Posts Tagged ‘Dave Grohl’

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Dave Grohl has released a cover of “Nausea,” originally by Los Angeles punk icons X, that features his daughter Violet on lead vocals. The Foo Fighters leader is including the song in his upcoming documentary, What Drives Us. In a lengthy Instagram post, he explained how the family ties extend beyond that direct connection.

Grohl said he used to return from Nirvana tours and look forward to reading letters from his grandmother. On one occasion, she sent him a newspaper clipping about X, naming drummer D.J. Bonebrake, and wrote: “Dear David, you might be related to this young man!” Since Bonebrake was a family name, the connection was possible. So, Grohl later invited the drummer to a concert, where they compared notes. “Long discussions of distant relatives and our historic family tree ensued, and by the end of the night we parted ways feeling a bit more connected,” Grohl said.

The punk classic is the latest cover from the family pair. In January 2020, Violet joined her dad, the other surviving members of Nirvana – Krist Novoselic and Pat Smear – and Beck and St. Vincent onstage performing “Heart-Shaped Box” at the Art of Elysium’s Heaven gala. The teenager also did some backing vocals on the song “Making a Fire,” from Foo Fighters’ 2021 album, Medicine at Midnight, 

From the upcoming What Drives Us documentary, Dave and Violet Grohl release their first collaboration “Nausea” – a tribute to X and the Bonebrake heritage.

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Mick Jagger has surprise released a new song, “Eazy Sleazy.” The track features Foo Fighters’ Dave Grohl on drums, guitar and bass. Jagger wrote the song during lockdown, and he adds guitar work in addition to his vocals. “Eazy Sleazy” was released along with a performance video, showing Grohl and Jagger playing their parts remotely. According to a press release, Jagger recorded his parts at home while Grohl worked in the Foo Fighters’ studio.

“It’s a song that I wrote about coming out of lockdown, with some much needed optimism,” Jagger said in a statement. “Thanks to Dave Grohl for jumping on drums, bass and guitar, it was a lot of fun working with him. – hope you all enjoy “Eazy Sleazy”

Dave commented – “It’s hard to put into words what recording this song with Sir Mick means to me. It’s beyond a dream come true,” added Grohl. “Just when I thought life couldn’t get any crazier……and it’s the song of the summer, without a doubt!!”

I wanted to share this song that I wrote about eventually coming out of lockdown, with some much needed optimism – hope you all enjoy Eazy Sleazy !

Dave Grohl’s iconic American rockers Foo Fighters return with the long-awaited release of their tenth (!!) studio full length, “Medicine at Midnight”. The release – their first since 2017’s well received Concrete and Gold – coincides with the band’s 25th anniversary, and was set to be released in a year when they were supposed to be on the road (on “The Van Tour”, which I was eagerly anticipating) celebrating that very occasion. Of course, that tour was cancelled, and the album delayed until today.

Coming in at 36 minutes and 35 seconds across 9 tracks, this is the Foo’s shortest LP to date (in total duration), but on this you can’t blame the pandemic: the record was tracked between November 2019 and February 2020 in a (potentially haunted) house in Encino, California. So anyone hoping for a rockin’ bop about the pandemic might be disappointed. And on its length, fans will certainly find themselves left wanting more.

Greg Kurstin, who worked with the band on Concrete and Gold, is back on production duties – and though the effort ultimately doesn’t feel as cohesive nor as striking as its predecessor, the album sits as another solid effort from a band who have consistently delivered albums that have satiated fans’ appetites; this release being no exception.

The record kicks off with “Making a Fire”, which features Grohl’s daughter Violet on backing vocals and sees the band proudly and unapologetically say – yeah, we’re Dads, and I guess that means we’re Dad rock now, but you’re all 25 years older now too so get over it.

That’s not to say there’s no nostalgia to be found here – the weight of the band’s anniversary was undeniably playing on their mind as they recorded this album. Notably, Grohl said in interviews that there’s a riff on this album that does indeed date back some 25 years – but it’s hard to place that riff, as there are many moments that feel like it could easily have been taken from one of their albums from the 90s.

“Shame Shame”, the first single of the album comes second – which is a solid effort from the band, but doesn’t hold the weight of the follow ups “No Son of Mine” and “Waiting on a War” – both of which sit as highlights on the record. The former is the band at their best, with a rollicking beat courtesy of drummer Taylor Hawkins, while the latter starts off slow, but grows into one of the biggest and loudest jams on the record.

And it’s not the only track that does this – “Cloudspotter” too has a less than auspicious start, but ends on a loud note sure to please fans. Also, as it turns out, “Cloudspotter” is the song that holds that 25 year old riff (listen out for it in the chorus). “Chasing Birds” is another highlight – a number that calls back to low tempo favourites like “Walking After You” and may be my favourite track on the record. The album’s namesake, as well as closer “Love Dies Young” are both rather forgettable (something that could of course change over time) – and while it’s a pity to see the record close out on a less than memorable note, being left wanting more isn’t necessarily a bad thing. And thankfully it’s not a difficult task to hit replay.

The problem the album faces, ultimately, is also one of its strengths – and that’s that it feels like the band have played it safe here. There was a feeling across their last few records that they were trying to break new ground, and while that didn’t always work wonders musically (as in Sonic Highways), their ambition was admirable. Here, they may not be releasing their best album, but they’re not going to disappoint either. This is going to keep fans happy.

They’re just trying to make some good ol’ rock n’ roll – and for the most part, they have succeeded here, which 25 years in, is not something to belittle. The Foo Fighters have survived the test of time, consistently delivering solid music along the way and shaping themselves into one of the finest stadium rock bands on the planet, while getting to do it on their terms. If Concrete and Gold was the culmination of that, Medicine at Midnight is the reminder that they have nothing left to prove. And if they still manage to gain younger fans along the way, and those new fans pick up some drum sticks and find inspiration from their music like we did years ago.

NME writes: “It’s slinky. It’s shimmery. It gets a bit Bowie and boasts one of the best. songs they’ve ever recorded. Album 10 is the soundtrack to the summer we all crave.”
Turn Up The Volume says: From roaring rockers to poppy singalongs and a couple of power ballads in between. 

Singles released :Shame Shame / No Son Of Mine / Waiting On A War…

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While Foo Fighters may not have put on a New Year’s Eve livestream like so many other acts, the alt-rockers did provide a musical send off to 2020 with a new single, “No Son Of Mine”. The song, released last Thursday, comes as the second single from the new album “Medicine At Midnight” following “Shame Shame“. According to a handwritten statement from frontman Dave Grohl posted to social media, the band had originally intended to release Medicine At Midnight prior to mounting its 25th anniversary Van Tour. After that got postponed—along with every other tour—Foo Fighters decided to wait out the storm. And that’s what they did: wait. However, Grohl now says that “the wait is over.”

‘Medicine at Midnight’ will be released on February. 5th, nearly a year after frontman Dave Grohl announced that the Foo Fighters‘ 10th album was completed. Its nine songs include the lead single “Shame Shame,” which they premiered on ‘Saturday Night Live’ in early November. Guitarist Chris Shifflet said a lot of the songs are “groove-based,” adding that Grohl’s background as a drummer means “he’s always coming up with rhythmic twists and riffs based on rhythms that he hears in his head.”

As expected, “No Son Of Mine” is a rocker. Between an earworm Motörhead guitar riff and pulsating drums, Grohl’s lyrics come out to the forefront to lay out fatherly expectations of kin devoid of evildoing. Grohl said of the song, and the album, in his statement, 

Dear Everyone, It was almost exactly a year ago that we finished recording our “new” record Medicine At Midnight, with a massive world tour planned that would have taken us around the globe celebrating our 25th anniversary as a band. But, well…you know…Until we finally realized that our music is made to be heard, whether it’s in a festival field with 50,000 our of closest friends, or alone in your living room on a Saturday night with a stiff cocktail. So, the wait is over.

As we say goodbye (f*ck you) to 2020, and flip the calendar page to 2021, let’s ring in the new year with a new rocker, “No Son Of Mine”.  Pour a drink, turn it up, close your eyes and imagine that festival field blowing up to this. Because it f*cking will.

Happy New Year, Dave

Medicine At Midnight // The New Album Available February.5th 2021

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Dave Grohl and producer Greg Kurstin closed out their Hanukkah Sessions covers series on Thursday night with a cover of “Rock & Roll” by The Velvet Underground, the iconic New York City art rock band fronted by nice Jewish boy Lou Reed.

Launched on the first night of the Festival of Lights last Thursday, the series features Grohl and Kurstin covering a different song by a different Jewish artist each night. Throughout the last eight days, the duo has paid tribute to Beastie BoysDrakeMountainPeachesBob DylanElastica, and The Knack.

This project, which initially began as a silly idea, grew to represent something much more important to me. It showed me that the simple gesture of spreading joy and happiness goes a long way, and as we look forward, we should all make an effort to do so, no matter how many candles are left to light on the menorah.

Toda Raba to Greg for being a musical genius and spending 2 1/2 days barnstorming through these songs together. You never fail to amaze me. Big round of applause for Markus Rutledge, the poor soul that had only 24 hours (8 days in a row) to churn out each of these videos for us! You deserve a medal for sleep deprivation! Huge hearts for the force of nature known as Peaches! You brought the real. And, of course to all of you for joining in on the fun. I hope that you enjoyed watching.

The relaxed take begins with a bit of levity, as Grohl counts off the song only to quickly drop on of his drumsticks. Unfazed, the camera keeps rolling and the two try again and nail the classic Loaded track—kudos to Dave for that fine, fine falsetto. As the duo leans into the song’s final “it was alright” refrain, we see a clip show of sorts from throughout the last eight days showing everything from the editing and recording process to Grohl posing with a menorah.

Along with the final video of the series, Grohl offered up some reflections and thanks laced with his impressive new arsenal of Hebrew phrases. Read the note from Dave Grohl reflecting on the Hanukkah Sessions. As 2020 comes to a close and another Hanukkah ends (my first!) I am reminded of the two things that have gotten me through this year: music and hope.

So, sing along one last time to “Rock and Roll” by The Velvet Underground, a song about music and hope, and let’s keep spreading the joy and happiness. It goes a long way…..

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For the third night of their “Hanukkah Sessions,” Foo Fighters’ Dave Grohl and producer Greg Kurstin blazed through a rendition of Mountain’s classic “Mississippi Queen.”

“Talk about making a mountain out of a mohel … named Leslie Weinstein at his bris, the singer of our next band built a wailing wall of guitar as Leslie West. Check out our take on a track from Leslie’s monolithic band, Mountain the pair said of their latest cover. “I’m fucking this cup up so bad right now,” Grohl says of the container he’s using in place of a cowbell during the recording. Several YouTube viewers picked up on the line, leaving comments that included: “Dave Grohl is my favorite cup player,” “Dave knew he would be doing a disservice to the Jewish community, and to the song, if he didn’t play the hell out of that cup,”

Mountain released “Mississippi Queen” in 1970, and it appeared on their debut album Climbing! The same year. It became their highest-charting single, reaching No.21, and it’s been covered a number of times over the past five decades, including Ozzy Osbourne’s 2005 version.

“The song’s got three chords,” West said of his composition in August 2020. “Any idiot can play it. I just happen to play it better than anybody!” He added: “[It] has just everything you need to make it a winner. You’ve got the cowbell, the riff is pretty damn good, and it sounds incredible. It feels like it wants to jump out of your car radio. To me, it sounds like a big, thick milkshake. It’s rich and chocolatey. Who doesn’t love that?”

Despite the cover serving as a celebration of West named as one of Rolling Stone’s 100 Greatest Guitarists — Grohl and Kurstin don’t even attempt to replicate his six-string theatrics, with Kurstin instead playing the riffs and famed solo on a keyboard’s guitar setting. Grohl also banged away at a makeshift cowbell for the performance. 

So far for their “Hanukkah Sessions” — a celebration of the Festival of Lights featuring eight covers by eight Jewish artists stretched across eight nights,  Grohl and Kurstin have covered the Beastie Boys’ “Sabotage.” and Drake’s “Hotline Bling.”

After an agonising long wait for new Foo Fighters music, we finally got a new single in the form of the surprisingly funky ‘Shame Shame’. There was a lot of teasing over the last week or so for what appears to be a new Foo Fighters album, yes, they have a new album coming called “Medicine At Midnight” and the first single off it is called ‘Shame Shame’, perhaps unlike any Foo Fighters single we’ve heard either as the band really go hard on the groove and funk with this new banger. Think of a poppy dance track but done with the Foo Fighters’ guitar-heavy aesthetic.

Since this was a new musical direction for the band, Chris Shiflett and Nate Mendel unpack what they were going for this time around. And as with most Foo Fighters songs, it all begins with Dave Grohl. During last night’s episode of Saturday Night Live, musical guest Foo Fighters took the opportunity to debut “Shame Shame” from their new album. The new record—also announced on Saturday—is titled Medicine at Midnight and is out on February 5th, 2021 via Roswell Records/RCA.

“[‘Shame Shame’] kind of stands out on the record, it’s definitely a little different than anything we’ve ever done before and it’s a little bit different than anything else on the record, although the record has a lot of songs that are, you know, groove-based like this one is,” says Chris. “Dave’s a drummer so he’s always coming up with rhythmic twists and riffs based on rhythms that he hears in his head.”

The lyrics reference feelings of shame and the music video, which will be released soon, is something we haven’t really seen from the Foos before. So were the band feeling shameful when writing ‘Shame Shame’? “That’s a great question to ask Dave!” laughs Chris. “He wrote the lyrics, I don’t really know what he’s referencing so I should ask him!”.

Ambiguous lyrics aside, the band went through a number of wildly different versions of ‘Shame Shame’ before settling on the final one we got. In fact, Nate says he originally wasn’t even supposed to play on the song. “For ‘Shame Shame’, it started of as just a bunch of clicks from Dave [clicks fingers], almost like flamenco, and it just grew out of that,” recalls Nate. “There wasn’t going to be any bass line originally, like, it just felt like it needed keyboards and I was fine with that.” The November 7th episode of SNL featured the venerable alt-rockers performing in support of host Dave Chappelle. In a fortuitous twist, Saturday was also the day that Joe Biden was declared the winner of the 2020 presidential election, likely resulting in an increased viewership which made this the ideal opportunity for Dave Grohl and co. to share their new music.

“Shame Shame” starts off sparing, with the song built around pulsating beats. For the first verse, Grohl is just focused on his vocals as the rhythm is controlled by his fellow guitarists Christopher Shiflett and Pat Smear. Along with the help of a pair of backup vocalists, the song takes a delicate and lyrical approach which displays an added layer of depth that is hopefully present throughout the band’s 10th studio endeavor. “I like the idea that you don’t need an electric bass on every single fucking song, and I ended up playing on it just to give it extra character on top of what was already there like a bit of extra added texture. So that was the plan, just to throw out the rule book.” There was a lot of talk about how Medicine At Midnight would contain a riff Dave has been working on for 25 years. So did we hear it on ‘Shame Shame’?,

Foo Fighters also performed “Times Like These” from their 2002 album One By One.

Stay tuned for more Foo Fighters coverage because we got a lot more from Chris and Nate about the Medicine At Midnight, dealing with COVID and lockdown, looking back on the Foo Fighters’ long career, and that 25-year-old riff coming very soon.

Dave Grohl drums on Stevie Nicks first new song in nine years

Stevie Nicks has released her first new single in nine years, ‘Show Them The Way’, and it features Foo Fighters legend Dave Grohl on drums. The song was inspired by a dream Nicks had involving Martin Luther King Jr., John F. Kennedy, Bobby Kennedy and John Lewis before the 2008 presidential election. Nicks only decided to record the song for release this year, finding the track to be a hopeful source during this “very strange and dangerous time.” #The musician revealed that the song started out as a poem, and considers it to be “a prayer for our country.” “I felt that this was its time, its reason,” she said in a statement. “I understood what it meant then and what it means now. Please God, show them the way. Please God, on this day. Spirits all, give them the strength. Peace can come if you really want it. I think we’re just in time to save it. “I hope that this song and its words will be seen as a prayer. A prayer for our country. A prayer for our world.”

Official music video for Stevie Nicks – “Show Them The Way” Later this month, Stevie Nicks will unveil her concert film Stevie Nicks 24 Karat Gold The Concert.

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England’s Reading Festival has long welcomed artists large and small from around the world, and sometimes it welcomes back performers who have become global stars since their previous appearance. So it was on August 30, 1992, when Reading hosted Nirvana for the second year running. As we now all know it turned out to be one of the most exhilarating sets ever performed, not just by Nirvana, but by any band, any time, anywhere!
At the point when the band played the famous festival a year earlier, in the summer of 1991, they were halfway down the bill. They’d released their first record, ‘Bleach,’ on Sub Pop in 1989, but despite critical approval, it hadn’t troubled the charts. The ‘Nevermind’ album and its seminal opening single ‘Smells Like Teen Spirit’ were still a couple of months from release at the time of Reading 1991. When they came back 12 months later, Nirvana were a multi-platinum sensation and the biggest thing in rock music for a generation. ‘Nevermind’ had started a five-year run on the Billboard 200 that would deliver US sales alone of ten million copies.

On that Reading return, Kurt Cobain mocked rumours around the festival site that he had been hospitalised with a drug overdose by coming on stage In a wheelchair, pushed by music journalist Everett True, and faking a collapse. He was met by Nirvana’s bassist Krist Novoselic, who shook his hand and told the audience that “with the support of his friends and family, he’s gonna make it. Cobain pretended to struggle to his feet as he stood up in front of the microphone, sang a line from the Amanda McBroom song “The Rose,” then collapsed to the ground. After lying motionless briefly, Cobain returned to his feet, put his guitar on and the band immediately started their set.
True later recalled to Clash magazine that the wheelchair stunt “had been planned the previous night as a burn on those who’d been gossiping about Kurt and his wife [Courtney Love], who’d just given birth to Frances Bean: ‘Kurt’s in hospital, Kurt’s been arrested, Kurt’s OD’d, Courtney’s OD’d, the baby’s been born deformed…Nirvana’s drummer Dave Grohl recalled in a 2018 interview  “I remember showing up to Reading ’92 and there being so many rumours that we weren’t going to play, that we had cancelled. I walked backstage and some of my best friends in bands that were opening would see me and say, ‘What are you doing here?’ And I’d go, ‘We’re fucking headlining!’ And they’d be like, ‘You’re actually going to play?!’ I didn’t realise there was any question that we were going to play.”

The performance at the festival was immortalized on the ‘Live At Reading’ CD and DVD, a film that had been bootlegged by fans for years and was finally officially released in 2009. The film, and the set, featured Nirvana staples including ‘Teen Spirit,’ ‘Come As You Are,’ ‘All Apologies’ and ‘Lithium’ as well as covers of tracks by bands like the Wipers and Fang. No one could know that the performance would turn out to be Nirvana’s last in Britain.

The performance included almost all of Nevermind, along with several songs from their 1989 debut album “Bleach”, the Sub Pop 200 compilation track ” and set list regulars “Aneurysm,” “Been a Son” and the 1990 single, “Sliver” It also included a cover of the Wipers’ “D-7,” which had been released as a b-side on the “Lithium” single in July 1992, and Fang’s “The Money Will Roll Right In” The band also performed the unreleased songs “tourette’s,” “All Apologies” and “Dumb,” all three of which appeared on their final studio album, “In Utero”, in September 1993. Cobain introduced “All Apologies” by announcing, “This song is dedicated to my 12-day-old daughter, and my wife. She thinks everybody hates her,” and then encouraged the crowd to chant, “Courtney, we love you!”

The performance of “Smells Like Teen Spirit,” the band’s 1991 breakthrough single, incorporated part of the 1976 track by USA band Boston single “More Than a Feeling” at the beginning, a reference to the similarities between the two songs’ main guitar riffs. The show ended with Cobain playing the American national anthem, “The Star Spangled Banner,” and the band smashing their instruments.

The Band:
Kurt Cobain – vocals, guitar
Krist Novoselic – bass guitar, backing vocals on “The Money Will Roll Right In”
Dave Grohl – drums, backing vocals

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Named one of the 10 best live albums of all time by Rolling Stone, Nirvana’s “Unplugged in New York” will be reissued on 2LP vinyl in celebration of the 25th anniversary of its 1994 release.Expanded to include 5 rehearsal performances previously only available on DVD, the anniversary release also features an exclusive gatefold jacket including anniversary silver foil detail on the front and back cover.180gm black vinyl.

The performance which became the most enduring image of indie rock’s founding idol. Featuring unique acoustic renditions of their legendary hits as well as the captivating cover of Bowie’s Man Who Sold The World. It features an acoustic performance taped at Sony Music Studios in New York City on November 18th, 1993 for the television series MTV Unplugged. The show was directed by Beth McCarthy and first aired on the cable television network MTV on December 14th, 1993. As opposed to traditional practice on the television series, Nirvana played a setlist composed of mainly lesser-known material and cover versions of songs by The Vaselines, David Bowie, Meat Puppets (during which they were joined by two members of the group onstage), and Lead Belly.

When you get your own MTV Unplugged session, it is seen by many bands and artists as a career highlight: an intimate moment in time where you can lay yourself bare for your fans to see, often cementing yourself as one of the greats. The likes of Lauryn Hill, Oasis and Eric Clapton are just a few of the names that have graced the MTV stage as part of their Unplugged sessions.

One of the most iconic MTV Unplugged sets came in 1993 when Seattle grunge gods Nirvana took to the stage to unequivocally write their names in the history books. Backed by a youthful Dave Grohl on drums and bassist Krist Novoselic, the spotlight shone on enigmatic frontman Kurt Cobain. The producers behind the show always wanted artists to play their biggest hits, however Nirvana had different ideas. Their set was packed full of B-sides and covers, swapping out the more obvious crowd pleasers for something more against the grain.

Kicking things off with ‘About A Girl’, it becomes quite clear that this was going to be something special, and a whole world away from the heavy, melodic assault that they were renowned for.

The anthemic ‘Come As You Are’ drew a raucous cheer from the assembled crowd, as Cobain nonchalantly recited the lyrics. Their cover of The Vaselines’ ‘Jesus Don’t Want Me For A Sunbeam’ saw Novoselic swapping his bass for an accordion, while Grohl’s ability to play the bass and percussion at the same time continued to wow the crowd.

A cover of David Bowie’s ‘The Man Who Sold The World’ is an obvious highlight, with many people often preferring this version to the original. A couple of B-side gems follow this, with ‘Pennyroyal Tea’ and ‘Dumb’ being stripped down to their bare bones. The band return to their best selling album ‘Nevermind’ for the next few tracks, with folky renditions of ‘Polly’, ‘On A Plain’ and ‘Something In The Way’, satisfying the crowds lust for their more popular cuts.

As the set draws to a close, Nirvana call upon their friends Cris and Curt Kirkwood from the band Meat Puppets. With the Kirkwood brothers joining them onstage, they rip through three of their band’s songs: ‘Plateau’, ‘Oh, Me’ and ‘Lake Of Fire’, each shifted from their punky roots to be delivered as folky lullabies that the crowd lap up.

The final two songs on the album are the ones you get the most goosebumps from. The eerily chilling delivery of ‘All Apologies’ hits you right in the heart as soon as Cobain squawks the opening impassioned lines.

However, it’s the last song, a cover of a traditional folk song that the group renamed ‘Where Did You Sleep Last Night?’ that equally amazes and unsettles you. As Cobain wails “my girl, my girl, don’t lie to me,” pain etched all over his voice, the hairs on the back of your neck stand up instantly. Little did we know that, just a few months later, Cobain would take his own life at his home in Seattle.

The original album was released posthumously in 1994, almost a year after it was recorded and quickly went on to become one of the best-selling records in the MTV Unplugged series, a huge testament to a band who stepped far away from their comfort zone and created a piece of art that has stood the test of time.

Words: Mike Wood