It was 1977 when a group of British and American musicians decided to jam in New York City, and honestly, they had no idea they were about to create the blueprint for every arena rock band that followed. If you flip through a copy of The Best of Foreigner, you aren't just looking at a tracklist. You're looking at a masterclass in how to write a hook that stays stuck in your head for forty goddamn years. It’s weird to think about now, but back then, critics sort of turned up their noses at them. They called them "corporate rock." But if "corporate" means writing songs like Cold as Ice or Juke Box Hero, then maybe the critics were just overthinking it.
People still argue about which era was better—the Lou Gramm years or the Kelly Hansen years—but most fans agree that the core magic happened when Gramm and Mick Jones were firing on all cylinders. That era defined a specific kind of swagger. It was polished, sure, but it had this raw, soulful undercurrent because Lou Gramm didn't just sing; he wailed.
The Tracks That Defined an Era
You can't talk about The Best of Foreigner without starting with Feels Like the First Time. It was their debut single. It’s actually kind of insane that a band’s first outing could sound that complete. Mick Jones, the founding guitarist and the real architect behind the band’s sound, wrote it while he was going through a period of massive change in his life. He wanted something that felt fresh. The result? A song that basically forced its way onto every FM radio station in America.
Then there is Cold as Ice. If you listen closely to the piano riff, it’s almost haunting. It’s got that staccato rhythm that feels like a heartbeat. A lot of people don’t realize how much R&B influence is buried in Foreigner’s music. Lou Gramm grew up listening to soul singers, and you can hear that "Blue-Eyed Soul" vibe in his phrasing. He isn't just hitting notes; he’s telling a story about a woman who is, well, pretty cold.
The Midnight Anthem: Juke Box Hero
Every kid who ever picked up a guitar in their garage owes a debt to Juke Box Hero. It’s the ultimate "started from the bottom" story. The inspiration for the song actually came from a real-life fan. One night, the band was playing a show, and there was a kid standing outside in the rain by the stage door. He couldn't get in, but he was just waiting there, desperate to be part of the magic. Mick Jones saw him and the image stuck.
The song builds perfectly. It starts with that low, pulsing bass line and just keeps climbing until the chorus hits you like a freight train. It’s one of those tracks that makes you want to drive too fast on a highway at 2:00 AM.
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Why the Ballads Actually Worked
In the 80s, every rock band felt like they had to have a power ballad to survive. Most of them were trash. They were cheesy, over-produced, and felt fake. But Foreigner hit a different gear with I Want to Know What Love Is.
Released in 1984, this song was a massive risk. It featured the New Jersey Mass Choir, Jennifer Holliday, and even Thompson Twins' Tom Bailey on synthesizers. It was a huge departure from their hard rock roots. Mick Jones has admitted in interviews that the song was deeply personal, written at a time when he was searching for something more spiritual. It hit Number 1 in both the US and the UK. Even today, if you play that song in a room full of people, everyone—and I mean everyone—starts singing the chorus. It’s universal.
The Sound of 4 (The Peak of Production)
If we’re being real, the album 4 is basically a "best of" collection all on its own. Produced by Robert John "Mutt" Lange—the same guy who did AC/DC’s Back in Black and Def Leppard’s Hysteria—it sounds massive. Lange was notorious for being a perfectionist. He would make the band do dozens of takes for a single vocal line or a drum fill.
Gramm and Lange clashed a lot during these sessions. It was tense. But that tension translated into some of the tightest rock music ever recorded. Tracks like Urgent had this incredible Junior Walker saxophone solo that felt totally out of place for a rock song, yet it worked perfectly. It gave the track a nervous, frantic energy that matched the lyrics.
The Underrated Gems
While the hits are great, The Best of Foreigner usually misses some of the deeper cuts that show off their range. Blue Morning, Blue Day is a perfect example of their darker, moodier side. It’s got a grit to it that Waiting for a Girl Like You lacks.
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And then there's Dirty White Boy. It’s a straight-up, greasy rock song. It’s not trying to be deep. It’s not trying to be a radio hit. It’s just loud guitars and Lou Gramm pushing his voice to the absolute limit. It reminds you that before they were ballad kings, they were a band that could hold their own against anyone on a festival stage.
The Evolution of the Lineup
Bands change. It’s inevitable. After Lou Gramm left for good in the early 2000s, many thought Foreigner was done. But Mick Jones found Kelly Hansen. Now, look, I know purists will always prefer Gramm. His voice is iconic. But you have to give it to Hansen—the guy is a powerhouse. He has been fronting the band for nearly two decades now, and he brings a level of energy to the stage that keeps these songs alive for a younger generation.
If you go to a Foreigner show today, you’ll see teenagers singing along to Double Vision. That doesn't happen by accident. It happens because the songwriting is fundamentally solid. The melodies are indestructible.
The "Corporate Rock" Myth
We need to address the "corporate rock" label. Back in the late 70s, music critics loved punk and new wave. They hated anything that sounded "too good." If a band had high production values and actually knew how to play their instruments, they were labeled as "sellouts."
But here’s the thing: writing a song like Hot Blooded is actually really hard. It’s easy to write a three-chord punk song about being angry. It’s much harder to write a song that uses clever modulations, world-class guitar solos, and a vocal performance that requires a four-octave range, all while making it sound effortless. Foreigner wasn't "corporate." They were just better at the craft of songwriting than almost anyone else in their lane.
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How to Experience the Best of Foreigner Today
If you’re just getting into them, don’t just stream the top five tracks on Spotify and call it a day. You have to hear them in context.
Start with the self-titled debut album. It’s raw and has a lot of 70s atmosphere. Then, move to Double Vision and Head Games. By the time you get to 4, you’ll understand the trajectory. You’ll hear how they moved from a gritty rock band to a global pop-rock phenomenon.
Actionable Ways to Dig Deeper:
- Check out the "All Access" Live Recordings: Foreigner has always been a better live band than a studio band. Find live versions of Juke Box Hero from the early 80s to see how they expanded the songs.
- Listen to Lou Gramm’s Solo Work: Specifically Ready or Not. It gives you a better idea of what he brought to the Foreigner sound versus what Mick Jones contributed.
- Watch the Documentary Material: There are some great behind-the-scenes clips of the making of the album 4. Seeing Mutt Lange and Mick Jones argue over a single snare hit explains why that record sounds the way it does.
- Vinyl is the Way to Go: These albums were mixed for analog systems. If you can find an original pressing of Foreigner or Double Vision, the low end sounds much warmer and the guitars have more "air" around them than the digital remasters.
Foreigner’s legacy isn't about being "cool" or "edgy." They were never the band that was going to change the world with a political message. They were the band that provided the soundtrack to every summer road trip, every high school dance, and every late-night drive for a generation. That’s why The Best of Foreigner continues to sell. It’s not just nostalgia. It’s just really, really good music.
To get the most out of their catalog now, focus on the 1977–1984 window. That seven-year stretch produced more hits than most bands manage in a lifetime. Pick up a copy of the Records compilation or the more recent 40 set for a full overview. Listen to the way the keyboard and guitar interweave on Waiting for a Girl Like You—it’s a masterclass in texture. Once you hear the nuances, you realize why they’ve sold over 80 million records. It wasn't luck; it was precision.