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with a fervour I’d never seen before. As soon as we were done I immediately got on the phone with Harley and Skeeter and said, “You guys have to fucking come down here, you have to check this kid out.” To be honest, he had the gig after the first song.’

      Grohl was asked to sit in on two or three full rehearsals with Scream before he was formally offered a position in the band. He now faced a difficult decision. He could join Scream, and ditch Radding and Smith, his two best friends; or he could pass up the opportunity to join one of his favourite bands in the world and remain in limbo with Dain Bramage. He drove around Alexandra in his VW Bug for a week listening to Led Zeppelin III while pondering his choices: finally he phoned Franz Stahl and apologetically declined his offer. With a guilty conscience, he then confessed to Reuben Radding and Dave Smith that he had been tempted to stray.

      ‘I remember him saying how he was massively flattered but that it was more important to him to see things through with Dain Bramage,’ recalls Radding. ‘He said that he thought we were more original, and that he wasn’t so psyched about being just a drummer after being in a band like ours that was such a collaboration. I was dark, but relieved.’

      Scream were not the only band interested in securing Grohl’s services in 1986. That same year the drummer received an offer to join ‘Scumdogs of the Universe’ Gwar, a Richmond, Virginia-based heavy metal collective whose outlandish sci-fi monster costumes and gory, over-the-top theatrics made Kiss look like The Osmonds. A local hard rock band called Wizard enquired about his availability too. And following the dissolution of Embrace, Ian MacKaye also called, inviting Grohl to Dischord House to jam with bassist Joe Lally in a new project that would become the brilliant, iconoclastic Fugazi. By then, however, Grohl had spoken to Franz Stahl again, to tell him that he had reconsidered his decision to join.

      Reuben Radding learned of Grohl’s change of heart only after overhearing mutual friends discussing his defection to Scream. Later that same day, Grohl called to confirm his decision. By his own admission, Reuben Radding was ‘devastated’.

      ‘I both could and couldn’t understand his decision,’ he admits. ‘I was pissed off and I stayed pissed off for a very long time. We had done a lot for Dave already, especially Smave. He used to drive Dave around, fix his drums … he sacrificed a hell of a lot. We loved Dave tremendously, but I didn’t think I could trust him after that happened. Trying to talk him out of it wasn’t in my head.’

      ‘Dave was definitely torn as to what to do,’ recalls Larry Hinkle. ‘I remember thinking that he should have stayed with Dain Bramage, and I told him that. Scream was definitely cool, but Dain Bramage were up and coming, and they had a different sound than what was going on at the time. But he had already made up his mind.’

      With cruel inevitability, finished copies of Dain Bramage’s I Scream Not Coming Down album arrived at Reuben Radding’s house just weeks after Grohl’s decision to quit the band. Listening to the album did nothing to elevate Radding’s spirits; indeed it added to the sense of disappointment he was already feeling. Compared with the demos his band had recorded with Barrett Jones, Radding considers I Scream Not Coming Down ‘flat’ and ‘lifeless’: ‘The performances are not as comfortable and confident as the stuff we did before,’ he says. ‘The number of ways that the record doesn’t sound like us are numerous.’

      Nonetheless, I Scream Not Coming Down is not without its merits. The influence of Led Zeppelin is evident in the album’s most powerful tracks ‘Drag Queen’, ‘Stubble’ and ‘Flicker’ (not least in the subtly tweaked ‘Misty Mountain Hop’ bass line in ‘Flicker’) but Radding’s imaginative, non-linear guitar work and the rhythm section’s varied, versatile dynamic shifts keep the songs from straying into monolithic hard rock territory. Elsewhere, ‘Eyes Open’ combines acoustic and electric guitars in a post-punk adrenalin rush reminiscent of latter-day Hüsker Dü and ‘The Log’ is a superbly adroit slice of progressive punk that recalls Boston’s Moving Targets. The title track, co-written by Radding and his former Age of Consent bandmate Dan Koazk, is another high point, though Radding’s lyric ‘The sky’s my limit’ now serves as a rather poignant reminder of the band’s dashed optimism and unfulfilled potential. Despite his understandable disappointment at how things panned out for Dain Bramage, when Reuben Radding reflects now upon his time creating and playing music alongside Dave Grohl he has few regrets.

      ‘I was a kid, and my mistakes or questionable decisions are pretty easy for me to shrug off in that light,’ he told me in 2010. ‘Ever since Nirvana got big I’ve been surrounded by people who want or expect me to be bitter. Sorry, there’s no grounds for that kind of bullshit. It was a hell of a lot of fun.’

      I Scream Not Coming Down finally reached record stores nationwide on 28 February 1987. Lauded as ‘a real rock ’n’ roll record’ of ‘incredible depth and power’ by Fartblossom, the album was largely met with positive reviews. Tim Yohannon of maximumrocknroll categorised it as ‘quirky, jangly hard pop meets the DC sound’, and hailed the band’s ‘complex’ arrangements: the album, he noted, was ‘a challenge’. Suburban Voice praised the album’s ‘heart, energy and guts’ and ‘knockout hooks’, describing it as ‘tuneful enough to stick in your head, with enough stylistic variation to make it come across as original’. Dave Grohl himself would later hail the album as ‘a fine demonstration of our blend of rock, art punk and hardcore’. By the time of its release, however, he was working on a new Scream album.

      In summer 1985, some six years on from the release of Black Flag’s Nervous Breakdown EP, Rolling Stone finally acknowledged the existence of the American hardcore scene. Writer Michael Goldberg was tasked with bringing the magazine’s readership up to speed with the music, mindset and mores of the punk rock underground, in what was Rolling Stone’s most significant report on the genre since Charles M. Young’s October 1977 cover feature on the Sex Pistols. Goldberg’s excellent article was titled ‘Punk Lives’. ‘They don’t sound like the Ramones, and they don’t look like the Sex Pistols,’ stated the feature subhead, ‘but bands like Black Flag, Hüsker Dü, the Minutemen and the Meat Puppets are keeping the spirit of ’77 alive.’

      Goldberg’s article offered a neat précis of what he dubbed the ‘neopunk’ community. Focusing largely upon acts signed to Greg Ginn’s SST label and Minneapolis’ indie imprint Twin/Tone, the writer highlighted the scene’s stubbornly independent Do-It-Yourself ethos and the tireless work ethic powering it, contrasting ‘old school’ punk’s cartoon nihilism with the ‘responsible’, proactive, self-reliant mentality underpinning the hardcore movement.

      In the closing paragraphs of his feature, Goldberg detailed a conversation he held with Hüsker Dü frontman Bob Mould in regard to the advantages and disadvantages of bands operating within an independent label framework. ‘I think being outside the mainstream music business is good,’ Mould told Goldberg. ‘When you tie yourself down to a major label, you give up all your individual control over things. You become part of the machine. It wouldn’t seem right for Hüsker Dü …’ Yet, just nine months after the publication of Goldberg’s article, Hüsker Dü’s sixth studio album Candy Apple Grey was released on Warner Bros.

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