Foo Fighters Colour & The Shape CD

Foo Fighters: Dave Grohl (vocals, guitar, drums); Pat Smear (guitar); Nate Mendel (bass); William Goldsmith (drums).
Recorded at Grand Master Studios, Hollywood, California; Bear Creek, Woodinville, Washington and WGNS Studios, Washington, D.C.
THE COLOUR & THE SHAPE was nominated for a 1998 Grammy for Best Rock Album. "Monkey Wrench" was nominated for a 1998 Grammy Award for Best Hard Rock Performance.
Personnel: Dave Grohl (vocals, guitar, drums); Pat Smear (guitar); William Goldsmith (drums, hand claps); Lance Bangs, Chris Bilheimer, Ryan Boesch (hand claps).
Audio Mixer: Chris Sheldon.
Recording information: Bear Creek Studios, Woodinville, WA (1997); Grand Master Recorders, LTD (1997); Grand Master Recorders, Ltd, Hollywood, CA (1997); WGNS Studios, Washington DC (1997).
Photographer: Josh Kessler.
Unknown Contributor Roles: Lance Bangs; Chris Bilheimer; Ryan Boesch.
Since the first Foo Fighters album was a collection of Dave Grohl solo recordings, their second, The Colour and the Shape, is in many ways their official debut, and it certainly does sound different than its predecessor. Producer Gil Norton has tightened up the sound considerably -- his control was so tight that drummer William Goldsmith left the band during the recording, leaving Grohl to record the rhythm tracks for the bulk of the album. Certainly, Norton's big, shiny production makes The Colour and the Shape sound more professional than the debut, but the presence of a full band makes a difference, too. The full Foo Fighters make Grohl's songs heavier, not punkier, which may be a little unsettling to fans of the debut's ragged, amateurish edge. It's also strange that the album has such a glossy, arena-ready sound, since Grohl's songs are introspective, quite different than the endearing punk-pop of its predecessor. They're also not quite as catchy as before, but the band compensates by delivering them with a brutal energy. Still, the lack of immediate hooks prevents The Colour and the Shape from truly catching fire. ~ Stephen Thomas Erlewine
Now that Dave Grohl has gotten through the intense scrutiny leveled at the Foo Fighters' debut, this follow-up finds him flexing his creative muscles a little easier. Forgoing the autocratic approach of FOO FIGHTERS, THE COLOUR & SHAPE allows the other members of the band a greater amount of influence, which quickly becomes evident. The punk-pop nuggets outnumber the thrashier moments on this record. Nevertheless, Grohl's time on the D.C. hardcore scene is never far from the creative process, whether it's the first squeals and squawks that pop up around the hooks and screaming vocals of "Hey, Johnny Park" and "My Poor Brain" or the alternating, Nirvana-like dynamics of "Enough Space." Elsewhere, the dreamy pop of "Walking After You" (recorded in one take by Grohl at Washington, D.C. radio station WGNS) and "Up In Arms" rubs shoulders with the Catherine Wheelish sheets of guitar flowing through "My Hero."Rolling Stone (5/29/97, pp.47-48) - 3 Stars (out of 5) - "...COLOUR has a big, radio-ready, modern-rock sound....gives the impression that Grohl is working out some romantic issues--there are lots of relationship tunes both about breaking up and about a new love..."
Spin (7/97, p.113) - 6 (out of 10) - "...That's Dave Grohl, a simple rock guy in a simple rock band who occasionally manages to write some really good songs. He'll probably never come up with a godhead masterpiece, but then again, he already played drums on one."
Entertainment Weekly (5/23/97, pp.62-63) - "...The band heard on THE COLOUR & THE SHAPE is not a ragtag slacker unit but a bunch of confident, powerful pros--brawny, metallic, able to shift gears and tempos on a dime....In fact, the album often feels like the new-wave metal Metallica should have but didn't concoct with LOAD..." - Rating: B
Q (1/03, p.54) - Included in Q Magazine's "100 Greatest Albums Ever"
Melody Maker (12/20-27/97, pp.66-67) - Ranked #21 on Melody Maker's list of 1997's "Albums Of The Year."
NME (Magazine) (12/20-27/97, pp.78-79) - Ranked #46 in NME's 1997 Critics' Poll.