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- The Colour and the Shape (1997) is a Studio album by Foo Fighters. Rating: 100/100. Genres: Post-Grunge, Alternative Rock. Songs: Doll, Monkey Wrench, Hey, Johnny Park!, My Poor Brain, Wind Up.
Foo Fighters – The Colour And The Shape (Remastered) (1997,2018) [FLAC] Genre: Alternative Source: CD Year: 1997 (2018) Country: USA Audio codec: FLAC (*.flac).
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Perfectly timed to herald modern rock radio's sea-change shift from grunge's roar to emo's wail, this double platinum release enjoys a 10th anniversary reissue with the addition of six B-sides.
The Colour and the Shape was the Foo Fighters' second album, but it's the first to receive the commemorative 10th anniversary treatment. That's not to suggest the album is superior to Dave Grohl's 1995 Foos debut (it's not), but its double-platinum sales did mark the band's permanent transformation from humble hobby project into the grunge Wings: i.e., a band that could never claim the same cultural impact as its antecedent, but that can at least get played just as much on KROQ. And that was to be expected-- The Colour and the Shape's 1997 release was perfectly timed to herald modern rock radio's shift from grunge's roar to emo's wail.
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More so than the Foo Fighters' debut-- a homemade, self-recorded collection of demos Grohl had accumulated while manning Nirvana's drum stool-- The Colour and the Shape presented a true picture of the kind of group Grohl wanted to be in, had he not been sidetracked by the job of drumming for the biggest American rock band of the early 1990s. But despite Grohl's dream-team assembly-- Pixies producer Gil Norton, Germs guitarist Pat Smear, Sunny Day Real Estate bassist Nate Mendel, and former Alanis Morrissette drummer Taylor Hawkins (who joined after the album's recording)-- that band would turn out to be much more formulaically mall-punk than the Foos' torn 'n' frayed debut suggested.
On that first album, Grohl displayed a remarkable deftness for balancing melody and menace-- even as the rocket-launcher riffs of 'This Is a Call' and 'I'll Stick Around' shot into the red, he never lost his cool. On The Colour and the Shape, the noise/pop relationship feels more forced, like Grohl's trying too hard to grind down his sweet tooth into a fang, dressing up virtually every song in a chrome-plated guitar gilding that boosts the volume and fidelity, but ultimately dulls the impact. Maybe he's overcompensating for being a softie at heart: the gentlest turns are either presented as brief teasers (the 84-second opener 'Doll'), are appended with portentous, power-ballad choruses ('February Stars'), or are muted into a blur ('Walking After You', which reappeared in improved, revised form on The X-Files movie soundtrack). Or just contrast the first album's standout single 'Big Me' with The Colour's 'Up in Arms', two melodically similar songs in vastly different packaging: Where the former is content to coast as a simple, gentle jangle, the latter resorts to a soft/loud about-face that feels like nudge-wink schtick.
1997 The Colour And The Shape Rarities
Listening to the album a decade later, it's clear the singles were singles for a reason: 'Monkey Wrench' romps like a typical Grant Hart Hüsker Dü number but is given a massive kick by Grohl's climactic, hoarse-throated third verse, and 'My Hero' strikes the uncharted middle ground between sensitive-guy vulnerability and Super Bowl pre-game show soundtrack. And then, of course, there's the song that's kept me from unloading this disc at the used-record store: 'Everlong', one the most affecting, passionate rock songs of the 1990s-- Sonic Youth's 'Teenage Riot' recast as Weezer's 'Say It Ain't So'. (And yet, not even this pensive ode to blossoming romance is immune from the Foos' jokester tendencies-- thanks to its horror-spoof video, every time I hear this song I picture Taylor Hawkins in a Goldilocks outfit.)
The six B-sides tacked onto this anniversary edition-- four of them covers-- would seemingly serve as little more than excuse for the Foos to goof off, but in effect they lend the '97 Foos more, well, color and shape. On the album proper, Grohl shrieks that he doesn't get 'enough space,' but the robo-punk redux of Vanity 6's 'Drive Me Wild' and the dub-metal prowl through Gary Numan's 'Down in the Park' give the Foos room to explore the outer edges of their pop-punk parameters. Even the song most susceptible to the vagaries of kitsch, Gerry Rafferty's smooth-rock standard 'Baker Street', is played with a straight face, and proves an ideal complement to Grohl's voice (though it also proves you shouldn't send a guitar to do a sax's job). The final bonus cut is the caterwauling, feedback-screeched title track, which was left off the original tracklist yet provides the only real evidence on this whole album that one of the Foo Fighters used to be in The Germs.
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Then again, this album was always about severing ties to the past, with Grohl's post-relationship purging ('I was always caged and now I'm freeeee!') doubling as a metaphor for his promotion from drummer to camera-ready frontman. At the time of The Colour and the Shape's release, many interpreted 'My Hero' as a requiem for Kurt Cobain. But if there's a conversation going on between Grohl and his fallen friend here, it's in the arena-sized chorus of 'Hey, Johnny Park', when he wonders, 'Am I selling you out?' As the subsequent 10-year string of radio hits has shown, it's a question Grohl would never have to ask again.
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