Released in 1999, There is Nothing Left to Lose was created in a calm atmosphere between two stormy album-making processes for Foo Fighters: those that created 1997’s The Colour and the Shape and 2002’s One by One.
Even though things were more relaxed this time, new drummer Taylor Hawkins was anxious not to disappoint. Over the years, his fellow Foo Fighters drummer Dave Grohl had established himself as a musician not to be messed with in the studio, having served as the backbeat-propeller on records by both Scream and Nirvana, and on the first two Foo Fighters albums. And yet, he let Hawkins lay down about half of the album’s drums on this record, and the newcomer would be credited for all of them.
Despite the partial change on drums, the band and its collaborators continued to flourish. Grohl still dominated proceedings as guitarist, singer, and presumably, lyricist. Bass duties were carried out, as usual, by Nate Mendel. Also contributing were Adam Kasper (producer with additional credits), Andy Wallace (mixing) and Bob Ludwig (mastering), not to mention assistants. There seems to have been a mystery keyboardist at work, too.
The album opens with “Stacked Actors”, a jazz-metal fusion experiment that appears to be unique in music history. The song’s main parts include a doomy march and weary, psychedelic lounge music. Also present are an angry, take-no-prisoners chorus and a guitar freakout. It’s a weird track in a band catalogue that could be accused of not being daring enough.
The effect-laden instrumental backing of the “Breakout” intro sounds like a jet. Soon afterwards, the band are flying forward. Their combination of meaty chords and singalong, angsty choruses typical of pop-punk, sprinkled sometimes with chiming guitars similar to early alternative rockers, R.E.M., makes Foo Fighters’ tour with Blink-182 a logical conclusion.
“Learn to Fly”, the band’s exquisitely radio-ready single, had more to offer than a hilarious music video. An example of how to nail the basics of modern rock, it features an incredibly simple bassline that helps the verse’s lovely guitar chords shine. The song appropriately soars with its emotive lyrics. It sums up the album so well that it would have made a great title track.
Next, “Gimme Stitches” features shimmering guitars underpinned by more knuckleheaded ones. Somehow, it sounds quite bluesy. “Generator”, one of the most underrated Foo Fighters singles, is much quicker and features a talk box. The chorus’ lyrics, including “I’m the generator you’re on“, suit their energetic, propulsive backdrop well.
“Aurora” takes rock to rarely captured depths of beauty. “That song actually questions the meaning of life, probably,” said Grohl (according to Rolling Stone). The guitar intro alone seems to be one of a kind, sonically. Larger than life, the song ends with an epic finale.
As late as track seven, the brilliance continues. “Live-In Skin” is a rousing song, with Grohl singing, “I’m amazed that I’m still standing” and “I’m a mountain“. Its singalong bridge is outstanding. Then, “Next Year” is generally more chilled, but showcases a pretty complicated drum track. It seems to feature keyboards, and these decorations – together with this track’s bass outro – seem strongly Beatlesque.
The glossy verses of “Headwires” sit with heavy choruses, but the soft rock of “Ain’t It The Life” is chilled all the way. “M.I.A.” is a closing example of emotive arena rock with classic soft/loud contrasts. Discussions of how “getting lost in you again is better than being numb” and “taking pleasure in breaking down” are reminiscent of what Nirvana’s Kurt Cobain called “the comfort in being sad” in his lyrics for In Utero.
On There is Nothing Left to Lose, the group showcased all the best elements of Foo Fighters. From melodic bass-playing to exemplary drumming, the versatility and power of the band are clearly seen in a coherent, largely straight-ahead context. There’s plenty of musical diversity as well – and various mood changes, thanks mainly to the lyrics.
It doesn’t quite match two other albums featuring Grohl, Nevermind and Songs for the Deaf, but with its consistent quality, There is Nothing Left to Lose is rarely challenged and almost flawless.
It even outshines the previous Foo Fighters album, The Colour and the Shape, and easily beats the rest of their albums, despite all of them boasting moments of brilliance and overall strength. Whichever tracks he drummed on, Taylor Hawkins did not disappoint – and the rest of the band also excelled.
Foo Fighters’ There is Nothing Left to Lose was released via Roswell Records On November 2, 1999. Listen to it below, and own it on Vinyl here.
Words by David Lownds // Photo Credit: David Corio/Redferns
