foo fighters download Here’s What We Know About ’ Concrete and Gold. Foo Fighters are back next month with Concrete and Gold , the group’s ninth album and first since 2014’s . The legends’ upcoming effort features a few intriguing storylines, including ’s period of seclusion after breaking his leg, the decision to bring in the producer of ’s “Hello,” and a high-profile collaboration that Grohl has remained tight-lipped about. Before Concrete and Gold ’s September 15 release, here is a rundown of everything we know about the record. The album is 11 songs long. 1. T-Shirt 2. Run 3. Make It Right 4. The Sky Is a Neighborhood 5. La Dee Da 6. Dirty Water 7. Arrows 8. Happy Ever After (Zero Hour) 9. Sunday Rain 10. The Line 11. Concrete and Gold. Two have been officially released, and another two have been played live. “Run” was put out as the lead single in June and “The Sky Is a Neighborhood” dropped on Wednesday. Foo Fighters have also played “Sunday Rain” and “La Dee Da” at concerts earlier this year. Here’s what the cover looks like. The minimalistic album art follows the tradition of the Foo Fighters rarely appearing on their own album covers. The only exception is 2011’s , which captured the band in an artistically altered portrait. Dave Grohl started writing Concrete and Gold as he recovered from his broken leg. Grohl broke his leg when he fell off stage during a show in Sweden in 2015 and continued to perform while seated on a “throne.” The frontman’s leg didn’t make it back to 100 percent, and the Foo Fighters went on hiatus as Grohl stepped away from music to physically heal. Grohl cut the planned year-long sabbatical to six months and rented an Airbnb in Ojala, California to get started writing Concrete and Gold in isolation. “I don’t think I was inspired at first,” he told . “I just felt like I was creatively atrophied and had to start to exercise in order to wake the muscle up. After maybe 12 or 13 ideas, I send them to the guys and ask, ‘Am I crazy? Or is this a record?’ They say, ‘Both.'” The album’s title refers to its theme. Grohl explained to BBC Radio 6 Music that Concrete and Gold encapsulates the “sort of a theme within the eleven songs that goes from beginning to end, so this is kind of the resolve of the entire record.” The hook of the title track, the album’s closer, goes, “I have an engine made of gold, something so beautiful. The world will never know. Our roots are stronger than you know. Up through the concrete we will grow.” Boyz II Men will make an appearance. Well, one of them does. Grohl told BBC 6 Radio’s Shaun Keaveny’s that he ran into Boyz II Men’s in a random parking lot and asked him to appear on the album. As a result, Stockman appears on Concrete and Gold ’s “heaviest song.” Grohl said Stockman built a choir stacked with 40 voices that results to something that “sounds like Sabbath and .” Cooleyhighharmony will meet metal on Concrete and Gold . is Concrete and Gold ’s producer. Kurstin produced ’s breakout single “Chandelier,” Kelly Clarkson’s “Stronger,” and most famously, Adele’s “Hello.” Grohl had been listening to Kurstin’s work with his indie band, , since 2014. Paul McCartney and will pop up, too. The Beatle plays drums on “Sunday Rain,” and the Kill delivers vocals on “La Dee Da” and “The Sky Is a Neighborhood.” Foo Fighters have already played “Sunday Rain” and “La Dee Da,” sans McCartney and Mosshart, in live performances. Concrete and Gold also has another another collaborator, who Grohl once considered “the biggest pop star in the world.” In another BBC Radio 1 interview back in June, Dave Grohl teased that their latest album would feature “the biggest pop star in the world.” He walked back on his comments in a Rolling Stone July interview, saying the person “is more than that.” It’s been rumored that it was either or Adele (the latter because of the Kurstin connection), but Grohl shot those down. Another possibility that still stands, though, is Lady Gaga, who’s been chummy with Grohl in the past. Update (2:10 p.m. Eastern, 9/6): It turns out that pop star is . A Rolling Stone profile revealed that Grohl and Timberlake became buds during the recording process. He contributes some “la la la’s” to an album cut. This is be ’s first album as an official Foo Fighter. The keyboardist has been appearing as a session musician on Foo Fighter since 2005’s . Jaffee has also worked with acts like , , and . On Concrete and Gold , Foo Fighters get political. His time writing in California just so happens to fall within a period of political chaos. “It happened at the perfect time,” he also told Rolling Stone . “I was inspired by what was going on with our country – politically, personally, as a father, an American and a musician. There was a lot to write about.” Grohl has also described Concrete and Gold as a “Motorhead’s version of Sgt. Pepper. “ Foo Fighters - Concrete And Gold album review. Dave Grohl and co. tackle our dark political age with the sounds of hard rock’s golden age. By Mark Beaumont 05 September 2017. At the end of the sonic highway, David Eric Grohl found that the rock’n’roll spirit he’s spent the whole decade chasing was an era, not a place. After the Foo Fighters recorded 2011’s Wasting Light in his garage to invoke the ghost of his spotty punk teens, they set out across America making 2014’s Sonic Highways in some of the most storied and historic studios in the country, hoping rock magic was to be found clogging up Nashville microphones or ingrained into the antique mixing desk dials of , or NYC. Rock’n’roll wasn’t a tourist destination, it was the records that made you. It was Sgt Pepper and the White Album, The Dark Side Of The Moon and Paranoid ; it was IV , Raw Power , Ace Of Spades and High Voltage . It was, by and large, the dark and magical festering pot of 1967-73, and for the Foos’ ninth album it would be here that Grohl and co.would mine sonic concrete and melodic gold. Bizarrely bringing in Adele and Sia producer Greg Kurstin (of indie poppers The Bird And The Bee), the mission statement for Concrete And Gold was “where hard rock extremes and pop sensibilities collide [like] Motörhead’s version of Sgt Pepper ”. The finished product is actually more like AC/DC having a crack at making their White Album, in that it’s as varied, expansive and crammed with drug-crusted invention as a band embedded in blues and hard rock can get. For a record relatively light on pop-rock stadium slayers, it’s also easily the Foos’ most elemental album yet. Its trick is to frack the grungier seam of that fervid age of hard rock invention, the records straddling the turn of the 70s that drove a pickaxe of drugs and feedback into the brain of flower power and sounded like they were made by men who’d worked out that the devil had all the best heroin. Some parts of Concrete And Gold are shameless in their late/post-Beatles tributism – Sunday Rain could be the cast of Hair covering a cynical Lennon tune like I Found Out or Dig A Pony , the gorgeous acoustic shuffle Happy Ever After (Zero Hour) is an homage to Blackbird , I Will , Mother Nature’s Son and Across The Universe so reverential that it’s even in mono for the first verse. And for one billion kudos points he gets Paul McCartney drumming on an as-yet-undisclosed track. Because, presumably, he can. Elsewhere, Concrete And Gold plays somewhat sillier – and more manipulative – buggers with its source material. Opener T-Shirt finds Grohl mimicking a gentle 60s Motown singer for the first 30 seconds, before 1973 Aerosmith invade the booth and ‘space harmonise’ the tune into the power ballad ether. The inevitable Zeppelin riffs merge with the inevitable Tommy power chords to create Make It Right , and there are some quite brilliant ‘what ifs’ here. what if Alice Cooper had made I Am The Walrus? You get the surprisingly enjoyable The Sky Is A Neighbourhood, an epic of orchestral anger and ominous squealing. What if had ditched The Wizard and gotten heavily into Wizzard? That’ll be La Dee Da , a devil’s boogie. Sabbath wouldn’t have needed to ditch the apocalyptic war stuff though; Grohl keeps an album so deeply rooted in the 60s/70s crossover fresh by inserting contemporary guests such as ’ Allison Mosshart and The Bird And Bee’s Inara George (plus a secret appearance by “probably the biggest pop star in the world” – our money’s on Paul Nuttall), and by theming the album around the “hope and desperation” of America’s current political calamity. “You get what you deserve,” he tells his fellow Americans on T-Shirt , even going on to sketch a typical Trump supporter driven into the arms of jingoism by hardship and fear on the pounding Arrows. Elsewhere the album traces Trump’s trajectory to all sorts of terrifying potential conclusions, taking in environmental dangers ( The Sky Is A Neighbourhood , Dirty Water ), poverty ( Make It Right ) and rising international conflict ( La Dee Da ). Grohl does emerge from the modern age with some glimmer of optimism and defiance, though. Come the title track finale – a sludge-rock go at Floyd’s Brain Damage/ Eclipse – he’s declaring ‘Our roots are stronger than you know/Up through the concrete we will grow’ over a great sky gig of gospel bombast that doesn’t quite have the melodic sparkle to live up to its Dark Side Of The Moon ambitions but certainly ties up the most cohesive consume-in-one-sitting Foo Fighters album in a decade. If Dave Grohl is an enduring icon of rocking through the hard times, we need him – and Concrete And Gold – now more than ever. Concrete and Gold. Anybody as obsessed with musical chops as Dave Grohl would inevitably drift toward prog rock, which is precisely what happens with Foo Fighters on their ninth album. Perhaps "prog" doesn't seem like an easy fit for Foo Fighters, who have melded furious noise with candied melodies since their 1995 debut, but Concrete and Gold is filled with showy accents that accentuate the acumen of all six musicians. Hooks abound, whether they're in the grinding guitars or triple-stacked vocal harmonies, but they're not molded into songs that resemble tunes. Take "Dirty Water," which begins as a piece of dreamy twilight psychedelia but winds up as a cloistered vamp goosed along by analog synths straight out of 1975. It's as if the Foos are so impatient to offer a twist they'll sabotage a straight song with a quick left turn or gleeful self-indulgence. Coming after Sonic Highways, where the group stuck to the straight and narrow, it's frankly a bit of a relief to have Foo Fighters offer an album full of detours, even if they're winding up redefining the character of the band. Plenty of familiar elements are in place -- "Run" speeds by with hardcore velocity, the tightly wound riffs on "Make It Right" function as a virtual tribute, "The Line" can serve as inspirational rock for long drives or workouts -- but the Foos piece them together in a way that suggests the bandmembers are bored with themselves. Add to that harmonies straight out of Abbey Road -- not just vocals but stacked guitars -- and allusions to the slow, spacy crawl of Pink Floyd, highlighted by how Concrete and Gold comes crashing into focus in a fashion similar to "In the Flesh?" and crawls to a close with an extended Dark Side of the Moon salute. In between, Foo Fighters show that they're in love with light and shade, fury and quiet, every twist and turn they can make with their instruments, and even if Concrete and Gold isn't about much more than that, it's refreshing to hear the Foos embrace Grohl's allegiance to real rock values to the logical flashing conclusion. Concrete And Gold. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $9.99. Now 48 years old, Dave Grohl seems to have reached a turning point in his career. A decisive one for the future. After receiving a well-deserved Legion of Honour for playing the drums for Nirvana he recorded the first album of the Foo Fighters in October 1994, six months after committed suicide. More pop but as untamed as the music of the band that made him famous, this start didn’t fail to impress. Gradually however, album after album, this rock’n’roll drawing from punk slowly smoothed out the edges to approach often very commercial radio tunes. To the point of Grohl and his crew filling out stadiums after stadiums with a rather complacent original soundtrack… With Concrete And Gold , it is clear the Foo Fighters took the time to reflect on their evolution. In the media, their leader even pulled out a mouth-watering marketing tirade: “this album is a Motörhead version of Sgt Pepper!”. And it must be said, what happened within our ears was something not too dissimilar to this description. Especially because Paul McCartney himself is involved on one of the titles! Indeed the former Beatle plays the drums on Sunday Rain . Other unexpected guests were invited to this metal-pop orgy: Justin Timberlake on Make It Right , Shawn Stockman from Boyz II Men on Concrete And Gold , Inara George from The Bird And The Bee on Dirty Water , Alison Mosshart from The Kills on La Dee Da and The Sky Is a Neighborhood , as well as saxophonist Dave Koz on La Dee Da ! Much like Sgt Pepper ’s patchwork cover art, this ninth Foo Fighters album goes in every direction. An orgasmic eclecticism carried by the traditional downpour of guitars, but also a more refined sense of pop melody than usual. Some songs are even testosterone-free to make way for rather delicious psychedelic illuminations… Mission accomplished for Dave Grohl in terms of ability to question and renew himself. © MD/Qobuz. Foo Fighters ‘Concrete and Gold’ reviews: Did they make a masterpiece with the help of Adele’s producer? It has been three years since the Foo Fighters ‘ last album “Sonic Highways” was released in 2014, consisting of songs recorded in iconic studios across the country. “Highways” was certified gold by the Recording Industry Association of America and spawned a successful HBO documentary about its making, but it was a relative disappointment at the Grammys given the band’s usual track record. Actually, “Sonic Highways” earned more Emmy nominations (four) than Grammy noms (two). On September 15 the band fronted by Dave Grohl released an ambitious new album, “Concrete and Gold,” their ninth record, and it features an eclectic mix of influences and collaborators. They have teamed up with Greg Kurstin , who earned Grammy bids for his work with Sia and Kelly Clarkson , and won four awards for co-writing and producing Adele ‘s “25” album and its blockbuster single “Hello.” And there are additional collaborations ranging from Justin Timberlake to Paul McCartney . The Foo Fighters have won 10 Grammys so far, and they’ve been nominated twice for Album of the Year — “Echoes, Silence, Patience & Grace” (2008) and “Wasting Light” (2012) — but they haven’t won that top category yet. Will this album do the trick? As of this writing it has a score of 73 on MetaCritic, which is higher than “Echoes” (71) and “Sonic Highways” (68), but shy of “Wasting Light” (78). Nevertheless the album “features some of the band’s most vital and impressive tracks in years.” They “gently and enjoyably nudge at the boundaries of what they do.” It’s “varied” and “expansive,” their “most elemental album yet.” What do you think? Check out some of the reviews below, and discuss this and more with your fellow music fans in our forums. Jon Pareles (New York Times): “Mr. Grohl and Foo Fighters wear their influences so openly — Pink Floyd in ‘Concrete and Gold,’ Led Zeppelin in ‘Make it Right,’ the Beatles all over the album — that they still come across as earnest, proficient journeymen, disciples rather than trailblazers. But in 2017, there aren’t even many disciples left, while Foo Fighters keep honing their skills.” Leonie Cooper (New Musical Express): “Finally, Dave Grohl’s inevitable transition into a flannel shirt-wearing Freddie Mercury -with-tats is complete. Kicking off the ninth Foo Fighters album with one minute and 22 seconds of Queen -worthy bombast, the glistening sonic flare that is ‘T-Shirt’ sets the tone for a blistering, high-gloss ‘Concrete and Gold’, a record that features some of the band’s most vital and impressive tracks in years.” Alexis Petridis (Guardian): “This is clearly a deeply unlikely thing for a stadium rock album virtually guaranteed platinum sales to do, but for the most part, ‘Concrete and Gold’ sees the Foo Fighters gently and enjoyably nudge at the boundaries of what they do, rather than crashing through them to new territory. It’s an album that won’t frighten the horses, but provides enough fresh interest to keep the band ticking over.” Mark Beaumont (Classic Rock Magazine): “The finished product is actually more like AC/DC having a crack at making their ‘White Album,’ in that it’s as varied, expansive and crammed with drug-crusted invention as a band embedded in blues and hard rock can get. For a record relatively light on pop-rock stadium slayers, it’s also easily the Foos’ most elemental album yet.”