Wasting Light

( 10 )

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Forget all that nonsense about Dave Grohl listening to the Bee Gees and ABBA when writing Wasting Light. You can even forget Bob Mould's killer cameo on "Dear Rosemary," no matter how seamlessly the Hüsker Dü frontman's patented growl slides into the Foo Fighters' roar. What really matters is that nearly ten years after Songs for the Deaf, Josh Homme's influence finally rears its head on a Foo Fighters record, Dave Grohl leading his band of merry marauders -- including Pat Smear, who returns to the fold for the first time since 1997's The Colour and the Shape -- through the fiercest album they've ever made. Nowhere is Homme's tightly defined muscle felt as ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Forget all that nonsense about Dave Grohl listening to the Bee Gees and ABBA when writing Wasting Light. You can even forget Bob Mould's killer cameo on "Dear Rosemary," no matter how seamlessly the Hüsker Dü frontman's patented growl slides into the Foo Fighters' roar. What really matters is that nearly ten years after Songs for the Deaf, Josh Homme's influence finally rears its head on a Foo Fighters record, Dave Grohl leading his band of merry marauders -- including Pat Smear, who returns to the fold for the first time since 1997's The Colour and the Shape -- through the fiercest album they've ever made. Nowhere is Homme's tightly defined muscle felt as strongly as it is on "White Limo," a blast of heavy sleaze that's kind of a rewrite of "You Think I Ain't Worth a Dollar," yet Grohl isn't thieving -- he's tweaking his frequent bandmate with a song that could have graced SFTD or Them Crooked Vultures. That sense of humor is welcome on Wasting Light, nearly as welcome as the guitars that ring loud and long. Things tend to crawl on the ballads, as they usually do on a Foos record, but these slower spots have a stately dignity that contrasts well with the untrammeled rock of the rest of the album. Perhaps Butch Vig -- working with Grohl for the first time since Nevermind (and that's not the only Nirvana connection, as Krist Novoselic plays bass on "I Should Have Known") -- should take some credit for the ferocious sound of Wasting Light, but the album isn't the Foo Fighters' best since their '90s heyday because of its sound; it's their best collection of songs since The Colour and the Shape, the kind of record they've always seemed on the verge of delivering but never have.
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Product Details

  • Release Date: 4/12/2011
  • Label: Rca
  • UPC: 886978449320
  • Catalog Number: 784493
  • Sales rank: 6,677

Tracks

Disc 1
  1. 1 Bridge Burning (4:46)
  2. 2 Rope (4:19)
  3. 3 Dear Rosemary (4:26)
  4. 4 White Limo (3:22)
  5. 5 Arlandria (4:28)
  6. 6 These Days (4:58)
  7. 7 Back & Forth (3:52)
  8. 8 A Matter of Time (4:36)
  9. 9 Miss the Misery (4:33)
  10. 10 I Should Have Known (4:15)
  11. 11 Walk (4:15)
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Album Credits

Performance Credits
Foo Fighters Primary Artist
Bob Mould Guitar, Vocals
Fee Waybill Background Vocals
Pat Smear Group Member
Dave Grohl Group Member
Rami Jaffee Organ, Keyboards, Mellotron
Krist Novoselic Bass, Accordion
Butch Vig Percussion
Nate Mendel Group Member
Jessy Greene Violin
Chris Shiflett Group Member
Taylor Hawkins Group Member
Drew Hester Percussion
Technical Credits
Butch Vig Producer
Foo Fighters Composer
Emily Lazar Mastering
James Brown Engineer
Joe LaPorta Mastering
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Customer Reviews

Average Rating 4
( 10 )
Rating Distribution

5 Star

(5)

4 Star

(4)

3 Star

(0)

2 Star

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1 Star

(1)

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Sort by: Showing all of 10 Customer Reviews
  • Posted April 1, 2011

    Great Album, Reminiscent of Nirvana While Still Remaining Foo Fighters-esque

    I listened to this album on their website, although I did preorder it on vinyl. It has some of the sound of Nirvana, it's definitely more on the grunge side than other Foo Fighters albums. Krist Novoselic, Nirvana's bassist, plays on I Should Have Known. Some parts near the end remind me of Nirvana's first album, Bleach.

    More on track, I'll review each individual song.

    Bridge Burning has a somewhat Breed-esque sound (Breed as in the Nirvana song), except a little less aggressive vocals. It has some of the chromatic chord progressions that the Foo Fighters are famous for.

    Rope isn't so similar to Nirvana (which I keep talking about, I'll try to refrain from that.), it's more of a Foo Fighters kind of thing. The guitar at the beginning and near the end is a nice touch. The drum beats aren't ridiculously simple, but not ridiculously complex either. The ride cymbal during the chorus is a nice touch.

    Dear Rosemary is a little more mellow, and also has the famous chromatic chord progressions (which are when the chords are in a pattern where they just go up and then down, an example would be a I-II-IV-VI-IV-I progression.), the lyrics are a little (deeper, shall I say?) than the previous tracks. The bridge about 3/4 through the song is a nice touch, it sounds almost emotional, despite the simplicity.

    White Limo is a lot more aggressive than Dear Rosemary. The vocals sound like Dave is singing through a megaphone. There's a decent amount of chunky palm-muting sounds with the guitar, and a classic kind of Foo Fighters drum sound. There's some awesome Dave screams too. The bass doesn't stand out a whole lot though, the bass lines are fairly simple. The music video, which you can watch on the internet, obviously isn't a heavily budgeted video, but it's humorous, which is probably better than a "cool" music video. It reminds me of Nirvana's movie, "Live! Tonight! Sold Out!," in which the band mostly just messes around.

    Arlandria sounds a lot like punk at first, but then after you realize it's calmed down, it sounds more chill. Then the almost nursery-rhyme-like part before the chorus is a nice transition to a fairly lightly distorted chorus. The lead guitar sounds nice, it's still simple but awesome. Again, the chromatic chord progression is fairly obvious. 3/4 through, a nice drum beat with toms comes in with the basic guitar riff, then Dave sings, building up to a famous Dave scream.

    These Days calms down a little more. It kind of sounds a little folkish, if I do say so myself. The tempo is slower. The distortion is lighter. Simple chord progressions should be noted. Not a whole lot else to say.

    Back and Forth, which is also the name of their movie coming out in theaters on April 5th only. (I'll go to it, it's going to be awesome.), is great. It gets heavier, which is a nice touch from the previous 2 songs. The bass stands out. The drums are simple. Parts of it remind me of Learn to Fly a lot. The general sound sounds fairly happy.

    A Matter of Time starts out sounding like older Nirvana, reminds me of (New Wave) Polly, which was on Nirvana's album, Incesticide. It turns out to be a little calmer than that, it has some fairly fast palm muting, with simple drums (What were you expecting, something like Everlong's drum track?). Almost half way through some (what sounds like) vibrato guitar playing comes in, it sounds nice and somewhat like These Days.

    I don't have any more room, so check this album

    1 out of 2 people found this review helpful.

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  • Posted May 24, 2011

    more from this reviewer

    Maybe the all-analog approach is worth it

    Reading through a recent issue of an audio magazine I saw a write up on ths album's production. Along with Praise for Butch Vig's contributions, there was extensive attention paid to the lack of digital processing anywhere. Insteda of using Pro Tools to tighten up a rhythm part or correct pitch, everything went to tape, and any editing was done the old fashioned way (presumably with a razor blade). In my opinion, the performance and the quality of the amps is more essential than a reel of tape, but what do i know? The results seem to speak for themselves; the album has a very rich saturated sound that is hard to produce in digital.

    I have no favorite track, but I think the whole album warrants a listen.

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  • Posted April 20, 2011

    Us fans have been waiting for this

    Grohl finally decided to take the gloves off, put away the acoustic guitars, deal with some demons pent up some "Nevermind" and deliver the best group of songs since Color and Shape and the hardest rocking set maybe in their catalog. It really is a tour de force, even if that terms gets thrown around too much, because each song attacks in a different way. And Butch Vig seems to have a certain magic that he reserves for Dave because the production is great and kept simple.

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    Posted February 17, 2012

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    Posted December 1, 2011

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    Posted May 6, 2011

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    Posted October 12, 2011

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    Posted January 14, 2012

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    Posted May 27, 2011

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    Posted August 9, 2011

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