KINGBLIND: Music, Art & Entertainment Music News, Album & Concerts Reviews, MP3's, Music Videos, Art / Entertainment and much more!

Archive for September, 2007

Friday, September 28, 2007

Scorsese To Direct George Harrison Documentary

Having already helmed films on Bob Dylan and the Rolling Stones, Martin Scorsese is now turning his attention to the so-called “quiet Beatle.” Scorsese will direct a documentary on George Harrison, who died of cancer in 2001 at age 58.

“Harrison’s music and his search for spiritual meaning is a story that still resonates today and I’m looking forward to delving deeper,” Scorsese said in a statement. “It would have given George great joy to know that Martin Scorsese has agreed to tell his story,” added Harrison’s widow, Olivia.

Work is already underway assembling archival material for the film, which will also feature extensive interviews.

Scorsese will also produce the movie through Sikelia Productions in tandem with Olivia Harrison’s Grove Street Productions and Nigel Sinclair’s Spitfire Pictures.

Athlete – “Hurricane”

Bruce Springsteen: “Long Walk Home” (Music Video)
[youtube=http://www.youtube.com/watch?v=MwcgoUYpBF8]

Thursday, September 27, 2007

Spoon to play SNL

Continuing indie rock’s ascension into the big leagues (with “big leagues” here defined as “deemed worthy enough to play Saturday Night Live“), Spoon will serve as musical guest for the aforementioned landmark sketch comedy show on October 6. This comes on the heels of Spoon’s Merge Records labelmates in Arcade Fire gigging the show last season, as did the Shins, and an earlier appearance by Modest Mouse around the time “Float On” was huge. (And yes, with being on Epic, Modest Mouse aren’t technically “indie” anymore, but I believe that hair has been split so many times as to be rendered moot.) Canuck comedic force Seth Rogen will be the host for the show Spoon is playing. It comes a week after this Saturday’s season premiere, hosted by LeBron James with music from Kanye West. I wonder if ‘Ye has any ball skills?

Radiohead set to release new album in March?

Radiohead have added a new instalment of their daily website coding communication with fans (September 26).

This time, fans seemed to have cracked the message and now believe that the band have hinted at a possible release date.

The latest code posted on www.radiohead.com/deadairspace, has been translated to read ‘march wa x’.

Fans have already begun to speculate on its meaning, believing that it could be a hint at a March release date for their seventh album, possibly on Wax or Earwax records.

Some have even interpreted the code to signify specifically March 10 (X is the Roman numeral for ten) as the record’s release date.

The band are still said to be hunting for a record company to release the album, after their deal with Parlophone expired earlier this year.

According to fan site Ateaseweb.com the complete decoded messages so far are:

September 20: YES WE ARE STILL ALIVE
September 21: BLINK YOUR EYES ONE FOR YES TWO FOR NO CODE CODE CODE
September 22: PLAUSIBLE DENIABILITY
September 22: XENDLESS
September 23: MIGHT NOT OPERATE PROPERLY
September 24: A FLATLINE WE ARE IN A MEETING
September 25: CONSIDERING DISSEMINATION
September 25: SEMAPHORE ELEMENTS
September 26: MARCH WAX

Wednesday, September 26, 2007

Mistrial declared as Phil Spector jury hangs 10-2

LOS ANGELES, California (CNN) — A judge declared a mistrial in the murder case against music legend Phil Spector after a jury announced for the second time in eight days that it was hopelessly deadlocked.

Phil Spector did not testify at his five-month murder trial. The jury said it was split 10-2.

The jury deliberated for 12 days, taking six ballots, but was unable to reach a unanimous verdict.

Jurors told Superior Court Judge Larry Paul Fidler they were split 10-2, without indicating which way they were leaning. They added there was nothing Fidler could do to help them arrive at a unanimous verdict.

Fidler discharged the nine men and three women, thanking them for their service. Video Watch what happened in the courtroom »

Spector went on trial in April, charged with second-degree murder in the shooting death of B-movie queen Lana Clarkson after a night out in the clubs of Hollywood.

The judge told attorneys to return to his Los Angeles, California, courtroom on October 3 to discuss the next legal move.

Spector, 67, did not take the witness stand at the trial.

Deliberations were arduous, entering the third week on Monday. Last week, jurors received new instructions on the law and were told to start over after the foreman declared the panel was deadlocked 7-5.

The jury’s inability to reach a verdict capped a five-month trial that played like a Hollywood film noir classic — with a twist of the bizarre.

A 6-foot-tall, blue-eyed blonde with a toothpaste commercial smile, Clarkson was known for her roles in “Barbarian Queen” and “Amazon Women on the Moon.” But at 40 the parts were few and far between and she had taken a $9-an-hour job as a VIP hostess at the House of Blues in Hollywood.

Spector invented the “wall of sound” in the 1960s and worked with the Beatles, Ike and Tina Turner and other acts. Normally reclusive, Spector had spent a rare night out on the town, found Clarkson at the House of Blues at closing time and invited her home for a drink in the wee hours of February 3, 2003.

After initially turning him down, she agreed to accompany him, according to testimony.

Hours later, police were summoned to Spector’s mansion in Alhambra, a suburb of Los Angeles. The diminutive music producer had wandered into the driveway in the predawn and told his Brazilian-born chauffeur, “I think I killed somebody,” according to the driver’s testimony.

Clarkson was found inside, slumped in a chair in the foyer. She had been shot in the mouth. A .38-caliber Colt Special revolver lay at her feet. It appeared someone had attempted to clean up the blood with a diaper found in the guest bathroom.

Spector’s attorneys argued that Clarkson was depressed over a recent breakup, grabbed the gun and took her own life.

But prosecution witnesses painted Spector as a gun-toting menace, with five women telling harrowing tales on the witness stand of the music producer threatening them with firearms. Spector’s driver testified he heard a loud noise and saw the producer leave the home, pistol in hand, saying, “I think I killed somebody.”

At issue was whether Spector pulled the trigger — or whether Clarkson did. In photos projected on a large screen, the gruesome crime scene resembled a set decorated for a horror film.

In all, 77 witnesses testified and more than 600 pieces of evidence were submitted. The evidence cart wheeled into the jury room was piled high with exhibits.

The jury even toured the scene of the alleged crime.

The experts’ testimony differed widely on what the physical evidence showed.

Prosecutors pointed to the leopard print purse slung over Clarkson’s shoulder as evidence she was trying to leave when she was shot.

The defense argued that blood-spatter evidence on the white women’s jacket Spector wore showed he was standing too far away to place the gun in Clarkson’s mouth.

Spector hired and fired a who’s who of legal talent for his defense. High profile defense attorneys who have left the case include Leslie Abramson and Bruce Cutler.

He also changed hairstyles several times during the trial, and wore flamboyant clothing, including frock coats and pastel-colored ties and pocket handkerchiefs.

Bright Eyes Studies Up For Orchestral Concert

There’s no doubt that pairing a band with a full orchestra offers fans a unique way of seeing their favorite act in concert. But the experience doesn’t come without challenges, as Bright Eyes band member Nate Walcott has recently learned.

When the Omaha, Neb.-based indie rock band steps onstage Saturday (Sept. 29) to perform alongside the Los Angeles Philharmonic at the Hollywood Bowl, countless hours of grueling work for Walcott will have finally paid off. Not only has the multi-instrumentalist been touring nonstop behind Bright Eyes’ April release, “Cassadaga,” but he’s also spent the past eight months writing the approximately 60-piece orchestral score for the show at the 17,300-seat venue.

“It was the biggest project I’ve ever worked on as far as arranging is concerned,” Walcott said. “It’s almost music math.”

Without giving away too many details, Walcott says the set list for the show will comprise songs from the past eight years, many of which contain orchestral elements. “In some cases I would take existing melodies or parts, and score them for a full orchestra,” he explains. “In other cases, I composed whole new elements — melodies, harmonies, whatever.”

But arranging rock songs for “40 strings, 11 brass and 12 woodwinds” didn’t happen overnight. The biggest obstacle, Walcott observes, was working on the project while touring with Bright Eyes. “It’s hard to do anything on tour, let alone put together 15 arrangements for the Los Angeles Philharmonic,” he says.

There are no orchestral concerts scheduled for Bright Eyes beyond the Hollywood Bowl date, but Walcott says he wouldn’t be surprised if other shows sprouted up at a later date. With the score edited and printed, Bright Eyes “could conceivably, with very little preparation, do a show with any orchestra around the world,” he says. “These orchestras don’t rehearse. They just show up and read it.”

The upcoming concert will feature support from Yo La Tengo and M. Ward, both of whom will perform in their usual incarnations.

PJ Harvey- White Chalk (Album Review)

Since 1992, Polly Harvey has been jangling the listener‘s nerves like a handful of keys. Even by her own unsettling standards, however, her seventh album is disturbing, a collection of smudged and spectral laments that appear to have been written before the invention of penicillin. With Harvey shunning guitar for piano and constraining her voice into an ethereally high pitch, the likes of Dear Darkness and To Talk To You sound as if they have come via a ouija board. Proof Harvey is the mistress of the medium and the message.
(Victoria Segal)

Springsteen Unveils New Songs At New Jersey Warm-Up

Bruce Springsteen and the E Street Band played their first show in three years last night (Sept. 24) at Asbury Park, N.J.’s intimate Convention Hall, which served as a warm-up for a fall tour that begins Oct. 2 in Hartford, Conn. Seven songs were premiered from the album “Magic,” which also lands Oct. 2 via Columbia.

At the outset, Springsteen told the crowd the band would be offering up “a few new ones, a few old ones, maybe a few mistakes, but I doubt it.” Among the new album cuts performed were first single “Radio Nowhere,” “Gypsy Biker,” “Girls in Their Summer Clothes,” “Devil’s Arcade” and “Last To Die.”

Set list oddities included the vintage outtake “Thundercrack,” which started the encore, “Something in the Night” and “American Land,” a song from Springsteen’s Seeger Sessions band that the E Streeters were playing live for the first time.

Springsteen and company will play Asbury Park again tonight and have just announced a third rehearsal show for Friday at Continental Airlines Arena in East Rutherford, N.J. Tickets go on sale this morning.

Here is Bruce Springsteen’s set list:

“Radio Nowhere”
“No Surrender”
“Gypsy Biker”
“Empty Sky”
“Something in the Night”
“Girls in Their Summer Clothes”
“Night”
“The Promised Land”
“Livin’ in the Future”
“Devil’s Arcade”
“Candy’s Room”
“She’s the One”
“Lonesome Day”
“My Hometown”
“The Rising”
“Last To Die”
“Long Walk Home”

Encore:
“Thundercrack”
“Born To Run”
“Darlington County”
“American Land”

Tuesday, September 25, 2007

THE DONNAS:: Bitchin’ (Album Review)

To say that the Donnas have been lucky to ride the same booze-fuelled, boy-crazy party animal shtick for close to 10 years is an understatement when you consider that their music hasn’t exactly evolved. Starting out as garage-rock brats, they’ve now fully succumbed to the temptations of being a Runaways tribute band with a dash of Mötley Crüe, which is fine in theory.

Only real problem is that the foursome tend to write the same songs over and over again, this time thinly veiled in arena- and hair-metal swagger, but still too similar structurally to sound like they’ve challenged themselves.
(Evan Davies)

Westerberg Returns To Action In Minneapolis

The good news is that Paul Westerberg is writing songs again, but the bad news is there is neither an album nor a tour in the immediate future. The reclusive Minneapolis icon took to the stage last night (Sept. 23) at the city’s First Avenue for an installment of “The Craft,” a Rock and Roll Hall of Fame chat-and-sing series a la VH1’s “Songwriters.”

Warren Zanes, currently of the Hall of Fame and formerly of the Del Fuegos, interviewed Westerberg for 90 minutes and the Replacements leader played 10 tunes from his ‘Mats (“Skyway,” “Can’t Hardly Wait”) and solo catalogs (“Dyslexic Heart,” “World Class Fad”).

Zanes asked insider questions about song sequencing on albums and writing bridges for tunes. But he also pulled a few nuggets that Replacements’ fans would dig:

– Producer Jim Dickinson added overdubs, including strings, on “Pleased To Meet Me” that Westerberg didn’t discover until he heard the album.

– Each of the three Replacements was in separate rooms for the recording; Westerberg was in the studio hallway. “I had ZZ Top in the next room,” he said. “It never leaked on to the tape but I could hear ‘Sharp Dressed Man’ in the next room.”

– On those sessions, “They sampled Chris’ [Mars] kick drum. That’s why it rocks,” he said. “Chris could play the hell out of snare and high hat.”

– After John Cale came by to record violin on “Sadly Beautiful” on “All Shook Down,” the Replacements had to hide his instruments because Lou Reed, Cale’s ex-colleague in Velvet Underground, was coming down to the studio that night.

– Westerberg took a three-and-a-half year hiatus after his son Johnny was born. “I liked it more than I contemplated,” he said. “I found it so fulfilling that I found it hard to strap on an electric guitar.”

– Zanes asked about Westerberg mythology, calling him the J.D. Salinger of rock for going underground. Quipped the artist, “I’m the Catcher in the Slump.”

Appearing in front of 500 people on a legendary nightclub stage converted into a talk-show set, Westerberg performed one new song, “Everyone’s Stupid,” which he explained was about a friend of his now 9-year-old son who was the last to know about his parents’ impending divorce. The song was from the kid’s point of view.

The singer also offered a ‘Mats outtake, “Make the Best of Me, ” which he said the band rejected as being too “spiritual” during the “All Shook Down” era.

Zanes had Westerberg pick four favorite songs — the Beatles’ “Hello, Goodbye,” the Rolling Stones’ “Tumblin’ Dice,” the Jackson 5’s “I Want You Back” and Jimmy Reed’s “You Got Me Running” — and talk about them. One of the night’s highlights was when Westerberg, after saying “I wish I could play it,” spontaneously played the J5 smash as an instrumental on acoustic guitar.

Zanes didn’t ask about Westerberg’s fretting hand, which he injured in December while trying trying to clean some candle wax with a screwdriver. In an interview with the Minneapolis Star Tribune in June, the guitarist said, “I’m one-third of the way to being possibly 80 percent all better.” In other words, the doctor told him it would take 18 months to recover from the injury — damaged nerves in the webbed area between the ring and pinkie finger — and he would regain only 80 percent use of his hand.

Westerberg had to re-teach himself how to play guitar. It didn’t seem to be a problem last night though, as he accompanied himself on acoustic and electric guitars, six- and 12-strings in both styles.

After hitting “a dry spell,” the less-than-prolific star has been writing again but doesn’t know if he’s close to completing an album. He has turned down offers from Universal and Sony to start his own label.

After the taping, Zanes said that Westerberg was his “favorite” interview in the series thus far. “I was reared on his stuff,” Zanes said. “I was nervous about what Paul I would get. I’m really pleased with how generous he was. Paul sounded like he was at home up there; I wasn’t expecting that. Clearly, his maturation process has been a dignified one.”

Interviews in “The Craft” series can be heard in their entirety at the Hall of Fame archives or in part via Rockhall.com/thecraft. Already taped are Elvis Costello, Patty Griffin, Jim James (of My Morning Jacket) and Ben Gibbard. Scheduled for interviews are Frank Black Oct. 17 in San Diego and Aimee Mann Oct. 23 in Chicago.

Monday, September 24, 2007

Starbucks to give away 50 million songs

SEATTLE – Starbucks Corp. plans to give away 50 million free digital songs to customers in all of its domestic coffee houses to promote a new wireless iTunes music service that’s about to debut in select markets.

From Oct. 2 to Nov. 7, baristas in the company’s more than 10,000 U.S. stores will hand out about 1.5 million “Song of the Day” cards each day. The cards can be redeemed at Apple Inc.’s online iTunes Store.

Thirty-seven artists with featured songs include Paul McCartney and Joni Mitchell — the first two to sign on with Starbucks’ Hear Music label — along with Joss Stone, Dave Matthews, John Mayer, Annie Lennox and Band of Horses.

The first song will be Bob Dylan’s “Joker Man.”

Also on Oct. 2, Starbucks will start selling iTunes digital release cards that allow a full album of music and bonus material to be downloaded online. KT Tunstall’s “Drastic Fantastic” and the soundtrack to the film “Into the Wild” with new music from Pearl Jam frontman Eddie Vedder will be the first two featured albums, retailing for $14.99 and $11.99, respectively.

Starbucks also will offer a limited-edition reloadable purchasing card that includes two free iTunes downloads when customers register their cards online.

Earlier this month, Starbucks and Apple announced a partnership that will allow users of Apple’s iPhone and new iPod Touch to download songs playing in a Starbucks shop directly to their portable devices.

The coffee chain’s icon will light up on the iPhone or Touch whenever a user is within range of a Starbucks shop’s Wi-Fi signal. People with the devices — or a laptop with iTunes software — will also be able to use the signal for free to browse and buy other iTunes music.

The service will launch at 600 Starbucks shops in Seattle and New York on Oct. 2, then roll out in San Francisco in early November.

Starbucks plans to have the service up and running in a quarter of its stores by the end of next year and in all U.S. stores with wireless networks by the end of 2009. There are no immediate plans to expand the service to international markets.

Starbucks has been selling CDs in its stores for years and added its music catalog to iTunes last fall.

Ken Lombard, president of Starbucks’ entertainment division, declined to release any specifics on the company’s digital music sales so far or compare how they’ve been stacking up to CD sales. He would only say that music in both formats has been selling well.

Expectations remain high for the upcoming wireless service. “We’re going to see huge improvement in terms of the amount of tracks” that are downloaded, Lombard said.

Jose Gonzalez new album and US tour details

Following an intimate appearance at Spiegeltent in late August, Jose Gonzalez celebrates the release the September 25th release of his latest effort, “In Our Nature”, by kicking off the first string of dates in his US Tour with three nights in New York. Newly updated dates through December may be found below. Gonzalez is also slated to make national television appearances on Late Night With Conan O’Brien (September, 28th), and Jimmy Kimmel Live (October, 11th).

“In Our Nature” sees González coming into his own as a songwriter – with songs that are as instantly accessible as they are brimming with darkness and brooding intensity. Gonzalez, like his music, is deceptively unassuming, studied and powerful. He attacks his craft patiently, methodically and with great interest in finding unexpected angles. While it is sonically similar to Veneer, “In Our Nature” shows Gonzalez’ growth. Displaying a heightened emphasis on melody and strong, focused lyrics – the album is a dark combination of softness and anger.

US TOUR DATES

September-
27 – New York, NY @ The Gramercy Theater
28 – New York, NY @ The Gramercy Theater
29 – Brooklyn, NY @ Music Hall Of Williamsburg
30 – Boston, MA @ Paradise

October-
01 – Philadelphia, PA @ World Café
02 – Washington, D.C. @ 9:30 Club
04 – Chicago, IL @ Park West
05 – Portland, OR @ Aladdin Theater
07 – Seattle, WA @ Showbox
08 – San Francisco, CA @ Great American Music Hall
09 – San Francisco, CA @ Great American Music Hall
10 – Los Angeles, CA @ El Rey Theatre
12 – Denver, CO @ Bluebird Theatre
13 – Minneapolis, MN @ Fine Line Music Café

November-
24 – Vancouver, BC @ Richards On Richards
26 – Solana Beach, CA (San Deigo, CA) @ Belly Up Tavern *
29 – Austin, TX @ The Parish *
30 – Columbus, OH @ The Wexner Center+

December-
01 – Louisville, KY @ 930 Listening Room *
02 – Nashville, TN @ Mercy Lounge *
03 – Bloomington, IN @ Buskirk-Chumley Theater *
04 – Cleveland Heights, OH @ Grog Shop *
06 – Ottawa, ON @ Zaphod Beeblebrox *
07 – Toronto, ON @ The Mod Club *
08 – Montreal, QC @ Le National announce now*

* Cass McCombs supports
+ Neva Geoffrey supports

Thurston Moore – Trees Outside The Academy (Album Review)

To a music fan, Thurston Moore can be an ubiquitous presence. Of course, his work with Sonic Youth makes the guitarist a constant point of reference in discussion of contemporary rock music or guitar experimentalism, but it seems, especially as of late, that Moore’s influence is felt as much through his identity as a critic, talent scout, label head, and, simply, as a music fan. Moore’s label, Ecstatic Peace!, recently entered one of its most active eras, and he often appears as a talking head in music documentaries, big and small. Nearing 50, Moore’s not lost any of his exuberance for the sounds that he loves, and though the steady flow of improvisational collaborations that once marked his discography has slowed just a bit, Thurston’s enthusiastic participation with a new generation of noisemakers has been the source of a number of fruitful new partnerships.

Sonic Youth, of course, aren’t idly sitting by; their last disc, Rather Ripped is perhaps their best in a decade, and an ongoing series of concert performances of the whole of their classic Daydream Nation have been unequivocal successes. Amidst it all, Moore’s been crafting a selection of songs that have coalesced into what, surprisingly, is only his second solo disc of song-based material. Psychic Hearts, which dropped in 1995 and recently got the reissue treatment from DGC, was the first most got to hear of Thurston’s songs outside of the Sonic Youth canon, composed with some discernible deviations from the contemporary Sonic Youth sound, and performed in a stripped-down trio format with Sonic Youth drummer Steve Shelley and Two-Dollar Guitar’s Tim Foljahn. The material was sometimes more accessible at its core than Moore’s writing for Sonic Youth, and its more personal tone was offset by the distancing of Moore’s vocals via reverb and other effects.

Trees Outside the Academy, more than a decade later, is a further departure from Sonic Youth’s sound, both in terms of composition and instrumentation, a more straightforward musical statement than those we’ve come to expect from Thurston, though not so much so that it’s detached from his usual musical sensibilities.

That Trees Outside the Academy is more accessible than Moore’s usual output is a fair assertion to make, though there are facets innate to his music that seem sure to prevent the gangly guitarist from ever crafting an album of pure pop. The most pronounced change is Moore’s trading in of his usual Fenders for an acoustic guitar, and with the frequent accompaniment of Samara Lubelski’s violin, the album takes on a decidedly acoustic feel. An assortment of collaborators augment the album’s core trio of Moore, Lubelski and Steve Shelley, including Charlamabides’ Christina Carter, J Mascis (who played host to the disc’s recording), and Leslie Keffer, who lays down a bit of the album’s noise. Along with Moore’s signature melodic progressions, Mascis’ hot licks, and the jaunts into brief caustic flare, however, Trees Outside the Academy bears some of Moore’s most plainly pretty work.

Sonic Youth’s music is full of beauty, but it’s rare that there’s not a jagged edge to serve as its foil; on songs like “Never Light,” though, there’s no such interruption, and many of the album’s most unabashedly comely tracks are its most enjoyable. “Silver Blue,” with its elegant melody, and “Honest James,” on which Moore duets with Christina Carter, are highlights, and some of the disc’s more rock-imbued compositions, epitomized by the frenetic “Wonderful Witches,” can feel like intrusions on the ambiance of the disc. The surprising beauty of Trees Outside the Academy is its most endearing quality, especially when left unfettered by up-tempo flourishes or disjointed changes in direction. It’s not often that one hopes Thurston Moore plays it straight, but on this disc, that’s the case.

In interviews, Moore has called Trees Outside the Academy a more personal album, though there’s nothing clearly confessional or diaristic about the disc’s songs. The album’s lyrical content is composed in Moore’s trademark poetic absurdity, ranging from the subtly stunning to unrepentantly goofy. Many seem to have a love/hate relationship with Moore’s lyrics in Sonic Youth, and the reaction here will likely be the same. Ever in touch with a youthful spirit than can contain an endearing twinge of awkwardness, Moore’s singing clashes with the music more often here than it does in his work with Sonic Youth (though were his voice as smooth as velvet, this disc wouldn’t be a Thurston Moore album). The meeting of Thurston’s scratchy voice with the smooth violin of Lubelski is indicative of Trees Outside the Academy’s showcase of a different side of Moore, something that, despite the guitarist’s massive discography, hadn’t yet come to light.

The album isn’t a pivotal one in Moore’s career, and it’s obvious that by self-releasing the album on his own imprint, he’s not aiming to make any sort of grandiose statement, but given the span of time before and between his solo albums (at least of this sort), Trees Outside the Academy can’t help but arrive with a sense of anticipation beyond its modest manner. And while it’s certain that some of the ever-burgeoning Sonic Youth fanbase will be disappointed by the disc, the album has already served its purpose. When Moore describes his motivations for recording the songs, he seems to intimate that even if the disc fails to move a single unit, Trees Outside the Academy will be, for him, a success.
(Adam Strohm)

Foo Fighters Celebrate ‘Echoes’ At NYC Club Show

“Do you guys have the new record?,” Dave Grohl teased four songs into the Foo Fighters’ surprise show at New York’s intimate Fillmore at Irving Plaza last night. In on the joke, the capacity crowd of 1,100 cheered. “It’s not even out yet!,” Grohl minced, adding, “It’s cool as long as you sing along if you know the words.” They complied repeatedly during the two-hour, 20 song set.

Tickets to the special gig promoting “Echoes, Silence, Patience and Grace,” due Sept. 25 from Roswell/RCA, had appeared and disappeared just as quickly on Ticketmaster earlier in the day. The last-minute logistics contributed to the giddy but somewhat dazed feel in the room, but the quartet, augmented by Pat Smear, Jessy Greene and Rami Jaffe, expertly deployed new songs like “Cheer Up, Boys, Your Make-Up Is Running” and lead single “The Pretender” into a mix liberally seeded with old standbys like “Times Like These,” “Everlong,” “My Hero” and “Monkeywrench.”

As the gum-chewing Grohl explained following the rapturous response to 1995’s “I’ll Stick Around,” the purpose of the show may have been hyping “Echoes,” but “it’s also a good excuse to play some old school sh*t.”

With Smear comfortably barefoot and Sony BMG mogul Clive Davis nestled in the balcony looking pleased, the band honored the club’s particularly pristine sound-system with their standard near-flawless musicianship. The show reached a crescendo during the main-set ender “Stacked Actors,” during which Grohl climbed a large ledge off stage right and headbanged into an extended guitar solo. It left him collapsed in a writhing heap while rock photographer Danny Clinch hopped out of the pit and onto the stage for an impromptu harmonica solo.

The Foos will play a few more U.S. dates in the coming weeks, including a Monday gig in Los Angeles, before heading out on a U.K. tour in early November.

Here is the Foo Fighters’ set list:

“The Pretender”
“Cheer Up Boys, Your Make-Up Is Running”
“Times Like These”
“I’ll Stick Around”
“Long Road To Ruin”
“Learn To Fly”
“Breakout”
“Skin and Bones”
“Marigold”
“My Hero”
“Come Alive”
“Cold Day in the Sun”
“But, Honestly”
“Everlong”
“Monkeywrench”
“Stacked Actors”
“All My life”
“Aurora”
“Let It Die”
“Best of You”
“Home”