Posts Tagged ‘foo fighters’

(This article is taken from the old Eagle’s Nest site, originally published on the 22nd of March 2011. As the site was a part-time blog back then, this article was not necessarily written for professional purposes. In hindsight, this article in particular could do with a significant update, perhaps a ‘Part Two’, in the near future)

 

One aspect of music that I have a particular affinity for is acoustic covers of well-known songs, or by artists that I like. The idea of reinterpreting a piece of music and stripping it down to its core emotions gets me excited. The search to find these gems also makes it all the more worthwhile, as many of these performances are rather rare and difficult to find.

Due to the incredibly high-quality of technology used in music production today, it’s become easy to lose a sense of how good an artist is at performing live, which I’ve always considered a worthy barometer of talent measurement. Studio trickery and layered and/or Auto-tuned vocals can sometimes mask the real truth of an artist’s ability.

This is not to say that technology is bad and has no place in the music industry, because it definitely does have a place. Musical and technological innovations have gone hand-in-hand right from the start. Artists such as The Beatles and Jimi Hendrix eagerly and meticulously redefined what an artist could do in a studio, and embraced the many changes the recording industry was going through in the 1960’s (definitely enough for a whole other article!), and made music all the more creative and electrifying (excuse the pun) for the following decades. By the 1980’s, it was standard practice to play around with synthesizers, drum machines, samplers, etc, to add to your final mix.

 

Jimi Hendrix was notoriously picky in the studio, meticulously crafting his sound, which often left studio staff exasperated.

Jimi Hendrix was notoriously picky in the studio, meticulously crafting his sound, which often left studio staff exasperated.

 

But if you take a performer out of the comfort of his/her studio, or take away all the wonderful gadgets that make them listenable, will the magic still be there? Depending on what type of music they create (some, for example, make acoustic-based music anyway), this could be a colossal failure or a beautiful spectacle; an unmasking of the true artist within. If someone is worth his/her salt musically, they should be able to convey to you what they’re feeling inside in the simplest or grandest terms.

I saw an extreme example of this recently, when I watched a guitar documentary where Jack White (of The White Stripes) built a ‘guitar’ out of a block of wood, a glass bottle, some nails, wire, and a connecting system of some sort to electrify this poor-man’s attempt at an instrument. He then tried it out for a while, as it emitted a howling surge of noise, and afterwards, turned to the camera and said with a shrug, ‘Who said you even need to buy a guitar?’

 

 

Amateurs also have discovered the importance of the acoustic cover in contemporary music, not just the professional artists. If you search ‘acoustic cover’ on Youtube, you’re guaranteed to find a plethora of people, usually with just a guitar or piano, playing their own ‘unplugged’ versions of popular songs, whether they’re pop, rock, R&B or even hip-hop. It almost seems to be a rite of passage to be able know the chords to some teen pop-idol’s latest hit, and then to give your interpretation of it on the Internet. And you know what? I’m all for it.

Whether a musician is performing an acoustic cover of his own song, or of another’s, a little morsel of his soul gets put into the meal. And when a professional artist does so, there is an even greater chance of that performance turning into an aural banquet for the listener. Oftentimes the mood of the song is completely different from its original: a change from brash and outrageous to perhaps delicate and sensitive, yet still using the same words and chords. So, in addition to showcasing the artist’s actual vocal and/or instrumental skills, their flair for songwriting and arranging can also be given a chance to shine.

Here are some amateur and professional examples of acoustic covers that really sum up the ideals I’ve found in this sphere of music. In some cases, the line between amateur and professional is a little blurred, because some of these people have really good production values and obvious talent that needs to be discovered by a record label or rich investor! Some are studio recordings, but still acoustic versions, which must count for something. This is by no means a complete list of what’s worth checking it out; It’s just what I’ve been exposed to, or have the download links to show you. I’m sure every artist out there has had to do an acoustic recording at some point. What these type of recordings lack in complexity, they more than make up for in passion and emotion.

 

Amateurs:

 

1. Tyler Ward

This guy has built up quite a collection of covers, and guests to perform with him. I was introduced to his work by his cover of Lady Gaga’s latest hit ‘Born This Way’, which he performs with a girl named Alex G. Try out this one out for size:

 

2. Obadiah Parker’s cover of Outkast’s ‘Hey Ya’

This folk/pop group catapulted away from obscurity when in 2007, they released an acoustic cover of the hip hop smash hit by Outkast, ‘Hey Ya’. A tender, relaxed take on a very upbeat and funky song:

 

 

3. Boyce Avenue

Like Tyler Ward, this band have become Youtube sensations, with many of their videos having over a million views each. Specialising in acoustic covers, and now writing some of their own material in a similar style, they are an excellent example of how to use modern communication tools like the Internet to get your name out there.

Their most-viewed track, Linkin Park’s ‘Shadow Of The Day’, rightfully deserves that honour:

 

 

Professionals

 

1. MTV Unplugged Series

This MTV concert series began in the early 90’s and had some amazing acts of the day perform ‘unplugged’. Some memorable moments to check out include:

Eric Clapton in 1992, whose set was released as an album, selling over 10 million copies and earning him SIX Grammy Awards! Hectic stuff…

Bryan Adams’s 1997 set, of which that version of ‘Heaven’ will probably end up being my wedding song…

Nirvana’s legendary performance in 1993. Recorded only five months before Kurt Cobain’s death, the grunge trend-setters completely flipped their music on its head, showcasing a more sensitive side of Kurt’s vocals and guitar-playing.

Oasis’s infamous 1996 performance, at the height of their fame. Moments before going on stage, lead singer Liam Gallagher pulled out of the show, citing a sore throat. The band continued to perform despite this, with his brother, songwriter and guitarist Noel Gallagher, handling all the vocals, which earned him much critical praise. Liam watched the performance and heckled the group from a balcony. Some absolute classics here, such as ‘Wonderwall’ and ‘Don’t Look Back In Anger’.

 

The Unplugged series slowed down its recording schedule in the 2000’s, but lately, present-day artists such as Phoenix, Katy Perry, Adam Lambert, Vampire Weekend and Paramore have been contributing some lively performances.

 

 

2. An assortment of others that I have on my iPod

Due to the elusive nature of these performances, it’s quite difficult to have a nice catalogue of them on CD’s or on an iPod. Many artists choose to randomly play a hit of theirs acoustically at one of their countless concerts, or record a version on an obscure EP; therefore it’s easy to miss out, even if you’re a fan! So here’s a list of some interesting ones I have collected over the years:

 

  • Aerosmith – ‘Crazy’ (Piano Acoustic)
  • Fokofpolisiekar – ‘Hemel Op Die Platteland’ (Guitar Acoustic)
  • Foo Fighters – ‘Times Like These’ (Guitar Acoustic)
  • Incubus – ‘Stellar’ (Guitar Acoustic)
  • Johnny Cash – ‘Hurt’ (Originally by Nine Inch Nails – one of the best covers ever, off an album of covers he did before he died in 2003)
  • Linkin Park – Pushing Me Away (Live Acoustic – from Underground V6.0)
  • Relient K’s ‘Who I Am Hates Who I’ve Been’ and ‘Which To Bury: Us Or The Hatchet’ (Unplugged Versions off various EP’s)
  • Rihanna – Umbrella (Guitar Acoustic)
  • Tupac Shakur – Changes (Guitar Acoustic – rare version)

 

Whew, that’s enough for now! Now it’s your turn to go out there and search for these acoustic nuggets of treasure. Hopefully you’ll find that the magic is still there once the Auto-tune is turned off and the guitars are unplugged…

(This article is taken from the old Eagle’s Nest site, originally published on the 17th of April 2011. As the site was a part-time blog back then, this article was not necessarily written for professional purposes)

 

After fifteen years together, the Foo Fighters have not lost any of their intensity or ability to write hit songs. On the contrary, they have upped the ante, and their seventh album Wasting Light explodes out of your speakers like a bomb just got dropped about five metres away from you. It’s always hard to follow up on a huge success, especially when that success (2007’s Echoes, Silence, Patience And Grace) earned you multiple Grammy nominations and awards, including wins for Best Rock Album and Best Hard Rock Performance for the smash-hit-single ‘The Pretender’. That album was incredibly balanced and slightly experimental (by Foo Fighters’ standards), placing them at the peak of their powers. What happens afterwards?

 

Dave Grohl at the V Festival, England in 2007

Dave Grohl at the V Festival, England in 2007

 

For Wasting Light, guitarist and lead singer Dave Grohl wanted to go back to basics. It’s easy to lose sight of what’s real after you’ve gained the ability to sell out stadiums on a fairly regular basis. He has become what most people would agree to be ‘the nicest guy in rock ‘n roll’ – melding a playful, joky persona off-stage, with a rabid, earnest and powerful one on-stage. The same could be said of his band, and the style they embody: post-grunge rock mixed with pop melodies, delivered with a tireless precision. But he felt that they needed to revisit their roots, to tap into their harder, grungier influences and just rock out, old-school style. So, he converted his own garage at his house in Virginia into a studio and the band recorded the entire album using traditional analogue equipment (with only minor post-production done digitally). Former guitarist Pat Smear also re-entered the picture permanently, and they roped in former Nirvana bandmate Krist Novoselic for one track, and Nirvana’s producer Butch Vig to guide the process; and thus allowed for the closest thing to a Nirvana reunion since Kurt Cobain’s tragic death in 1994.

 

'Wasting Light' is a back-to-basics album for the band. 'Back-to-basics', though, in their terms.

‘Wasting Light’ is a back-to-basics album for the band. ‘Back-to-basics’, though, in their terms.

 

Grohl’s legacy has always been wearily-linked with Nirvana’s, and on ‘I Should’ve Known’, he pens the album’s closest attempt at a ballad, which seems to be a lament for a friend that’s killed himself. Although it doesn’t mention Kurt’s name, it may as well, with lyrics such as “I should have known that it would end this way/I should have known there was no other way/Didn’t hear your warning/Damn my heart gone deaf”. The other surviving bandmate Krist plays bass and accordion on this one, and it’s a somber, heartfelt respite from the brutal, free-wheeling chaos of the other tracks. Every song on Wasting Light is like being caught in a cross-fire of 3 ferocious guitars (with Smear back in the mix), grinding bass, vicious drumming from the ever-entertaining Taylor Hawkins, and Grohl’s distinctive growls, wails and screams. The fact that they can capture this lightning-in-a-bottle and make it accessible to mainstream fans, as well as metalheads, just boggles my mind. Album-opener ‘Bridge Burning’ makes its intentions known right off the bat: as each guitar enters the fold one-by-one, Grohl declares with gusto “These are my famous last words!”, and the ride begins with a vengeance. Cue fist-pumping and head-banging… Amidst the reverbs and distortion is a distinct sense of melody, and first single ‘Rope’ is a fine example of this element: the guitars are more chimy, the rhythm is more staccato-like, and it ends with a swirling climax that leaves you gasping for air only two tracks in. Hard luck, friend, the Foo’s are only just getting started with their aural assault on your ears. ‘Dear Rosemary’ continues in a similar vein, albeit with some brash pop harmonies and an almost cha-cha-like rock rhythm. Grohl gets the backing of Hüsker Dü’s Bob Mould in the vocals department as well, and his gravelly voice is a great influence. The album’s most surprising moment for me was the arrival of ‘White Limo’. They have sometimes considered dabbling with the idea of turning the volume dial up to 11, and going all-out heavy metal (Grohl has his own heavy metal side-project Probot, and has been in Queens Of Stone Age, known for their darker, metal tendencies), but never like this. This song delivers aggression and swagger in equal amounts, with thrashing riffs and Grohl literally snarling the vocals out, making it very difficult to pick out any of the lyrics in the cacophonic haze. It’s enough to leave you trembling afterwards in the foetal position.

 

A scene from the ridiculously-funny amateur music video of White Limo

A scene from the ridiculously-funny amateur music video of White Limo

 

‘Arlandria’ settles back into a more loud-soft dynamic, channelling a children’s nursery rhyme in some of the verses (believe it!), but still retaining that hardened edge to it. ‘These Days’ and ‘Back & Forth’ evoke the spirit of their magnificent early albums The Colour And The Shape and There’s Nothing Left To Lose: the former going for the gentle, yet booming, simplicity of ‘Learn To Fly’, whilst the latter settles in the catchy groove of something like ‘Monkey Wrench’ or ‘Breakout’, where fun and a sexy chorus are favoured over deep emotions. Both shine brightly here. ‘A Matter Of Time‘ bops along with a familiar crisp style that we’ve come to expect from the band, and this middle-of-the-road number slots neatly into the tail-end of the album. ‘Miss The Misery’ explictly goes for a chugging, mid-pace, stadium-sized roar, and sounds as if it was actually recorded on a gigantic stage in front of 80000 people. Next is the already-mentioned ‘I Should Have Known’, slowing things down further whilst cranking up the emotion. The curtain call finale ‘Walk’ ends matters on an undoubted high: a slow-building triumph, as Grohl begins crooning but soon screaming out the impassioned bridge as the tension builds up to a jaunty end. Wasting Light is one hell of a ride, and definitely the Foo Fighters’ strongest album in terms of execution since 1997’s The Colour And The Shape. Like a tireless puppy wanting to play ball with you, they continue to produce workmanlike rock records, eager to impress as if each were their first. There are no real drawbacks to this album, once you’ve viewed it in the context of why it was made: they deliberately set out as a band to rock as hard as they could, and should get 10/10 just for that. Next album, we can talk about subtlely and experimentation. For now, embrace the unrelenting power of Wasting Light.

 

Tracklisting:

  1. Bridge Burning
  2. Rope
  3. Dear Rosemary
  4. White Limo
  5. Arlandria
  6. These Days
  7. Back & Forth
  8. A Matter Of Time
  9. Miss The Misery
  10. I Should Have Known
  11. Walk

 

Release date: 12 April 2011