Foo Fighters, Wasting Light

By Danny R. Phillips

I’ll say it right now: In my opinion, the last few Foo Fighters records have not been, shall we say, stellar. And I will add that I stopped buying them after There Is Nothing Left To Lose, my personal belief being it exposed two things that threw a monkey wrench (sorry, corny song reference there) into the works.

One, guitarist Pat Smear left the band, thus taking away the razor sharp edge that the songs had on The Colour and The Shape, and two, main Foo Dave Grohl spread himself too thin playing in Queens of The Stone Age, Probot, and Them Crooked Vultures all while writing sub par Foo Fighters songs. Cases in point: “The Best of You” (sounds like a Sprite commercial jingle) and “Wheels” (it’s just crap, no way around it).

So, when I heard about the recording of Wasting Light I was skeptical, especially when Grohl proclaimed it would be “their heaviest record yet.” From the start I was ready to hate on it. Then, with the return of Germs guitarist/former Foo/fashion plate Pat Smear to the fold full time, I saw a ray of hope. Next, Butch Vig, producer of Nirvana’s Nevermind, was going to take on production duties, while Krist Novoselic, Nirvana’s bassist, was contributing bass work on at least one track. I excitedly proclaimed to all my friends, “This will be the best Foo record since The Colour and The Shape, you’ll see!”

Fast forward to April 1, four days before Wasting Light has its official release and the Foo Fighters graciously “leak” the album on their website. Upon listening to it, my prophecy was proven right: It is their best since Colour and nearly as good as the debut that Grohl recorded all alone (with Greg Dulli of Afghan Whigs playing guitar for one track) in his basement in the wake of Nirvana’s tragic ending.

The record opens with a jittery guitar and the line “These are my famous last words” and with that, the band burst out of the gate like a thoroughbred racehorse on a meth bender. Yes, the patented Foo melodies are there but the solid rock sound of “Bridge Burning” carries through the entirety of the record.

The first single, “Rope,” has an 1980s echo guitar and a power pop chorus that will make it one of the Foo’s most popular tunes, guaranteed.

But when it comes to heavy, the atomic tons on this record come from “White Limo;” Grohl’s effects-drenched vocals and blood curdling screams make this mosh pit monster the heaviest thing since “Wattershed.” And to anyone who thinks that Pat Smear didn’t bring anything substantial to the Foos sound, check out the buzz saw licks there and tell me he didn’t matter in the mix.

Sure, there are ballads to be found on Wasting Light, since every Foo Fighters album has them, but the ballads here—including “Arlandria,” “Dear Rosemary (featuring Husker Du’s Bob Mould),” and “These Days”—have a hefty meatiness lying just beneath the surface that make them stand above the Foo slow rockers of the past.

There is a sense of urgency lurking within the minutes that make up Wasting Light; I don’t know if it’s Dave’s age (he’s 42), his excitement to be recording with Nirvana bandmate Novoselic again, or the simple fact that’s he’s focusing on his band. Whatever it is, it’s working.

No, Wasting Light is not a perfect record but like Dave sings on the closer, “Walk,” I’m learning to walk again/I believe I’ve waited long enough.Yeah, he is learning to walk again and goddamnit, it’s a step in the right direction.

Now, if only Dave can stay focused on his march with the Foo Fighters through rock immortality (he’s already taken the stroll with Nirvana), he’ll be just fine.

Wasting Light was released on April 5. For more information and to order a copy, visit the Foo Fighters website.