINYL COPY OF THE FOO FIGHTERS DEBUT LP ON  USA IMPRINT, ROSWELL RECORDS.

HIGHLY DESIRABLE, SOUGHT AFTER COLLECTABLE.

FORMAT: SINGLE VINYL LP 33RPM
RECORD LABEL: ROSWELL/CAPITOL
YEAR OF RELEASE: 1995
COUNTRY OF ORIGIN: UK
CATALOGUE NO: ROSWELL 7243 8 34027 1 7

MEDIA: MINT
OUTER SLEEVE: MINT
INNER SLEEVE: MINT

STORED VERTICALLY, OUT OF SUNLIGHT IN A PET, DAMP AND SMOKE FREE HOME.

ANY QUESTIONS OR REQUESTS FOR MORE DETAILED PHOTOS ETC, PLEASE DO NOT HESITATE TO CONTACT ME.

IF YOU FEEL I HAVE GRADED THIS RECORD INCORRECTLY OR ANY OF THE ABOVE INFORMATION IS INCORRECT PLEASE TELL ME!!!
    
Tracklisting
A1         This Is A Call        
A2         I'll Stick Around        
A3         Big Me        
A4         Alone+Easy Target        
A5         Good Grief        
A6         Floaty        
B1         Weenie Beenie        
B2         Oh, George        
B3         For All The Cows        
B4         X-Static   
B5         Wattershed        
B6         Exhausted 

Foo Fighters Biography (Courtesy of Allmusic.com)

by Stephen Thomas Erlewine

During the last dark days of Nirvana in 1994, tapes of Dave Grohl's solo demos circulated among alt-rock royalty. Greg Dulli commented positively about them in more than one place, but few suspected that these homemade tapes would launch one of the biggest modern rock bands of the post-grunge era. As it turns out, that’s exactly what Grohl’s Foo Fighters became, perhaps the one band of the alt-rock revolution to enjoy continual success on the charts and on the road without a dip in popularity. It was this consistency that distinguished the Foos; other bands burned brighter or had bigger hits, but Grohl's band -- which coalesced into a permanent lineup around the group’s third album -- always climbed into the upper reaches of the charts, churning out singles like “Everlong,” “Learn to Fly,” and “My Hero” that built upon the heavy, melodic, loud-quiet-loud template of the Pixies and Nirvana, pushing it ever so slightly toward the realm of classic guitar rock.

Dave Grohl began playing guitar and writing songs in his early teens, as well as performing with a variety of hardcore punk bands. In the late '80s, when he was still in his teens, he joined the Washington, D.C.-area hardcore band Scream as their drummer. During Scream's final days, Grohl began recording his own material in the basement studio of his friend Barrett Jones. Some of Grohl's songs appeared on Scream's final album, Fumble. Following the band's 1990 summer tour, Grohl joined Nirvana and moved cross-country to Seattle.

After Nirvana recorded Nevermind, Grohl went back to the D.C. area and recorded a handful of tracks that would appear on Pocketwatch, a cassette released by Simple Machines. For most of 1992, he was busy with Nirvana, but when the band was off the road, he recorded solo material with Jones, who had also moved to Seattle. The pair kept recording throughout early 1993, when Grohl returned to Nirvana to record In Utero. Grohl had toyed with the idea of releasing another independent cassette in the summer of 1993, but the plans never reached fruition. Following Kurt Cobain's suicide in 1994, the drummer kept quiet for several months. In the fall of 1994, Grohl and Jones decamped to a professional studio and recorded the songs that comprised Foo Fighters' debut album in a week. Boiling down his backlog of songs to about 15 tracks, Grohl played all of the instruments on the album. He made 100 copies of the tape, passing it out to friends and associates. In no time, Grohl's solo project became the object of a fierce record company bidding war.

Instead of embarking on a full-fledged solo career, Grohl decided to form a band. Through his wife he met Nate Mendel, the bassist for Sunny Day Real Estate. Shortly before the pair met, Jeremy Enigk, the leader of Sunny Day Real Estate, had converted to Christianity and quit the band, effectively ending the group's career. Not only did Mendel join Grohl's band, but so did Sunny Day's drummer, William Goldsmith. Former Germs and Nirvana guitarist Pat Smear rounded out the lineup. The band, named Foo Fighters after a World War II secret force that allegedly researched UFOs, signed a contract with Capitol Records. The band's self-titled debut, consisting solely of Dave Grohl's solo recordings, was released on July 4, 1995. It became an instant success in America, as "This Is a Call" garnered heavy alternative and album rock airplay. By early 1996, the album was certified platinum in the U.S.

Throughout 1996, Foo Fighters supported the album with an extensive tour, enjoying a crossover hit with "Big Me" that spring. Late in the year, the group began recording its second album with producer Gil Norton. During the sessions, William Goldsmith left the band due to creative tensions, leaving Grohl to drum on the majority of the album. Before the record's release, Goldsmith was replaced by Taylor Hawkins, who had previously drummed with Alanis Morissette. The Colour and the Shape, Foo Fighters' second album and the first they recorded as a band, was issued in May of 1997. Smear left the group in the wake of the album's completion and was replaced by guitarist Franz Stahl, whose stay proved short-lived; 1999's There Is Nothing Left to Lose was recorded as a three-piece, with ex-No Use for a Name guitarist Chris Shiflett signing on soon after.

One by One, the group's most polished production, appeared in late 2002, followed by 2005's In Your Honor, which narrowly missed the top of Billboard's album chart. After releasing a live album titled Skin and Bones in 2006, the band returned to Norton's studio and started constructing a dozen fractured, eclectic rock songs to be released in 2007 under the name Echoes, Silence, Patience, and Grace. Two years later, the group released its first compilation, Greatest Hits, as Grohl launched his new supergroup Them Crooked Vultures, which also featured Josh Homme of Queens of the Stone Age and Led Zeppelin’s John Paul Jones. Foo Fighters reconvened for 2011's Wasting Light, a Butch Vig production that doubled as the official return of Pat Smear, who hadn't played on any of the band's albums since 1997.

  MINT:
The record itself is in brand new condition with no surface marks
or deterioration in sound quality.
The cover and any extra items are in perfect condition.
Records advertised as sealed or un-played should be mint.

EXCELLENT:
The record shows some signs of having been played,
but there is very little lessening in sound quality.
The cover and packaging might have slight wear and/or creasing.

VERY GOOD:
The record has obviously been played many times,
but displays no major deterioration in sound quality,
despite noticeable surface marks and the occasional light scratch.
Normal wear and tear on the cover or extra items,
without any major defects, is acceptable.

GOOD:
The record has been played so much
that the sound quality has noticeably deteriorated,
perhaps with some distortion and mild scratches.
The cover and contents suffer from folding,
scuffing of edges, spine splits, discoloration, etc.

FAIR:
The record is still just playable but it has not been cared for properly 
and displays considerable surface noise; it may even jump. 
The cover and contents will be torn, stained and/or defaced.