The Colour And The Shape marked Foo Fighters' coming of age.
Ian Wade 2009
Originally released in 1997, The Colour And The Shape marked Foo Fighters' coming of age. The follow-up to 1995's self-titled debut, it marked the first appearance of a whole band rather than just Dave Grohl, who'd played pretty much everything on the first album himself. And while the goodwill and smart tunes saw it succeed, The Colour And The Shape sounds fuller and more dynamic, especially under the auspicious production skills of Gil (Pixies) Norton, it gave the first indication that Foo Fighters could easily surpass the heights - and step out of the shadow of – Dave's previous employers, Nirvana.
Originally meant as some loose concept album about the beginning and end of a relationship, Grohl's lyrics read in hindsight suggest a nice man tackling everyday issues, and who was laying his heart on the line. There is a sad undercurrent of loss and regret under some of the finest born-for-stadiums rock outs. The gentle strums of opener Doll offers a vulnerable moment before Monkey Wrench ignites and blasts off into orbit. Highlights such as powerhousing My Hero and the majestic Everlong rank among the band's classics and were the pathway to the band ultimately selling out Wembley for a couple of nights in 2008.
It's still, somewhat worryingly, their biggest selling album in America, where it was showered with nominations for VMAs and Grammys at the time. Over in the UK, it confirmed the beginnings of a beautiful relationship between the Foos and very large crowds.
The Colour And The Shape may have got somewhat lost in 1997's other significant albums, in what was a bit of a vintage year, however 12 years on, it sounds fresh as a singalong-in', lighters aloftin' metal-pop daisy.