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Foo Fighters Echoes Silence Patience & Grace Review

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2007 studio anthology by Foo Fighters

Echoes, Silence, Patience & Grace
A torpedo with its bottom half replaced by an amplifier tube. To the left is the text "Foo Fighters" and "Echoes, Silence, Patience & Grace".
Studio anthology by

Foo Fighters
Released September 25, 2007 (2007-09-25)
Recorded March – June 2007
Studio 606 West (Los Angeles)
Genre
  • Alternative rock
  • post-grunge[one]
  • hard rock[ii]
Length 51:12
Characterization
  • Roswell
  • RCA
Producer Gil Norton
Foo Fighters chronology
Skin and Bones
(2006) 		Echoes, Silence, Patience & Grace
(2007) 		Greatest Hits
(2009)
Singles from Echoes, Silence, Patience & Grace
  1. "The Pretender"
    Released: Baronial 21, 2007
  2. "Long Road to Ruin"
    Released: December 3, 2007
  3. "Cheer Up, Boys (Your Make Up Is Running)"
    Released: April seven, 2008
  4. "Allow It Dice"
    Released: June 24, 2008

Echoes, Silence, Patience & Grace is the sixth studio anthology past American rock band Foo Fighters, released on September 25, 2007, through Roswell and RCA Records. The album is noted for a blend of regular rock and acoustic tracks with shifting dynamics, which emerged from the diverseness of styles employed on the demos the band produced. It too marks the second time the band worked with producer Gil Norton, whom frontman Dave Grohl brought to fully explore the potential of his compositions and have a record that sounded different from their previous work. Grohl tried to focus on songs with messages that resonated with his audience, writing reflective lyrics that drew inspiration from the birth of his daughter.

Disquisitional reception to Echoes, Silence, Patience & Grace was mostly positive, with praise to the sonic variety and songwriting, though some reviewers establish the record inconsistent and uninspired. The album topped the charts in the United Kingdom, Commonwealth of australia, New Zealand and Republic of austria, and had iii successful singles, "The Pretender", "Long Road to Ruin" and "Let It Die". Echoes, Silence, Patience & Grace was nominated for five Grammy Awards, winning Best Rock Album, and was as well awarded the Brit Accolade of Best International Album.

Background and recording [edit]

The tour for the Foo Fighters' 5th album, In Your Laurels, had both acoustic and electric shows to fit the song variety in that tape. Frontman Dave Grohl discussed this with RCA Music Group president Clive Davis, on how "it'd be so cool" if the Foo Fighters were the ring that did those different shows that appealed to specific audiences "and they wouldn't necessarily have to go to both", to which Davis replied that "you tin do both together". Grohl took this advice when composing his following album.[3] Grohl added that "we didn't program the new album to be half stone and half acoustic", picking the songs the ring considered the all-time, with "demos which ranged from psycho fucking Nomeansno to sloppy, Tom Footling state to fucking pianoforte-driven songs".[4]

"We haven't been ready to write a record like this until at present. I know that Dave wouldn't accept been comfortable putting violins on a song before. But for whatever reasons, it merely felt like the right time to explore those things now. The last record, obviously, was half heavy stuff, half acoustic songs. So it really was like two sides of the money. It sounds obvious, simply this time around nosotros weren't agape of incorporating everything into i song if it felt correct."

 —Taylor Hawkins regarding the album'southward audio[v]

Since Grohl felt the songs were different from the ring'due south previous input and "had the potential to be something great", he considered that instead of doing something like the final three albums, the band had to leave of "our own condolement zone" and "needed someone to push us out of in that location". So Grohl decided to work again with Gil Norton, who produced the band'due south second album The Colour and the Shape, citing how Norton taught the band of the importance of pre-product and refining the composition, and claiming Norton'southward "unconventional" arroyo "seems to capture the best of this ring", because that with him "we're non going to practice a straightforward AC/DC record, he'south gonna go far different".[4] [six]

Training was extensive: first Grohl had his usual start-off by developing demos with drummer Taylor Hawkins, just for the showtime time Grohl tried to input vocals and lyrics in this early on composition stage.[v] After rounding up composition with guitarist Chris Shiflett and bassist Nate Mendel,[vii] Grohl spent 2 weeks with Norton discussing "arrangements, harmony and melody" and reducing the song ideas, and so the band spent four weeks rehearsing, playing "a song a 24-hour interval, from apex to midnight".[8] Hawkins stated that "nosotros basically played each of these songs 100 unlike times, trying every footling thing every different way" and that it was the offset time since The Colour and the Shape "that Dave had to bargain with someone in the room questioning all his ideas", given the more laid-dorsum arroyo of previous producer Nick Raskulinecz.[seven] Grohl claimed the choices were for the "well-nigh powerful, dramatic songs",[nine] and that in that location was an attempt to "make everything audio equally natural as possible – merely like on the albums nosotros grew up listening to", citing 1970s artists such as Neil Young and Wings as a major influence. Shiflett added that for the first time he played lead guitar in some tracks while Grohl "usually works out all the bits" of composition.[x]

Recording began in March 2007 at Studio 606 in Dave Grohl's Virginia home's basement (the studio has since been moved to Northridge, California).[11] Every bit the ring took a ten-twenty-four hours pause in April, Grohl thought that the record needed another uptempo vocal, and then he spent his time developing an unfinished song that became "The Pretender".[12] The sessions wrapped in mid-June,[xiii] and for the kickoff fourth dimension the band did not feel the need to rerecord whatever song.[4] Grohl stated that while In Your Honor was a double album because he felt "schizophrenic" to alternate between loud and audio-visual songs, Norton helped on sequencing the tracks into "an album that makes sense".[6]

A bespectacled woman plays a guitar.

Kaki King is featured in "Ballad of the Beaconsfield Miners".

The album features the Foo Fighters' commencement instrumental, "Ballad of the Beaconsfield Miners". It was written by Grohl after meeting with one of the miners involved in the Beaconsfield mine plummet who requested an iPod with In Your Honor in it during the incident. Every bit Grohl was moved by this action, he decided to "write something just to dedicate to him that nighttime considering he definitely seemed like a hero", and later on promised to include the instrumental on the album.[4] [14] The anthology version features Kaki King, whom Grohl invited to record the song every bit she was visiting Studio 606. Grohl later on said that "I showed information technology to her in one case, and she shredded x times improve than I ever played it".[ten] [15] Another guest was guitarist Pat Smear, who had been a bandmember from 1995 to 1998, and a guest musician on the tour for In Your Accolade. Smear, who has since been reinstated as a total-on member, described his participation as "the oddest recording experience I had with Foo Fighters" given he had no input in composition and was "going in and playing on a song that was already written".[16] This is their first Foo Fighters' album, since The Colour and the Shape (1997) to feature Smear, before officially rejoining the band for their side by side anthology, Wasting Calorie-free in 2011.

Composition [edit]

Echoes, Silence, Patience & Grace offers a mix of both electrical and acoustic songs, which Grohl likened to the band growing older and "comfy with all kinds of music" instead of merely focusing on straight stone songs, proverb that listening to the album he felt like "nosotros've gotten over our insecurities, because information technology presents u.s. in a way that we probably hid in the past."[ten] Grohl as well stated that "the idea now is to step upwardly and make [The Zombies'] Odessey and Oracle" - [8] the album he claimed to accept listened the well-nigh during production -[10] and that "it has always been my dream to mix Steely Dan with Nomeansno."[xiv] Amongst the number of heavier tracks and themes Grohl decided to include the song "Cheer Up, Boys (Your Brand Up Is Running)", described as "the virtually light-hearted, melodic song of all" which "seemed like a little ray of hope in the middle of all this despair."[4] [18] Grohl added that at that place was a bigger focus on melodies even in heavier tracks such as "The Pretender", "Permit Information technology Die" and "Erase/Replace",[10] and that album closer "Home", a ballad featuring Grohl on the pianoforte, was "the best song I've ever written".[19]

The songs of the album are noted for their changing dynamics – with "heart sections [that] turn into this mass orchestrated swarm and ridiculous time signatures" which include musical references to 1970s soft rock bands such every bit Wings, Eagles and Breadstuff -[xiv] summed past Hawkins by saying the ring "wanted to make sure that everything 'congenital' on this tape, that each instrument started somewhere and went somewhere else in the course of a song".[5] The drummer attributed this to the audio-visual tour leading the ring to "shed some of the fear of incorporating mellower stuff with the heavy stuff",[7] and Grohl added that "nosotros wanted the stops to be pin-drop silent earlier exploding. If we had a cute melody, we'd throw a fucking string quartet in there. So we did everything nosotros could to really magnify all those elements and that was fun. Usually you accept a few parameters you're afraid to pass but, this time, at that place was no fear of going also far."[9] Mix engineer Rich Costey added that his piece of work to "preserve what [the band] had done to a fairly large degree" with "balancing and rides to go the dynamics to happen" was difficult given the sonic variety of Echoes, which went from "[the Foo Fighters'] countless walls of guitar overdubs, almost similar a swarm of bees" to string quartets: "The challenge of this blazon of mix is to retain the power of the runway, yet define a infinite for everything."[17]

"Most people recall the world begins with their birth and ends with their death, just at some point your realise there's a much larger world out there that will continue existing long afterwards you accept fabricated your leave. So I started to have in the large film, and these realisations had an influence on the new anthology. There are songs most birth, death and life considering my perception of these things has changed radically."

 —Dave Grohl on the album'southward lyrics[10]

As the acoustic tour made Grohl realize "we were making music worth listening to, rather than music made for pummelling the person next to you lot" he decided to give more importance to the lyrics and "have a connection with the crowd in front of us", because that amidst the many compositions the band made on pre-production "the ones that stand out are the ones that say something".[xx] So for the first time the lyrics started being written before recording begun, with Grohl stating that he "sat in the back of the studio and only wrote every day for about 14 hours a day."[21] Most of the lyrics of the album bargain with themes of birth, death and life, which Grohl attributed to the nascence of his daughter Violet, considering that having a child "changes your entire outlook on the globe",[x] and that he was all of a sudden more emotional - "So when you're writing music with that in mind or that in your heart, everything merely blooms into this fucking incredibly colourful, colourful feeling."[4] Helped by the extensive lyrical preparation,[21] the lyrics also tried to evidence more than of Grohl's feelings, "those things that you've always wanted to do or always wanted to say",[22] with Hawkins adding that he could not listen to "Stranger Things Have Happened" as "I'm one of his all-time friends, and the last thing I want to do is read a beloved letter to his wife or whoever it is."[8]

Packaging [edit]

The cover fine art was made by Invisible Creature, and features a combination between an aerial bomb and a vacuum tube to juxtapose the weapon "with another object that traditionally wasn't associated with war or violence". The remainder of the anthology sleeve has similar juxtapositions of objects "that reflected the album's tone of life and mortality".[23]

The album's title comes from a lyric on the album's concluding song, "Habitation". Grohl stated that every bit he struggled to call up of a title given the musical variety of the album, fifty-fifty because the title "The One With That Song On It"; regarding the chosen title, Grohl "thought it was nice because it'due south open to interpretation and information technology'due south a beautiful title and I call up the album is beautiful in its diverseness and its tune and its musicality – it goes from delicate acoustic moments to the heaviest shit nosotros've always done."[21] [22]

Release and promotion [edit]

The album's offset single, "The Pretender", had a 40-second preview released on a cantankerous-promotional entrada with rock radio stations in July 2007, and eventually saw its debut on August iii, 2007 at ESPN'due south broadcast of the Ten Games XIII.[8] Information technology was released for music download and for radio play in August 2007, with a CD single coming out on September 17, 2007.[24] "Long Road to Ruin" was released as the 2d unmarried in Dec 2007.[25] In 2008, "Cheer Up, Boys (Your Make Upwardly Is Running)" was issued equally a download unmarried in the Uk,[26] with "Let It Dice" being picked instead for the United States.[27] All iii N American singles topped Billboard 's Mod Rock Tracks charts, making information technology just the 9th album in history to spawn 3 number one hits on this nautical chart,[28] and "The Pretender" set a tape by spending eighteen weeks at the summit.[29]

Echoes, Silence, Patience & Grace was released on September 24, 2007. Pre-orders through iTunes were awarded with a free download of "The Pretender", advance access to tickets through Ticketmaster, and the bonus tracks "Seda" and "One time and For All".[thirty] [31] The anthology was as well issued as a double vinyl tape.[32]

The promotional tour begun in September 2007, subsequently some concerts in the U.k. during the summertime,[8] and lasted until Fall 2008.[33] While the back-up band compiled for the In Your Accolade bout – guitarist Pat Smear, keyboardist Rami Jaffe, violinist Jessy Greene, and percussionist Drew Hester – remained to perform complex songs such as "Come up Live", a few tracks had more stripped-downwardly arrangements.[8] [34]

"Home" was used in the TV shows Brothers & Sisters, One Tree Hill, Private Practice, Bosch, 911 Season 5 Episode 7 and in the 2015 animated movie Shaun the Sheep Movie.

Disquisitional reception [edit]

Professional person ratings
Amass scores
Source Rating
Metacritic 71/100[35]
Review scores
Source Rating
AllMusic [1]
Entertainment Weekly A[36]
The Guardian [37]
Pitchfork 4.2/10[38]
PopMatters [two]
Q [39]
Robert Christgau B[40]
Rolling Rock [41]
Spin vi/10[19]
Sputnikmusic 2.5/5[42]

Echoes, Silence, Patience & Grace was met with positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has received an average score of 71, based on 30 reviews, indicating generally favorable reviews.[35]

Writing for Entertainment Weekly, Tom Sinclair considered that while the tape was not footing-breaking, "the Foos have found a way to create their own archetype, with an instinctive experience for what constitutes a killer song", and praised "how damn most flawless the tone of the whole prepare feels".[36] Rolling Rock 's David Fricke praised the sonic variety, described past him as "an anthology of strong new songs by a keen bunch of bands, all calling themselves Foo Fighters".[41] Jessica Letkemann of Billboard was acceptive of the "delicious sundown grooves" of the quieter slice and "the Foos' usual soft-louder-loudest 'radio friendly unit of measurement shifters'" - referencing a rails of Nirvana's In Utero – while because "Dwelling" the merely disappointing track.[43] Robert Christgau rated the album a B, describing information technology as a "aboveboard attempt to recapitulate Nirvana Mark II'south 10-yr-old triumph, The Colour and the Shape".[twoscore] Henrik Holmgren of Melodic praised the production of the anthology and felt that Grohl singing "gets better and better with every record."[44] Dave Simpson of The Guardian called Echoes, Silence, Patience & Grace the band's "most accomplished album", praising the limerick and maxim that "Gil Norton's stunning production tin can't disguise the raw humanity beneath the sheen".[37]

A few critics considered the anthology non as inspired as the band'due south previous piece of work. Kyle Anderson of Spin wrote that "two-thirds of these tracks sound a lot like songs Grohl has done earlier", considering that album's strengths came from "the handful of songs that deviate from the wallop'northward'wail template".[nineteen] Allmusic reviewer Stephen Thomas Erlewine too felt the rock songs were not every bit remarkable "compared to the almost effortlessly engaging melodies of the softer songs", ultimately describing Echoes, Silence, Patience & Grace equally "only another Foo Fighters album instead of the consolidation of strengths that it was intended to be".[1] Pitchfork'due south Adam Moerder considered that the album "feels similar a retread" and that the ring was "sounding less and less relatable", with ineffective acoustic tracks and rock songs that "audio cold and discrete compared to heart-wrenching Foo popular gems like 'Large Me' or 'Everlong'".[38] While Sputnikmusic reviewer John Hanson was acceptive of the rock songs, where he felt "the boys are most comfy," he considered that the songwriting "has but become stale" and ultimately described Echoes, Silence, Patience & Grace every bit "extremely boring and bromidic".[42] PopMatters' Josh Timmermann was very disquisitional of the overtly serious tone of the tape compared to the lighthearted work the band had done earlier, joking that the title of "Cheer Up, Boys" "sounds like the suggestion of a concerned fan for a band he or she used to actually intendance about."[ii]

Accolades [edit]

At the 50th Grammy Awards, Echoes, Silence, Patience & Grace won the Grammy Award for Best Rock Album, and "The Pretender" was chosen for All-time Difficult Stone Performance. The anthology was also nominated for Album of the Twelvemonth, while "The Pretender" was also nominated for Record of the Yr and Best Rock Song.[45] [46] The anthology also won All-time International Album at the 2008 Brit Awards.[47] Q ranked it the 12th best album of 2007,[48] while Rolling Stone put the album at the 45th spot in a like listing.[49]

Commercial performance [edit]

In the U.s., Echoes, Silence, Patience & Grace entered the Billboard 200 album chart at number 3, selling 168,000 copies in its offset week,[fifty] and has since been certified Gilt by the RIAA.[51] As of April 14, 2011, it has sold 897,000 copies in US.[52] On Oct half-dozen, 2017, Echoes, Silence, Patience & Grace was certified Platinum by the RIAA.[53]

The album debuted at the peak of the UK Albums Chart, selling 135,685 albums in its commencement week;[54] Commonwealth of australia and New Zealand, being certified platinum in its first calendar week in both countries;[55] [56] and Canada,[57] where the album went Platinum.[58]

Rails listing [edit]

All tracks are written by Dave Grohl, Taylor Hawkins, Nate Mendel and Chris Shiflett except where noted.

No. Title Writer(s) Length
1. "The Pretender" 4:29
2. "Let It Die" four:05
3. "Erase/Supplant" 4:xiii
iv. "Long Road to Ruin" 3:44
five. "Come Alive" 5:ten
6. "Stranger Things Have Happened" Grohl 5:21
7. "Cheer Up, Boys (Your Brand Up Is Running)" 3:41
8. "Summer'due south Cease" 4:37
9. "Ballad of the Beaconsfield Miners" Grohl 2:32
10. "Statues" iii:47
11. "But, Honestly" iv:35
12. "Home" iv:52
Total length: 51:12
Britain and iTunes bonus track[59]
No. Title Length
thirteen. "Once & for All" (demo) 3:47
Japanese bonus tracks
No. Title Length
13. "In one case & for All" (demo) 3:47
14. "Seda" 3:44
Japanese tour special edition bonus DVD[60] [61] [62]
No. Championship Length
1. "In Your Accolade" (alive from Hyde Park)
2. "All My Life" (live from Hyde Park)
3. "Best of Y'all" (live from Hyde Park)
four. "Generator" (live from Hyde Park)
5. "Monkey Wrench" (alive from Hyde Park)

Personnel [edit]

  • Dave Grohl – atomic number 82 vocals, rhythm guitar, acoustic guitar, pianoforte on "Summer's End", "Statues" and "Home"
  • Nate Mendel – bass
  • Taylor Hawkins – drums, backing vocals on "Erase/Replace", "Cheer Up, Boys (Your Make Up Is Running)", "The Pretender" and "But, Honestly", piano on "Summer's Terminate"
  • Chris Shiflett – atomic number 82 guitar, acoustic guitar, bankroll vocals on "Cheer Up, Boys (Your Make Up Is Running)" and "Long Route to Ruin"

Additional musicians [edit]

  • Drew Hester – percussion on "Come Alive", "Let Information technology Die", "Cheer Upward, Boys (Your Brand Up Is Running)", "Long Route to Ruin" and "Summertime's Cease"
  • Rami Jaffee – keyboards on "Let It Die", "Erase/Supplant", "Long Road to Ruin", "Come up Live" and "But, Honestly", accordion on "Statues"
  • Brantley Kearns Jr. – fiddle on "Statues"
  • Kaki Male monarch – audio-visual guitar on "Ballad of the Beaconsfield Miners"
  • Pat Smear – rhythm guitar on "Allow Information technology Die"
  • Strings on "The Pretender", "Statues", "Abode" and "Come Alive" by The Department Quartet (bundled and conducted by Audrey Riley)
  • Oliver Allgood – lute on "Long Route to Ruin"

Production [edit]

  • Gil Norton – product
  • Adrian Bushby – engineering science
  • Jake Davies – Pro Tools applied science
  • John Lousteau – engineering science assistance
  • Rich Costey – mixing
  • Claudius Mittendorfer – mixing assistance
  • Brian Gardner – mastering

Charts [edit]

Certifications [edit]

References [edit]

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External links [edit]

  • Echoes, Silence, Patience & Grace at Discogs (list of releases)

baughbels1936.blogspot.com

Source: https://en.wikipedia.org/wiki/Echoes,_Silence,_Patience_%26_Grace

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