I have legalised robbery, called it belief

The Rock and Roll Hall of Fame is a strange thing that I reckon probably means more in the States than it does here. I think it’s a lot of backslapping really but seems like excuse enough for a good bout of entertainment each year as those acts inducted – depending on which member is still not speaking to another for perceived slights / lawsuits / wife fondling or other – blast through a couple of their most well-known numbers.

While I’m sure many a musical press headline will be given over to whether an estranged guitarist will rejoin his former New Jersey bandmates and plug in his talkbox, the really interesting one for me is the induction of Dire Straits.

Aside from seeing a very British band being pulled into a distinctly American ritual, the big question is whether or not Mark Knopfler will decide this is reason enough to play with those other members that are being inducted.

Given that one of those members being inducted is his brother David, who left the band all the way back in 1980 and the two have barely spoken since – it makes for quite the plot twist. While original drummer Pick Withers left in 1983 his departure was an amicable one so I doubt any issue would arise there. Of course there’s no doubt bass player, and the only other member to have been a constant, John Illsley is up for it: he’s said as much to press since the announcement and, to me, seems like the Nick Mason of the band – always up for the reunion that isn’t in his power to call.

It’s odd that Dire Straits are being inducted at all, in a way. It’s probably evidence that the “fan ballot” is now being considered, I suppose (and who would’ve pinned Dire Straits as getting that many votes?), but while there’s no denying their talent and popularity (how many people have a cd with a shimmering National Resonator on the cover? Thirty odd million?) they never seemed likely contenders for such a… recognition.

In a way they were never cool. My wife recently said – while not faulting them – they were a bit “boring.” It’s certainly true that they were never really innovators or swore on national tv or that Knopfler’s image was permanently removed from any possibility of cool thanks to those sweatbands, but I find it odd they don’t get much recognition in the same way so many other bands of that era have been offered in the urgency to bestow “legendary” status on those bands music writers remember from childhood. Rolling Stone put it succinctly “it might be a stretch to expect [millennials] to understand how band frontman Mark Knopfler, a balding thirtysomething given to wearing headbands and wristbands, used to  fill arenas full of young people. Pop stars don’t really look like dads as much as they used to. ”

I guess they’re just not ‘cool’ enough to be mentioned as influences or remembered beyond ‘Money for Nothing’ or ‘Sultans of Swing’ as far as radio programmers go.

Which is a real shame. I grew up with a grey TDK mixtape of their first four albums on heavy rotation in my Dad’s car so they form an important part of my musical education and, as I’ve said before – they’re all too often sneered at though I’m sure there’s an awful lot of guitarists and bands influenced by Knopfler’s playing. If it wouldn’t be counter-productive I’d give my right hand to play some of those licks and master that tone (I remember spending a huge amount of time learning ‘Private Investigations’).

They weren’t just four (or five or six depending on the time you caught them) blokes that looked like your geography teacher playing in a pub band. They lasted as long as they did – going against the flow of punk, new romantics and synthpop and fucking Duran Duran – and sold as many records as they did because behind the deceptively laid back phrasing and style there’s a master songwriter and formidable guitar player at work in Dire Straits’ back catalogue and to refute that is just plain ignorant. So – regardless of whether some format of the band gets up and plays ‘Romeo and Juliet’ one more time – I’m glad to see them being inducted. Well deserved.

That being said I am rooting for Knopfler, Illsley and Withers to at least play together one more time and put the thing to bed properly.

In the spirit of trying to get away from the obvious, here’s a playlist of a baker’s dozen ‘non-regulation’ tracks that you won’t find spun on radio but really should.

 

 

Currently Listening

Here we are again. Another ‘series’ down and a couple brewing in the pot and time for a look at what (alongside continual listens to Lost In Kiev’s Nuit Noire) my auditory ossicles have been pinging on down the line of late.

The Mono Jacks – 1,000 De Da

This one was sent to my wife last week via our friend in Romania who gave me some ammo for my Out of Europe on that country and I’ve been listening to it and their new album pretty solidly since. My Romanian isn’t strong enough to offer a translation but I’m told it deals with a certain kind of… parental method that a lot of Romanians today can identify with and “represents our inner children yelling for freedom as we each carve our own paths in life”. The Mono Jacks describe themselves as sounding “between alternative rock and post-punk touches”. As the review on the band’s site says: “I’ve seen most of the British bands ploughing this particular furrow, and The Mono Jacks have better songs than pretty much all of them.”

Destroyer – Chinatown

Another example of strange ways to discover music…. I was looking at an album on Amazon a week or two back and down in the “recommended” type carousel I saw Destroyer’s Kapputt at £5 for a double lp. Out of nothing more than curiosity and intrigue after scanning the glowing reviews (numerous album of the year accolades and reviews like “an astonishing world in just nine songs” and “an open love letter to a vanished pop era: it’s unique and warm and beautiful” ) I checked it out on Spotify and was hooked and hit ‘buy’. Why it was so cheap I have no idea, but, to quote another review “a brilliant and accessible album that draws from the lush sounds of the early 1980s but never forgets the importance of songwriting”.

Band of Susans – Elizabeth Stride 1843-1888

Again – different ways of discovering music. I saw a book (I think on Instagram) that I thought might be interesting called ‘Gimme Indie Rock: 500 Essential American Underground Rock Albums 1981–1996.’ I downloaded a sample chapter and while it’s more a case of “author’s favourite 500..” the description of Band of Susan’s Here Comes Success got me intrigued and I’ve had this opening track on a lot since. There’s a really obvious late-80’s Sonic Youth element to it along with *that* guitar sound. This one actually sent me down one of those Wikipedia rabbit holes that lead to the Saucy Jacky postcard (“you’re a saucy one, Jack”). Apparently Leo Fender was a rabid fan – of Band of Susans not Jack the Ripper.

Pearl Jam – Release, 1994 Orpheum Theater, Boston, MA

Because Jim at Music Enthusiast has got me seriously considering delving deeper into a Pearl Jam series and because I need no excuse to listen to Pearl Jam I’ve been spinning the live disc that came with the Vs/Vitalogy box. In terms of Pearl Jam live albums it’s probably the finest ‘official’ release out there.

Bruce Springsteen – I’ll Stand By You Always

Again in preparation for a possible series / longer post… (my notebook is starting to fill up with these and I haven’t even touched on the 100 Essential Albums thing..) back when Springsteen was doing the promo rounds for his book he confirmed the existence of this one as having been written for, and turned down by the producers of that film about kids and magic. At the time he said that it was “very uncharacteristic of something I’d sing myself.” “It was something that I thought would have fit lovely.” Well, despite being locked down for over a decade it emerged this year on a bootleg set called Odds and Sods. Perhaps not suited for a kids movie as such it’s certainly a different take for Bruce and would probably rank quite highly on his ‘movie songs’ list. It comes from the start of a very prolific song-writing period for Bruce and while he currently squats on Broadway in another activity that keeps him from releasing any new material it’s worth a listen for fans.

In terms of where this sits with sessions and musicians…. It’s listed as “copyright June 13, 2001” so my guess is that it could be from the E Street sessions at Thrill Hill East of that spring – between the end of the Reunion Tour and the start of The Rising sessions later that year in Atlanta – that Springsteen considered fruitless but there’s so little on it in terms of ‘band’ sound that it could just as easily be a solo recording.

Least to Most: Foo Fighters, Part 3

Foo Fighters

It’s surprising the amount of stick Dave Grohl got for moving forward and making new music. Or, as some saw it, daring to make new music after the death of Kurt Cobain. As the man himself has often pondered – did they just expect him to stop? Music was all he’d done up until that point and he was only 25, why should he stop? In October of 1994, six months following Cobain’s suicide, Grohl booked some time at Robert Lang Studios in Seattle – where Nirvana’s final, aborted studio sessions had taken place (which yielded the demo of what would become ‘You Know You’re Right‘) earlier that same year – and recorded a fifteen-track demo, playing every instrument (save one guitar solo) himself.

Not sure where his future lay Grohl considered looking for another band with a vacant drum stool. One such stool had recently been vacated by Stan Lynch and there’s a great video of Grohl going full Animal with the Heartbreakers on SNL – “it was the first time I’d looked forward to playing the drums since Nirvana had ended.” Ultimately, though (and even after a couple of shows sitting on the vacant Pearl Jam drum stool*), Grohl wanted to give his ‘Foo Fighters’ project his attention as the demo tape he’d circulated was now picking up major label interest. The name was applied to the demo tape as Grohl wanted some anonymity post-Nirvana and to suggest that a group was behind the music.

Released in July 1995, there’s something wonderfully charming and warm about Foo Fighters. It’s very much a product of its time – the guitars are very grunge-like and loaded with the same levels of fuzz associated with Grohl’s former outfit but the songs quickly jump into more melodic and lighter routes and there’s an overwhelming sense of lightness and, yes, goofiness that wouldn’t be present on any other Foo Fighters release (likely down to the fact that the largely nonsensical lyrics were written 20 minutes before recording). It’s loaded with hook, charm and warmth and positivity. Though I have to wonder if I’m the only Foo Fighters fan that doesn’t care for ‘Big Me’.

Highlights: ‘This Is A Call’, ‘I’ll Stick Around’, ‘Alone + Easy Target’, ‘Good Grief’,’Floaty’

Wasting Light

Fuck but I love this album. This is the one instance in which the Gimmick behind it paid off in spades. In an effort to recapture some of the rougher sound of earlier Foo Fighters releases, Grohl decided that Foo Fighters Album 7 would be stripped of all the production bells and whistles that had been draped over Echoes, Silence, Patience & Grace and bought in Butch Vig and to record the entire album on analogue equipment in Dave’s garage.

At this point, though, it would be futile to expect such a process to result in a raw sounding record. It’s not like Dave Grohl has a small garage for that matter either. But, what makes Wasting Light such a late career highlight is that Vig captures a sense of purpose and drive in the band that had been lacking for at least three albums previous. It’s a big, anthemic rock record shorn of production sheen and filled with a sense of energy that comes from the fact that they recorded the entire album live and – with Pat Smear back in the ranks – a heavier, three-guitar strong attack.

From the off with ‘Bridges Burning’ powering into ‘Rope’ and ‘Dear Rosmery’ there’s no let up. Instead, when you’d expect it at track four, ‘White Limo’ has been described as “a blistering, paint-stripping thrash track” with Grohl’s vocals lost as he screams at what must be the top of his register. There’s no slowing down on Wasting Light. No ballads. ‘These Days’ looks like it’s gonna be that track until it turns into a thumping Foos classic that will no doubt rub shoulders with ‘Run’ and ‘Something From Nothing’ on the inevitable Greatest Hits 2. No, Wasting Light found a revitalised band firing with an energy and power few thought they had left in them and got me really paying attention to the band again and, depending on the day of the week, could just as easily sit right at the top of this list.

Highlights: ‘Bridges Burning’, ‘Rope’, ‘White Limo’, ‘These Days’,’Arlandria’, ‘Walk’.

The Colour and The Shape

Twenty years on (gulp), the moment when the practically-throwaway ‘Doll’ gets torn apart by the arrival of ‘Monkey Wrench’ and The Colour and The Shape shifts into gear remains shit-the-bed-amazing. So good that the band themselves would give the formula another go and top it with ‘T-Shirt’ giving way to ‘Run’ on this year’s Concrete & Gold. That being said, while ‘Run’ is a great song, it doesn’t match the sheer power and fire of ‘Monkey Wrench’ – an absolute stone-cold classic. And it’s not the only one on the album for is home to a tonne of em: ‘Monkey Wrench’, ‘My Hero‘, ‘Walking After You’, ‘Enough Space’ and, easily their best song, ‘Everlong‘.

The Colour and The Shape was the first Foo Fighters album recorded as a group (although Grohl would end up re-recording the drum parts himself leaving drummer William Goldsmith little choice but to leave the band. He’d be replaced by Taylor Hawkins before the tour behind the album began) and is the most cohesive and consistent set of songs they’ve put to tape, still. After an extensive tour behind Foo Fighters, the band were coming together with Grohl emerging more confident in his role as singer and band leader – if you go back to ‘Monkey Wrench’ when he hits his final “one more thing before I quit” you can here that confidence screaming through. On the downside his first marriage was ending in divorce. This meant that, in place of the nonsensical lyrics on the first album, much of Grohl’s domestic strife was poured into the lyrics – ‘Everlong’ in particular is a strange mix up as it was written against both the collapse of his marriage and the beginning of a new relationship.

What makes this album stand out for me is that in between the staggering strength of the obvious hits, the songs that are so often forgotten are really bloody good too. Take ‘Enough Space‘ – watching ‘Back and Forth’ it’s clear how important this song was as one of the first new ones Grohl wrote for the band, with a tempo inspired by the jumping up and down of European audiences to heavier tunes. Or ‘My Poor Brain’ or ‘Wind Up’ or the best Foo Fighters album closer to date – ‘A New Way Home.’ These are great tunes and on any other album would be stand-outs. When put on an album stacked with killer classics they’re almost forgotten but prove that The Colour and the Shape is an album full of strengths (and ‘See You’ which, frankly, you can forgive).

Check out any review for a new Foo Fighters album and it will be this one that it gets judged against and with reason. The Colour and The Shape built the template of every song and direction the Foo Fighters would make yet remains their benchmark in terms of quality and consistency.

Highlights: All of it.

*Despite all the MTV (and Courtney fuelled) Nirvana vs Pearl Jam schtick the animosity between members really wasn’t there. Grohl sat in for two shows in Australia pre Jack-Irons and it’s been suggested that, having heard and recognised Grohl’s direction, they told him he’d be better doing it alone rather than playing for someone else. Eddie Vedder would actually premier two of the album’s songs on his radio show in 1995 as well as playing alongside Grohl in Mike Watt’s backing band – whose tour Vedder’s band Hovercraft were on along with Foo Fighters.

Out of Europe: Five from Belgium

As the idiots currently keeping their overpaid, corpulent backsides on the green benches in the Houses of Parliament continue making a complete and utter shite show of the political equivalent of chewing on a live hand grenade, I thought it time to rock up with another Out of Europe post.

And where better to rock up to, as it were, than Belgium? One of the smaller countries in Europe but densely populated and which also happens to be a seat of the European Parliament – cue the brainless barks of “our laws shouldn’t be made in Brussels”. I’ve only spent a couple of days in Belgium and that was in Brussels so I’ve yet to see what I’m told are the beautiful towns of Bruges or Ghent but I’m sure that can be easily fixed.

I will say that one of the real joys of this series I seem to have set myself (whether I can find five from every other member of the EU) is exploring those countries’ music and discovering acts I’d otherwise have had no awareness of. So while Girls in Hawaii and the obvious honourable mention here, and to some extent dEUS, were familiar to me the joy of getting new music and culture into my ears continues and continues to highlight what an absolute twatting pile of excrement the ‘leave’ vote really was.

Girls in Hawaii – Here I Belong

One of the few Belgian bands I knew… my wife got the first Girls in Hawaii (2005’s From Here To There album while she was living in France and so it has a special place in my heart as it soundtracked a lot of our driving about that country. A couple of years after their second album their drummer was killed in a car accident and it was a few years before they regrouped. I’ve not yet checked out their new album but this is from their third album Everest and while not as upbeat as their usual offering I love the slow build and pace of this one.

Plastic Bertrand – Ça plane pour moi

Because who hasn’t heard this? It sold nearly a million copies and Plastic Bertrand sits as one of Belgium’s biggest selling musicians with 20 million plus sales.

dEUS – Quatre Mains

dEUS were the first Belgian-based indie band to sign to a major record label and this one kicks off their most recent (2012) album of French-language rock.

Gorki – Red Mijn Ziel Vooral

So the whole language thing in Belgium is a bit of an odd one – the country seems split between French-speaking and Dutch-speaking. So, in the interests of fairness, I was hunting for a Belgian band that sang in Dutch. My digging lead me to Gorki who kicked off in 1991 with their breakthrough ‘Anja’ and follow up ‘Mia’ which appears to have dominated Belgian charts for some time. They kept at it for another twenty years only coming to an untimely end in 2014 when their singer, Luc De Vos, was found dead in his working apartment from acute organ failure. I’d already been struck by the moving sound of this one before I read that far and it seems to add something to the sense of longing in his voice.

Cecilia::Eyes – For The Fallen

Belgian post-rock? Go on then. I’ve been enjoying Cecilia::Eyes’ second album the last couple of days, Here Dead We Lie which seems to have a strong world war two theme, think Pink Floyd’s Final Cut. On second thought – don’t, that one is pretty shit. Thankfully most of this genre is devoid of words so there’s no chance of Roger Waters droning on painfully over the top of it.

Honourable Mentions go to Mintzkov’s ‘Life After Fire‘, De Portables’ ‘Col Phillins‘ and, of course:

Django Reinhardt – I’ll See You In My Dreams

Django Reinhardt nearly lost his life when the caravan he and his wife lived in caught fire when he knocked over a candle on his way to bed. His right leg was paralysed, and the fourth and fifth fingers of his left hand were badly burned. They wanted to take his leg. He told em arseholes and left the hospital and was walking within a year. The use of his fingers didn’t return, though, so he developed  a new technique which become known as ‘gyspy jazz’ and, to quote Wikipedia, his ” innovations on the guitar helped elevated it above its prior position as usually only a rhythm instrument.”

Current Spins

Oops, been a while, again.

There’s been a few slabs of wax that have slipped into the racks of late and have been in fairly regular rotation so, along with those, here’s a little gander at what’s going in the old earbuds of late…

Pearl Jam – Let’s Play Two

This one I’d forgotten pre-ordering so was quite surprised when it arrived.Let’s Play Two is the ‘soundtrack’ to the upcoming concert film / basebell love-in of the same name. I’m not one for sports in general and baseball is a uniquely American currency I think so I’m not too excited about the film. While neither the best soundtrack to a PJ film (that’d be Pearl Jam Twenty) or a great Pearl Jam live album, Let’s Play Two is still a worthy listen given that Pearl Jam are one of the best live acts still giving it their all and while the song selection is slight – the band played over thirty songs each night – and not in true concert order, you can’t argue with a great rendering of ‘Given To Fly’, ‘Release’ and one of my own favourites, ‘Inside Job’.

Various – Twin Peaks (Music from the Limited Event Series)

While I still don’t really know what to make of either the majority of the series or the finale to the revival of Twin Peaks – aside from it being Lynch’s take on not wanting things to get old / pass – the soundtrack is a great thing. This one – as opposed to the score – is made up from songs played at the Big Bang Bar at the end of the episode along with a couple of those that featured elsewhere including the stellar Live From Monterey Pop recording I’ve Been Loving You Too Long by Otis Redding. Of course, there’s a couple – particularly the ridiculous inclusion of ‘Just You’ – that aren’t what I’d call top drawer but with tracks like Eddie Vedder’s exclusive ‘Out of Sand’, Rebekah Del Rio’s outstanding ‘No Stars’ there’s a lot of strong songs on here that have ensured this has received a few rotations.

The Replacements – For Sale: Live At Maxwell’s 1986

“THE REPLACEMENTS TO RELEASE FIRST OFFICIAL LIVE ALBUM (RECORDED IN FRONT OF MORE THAN 30 PEOPLE)” said the sticker on the front of this one. This live recording – forgotten about / lost until earlier this year captured the band at a turning point; their first major label album just out, just ahead of the firing of original guitarist Bob Stinson. A 29 song setlist that captures, as one review puts is succinctly, the “moment when the tug-of-war between the Replacements’ split personalities—the perma-blotto garage band vs. the refined rock craftsmen—had escalated into a bloody battle.”

Tom Petty – You Wreck Me

For reasons sadly obvious

First Impressions: Concrete and Gold – Foo Fighters

This bloke from the Foo Fighters looks a bit like the drummer from that band Nirvana, doesn’t he?

Despite the PR, expecting the Foo Fighters to break new ground in 2017, some two decades plus into a career that has seen the band grow from a one-man project to stadium-filling rock heavyweights, would be optimistic to say the least. Since In Your Honour Dave Grohl, however, seems determined to try so we fans have been offered our Foo in separate acoustic and electric discs, a ‘serious musicians’ flavour, with ‘raw analogue’ toppings* and with added documentary options on the side. It’s still been Foo, though, no matter how much Mr Grohl has tried to spice it up. Not that there’s anything wrong with that, mind, but, after There Is Nothing Left To Lose, there’s nothing that really sets aside, say, ‘The Pretender’, ‘All My Life’ or even ‘Rope’ as having been on different albums no matter the supposed narrative rules that rock’s smiliest ambassador has sought to apply to them.

Take Sonic Highways as an example – despite the concept and execution, there was nothing, really, to show in terms of sound or execution that differentiated its nine songs from any of the bands other mediocre cuts**. It’s as though there’s no concept or production technique that could change the established loud-quiet-loud-louder and colossal thump of the Foo Fighters at this stage of their career.

I found the concept behind Sonic Highways increasingly odd given how much time and effort the band had put into building their own studio (Studio 606 West) and HQ less than a decade before and seemingly abandoned after two albums – Wasting Light was recorded in Grohl’s garage. In fact, when Grohl declared that he already knew how the next Foo Fighters album would be recorded and that it was something so exciting that no band had ever done before…. I groaned a little inside. Why couldn’t they just get in their studio – or any studio – and apply themselves to the songs not to achieving some wacky concept?

Thanks to PJ Harvey, it seems, I’ve got my wish. Turns out that Dave Grohl’s ‘big idea’ for Foo Fighters Album 9 was to set up a studio on stage at the Hollywood Bowl and record it live in front of a 20,000 strong crowd. Shame, then, that discovering that PJ Harvey’s The Hope Six Demolition Project had been recorded in the same manner (albeit a far more English approach via an art installation in Somerset House) took the shine off the idea for him.

Instead Dave did what he describes as the most unexpected thing for his band to do and took the Foo Fighters into a big studio – EastWest Studios – and hired a producer to oversee their next album, gimmick-free. Well, I say that… this wouldn’t be a Foo Fighters album in the 21st Century if there wasn’t some form of ‘gimmick’ involved, would it? This time it’s the involvement of producer Greg Kurstin. Picked by Grohl for his work with his own band The Bird and the Bee, Kurstin is perhaps better known for his work with acts like Kelly Clarkson, Sia, Lily Allen, Ellie Goulding, Pink and that moaning banshee’s god-awful radio-melter ‘Hello’. Given the combination of a pop and rock heavyweight’s, the ‘gimmick’ of Concrete and Gold is that it’s being pitched as sounding like “Motörhead’s version of Sgt. Pepper.”

So…. does it? Of course it fucking doesn’t. Don’t be daft. But….. it takes a very very good stab at doing so and feels pretty much unlike anything else Dave and his merry men have done before. Yes, the sound is unmistakeably Foo but this time around the band are stretching out in ways they haven’t before and deliver plenty of unexpected and, frankly, great twists to deliver an album that offers  psychedelic, prog-metal, abstract, heavy and, yes, Beatles-esque shades against a Foo Fighters sound that is, for the first time in a long time, suitably balanced and mixed by a producer.

Kicking off with a short throwaway ripped apart by a heavy rocker will inevitably draw comparisons to The Colour and the Shape but ‘T-Shirt’, for all it’s brevity, is a superior song to ‘Doll’ and pushes Concrete and Gold‘s confidence and palette front and centre and – even after maybe a hundred listens at my son’s request – ‘Run’ is an out and out fucking BEAST that ranks as one of the Foos’ best:

‘Make It Right’ offers more than the straight-ahead rocker it initially suggests itself to be, there’s a funk of a groove behind it, unexpected chord changes and a surprising slab of background harmonies that when combined bring, to my mind that is, Aerosmith’s Draw The Line*** album. Initially I’d been slightly less impressed by ‘The Sky Is A Neighbourhood’ when catching the videos of its live reveals but the album version, along with many of the tracks here, shows that – despite their straight ahead live mode – on Concrete and Gold the Foos have actually become a studio band with plenty of unusual-for-Foo song structures and production choices that blend so well. Take the strings that slip so unobtrusively into ‘The Sky…’ as to change a song type they’ve churned out many a time before into something that genuinely lifts skywards.

‘La Dee Da’ falls into the same category for me – I wasn’t impressed by it’s live rendering but, away from the bludgeoning and sonic flattening of radio too, on Concrete and Gold I ‘get it’. If it’s Fab Four you’re after, there’s one of em on ‘Sunday Rain’ – as Taylor Hawkins is too busy singing this spacey (seriously, check out his ‘Range Rover Bitch‘) rocker, Sir Paul McCartney plonked down the drums. Sequentially it’s a good fit because, to my ears, the preceding ‘Happy Ever After’ makes me think of ‘Blackbird’ or one of Macca’s early solo melodies.

‘Dirty Water’ is an early favourite for me; it brings forth sounds of both early Foo Fighters, a playful lightness and airy feel (and, again, some real Beatles tinges) but is bolstered by something sharper and more focused that comes from both a more practised song craft and production that, despite its length, it remains on track and charm. In that respect it serves as a strong summary of the album as a whole.

Concrete and Gold doesn’t quite achieve the premise of its PR but show me an album that does. It does, however, stand apart in the Foo Fighters cannon and is the sound of the band playing to those highs and strengths its achieved during its ascent to stadium rock act while also stretching out enough sonically to both refresh its sound and offer a welcome hand to those fans like me that had begun to wonder if Dave Grohl had anything interesting left up his sleeves. Turns out he does.

I hadn’t pre-ordered this one but I’m already on my third listen of Concrete and Gold and haven’t skipped a track left. For all his efforts to make a ‘concept’ of an album, Dave Grohl has, when he wasn’t even trying to, created a fucking belter of a Foo Fighters album that works not just track-by-track but as an album in itself. Well worth a listen or three.

 

*I’ll put this out there: Wasting Light is the best Foo Fighters album to date.

**Concept over substance unfortunately applies to the album and I wouldn’t slip any of its tracks onto a ‘Best of’ comp.

***Underrated.

Just for Laughs

I saw this recently and still can’t help but chuckle.

Whether I tolerate an Oasis song all the way through tends to depend on the day etc. I’d take em over Blur any day. Not so long ago I was driving with my son (3) in the car when Liam’s new song came on and he asked what it’s called. When I told him I didn’t know he said, matter of factly, “It’s called bollocks, that’s what it’s called.” He was spot on but this still makes me laugh, I don’t think anybody gives an interview as good as Liam.