Tom Petty

Swamp rock ‘n’ roller CC Adcock has packed a lot of living into his 33 years

Swamp rock 'n' roller CC Adcock

Swamp rock 'n' roller CC Adcock

Lafayette, LA: Swamp rock ‘n’ roller CC Adcock has packed a lot of living into his 33 years: guitar stints with Bo Diddley and Buckwheat Zydeco, an acclaimed solo record, film scores and album productions, as well as being founder and leader of the all-star swamp-pop supergroup, Lil’ Band O’ Gold. A sharp-dressed man who favors custom-made suits and fine footwear (usually reptilian), Adcock’s wit is as nimble as his fingers’ this is a player who’s been gigging and immersing himself in the Louisiana music scene since his early teens. “The greatest thing about living down here is that you can still go and knock on the door and hang out with all your heroes, and you can even start bands and play with ‘em, which is double cool,” says Adcock. “I mean, it’s not like you can go and hang around with Robert Johnson, but comin’ up down here I have been able to hang out with cats who played with Howlin’ Wolf and Clifton Chenier and lots of first and second generation real-deal cats whose blues turned into rock ‘n’ roll. To me, it’s just amazing, in this day and age, to be this close to it all and to still be able to make that connection.”

By age 14, Adcock was gigging throughout south Louisiana in a teenage group called Boogie Chillun’-”we were like the rhythm and blues Menudo,” he quips-and honing his guitar skills. On non-gig nights, he’d use the band’s PA to spin ’80s new wave hits at local high school dances. “The drinkin’ age wasn’t too strictly enforced down here, back then,” recalls Adcock. “So afterwards, we’d always go out to a black Zydeco club or to the Grant St. Dancehall, just in time to catch John Lee Hooker, the T-birds or Stevie Ray Vaughan [with early incarnation Triple Threat] – all in a little nightclub!”

After leaving high school, Adcock lit out for Hollywood (pre-Nirvana). “It was full-on glam metal, which I hated – couldn’t stand it. But the girl factor was amazing, even though I was playin’ in blues bands. I mean, even the guys were all made-up and good-lookin’, so you can imagine how fine the girls were.” Ironically, he found that he was getting most of his work because of his Louisiana sound and connections. He spent some good times hangin’ out on the Sunset Strip with his childhood buddy, “Lil’ Doyle” (Doyle Bramhall II), and playing dates with a Who’s Who of L.A. roots royalty backing up the great Bo Diddley. Eventually, he got a tip through Los Lobos’ David Hidalgo that Buckwheat Zydeco needed a guitar player. Adcock recalls, “I decided, ‘Well, if the reason I’m working in L.A. is because I’m from Lafayette, then I might as well move back.’ I had a wish list of musicians and artists back home that I wanted to play and work with.” He ended up touring for over a year with Buckwheat, but had his heart set on recording his own music. “In California, I realized that I wanted my songs to be recorded and written from the vantage point of living and being back at home in the South. I didn’t want it to all be homesick music.”

Back in Lafayette, Adcock, looking to land another guitar gig, started recording demos, which made it into the hands of his friend/producer Tarka Cordell (a Brit he’d first met sweeping a soundstage in Hollywood). “Tarka heard my demos, helped me out finishing them, brought ‘em to New York and played ‘em for his daddy,” says Adcock. “Daddy” turned out to be legendary A&R man Denny Cordell (Shelter Records, Mad Dogs & Englishmen, Tom Petty etc. etc.), who was then head of A&R at Island Records. Denny heard the demos and immediately signed Adcock to his label.  “So we made a record; I kinda got shot out of a cannon,” Adcock recalls. “I was pretty naive and I thought everybody got to make major label records with cats like the Cordells. Denny Cordell was one of the last of that breed of record men. He was a true A&R man -he’d really give you great direction and help to develop you and make you a better artist. He and Tarka granted me the great gift of realizing my own sound and style, making music for myself and not just playing someone else’s stuff.” He and Tarka recorded the debut, which coupled his original songs alongside his own take on songs by Bobby Charles, Bo Diddley and Arthur Alexander. Tremolo guitars pulsed and throbbed, with Adcock enlisting some of his aforementioned heroes – Tommy McClain, Warren Storm and Clarence “Jockey” Etienne (Storm and Etienne having drummed on most of the great Excello sides) – to lend a hand. No less an authority than Nick Lowe picked it as a favorite record of his, and Adcock hit the road opening shows for Jimmie Vaughan and Melissa Etheridge.

Unfortunately, before he could finish recording the follow-up, Denny Cordell unexpectedly passed away. Adcock kicked around Island for a while, but without Cordell’s guiding hand, he eventually was shown the door. He wasn’t down for long, though. Pop genius Jack Nitzsche, whose jaw-dropping credits are too numerous to mention, by chance heard Adcock’s record at a party. He spent the rest of the night listening to the album repeatedly, scratching production notes out on the CD booklet. By the end of the night, he was convinced that he had to make rock ‘n’ roll records again – this time with Adcock!! The two became inseparable-traveling together to Mexico to write and gather songs, spending countless hours in the studio, and navigating the ever more treacherous waters of the music business. Nitzsche’s notoriously difficult and demanding personality stifled a few record deals along the way, but as a friend and musical mentor the experience proved invaluable to Adcock. The two managed to complete several tracks in the studio, including the powerful “Stealin’ All Day,” which anchors the sound of Adcock’s second album, Lafayette Marquis.

“With Nitzsche, I realized that there’s a direct correlation between roots and pop music,” says Adcock. “As long as something is infectious and popular it’s all one and the same, and you can definitely bridge that gap and make something that sounds strangely new again out of the roots you grew up listening to, even if it’s from a place like Louisiana where the music’s really colloquial. You can carry on in the traditions of your home and still be current and modern -you can actually use the traditions to invent new things.”

“The big misconception about the art, style and feel of ‘The South’ is that it’s all been inherited. The best things here are invented, but you invent from within the traditions- you apply new ideas to things that are classic, tried, true and tested. All that, what was in my heart and a lil’ magic, is what I learned in that period with Jack,” he says.

During that same time, Adcock brought together the Lil’ Band of Gold, which featured an impressive roster of seasoned vets culled from the local scene, including famed swamp-pop great Warren Storm. “I decided I wanted to be playing more live. I wanted to do some honky-tonks and festivals around here and around the Gulf Coast and sing with some of the old guys,” says Adcock. “I mean, Warren is one of the baddest singers on the planet and he played on Slim Harpo records! Working with him and watching him do his thing every night is such a trip. While I was working with Nitzsche and trying to keep my solo thing together – and especially after losing him [Nitzsche died of a heart attack in 2000], I just wanted to leave it alone for a while and hang out with all my local cats.” He had another band with Clifton Chenier’s longtime guitar player, Lil’ Buck Senegal. “We called it Cowboy Stew Blues Revue. A cowboy stew is a Creole dish down here with, like, tripe, guts, tongue, all the innards …you make a big stew out of it, and we were kind of a cowboy stew- a black and white band – all thrown in together.” Adcock also served as producer on a couple of forward looking albums with Cajun music’s premier young outfit, Steve Riley & The Mamou Playboys.

When it came time to finish up his oft-started second album, Adcock decided he had to look hard at what he had recorded over the last years. “I realized I should clean out all these collaborations in different formats and different stages of completion – some of which proved to be complete, and some of which I re-recorded from the ground up.” Working with his old friend and confidante Tarka Cordell and respected New Orleans engineer/producer Mike (aka ‘Mic’) Napolitano, they were able to combine the different formats and different sessions and finish this group of songs. “We were able to take a vocal or guitar recorded by Jack Nitzsche on 2-inch, put it on top of a loop of a 4-track cassette demo I did in my house the night I wrote the song, and then add a new piano part by John Cleary that was recorded last week,” says Adcock of the process. “In many cases, you’re getting an amalgamation of different sessions and attempts – I never thought that any one version that I had layin’ around was the definitive one. But now I do.

The cool thing about the process is that with this record, finally the cream was able to rise to the top.”

The result is an album that fuses the different sessions, styles and influences that have been a part of Adcock’s life over the past decade. Spend a few minutes talking with CC and it’ll instantly become clear that he has a vast knowledge of and appreciation for his hometown and its storied musical heritage – a heritage that exists to this day.

“One thing that hasn’t changed,” says Adcock, “is that on any given night, you can start out in the country with some food, drop in to a Cajun dancehall and watch the old folks glidin’ round the floor, then put the top down and jump back into town and rock around to the new sounds of some up-and-coming-cats. Then, you can cross the tracks and bump at a Zydeco disco, have a few crown and sevens and – at the end of the night – head south to another Parish where they stay open all night, and you can boogie ’til daybreak in front of a classic swamp-pop jukebox and still make it home in time for Mass. And that’ not even a fairy tale night.

That’ what inspires me.”

Singer songwriter David Louthan Hits All The Right Notes With His ReverbNation Fans

Pennsylvanian independent artist finds enormous support for his music on his latest social networking presence. 
 With his blend of folk, country, and psychadelic rock, US singer songwriter David Louthan has wowed the fans at his latest social network destination  He is currently at #14 in his local chart for Palmyra on the Reverbnation site, and is enjoying the journey of discovery social networks are offering to him as an independent artist.  Commenting on his latest social media project, David said today, “I really love the Reverbnation site, its great for the widgets for blogger and facebook which is helping me build a loyal fanbase. I’m tracking a lot of hits through it already after just a few weeks”.  Simon Adams, of leading music promotion site MyMusicSuccess.Com also commented on the determination and hard work that David Louthan puts into his social networking efforts as an independent musician. “David Louthan must be by far the most prolific social networking artist I have come across. David has fast tracked a loyal following of fans across all the social networks and with his recent addition of Reverbnation viral widgets, I can only see his following continue to grow at a tremendous speed. It takes determination and real effort to succeed with your music online, and David Louthan is a shining example of combining great music, hard work, and new technology to build his music career fan by fan.”

About David Louthan
Growing up in Darlington Pennsylvania, David Louthan started out developing his musical skills by picking up a guitar at age 13, and this self produced singer songwriter has never looked back. David cites a diverse range of influences on his MySpace page, from the retro sounds of Tom petty, Led Zeppelin, The Beatles, Jim Hendrix, The Doors, to the slightly later sound of bands like The Red Hot Chili Peppers.

Country’s hottest star connects with audience in new tour

keith-urbanrtvHe’s back, and he’s rocking the stage like never before. Keith Urban hits the Bi-Lo Center Wednesday with his Escape Together tour, and the country star said it’s a show unlike any he’s ever done. “The production is exponentially different from what we’ve had last year,” he said.  “This tour is really deeply designed, from the staging and the lighting and the videos, to connect with the audience and to eliminate some of the barriers, figuratively and literally, that often are between us and the audience.” Coming on the heels of the March release of his “Defying Gravity” album, the Escape Together tour will feature Urban’s signature country-rock sound.  Urban, who said he spent a lot of years playing cover tunes from artists like John Mellencamp, Credence Clearwater Revival and Tom Petty, said he incorporates influences from all kinds of music into his.  “There’s a real connection between all of that, and it feels really natural to me,” he said. “All the boundaries are starting to blur in every area of these genres, not just musically but visually too.”  In a concert setting, Urban’s “beat-driven” tunes can ignite the crowd.  “Those moments are great when everything becomes one – the audience, us, the music, everything,” he said. “Seeing people sing the songs, and you can see that connection they’ve got with what’s going on… It’s really beautiful.”  Fans will be able to sing along with a slew of Urban’s singles, including nine No. 1 hits and his latest single, “Kiss A Girl.”   The Australia native burst onto the Nashville scene a decade ago when his debut solo album, “Keith Urban,” spawned four hit singles, including “Where the Blacktop Ends” and “But for the Grace of God.” Since then, he’s racked up hits songs, hit albums, big awards and more.  Special guest Sugarland will open the show, which begins at 7:30 p.m.

YOU CAN GO

What: Keith Urban

When: 7:30 Wednesday

Where: Bi-Lo Center

How much: $20, $59.50, $77.50

Call: 800-745-3000

“Guitar Hero 5″ Exclusive: 10 Bands in September 1st Game

guitar-heroThe rock video game war will heat up again in the fall: both of the industry’s flagship series are hitting consumers with tantalizing titles in 9/09. Harmonix’s The Beatles: Rock Band arrives September 9th, and now Activision has confirmed Guitar Hero 5 is due September 1st. The game will boast 85 brand-new master recordings, and this week Activision is announcing the band lineup in a series of scavenger hunt-like stories; fans who track down all the featured artists can enter a sweepstakes to win five tickets to concerts at a venue of their choice.  Tracks from Queen & David Bowie (presumably “Under Pressure”), Kings of Leon, Santana, Sonic Youth and A Perfect Circle will appear in the game. The title will also come equipped with tunes by Weezer, Bon Jovi, Billy Idol, Elliott Smith and the Bronx.  According to information posted on the game’s official Website, the entire set list will be available for play immediately, and for the first time home rockers will be able to select any combination of instruments — so multiple guitarists, bassists, drummers or vocalists will be able to play at the same time (the perfect use for that army of plastic instruments cluttering your living room). There’s also a new Play Party Mode, which allows instruments to join and drop out of a song without interrupting or ending the track; players need to just pick up an instrument and hit a button to join the action without navigating any menus. Gamespot reports that there’s a new series of competitive modes called RockFest, which include Momentum (difficulty level shifts mid-play) and Streakers (bonus for nailing 10-plus perfect notes). A new Revival Meter allows band members to save a weaker player who has failed out.  CNET adds that Guitar Hero 5’s new features and downloadable content will be compatible with Guitar Hero World Tour. The Rolling Stones’ “Sympathy for the Devil,” Bob Dylan’s “All Along the Watchtower,” Johnny Cash’s “Ring of Fire,” Tom Petty’s “Runnin’ Down a Dream” and the White Stripes’ “Blue Orchid” will also appear on the game’s set list, along with songs by Blur, Blink-182, Kiss, Band of Horses and Iron Maiden.

About Foo Fighters

foo-fighters1Foo Fighters are an American alternative rock/post-grunge band formed by singer/guitarist Dave Grohl in 1995 in Seattle, USA. Grohl formed the group as a one-man project after the dissolution of his previous band Nirvana in 1994. Prior to the release of Foo Fighters in 1995, Grohl drafted Nate Mendel (bass), William Goldsmith (drums), and Pat Smear (guitar) to complete the group. Goldsmith left during the recording of the group’s second album The Colour and the Shape (1997), soon followed by Smear. They were replaced by Taylor Hawkins and Franz Stahl, respectively, although Stahl left prior to the recording of the group’s third album, There Is Nothing Left to Lose (1999).

Chris Shiflett joined as the band’s second guitarist after the completion of There Is Nothing Left to Lose. The band released its fourth album One by One in 2002. The group followed that release with the two-disc In Your Honor (2005), which was split between acoustic songs and harder-rocking material. Foo Fighters released its sixth album Echoes, Silence, Patience & Grace in 2007. Over the course of the band’s career, three of its albums have won Grammy Awards for Best Rock Album, and all six have been nominated for Grammys. More informations on Foo Fighters’s official site www.foofighters.com.

Formation and debut album
Dave Grohl joined the band Nirvana as the group’s drummer in 1990. In order to occupy himself during tours, he took a guitar with him and wrote songs. Grohl held back these songs from the band; he said in 1997, “I was in awe of frontman Kurt Cobain’s songs. And intimidated. I thought it was best that I keep my songs to myself.” Instead, Grohl occasionally booked studio time to record demos, and even issued a cassette of some of those songs called Pocketwatch under the pseudonym “Late!” in 1992.

Cobain was found dead in his Seattle home on April 8, 1994, and Nirvana subsequently disbanded. Grohl received offers to work with various artists, and almost accepted a permanent position as the drummer in Tom Petty and the Heartbreakers. Ultimately Grohl declined and instead entered a studio in October 1994 to record twelve of the forty songs he had written. With the exception of a guitar part on “X-Static” by Greg Dulli of the Afghan Whigs, Grohl played every instrument and sang every vocal on the tracks. “I was supposed to just join another band and be a drummer the rest of my life,” Grohl later said. “I thought that I would rather do what no-one expected me to do. I enjoy writing music and I enjoy trying to sing, and there’s nothing anyone can really do to discourage me.” Grohl completed an album’s worth of material in five days and handed out cassette copies of the sessions to his friends for feedback.

Grohl hoped to keep his anonymity and release the recordings in a limited run under the title “Foo Fighters”, taken from the World War II term “foo fighter”, used to refer to unidentified flying objects. However, the demo tape circulated in the music industry, creating interest among record labels. Grohl formed a band to support the album. Initially, Grohl talked to former Nirvana band mate Krist Novoselic about joining the group, but both decided against it. “For Krist and I, it would have felt really natural and really great”, Grohl explained. “But for everyone else, it would have been weird, and it would have left me in a really bad position. Then I really would have been under the microscope.” Having heard about the disbanding of Seattle-based emo band Sunny Day Real Estate, Grohl drafted the group’s bass player, Nate Mendel, and drummer, William Goldsmith. Grohl asked Pat Smear, who served touring guitarist for Nirvana after the release of its 1993 album In Utero, to join as the group’s second guitarist. Grohl ultimately licensed the album to Capitol Records, releasing it on his new record label, Roswell Records.

The group played its debut show at a keg party in February 1995. Grohl refused to do interviews or tour large venues to promote the album. Foo Fighters undertook their first major tour in the spring of 1995, opening for Mike Watt. The band’s first single “This Is a Call” was released in June 1995, and its debut album Foo Fighters was released the next month. “I’ll Stick Around”, “For All the Cows” and “Big Me” were released as subsequent singles. The band spent the following months on tour, including their first appearance at the Reading Festival in England in August.

The Colour and the Shape
After touring through the spring of 1996, Foo Fighters entered a studio in Woodinville, Washington with producer Gil Norton to record its second album. While Grohl once again wrote all the songs, the rest of the band collaborated on the arrangements. With the sessions nearly complete, Grohl took the rough mixes with him to Los Angeles, intending to finish up his vocal and guitar parts. While there, Grohl realized that he wasn’t happy with how the mixes were turning out, and the band “basically re-recorded almost everything”. During the L.A. sessions, Grohl played drums on some of the songs. Goldsmith said Grohl did not tell him that he recorded new drum parts for the record and, feeling betrayed, left the band.

In need of a replacement for Goldsmith, Grohl contacted Alanis Morissette’s touring drummer Taylor Hawkins to see if he could recommend anybody. Grohl was surprised when Hawkins volunteered his own services as drummer. Hawkins made his debut with the group in time for the release of its second album, The Colour and the Shape, in May 1997. The album spawned the singles “Monkey Wrench”, “My Hero”, and “Everlong”.

Pat Smear announced to the rest of the group that he wanted to leave the band to pursue other interests. Four months later in September 1997 at the MTV Video Music Awards, Smear simultaneously publicly announced his departure from the band and introduced his replacement, Grohl’s former Scream bandmate Franz Stahl. Stahl toured with the band for the next few months, and appeared on two tracks that the band recorded for movie soundtracks, a re-recording of “Walking After You” for The X-Files and “A320” for Godzilla.

There Is Nothing Left to Lose
In 1998, Foo Fighters traveled to Grohl’s home state of Virginia to write music for its third album. However, Grohl and Stahl were unable to co-operate as songwriters; Grohl told Kerrang! in 1999, “In those few weeks it just seemed like the three of us were moving in one direction and Franz wasn’t”. Grohl was distraught about the decision to fire Stahl, as the two had been friends since childhood. The remaining trio of Grohl, Mendel, and Hawkins spent the next several months recording the band’s third album, There Is Nothing Left to Lose, in Grohl’s Virginia home studio. The album spawned several singles, including “Learn to Fly”, the band’s first single to reach the US Hot 100.

Before the release of the album, Capitol president Gary Gersh was forced out of the label. Given Grohl’s history with Gersh, Foo Fighters’ contract had included a “key man clause” that allowed them to leave the label upon Gersh’s departure. They subsequently left Capitol and signed to rca, who later acquired the rights to the band’s Capitol albums.
Chris Shiflett joined Foo Fighters as a touring guitarist before becoming a full member

After recording was completed, the band auditioned a number of potential guitarists, and eventually settled on Chris Shiflett, who previously performed with No Use for a Name and Me First and the Gimme Gimmes. Shiflett initially joined the band as touring guitarist, but achieved full-time status prior to the recording of the group’s fourth album.

That same year, Foo Fighters established a relationship with rock band Queen, of whom the band (particularly Grohl and Hawkins) are fans. Guitarist Brian May added a guitar track to Foo Fighters’ second cover of Pink Floyd’s “Have a Cigar”, which appeared on the soundtrack to the movie Mission Impossible 2. When Queen was inducted into the Rock and Roll Hall of Fame in March 2001, Grohl and Hawkins were invited to perform with the band on “[track artist=Queen]Tie Your Mother Down”, with Grohl filling in on vocals for Freddie Mercury. In 2002, guitarist May contributed guitar work to “Tired of You” and an outtake called “Knucklehead”. The bands have performed together on several occasions since, including VH1 Rock Honors and Foo Fighters’ headlining concert in Hyde Park.

One by One
Near the end of 2001, the band reconvened to record their fourth album. After spending four months in a Los Angeles studio completing the album, Grohl spent some time helping Queens of the Stone Age complete their 2002 album Songs for the Deaf. Once the Queens of the Stone Age album was finished, Grohl, inspired by the sessions, decided to reconvene Foo Fighters to rework a few songs on their album. Instead, they re-recorded nearly all of the album (save “Tired of You”) in a ten-day stretch at Grohl’s studio in Virginia. The final album was released in October of 2002 under the title One by One. Singles from the album included “All My Life”, “Times Like These”, “Low”, and “Have It All”. The band later expressed displeasure with the album. Grohl told Rolling Stone in 2005, “Four of the songs were good, and the other seven I never played again in my life. We rushed into it, and we rushed out of it.”

For most of its history, the band chose to stay away from the political realm. However, in 2004 prior to donating 3 million dollars to the new Pittsburgh Penguins arena, upon learning that George W. Bush’s presidential campaign was using “Times Like These” at rallies, Grohl decided to lend his public support to John Kerry’s campaign. Grohl attended several Kerry rallies and occasionally performed solo acoustic sets. The entire band eventually joined Grohl for a performance in Arizona coinciding with one of the presidential debates.

In Your Honor and acoustic tour
Having spent a year and a half touring behind One by One, Grohl did not want to rush into recording another Foo Fighters record. Initially Grohl intended to write acoustic material by himself, but eventually the project involved the entire band. To record its fifth album, the band shifted to Los Angeles and built a recording studio, dubbed Studio 606 West. Grohl insisted that the album be divided into two discs–one full of rock songs, the other featuring acoustic tracks. In Your Honor was released in June 2005. The album’s singles included “Best of You”, “DOA”, “Resolve”, “No Way Back”, and “Miracle”.

On June 17, 2006, Foo Fighters performed their largest non-festival headlining concert to date at London’s Hyde Park. The band was supported by Juliette and the Licks, Angels & Airwaves, Queens of the Stone Age, and Motörhead. Motörhead’s Lemmy joined the band on stage to sing “Shake Your Blood” from Dave Grohl’s Probot album. Also, as a surprise performance, Brian May and Roger Taylor of Queen jammed with Foo Fighters, playing part of “We Will Rock You” as a lead into “Tie Your Mother Down”.

In further support of In Your Honor, the band decided to organize a short acoustic tour for the summer of 2006. The tour included former member Pat Smear, who rejoined the band as an extra guitarist, Petra Haden on violin and backup vocals, Drew Hester on percussion, and Rami Jaffee of The Wallflowers on keyboards/piano. While much of the setlist focused on In Your Honor’s acoustic half, the band also used the opportunity to play lesser-known songs such as “Ain’t It the Life”, “Floaty”, and “See You”. The band also performed “[track artist=Foo Fighters]Marigold”, a Pocketwatch-era song that was best-known as a Nirvana B-side.

In November 2006, the band released their first ever live CD, Skin And Bones, featuring fifteen performances captured over a three-night stand in Los Angeles. An accompanying DVD was released, and featured tracks not available on the CD.

Echoes, Silence, Patience & Grace
For the follow-up to In Your Honor, the band decided to call in The Colour and the Shape producer Gil Norton. Echoes, Silence, Patience & Grace was released in September 2007. The album’s first single, “The Pretender”, was issued to radio in early August. The second single, “Long Road to Ruin”, was released in December 2007, supported by a music video directed by longtime collaborator Jesse Peretz (formerly of the Lemonheads).

In mid-to-late 2007 “The Pretender” topped the Modern Rock chart for a record 18 weeks, it also gave the band their third consecutive year at the top (a record), and made them the only artist besides Red Hot Chili Peppers to have 4 consecutive albums have songs reach the top (RHCPs have 5). When “Long Road to Ruin” reached the top it gave them their fourth consecutive year to have a song reach the top (breaking their own record). When the fourth single, “Let It Die”, reached the top 20 it gave them 3 songs in the top 20, one of only four artists to do this. “Let It Die” is also the album’s third Number One hit on the chart.

Not long after completing the recording sessions for the album, the band participated in Live Earth at Wembley Stadium in London, England, performing the penultimate set of the night. Later that summer, the band headlined V Festival 2007, including a surprise acoustic set on the Channel 4 stage under the name 606. In October 2007, Foo Fighters started their world tour in support for Echoes, Silence, Patience & Grace. The band performed shows throughout the United States, Europe, Australia, Canada and Asia. The band finished its world tour in September 2008 at the Virgin Festival at Toronto Island Park in Canada.

Echoes, Silence, Patience & Grace was nominated for 5 Grammys in 2008. The Foo Fighters went home with Best Rock Album and Best Hard Rock Performance (for “The Pretender”). The album was also nominated for Album of the Year, while “The Pretender” was also nominated for Record of the Year and Best Rock Song.

On 17 September 2008 Dave Grohl announced on The Chris Moyles Show that the band would be taking a long break from music so that they could return with a new sense of purpose, and also informed fans not to expect any new music for a while. “We’ve never really taken a long break, I think it’s time,” Grohl commented. “After doing Wembley, we shouldn’t come back there for 10 years because we’ve played to everybody. We’re over in the UK every year, every summer, so I think it’s time to take a break and come back over when people really miss us.”

Musical style
When Grohl first started the band, its music was often compared to that of his previous group, Nirvana. Grohl acknowledged that Nirvana singer/guitarist Kurt Cobain was a major influence on his songwriting. Grohl said, “Through Kurt, I saw the beauty of minimalism and the importance of music that’s stripped down.” Foo Fighters also utilize the Pixies’ technique of shifting between quiet verses and loud chorus, which Grohl said was influenced by the members of Nirvana “liking the Knack, Bay City Rollers, The Beatles, and ABBA as much as we liked Flipper and Black Flag, I suppose”. Writing and recording songs for the first Foo Fighters album by himself, Grohl wrote the guitar riffs to be as rhythmic as possible. He approached the guitar similar to how he approached playing a drumkit, assigning different drum parts to different strings on the instrument. This allowed him to piece together songs easily; he said, “I could hear the song in my head before it was finished.” Once Grohl assembled a full band, his bandmates assisted in song arrangements.

The members of Foo Fighters meld melodic elements with harder sounds. Grohl noted in 1997, “We all love music, whether it’s The Beatles or Queen or punk rock. I think the lure of punk rock was the energy and immediacy; the need to thrash stuff around. But at the same time, we’re all suckers for a beautiful melody, you know? So it is just natural.”

Campaigning and activism
In 2000, the band generated controversy through their public support of Alive & Well, an organization that denies the link between HIV and AIDS, questions the validity of HIV tests, and advises against taking medication to counter the disease. Foo Fighter bassist Nate Mendel learned of Alive & Well through What If Everything You Thought You Knew about AIDS Was Wrong?, a self-published book written by Christine Maggiore, the organization’s founder. Mendel passed the book around to the rest of the band, who supported his advocacy.

In January 2000, the band played a benefit concert for the organization, which Mendel helped to organize. The band also contributed songs to The Other Side of AIDS, a controversial documentary film by Maggiore’s husband Robin Scovill, which questions whether HIV is the cause of AIDS. The band’s position caused alarm in the medical community, as Alive & Well’s advice ran contrary to established medical wisdom about HIV and AIDS. In a 2000 interview, Mendel spoke of using Foo Fighters’ popularity to help spread the group’s message and of holding more benefits for the organization. However, no further benefits have taken place, and the band has since removed the organization from its list of supported causes.

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