21-11-2014, 14:21
enters the Billboard chart this week at #2
Spotify online listen
3.5 of 5.0 by allmusic
8th studio album
an injustice that I have only the debut
nothing bad on here
showing 3 singles already released but none charting here
artist website - http://www.foofighters.com/
Bio - from allmusic
![[Image: MI0003364458.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/364/MI0003364458.jpg?partner=allrovi.com)
When Foo Fighters released a debut album written and recorded entirely by leader Dave Grohl -- at that point known only as the powerhouse
drummer for Nirvana -- in the summer of 1995, few would have guessed that the group would wind up as the one band to survive the '90s alt-rock
explosion unscathed. Other bands burned brighter but they flamed out, breaking up after scoring a hit or two, but the Foos steadily racked up
success after success, filling up stadiums around the world while staying on top of the charts all the way into the second decade of the new
millennium. Once the band's lineup coalesced around the time of its third album in 1999, Foo Fighters' sound also gelled into a recognizable
signature built upon the heavy, melodic, loud-quiet-loud template of the Pixies and Nirvana, the modern rock anchored by a love of classic
guitar rock. It was commercial without pandering, creatively restless without being alienating, a sound with wide appeal delivered by a band
that was happy to tour and record the way bands did back in the '70s. When Wasting Light became their first number one album in America upon its
release in the spring of 2011, it was confirmation that Foo Fighters were survivors who had earned a large, devoted audience primarily through
hard work.
All of this industriousness stems from Dave Grohl, who had been playing guitar and writing songs long before he began drumming. Throughout his
early teens he performed in a variety of hardcore punk bands and in the late '80s 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. Wasting Light wound up as a smash
success for the Foos, debuting at number one on the Billboard charts, going gold in the U.S. and garnering the band another four Grammy Awards.
In the wake of Wasting Light, several other Foo projects emerged -- a limited-edition compilation of covers called Medium Rare released for
Record Store Day 2011; a documentary of the band called Back and Forth -- and the group toured the album into 2012.
In 2012, the Foo Fighters announced they were taking a hiatus and Dave Grohl immediately returned to the confines of Queens of the Stone Age,
drumming on their 2013 album ...Like Clockwork. He also threw himself into directing a documentary about the legendary Los Angeles recording
studio Sound City. The film appeared early in 2013 to positive reviews, and it was accompanied by a soundtrack called Sound City: Reel to Real,
which featured Grohl-directed jams including a variety of Sound City veterans, plus Paul McCartney. Not long after its release, the Foo Fighters
announced their hiatus had ended and they were working on a new album. Sonic Highways, released late in 2014, was their most ambitious project
yet; each track was recorded in a different city, some with special featured guests, a process documented on an eight-episode documentary series
for HBO. Sonic Highways saw international release in early November 2014.
Album Review - from allmusic
![[Image: MI0003801840.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/801/MI0003801840.jpg?partner=allrovi.com)
Nobody ever would've thought the Foo Fighters were gearing up for a hiatus following the vibrant 2011 LP Wasting Light, but the group announced
just that in 2012. It was a short-lived break, but during that time-off, lead Foo Dave Grohl filmed an ode to the classic Los Angeles recording
studio Sound City, which in turn inspired the group's 2014 album, Sonic Highways. Constructed as an aural travelog through the great rock & roll
cities of America -- a journey that was documented on an accompanying HBO mini-series of the same name -- Sonic Highways picks up the thread
left dangling from Sound City: Real to Reel; it celebrates not the coiled fury of underground rock exploding into the mainstream, the way the
'90s-happy Wasting Light did, but rather the classic rock that unites the U.S. from coast to coast. No matter the cameo here -- and there are
plenty of guests, all consciously different from the next, all bending to the needs of their hosts -- the common denominator is the pumping
amps, sky-scraping riffs, and sugary melodies that so identify the sound of arena rock at its pre-MTV peak. There are a few unexpected wrinkles,
as when Ben Gibbard comes aboard to give "Subterranean" a canned electronic pulse and Tony Visconti eases the closing "I Am a River" into a
nearly eight-minute epic, but the brief eight-song album just winds up sounding like nothing else but the Foo Fighters at their biggest,
burliest, and loudest. They've become the self-proclaimed torch barriers for real rock, championing the music's history but also blessedly
connecting the '70s mainstream and '80s underground so it's all one big nation ruled by six-strings. That the mainstream inevitably edges out
the underground on Sonic Highways is perhaps inevitable -- it is the common rock language, after all -- but even if there's a lingering
predictability in the paths the Foo Fighters follow on Sonic Highways, they nevertheless know how to make this familiar journey pleasurable.
the first single:
[video=youtube;V_YlZ1JdcVk]https://www.youtube.com/watch?v=V_YlZ1JdcVk[/video]
Track Listing
1. Something from Nothing
2. The Feast and the Famine
3. Congregation
4. What Did I Do?/God as My Witness
5. Outside
6. In the Clear
7. Subterranean
8. I Am a River
Spotify online listen
3.5 of 5.0 by allmusic
8th studio album
an injustice that I have only the debut
nothing bad on here
showing 3 singles already released but none charting here
artist website - http://www.foofighters.com/
Bio - from allmusic
When Foo Fighters released a debut album written and recorded entirely by leader Dave Grohl -- at that point known only as the powerhouse
drummer for Nirvana -- in the summer of 1995, few would have guessed that the group would wind up as the one band to survive the '90s alt-rock
explosion unscathed. Other bands burned brighter but they flamed out, breaking up after scoring a hit or two, but the Foos steadily racked up
success after success, filling up stadiums around the world while staying on top of the charts all the way into the second decade of the new
millennium. Once the band's lineup coalesced around the time of its third album in 1999, Foo Fighters' sound also gelled into a recognizable
signature built upon the heavy, melodic, loud-quiet-loud template of the Pixies and Nirvana, the modern rock anchored by a love of classic
guitar rock. It was commercial without pandering, creatively restless without being alienating, a sound with wide appeal delivered by a band
that was happy to tour and record the way bands did back in the '70s. When Wasting Light became their first number one album in America upon its
release in the spring of 2011, it was confirmation that Foo Fighters were survivors who had earned a large, devoted audience primarily through
hard work.
All of this industriousness stems from Dave Grohl, who had been playing guitar and writing songs long before he began drumming. Throughout his
early teens he performed in a variety of hardcore punk bands and in the late '80s 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. Wasting Light wound up as a smash
success for the Foos, debuting at number one on the Billboard charts, going gold in the U.S. and garnering the band another four Grammy Awards.
In the wake of Wasting Light, several other Foo projects emerged -- a limited-edition compilation of covers called Medium Rare released for
Record Store Day 2011; a documentary of the band called Back and Forth -- and the group toured the album into 2012.
In 2012, the Foo Fighters announced they were taking a hiatus and Dave Grohl immediately returned to the confines of Queens of the Stone Age,
drumming on their 2013 album ...Like Clockwork. He also threw himself into directing a documentary about the legendary Los Angeles recording
studio Sound City. The film appeared early in 2013 to positive reviews, and it was accompanied by a soundtrack called Sound City: Reel to Real,
which featured Grohl-directed jams including a variety of Sound City veterans, plus Paul McCartney. Not long after its release, the Foo Fighters
announced their hiatus had ended and they were working on a new album. Sonic Highways, released late in 2014, was their most ambitious project
yet; each track was recorded in a different city, some with special featured guests, a process documented on an eight-episode documentary series
for HBO. Sonic Highways saw international release in early November 2014.
Album Review - from allmusic
Nobody ever would've thought the Foo Fighters were gearing up for a hiatus following the vibrant 2011 LP Wasting Light, but the group announced
just that in 2012. It was a short-lived break, but during that time-off, lead Foo Dave Grohl filmed an ode to the classic Los Angeles recording
studio Sound City, which in turn inspired the group's 2014 album, Sonic Highways. Constructed as an aural travelog through the great rock & roll
cities of America -- a journey that was documented on an accompanying HBO mini-series of the same name -- Sonic Highways picks up the thread
left dangling from Sound City: Real to Reel; it celebrates not the coiled fury of underground rock exploding into the mainstream, the way the
'90s-happy Wasting Light did, but rather the classic rock that unites the U.S. from coast to coast. No matter the cameo here -- and there are
plenty of guests, all consciously different from the next, all bending to the needs of their hosts -- the common denominator is the pumping
amps, sky-scraping riffs, and sugary melodies that so identify the sound of arena rock at its pre-MTV peak. There are a few unexpected wrinkles,
as when Ben Gibbard comes aboard to give "Subterranean" a canned electronic pulse and Tony Visconti eases the closing "I Am a River" into a
nearly eight-minute epic, but the brief eight-song album just winds up sounding like nothing else but the Foo Fighters at their biggest,
burliest, and loudest. They've become the self-proclaimed torch barriers for real rock, championing the music's history but also blessedly
connecting the '70s mainstream and '80s underground so it's all one big nation ruled by six-strings. That the mainstream inevitably edges out
the underground on Sonic Highways is perhaps inevitable -- it is the common rock language, after all -- but even if there's a lingering
predictability in the paths the Foo Fighters follow on Sonic Highways, they nevertheless know how to make this familiar journey pleasurable.
the first single:
[video=youtube;V_YlZ1JdcVk]https://www.youtube.com/watch?v=V_YlZ1JdcVk[/video]
Track Listing
1. Something from Nothing
2. The Feast and the Famine
3. Congregation
4. What Did I Do?/God as My Witness
5. Outside
6. In the Clear
7. Subterranean
8. I Am a River
