Dave Grohl Leads All-Star Sound City Concert in New York City

By Dan Reilly
Thursday, February 14, 2013 1:39 pm

“It’s going to be a long fucking night,” Dave Grohl said one song into his marathon Sound City concert at New York’s Hammerstein Ballroom.

Over the course of a few hours, he and his Foo Fighters bandmates performed alongside a stacked bill of rock ‘n’ roll luminaries, all of whom recorded at the late Sound City studios in Los Angeles and participated in Grohl’s documentary on it. From the get-go, Dave was more than happy to play bandleader and let his guests be the center of attention, save for a few times he took lead vocals on someone else’s song.

The evening kicked off with a segment from the “Sound City” film and segued into a set by Alain Johannes, whom Grohl said was the most talented musician to play with Them Crooked Vultures, the supergroup featuring Queens of the Stone Age’s Josh Homme and Led Zeppelin’s John Paul Jones. They started out loud, performing a track off the film’s soundtrack called “A Trick With No Sleeve” and throwing in “Hanging Tree” by QOTSA. Masters of Reality’s Chris Goss followed, with Rage Against the Machine’s Brad Wilk taking over drum duties for a set that included another new “Sound City” called “Time Slowing Down.”

Grohl’s enthusiasm kicked up a notch for the next guest, Lee Ving, the frontman of punk band Fear. “When people ask, ‘What’s it like to play with Paul McCartney, Stevie Nicks and John Fogerty,’ I say it’s like playing with Lee Ving,” Grohl told the crowd. Ving, for his part, was determined to encourage the beer drinkers of the crowd (“that’s everybody!”) to make some noise. Among the Fear-filled six-song set was “Your Wife Is Calling,” another soundtrack cut that made me wonder why more punk bands don’t incorporate some harmonica into their music. Seriously!

Foos drummer Taylor Hawkins got to live out his “rock ‘n’ roll fantasy camp” dream during the next segment, taking over lead vocals on Cheap Trick covers alongside the band’s guitarist Rick Nielsen. Grohl took over on drums with Nirvana bandmates Krist Novoselic and Pat Smear getting in on the action. At one point, Hawkins — who was pretty much the most excited person in the venue at this point — started whipping Smear’s ass with a towel, adding to the youthful “I can’t believe we’re actually doing this” vibe of the evening. Of course, they ended with “Surrender,” bringing the house down.

Up next was Rick Springfield, and I’ll admit that my knowledge of him is pretty limited to “Jessie’s Girl” and the fact that he recently admitted to being a sex addict. Therefore, I’m not sure how his songs originally sounded, but I will say that Dave and co. made Rick heavier than I ever thought he could sound. After four songs, including another one off the soundtrack, Grohl made light of Springfield’s one-hit wonder status. “It’s time for the next performer, unless you have one more song,” he said to Rick. With the crowd obviously in on the joke, Grohl said, “The fucking man wrote a song that everyone knows from the first fucking notes. Teach me your knowledge, Yoda!” That naturally led into the heaviest version of “Jessie’s Girl” I’ve ever heard. Kudos to you, Rick!

Clips from the documentary featuring the performers were shown between all the sets, and John Fogerty’s seemed to really resonate with the audience. The former Creedence frontman talked about how sad he was to hear that younger bands relied on digital trickery to record their songs instead of actually just playing well. And on that note, Fogerty came out for a set of classics: “Travelin’ Band,” “Born on the Bayou,” “Centerfield” (with that baseball guitar), “Keep on Chooglin’,” “Bad Moon Rising,” “Proud Mary” and “Fortunate Son,” with Grohl occasionally sharing vocal duties. It was at this point that I noticed my eardrums were taking a beating, but watching Fogerty and the Foos blast out those songs erased any pain or complaints I had.

Then came the final act to join the Sound City Players: Stevie Nicks. After duetting with Grohl on “Stop Draggin’ My Heart Around,” the Fleetwood Mac singer told a story about how her godson fatally overdosed at a frat party, and she started writing a poem to cope with her grief. (Editor’s note: Stevie’s godson is her former manager Glen Parrish’s son.) Grohl called her up a few days later to ask her to be a part of the movie, and the poem ended up becoming the song “You Can’t Fix This” once they hit the studio together. It was an emotional moment amidst such a light-hearted night, and a great reminder of how many of these songs could help people through their pain.

Following “Dreams,” the rest of the band stayed back as Grohl picked up a 12-string acoustic to perform “Landslide” alone with Nicks. As if he needed to get in some more of the heaviness following that beautiful rendition, Grohl returned to his electric axe and led the band in a feedback frenzy to kick into a shattering version of “Gold Dust Woman” to close out the show. Sadly, there was no all-star encore jam, but who could complain about that?

In the end, it was obvious that Grohl put this all together to live out a rock fan’s dream. Sure, he’s been in two of the biggest bands of the last 20 years, played on the biggest stages around the world and made boatloads of money doing it, but he hasn’t lost that joy of being a kid with an instrument and ambition. Few will ever be as fortunate as him, but it’s heartening to see a rock star like Grohl not just keep that passion alive, but to try to share it with all of us through his movie and these concerts. The music world is lucky to have Dave Grohl.

Dave Grohl’s ‘Sound City’ Celebration Takes New York

By David Fricke
Rolling Stone
Thursday, February 14, 2013 1:25 PM ET

Many of the best music documentaries start with great performances, filmed and edited to explode on the screen. Dave Grohl, the first-time director of Sound City, has done something backwards, obvious and miraculous. He has turned his movie – a two-hour love song to the essential magic of musicians playing together in one room, framed by the story of a once-successful, now-fabled and shuttered recording studio in Van Nuys, California – into a real-life big-rock show, featuring a motley posse of stars who made some of their most important and successful records there.

For the New York stop by his Sound City Players, at Hammerstein Ballroom on February 13th, Grohl – the ex-Nirvana drummer and Foo Fighters boss – emphasized the classic rock deep in his bones, stacking the top end of the three-hour concert with mini-sets featuring Stevie Nicks of Fleetwood Mac, John Fogerty, Cheap Trick guitarist Rick Nielsen and Eighties heartthrob Rick Springfield, all backed by the Foos’ industrial-guitar roar. Sound City’s part in the Nineties’ alternative-rock revolt was duly noted in guest shots by singer-guitarist Alain Johannes – a Grohl confederate in Them Crooked Vultures – and singer-guitarist Chris Goss of the lysergic-metal band Masters of Reality and a producer-player on Sound City records by Kyuss and Queens of the Stone Age.

Absent and presumably unavailable: Neil Young, who made his 1970 album, After the Gold Rush, at Sound City and makes some of the most pungent comments about technology and studio communion in Grohl’s movie; and Tom Petty, whose 100-plus takes of “Refugee” at Sound City for 1979’s Damn the Torpedoes are obsessive legend. Grohl’s own first visit to Sound City – in 1991 to make Nevermind with Nirvana – was marked by an opening clip from the film, about the band’s long van ride to the studio from Seattle and the gangly exuberance of bassist Krist Novoselic, who handled low-end duties during the Cheap Trick segment.

Hardcore Fun and Stiff Competition

Grunge was still something you scraped off your shoe when the Los Angeles hardcore band Fear cut its signature album, The Record (Slash), at Sound City in late 1981. Singer Lee Ving actually opened his segment at Hammerstein blowing lonesome-train harmonica – the intro to “Your Wife Is Calling,” his featured track on the soundtrack album, Sound City: Real to Reel (Roswell/RCA). Ving, who is older than he looks and acts, started as a musician in electric-blues bands in Philadelphia in the late Sixties; he played that harp lick with plaintive, piercing authenticity.

Then the blink-and-you-missed-it fun kicked in, with the Foos’ Pat Smear, once of Fear labelmates the Germs, topping the blitz with nostalgic staccato guitar. Ving counted off every song twice as fast as the Foos played it, but the rush was impressive and consistent. “I Love Livin’ in the City,” “Beef Bologna” and “Foreign Policy,” all from the Record, were short and furious, sung by Ving in a pinched, corrosive bleat that sounded undiminished and appropriate for an unrepentant punk of 62.

Rick Nielsen has a couple of years on Ving but still plays and carries on like he’s not a day over 1978’s Heaven Tonight, which Cheap Trick recorded at Sound City. The Foos rocked tight and hard behind every one of the Sound City Players, but their combination of pop tang and metal surge was especially right for Cheap Trick’s original nervy blend of the two in “Stiff Competition” and “Surrender,” right down to Grohl’s spell in the back, as Bun E. Carlos, and Foos drummer Taylor Hawkins’ turn up front, playing Nielsen’s usual vocal foil, Robin Zander. Hawkins had the right shredded bawl for “Hello” and the blond hair. The shirtless look and baggy technicolor shorts were closer to Iggy Pop-goes-surfing, but Hawkins’ obvious delight – “Is this fantasy camp shit or what?” he declared, laughing before “I Want You to Want Me” – easily trumped his dress code.

Power Pop, Swamp Metal and a Beautiful “Landslide”

It says something about Grohl’s gift for collaboration that the best song in Springfield’s set was the first, “The Man That Never Was” from the Sound City soundtrack. It was hardly the biggest: Springfield played his MTV-era hits – including “Love Is Alright Tonite,” “Jessie’s Girl” and  “I’ve Done Everything for You” (the last, weirdly, written by Sammy Hagar) – with cheerful exaggeration, punctuating the Foos’ hard-boy bluster with Pete Townshend-style guitar antics. But Springfield sang “The Man That Never Was,” a fast, dark jolt that could have come off the last Foos album or a late-period Hüsker Dü platter, like a guy interested in more serious resurrection, with a band of believers at his back.

Fogerty appears in the Sound City film, but every one of the Creedence Clearwater Revival classics he played with Grohl and the Foos was recorded elsewhere. Still, if Fogerty’s connection to this troupe was tenuous, his pleasure at ramping up the metallic treble lurking in his swamp rock was plain. Fogerty jubilantly traded verses and guitar breaks with Grohl on “Travellin’ Band” and “Born on the Bayou” and often jumped into the air when Hawkins hit one of his gun-shot snare accents, as if a joy grenade had gone off under Fogerty’s boots. He mentioned, before “Fortunate Son,” that he has recorded a new version of the song with the Foos (it appears on Fogerty’s imminent set of collaborations, Wrote a Song for Everyone), so this could be a friendship with legs.

The most remarkable thing about Stevie Nicks’ closing set was the sudden silence around her during the Fleetwood Mac delicacy “Landslide.” Most of the song was just Nicks and Grohl on 12-string acoustic guitar, a late shock in a night otherwise dense with fuzz and flayed-harmony choruses. Grohl is, by nature and charm, a rock dude, but his film gives the right time to the quieter, reflective pop Nicks and others made at Sound City, including her 1973 rarity, Buckingham Nicks, and 1976’s Fleetwood Mac. There could have been more of it in this show.

And Nicks’ husky alto deserved a greater boost in the PA during the harder stuff, especially her Sound City album feature “You Can’t Fix This.” But Nicks’ inner Janis Joplin-in-sorceress’-lace came out strong, undenied, in the evening’s finale, a “Gold Dust Woman” soaked in crying feedback at the start, with Nicks driven by the Foos to a howling, shouted anguish at the end.

“It’s not the technology,” Fogerty said, of making music and records, in one of the excerpts from Sound City shown during the night. “It’s the people.” See the film – it is good stories and great fun about a vanished prime. But Grohl did not take his movie on the road. He just brought the players. They did the rest.

Stevie Nicks, John Fogerty, other rock stars perform with Dave Grohl in NYC for ‘Sound City’

By Mesfin Fekadu
Associated Press
Thursday, February 14, 2013 9:19 am

NEW YORK — Dave Grohl and the Foo Fighters played house band for Stevie Nicks, John Fogerty, Rick Springfield and others at a sold-out concert.

Grohl held an all-star, three-hour-plus show with those rock icons, who performed at the Sound City Studios in Van Nuys, Calif., in the late 1960s through the early ‘90s, and are the subjects of Grohl’s just-released directorial debut, the documentary “Sound City.”

Grohl kicked things off with Alain Johannes, yelling after the first song: “It’s going to be a long (expletive) night. You know that, right?”

It was, and the crowd at the Hammerstein Ballroom roared as Lee Ving of Fear, Rick Nielsen of Cheap Trick, Brad Wilk of Rage Against the Machine and others took the stage.

Grohl played the guitar during most sets, sang background — sometimes lead — and also worked as drummer.

When Nicks, the last of the special guests (or “Sound City Players”) hit the stage, she emerged in all black and in glasses. Her raspy vocals were matched by Grohl on “Stop Draggin’ My Heart Around.” He stared at her while she sang; she put her hands in the air.

Each act performed for nearly 25 minutes, and clips of the “Sound City” film played in between their sets. The film explores the then-rusty Sound City Studios where classic albums by Guns ‘n Roses, Fleetwood Mac, Tom Petty, Neil Young, Van Halen, Nirvana, REO Speedwagon and others were created.

Wednesday night’s performers are part of the line-up for the film’s soundtrack, “Sound City: Real to Reel,” due out March 12.

“The thing Dave has put together — I’ve never seen anything like it,” Chris Goss yelled when performing with Wilk.

An excited and shirtless Foo Fighters drummer Taylor Hawkins played frontman with Nielsen and Nirvana bassist Krist Novoselic.

“I get to sing Cheap Trick songs with Rich Nielsen. What is going on with my life? I can’t believe this,” the petite rocker said happily as he jumped around onstage.

Springfield performed his classic “Jessie’s Girl,” and Fogerty’s voice sounded clear when he sang six songs, earning loud cheers throughout his set.

But Nicks slowed down the rowdy and rock-filled night with “Landslide.” As she finished the song — and paused — a fan yelled out the last word of the groove to laughs from the crowd.

“Thank you,” she said. “You saved me.”

Sound City Players: Opposites Attract (And Don’t) in New York

By Jem Aswad
Thursday, February 14, 2013 10:00 AM EST

Stevie Nicks. John Fogerty. Fear’s Lee Ving. Cheap Trick’s Rick Nielsen. Rick Springfield. It’s hard to imagine those people having much of anything in common beyond a) being musicians of a certain age, b) having recorded at L.A.’s legendary, now-shuttered Sound City studio and c) being friends with Dave Grohl.

Elements “b” and “c” are what brought the above and several other musicians to stages in Park City, Utah and Los Angeles over the past month, and Wednesday night saw the unlikely gang of musicians take the stage at New York’s Hammerstein Ballroom. In his inimitable ringleader fashion, Grohl has used “Sound City: Real to Reel”—the documentary he recently released about the famously dumpy studio where dozens of classic albums, ranging from Fleetwood Mac’s “Rumours” to Nirvana’s “Nevermind,” were made—as a catalyst to continue an ongoing real-life Rock and Roll Fantasy Camp that has seen him performing with Paul McCartney, Jimmy Page, John Paul Jones and others over the past few years. He rallied several of the musicians he interviewed in the film, assembled the Foo Fighters and some auxiliary Queens of the Stone Age members to join him as the house band, and off they went on a jaunt through some far-flung corners of Grohl’s teenage record collection (and presumably that of this evening’s predominantly middle-aged crowd). It’s probably safe to say no other person on Earth could have united these musicians… or, at least, would have wanted to. Like the film is his tribute to the studio, these concerts are his self-financed tribute to them—there was very little Dave Grohl-written music in the show

“It’s gonna be a long f—in’ night – you know that, right?” Grohl roared one song into the nearly three-and-a-half-hour long show, which occasionally featured clips from the film in the brief gaps between the 4-to-6-song sets. It’s a testament to his fans’ affection and trust that they enthusiastically waited a good 90 minutes before hearing a single song that most of them knew. While Grohl was onstage for the entire night, headbanging enthusiastically whether playing guitar, bass or (too briefly) drums, the first part of the show featured a brace of obscure songs (from the film, Queens of the Stone Age, Them Crooked Vultures and Masters of Reality) sung by QOTSA’s collaborators Alain Johannes and Chris Goss. Rage Against the Machine drummer Zack Wilk played drums for the latter part of the set; like a pumped-up high school teacher, Grohl explained to the crowd just how legendary these generally unknown musicians are.

A short set of songs by Fear—the legendary late ‘70s L.A. punk act beloved by John Belushi—bellowed by Ving followed. While the presence of Foo Fighter Pat Smear—who was asked to join Nirvana purely because he’d been in L.A. punk icons the Germs—brought some old-school authenticity to the songs, the band, who were completely on point for the rest of the night, just wasn’t right. Punk is rock at its most basic; Taylor Hawkins—a world-class rock drummer—brought too much flair, and three guitarists is way too many for that sound.

The Cheap Trick set brought a needed lift to the show. Grohl moved behind the drums, Krist Novoselic stepped in on bass, Hawkins took the mic, and Cheap Trick’s Rick Nielsen teamed with Grohl to power a bracing set of “Hello There,” “Stiff Competition,” “I Want You to Want Me,” “Ain’t That a Shame” and, of course, “Surrender.” Nielsen bounded from one end of the stage to the other; Grohl’s drumming was stellar throughout – he kicked off “Ain’t That a Shame” with a riveting tribal rhythm that was a highlight of the show. And while Hawkins was no Robin Zander (shirtless, he looked more like Brad Pitt in “True Romance”), he passed muster, and brought a nice tribute to “Surrender” by replacing the Kiss records mentioned in the lyric with Cheap Trick records.

Rick Springfield, the odd man out in this very odd lineup, was up next, finishing, inevitably, with “Jessie’s Girl.”

John Fogerty stepped onstage, backed by the Foo Fighters, and jolted the crowd back to life with a blazing version of the Creedence hit “Travelling Band.” They were well-rehearsed—the Foos backed him for a version of the song on his forthcoming album, “Wrote a Song for Everyone”—and unlike the Fear set, the band’s classic-rock approach fit his songs like a glove. They tore through “Born on the Bayou,” “Centerfield,” “Keep on Chooglin’”, “Bad Moon Rising” and “Proud Mary,” with Fogerty clearly having the time of his life. “I’m up here playin’ with the f—in’ Foo Fighters!” he yelled in the middle of the set. “I especially love playing with this guy, who’s having such a great time playing rock and roll. Dave Grohl, he’s like a little kid!”

Finally Stevie Nicks took the stage and the band kicked back into gear on a rousing “Stop Draggin’ My Heart Around,” with Grohl playing Tom Petty’s part. After the song ended, Nicks told a harrowing story about how her godson had died of an overdose. “I wrote a poem about it, because that’s what I do.” Days later, Grohl called her about the film and eventually asked if she wanted to do a song together. She sent him the poem and said, “’Knowing our history, do you want to go there with me?’ He said, ‘I’m with you, babe.’” The mid-tempo, intense song is called “You Can’t Fix This” and is featured on the “Sound City” 11-track companion album, out next month. (Editor’s note: Stevie’s godson is her former manager Glen Parrish’s son.)

The band eased into a fluid “Dreams”—complete with Nicks’ signature hand gestures and some horrifying hippie dancing from some women in the crowd—then a lovely version of “Landslide,” with Nicks recalling writing the song by herself in the house of a person she didn’t know in Colorado in 1973, accompanied here by Grohl on 12-string acoustic.

Squalling feedback morphed into a majestic, drawn-out version of “Gold Dust Woman,” and then the long night was through. There was no encore—which isn’t really a surprise when you try to imagine what songs that motley crew might have played together. In fact, it’s probably a good thing these shows are so far-flung. What might life on that tour bus be like?