On the invigorating self-titled debut of The Foo Fighters album, Dave Grohl had single handedly found the ability to exonerate a technical ability to create a resurgence of an alternative approach. Most of the instrumentals had been recorded by Grohl’s personal creativity, despite his caricature clearly indicating a slight fear concerning his ability to uphold a group dynamic.

Foo Fighters (1997) | Photo: Foo Fighters Archive

Foo Fighters (1997) | Photo: Foo Fighters Archive

Frankly put, the personalities of the instrumentalists during the first tour were of resounding notoriety. While William Goldsmith and Nate Mendel were recruited from Seattle’s own Sunny Day Real Estate, the reminiscent reminder of Nirvana was in Pat Smear. Smear offered far more eccentric input orchestrally than what was displayed through his less involved projects. Germs tended to be punk royalty while Death Folk (with Gary Jacoby) offered transient retrospective; the likes of when Paul Westerberg created music without the assist of his fellow “Replacements.”

Foo_fighters-The Colour And The Shape-vinyl-review

As for Dave, many had accredited this feat to his previous grandiosity with “The Fighters” debut to the likes of Nirvana. Very few however had failed to anticipate the potential his temperament would provide in the recording of The Colour and the shape. The likes of which resembles his ability to channel his aggression facing divorce, and constantly aspiring to smile the pain away. This balance brought a sentiment that further astounded those with perception that Grohl was a one trick pony in conquest for the resurgence of grunge. The alchemy provided a level of passive that reflects highly on the energy Grohl had exonerated over these transitional events.

#TBT Review… Well kinda

Grohl had found himself disconcerted with his ability to be impactful, and clearly desired to resonate these tendencies with his audience. For this reason the album The Colour And The Shape was delayed, as the William Goldsmith drum tracks were dropped and were replaced once again by Grohl’s beats. Goldsmith had completed the tour, and on his departure Dave sought for a recommendation from Taylor Hawkins. Taylor had jumped ship from his day job drumming for Alanis Morrisette, the likes of greener pastures, or possibly for the opportunity to hit his drums a little harder.

[LISTEN] Foo Fighters – The Colour And The Shape (Full Album)

Pat Smear on the other hand had felt exhaustion; while it is unclear whether it was due to the recording process, the creative libations, or possibly just personal introspective remains unclear. He had made it evident that while these events were simultaneously distracting, that it would not deter the group dynamic. For this reason I personally have grown fond of the line-up accentuating Smear, Hawkins, Grohl, and Mendel. Their group dynamic was accentuated by the most rare of releases “A320.” It is not discounted to say that this track may quite possibly be the most beautiful track in their entire library.
While I won’t pain-stake the readership into my traditional track analysis, I will vouch and emphasize that the album is nearly immaculate to me in its entirety. My highlight track persisting in the ever so compelling “February Stars.” This album is a must own.

[Track List]

1. “Doll”
2. “Monkey Wrench”
3. “Hey, Johnny Park!”
4. “My Poor Brain”
5. “Wind Up”
6. “Up in Arms”
7. “My Hero”
8. “See You”
9. “Enough Space” (Grohl)
10. “February Stars”
11. “Everlong” (Grohl)
12. “Walking After You” (Grohl)
13. “New Way Home”