Miss the Misery" features Fee Waybill of The Tubes, a personal friend of Grohl who said that the frontman invited him because "the background vocal sounded like him".

Their debut album and even the magnificent 'The Colour and The Shape' were not game changers simply because Nirvana had already travelled that road. Wasting Light has sold 663,000 copies in the US as of January 6, 2012, [82] and closed 2011 with 380,000 units sold in the UK. Walk' is also a song that builds and by the time you get to the end where Grohl screams `I never wanna die' you are singing along with full gusto and feeling every emotion conveyed. Those songs here that hold tightly to Grohl's long perfected, quiet-LOUD formula and crescendos-- see: alt-rock lullabies "Arlandria" and "These Days", or the pop-punk door-to-ass closer "Walk"-- come closest to matching the energy of his best work.On tour in 2010 with Them Crooked Vultures, Grohl developed songs and recorded demos, which he took to Foo Fighters drummer Taylor Hawkins for development. It was also listed among The Hollywood Reporter 's ten best albums of 2011, [74] and chosen as the album of the year by iTunes.

Last year, Dave Grohl built a recording studio in his garage in San Fernando Valley and hired Nevermind producer Butch Vig to oversee Foo Fighters’ seventh album, which they recorded entirely on analogue tape. Hawkins added that he liked Wasting Light for being "straightforward, and that’s a good thing for us right now. About two minutes in it kicks up another gear and like many of Foo Fighters album-closers, this one is definitely a grower. I adore `White Limo' (which has an awesome video with Lemmy, check it out on YouTube) and this gets me tapping my feet and bobbing my head within seconds of it starting.Since the old equipment did not allow for many mistakes to be corrected in post-production, the band spent three weeks rehearsing the songs, and Vig had to relearn outdated editing techniques. Since Grohl's mixing console was not automated, at times four people—Vig, Grohl, Moulder and engineer James Brown—had to work simultaneously on the board, something Grohl found interesting because every song was done differently and "even the mixes sounded like performances" [15] [25] The mixes were tested out in the cars of the band members and Vig, as they felt that "if it sounds good on a lousy stereo, it will sound good anywhere".

The chorus has a warmth and feel good factor reminiscent of 1999's 'There is Nothing Left to Lose' album.

and keeping with the album's analog recording, the images did not use computer graphics, instead being created with "old tools of the trade" such as copy machines, transparent ink and X-Acto blades; the end result was not printed in CMYK. The vinyls themselves are in a good condition but sadly the outer casing is bowed and won't sit flat, almost like they weren't glued together correctly. The band spent three weeks in pre-production and rehearsals at their usual studio, Studio 606, where the composition was completed, going "from forty songs to fourteen".

Another part of the promotional campaign was a contest held by Fuse TV where fans created their own videos for the Wasting Light tracks. Grohl said that the words were "what was on my mind each week", [17] most being "written from the perspective of who I was then and who I am now", [35] with references to the past, life and death, [3] and "time, but questioning whether it matters at all.After "Rope", four other songs were issued as singles: "Walk", " Arlandria", " These Days", and " Bridge Burning". There are two or three songs that I am as yet undecided upon, but as a Foo Fighters album it is right up there. He warned the band that they would have to play well, as mistakes were not easily corrected without digital technology. The rousing I Should Have Known and the gorgeous Arlandria are among the best Grohl has written, while the noisy and messy White Limo could well become an unlikely hit sing-along in the manner of the Beastie Boys’ Sabotage. But as with some other Foo Fighters albums, the sense is that a number of the compositions featured here serve no greater purpose than making up numbers, and that a composition such as the ordinary Miss the Misery, to name just one, will not be played live and will never be heard from again.