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The title track to the Foos’ most sonically ambitious album ever succumbs to its weakness for, well, everlong tracks in the third act, slouching and droning onward rather then dazzling with dexterity and poise. Grohl and guitar virtuoso Kaki King pluck up a storm, but the rusticity becomes nothing more than a (thankfully short) interruption in the heavier work at play. Unfortunately, the instrumental “Ballad” sticks out like a blackened thumb on the otherwise rock-heavy Echoes, Silence, Patience & Grace. As a tribute to him and the rest of the miners, Grohl dedicated a song to them on the band’s next album. After meeting an Australian miner who survived the Beaconsfield mine collapse, Grohl was moved to discover that, while trapped, the man requested an iPod with In Your Honor on it. This entry deserves, at the very least, some slight admiration for its intent. “Ballad of the Beaconsfield Miners”Įchoes, Silence, Patience and Grace (2007)

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Though they could benefit from a more holistic blending of genres from moment-to-moment (the song goes from funk, to southern rock, to metal, and it feels like they could have settled on one), there’s still a certifiable drive and enthusiasm from the full band that’s compelling and rich. “Cloudspotter” brings the energy from the very first Taylor Hawkins drum hit, and finds Foo Fighters taking inspiration from ‘70s funk - that is, until the chorus arrives with some classic Foo Fighters high-caliber rock. It’s like being stuck in a waiting room with a friend who can’t talk because he or she’s got their tonsils removed. “Spill” hits the bull’s-eye on every one of these points. More often than not, they sorely lack in any hooks or melodies and have as much flavor as a slice of Melba Toast. The most rewarding aspect to any Foo Fighters B-side is the way you can pinpoint how the band goes through the motions in the studio. Grohl’s eulogy to a dead friend has moments of emotional resonance, which soon get sapped by the repetition of the awkward title pun. Like lead single “Shame Shame,” there is deliberate restraint from Foo Fighters, and while the quiet vocals, expressive guitars and layered harmonies work in their favor, “Medicine at Midnight” still comes across as a bit general.

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The title track of Medicine at Midnight is an ode to the late ‘70s, and it feels specifically made for a mid-period piece movie montage, perhaps with a choreographed disco sequence sandwiched between neon-lit night drives. Even when the members of his old band Scream join in for the shout-along chorus, their voices are buried so low in the mix that the song never achieves the scene-power Grohl is so fond of singing about. hardcore movement of Grohl’s youth is how thin it all sounds. The cruel joke of the Foos’ tribute to the D.C. It’s big and plodding, of course, but it doesn’t really belong, nor would it add much to any other Foos record either. “The Line”Ĭoncrete and Gold’s most forgettable song stands out for the wrong reasons: It disrupts the paisley-fringed sonics for a bizarre detour into big, ‘80s guitar jangle like it mistook the Psychedelic Furs for actual psychedelia. Proof that a bonus isn’t always a good thing, this One by One bonus track can be filed under “too much of a bad thing.” Forget the painfully strung-together clichés or the tedious repetition that make the song play three days over its actual runtime a rock song that agitates a bit can be a good thing, but this B-side is the equivalent of a fly you just can’t swat away, one that keeps buzzing you “over and over and over again.” Sorry if anyone reading danced at their wedding to this song. One by One Special Limited Edition (2002) We learned a lot about the band in the process, but most noticeably these three items: Naturally, when ranking every song from the band’s 11 studio albums, there are the usual caveats: No songs are included that have only been released in demo form, and no covers will be found here. Hawkins’ death in 2022 led to a new era of Foo Fighters, and it’s one that pays respects to those they’ve lost. They’re a band of many distinct eras, and as Grohl began to expand the Foos, fans grew to love not just Grohl, but also Pat Smear, Chris Shiflett, Nate Mendel, and, of course, Taylor Hawkins. The kids just can’t get enough of the Foos.īecause of this, we’ve decided to rank every Foo Fighters song, including every song off their latest release, But Here We Are. Nobody can forget his mug, and while some may attribute that success to his uncanny optimism, the reality is that his band is always in the charts whenever they have a new album. With Foo Fighters, Grohl has become one of the most recognizable faces in not only the genre but the music industry.