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The production by Gil Norton is a bright contrast to the lo-fi of the debut album Foo Fighters.

Whatever Grohl was going through at this time, it ended up in the music. It has the vibe, and it reeks of passion. The Colour and the Shape has the songs, it has the riffs, and mindblowing drums. It joyfully careens from those heavy blasts, to quiet acoustic bits of pop glory. This works though, as an appropriate contrast to the soft melodies of “Walking After You” and “February Stars”. It is true: Grohl chips the paint with his voice from time to time.

Of one were to give a negative critique to any of this album, it might be Grohl’s screaming on “My Poor Brain” and “Enough Space” among others. The Law of Conservation of Energy dictates that it all comes out of your body as you rock to this album! That’s what happens on “Monkey Wrench”, “My Hero”, “Everlong”, “New Way Home” and “Hey, Johnny Park!”, five of the most exciting tracks. When Dave plays the drums, the energy level goes through the roof and comes out the speakers. Maybe that’s one reason that the album is so special. The drummer (William Goldsmith) was fired mid-way and Dave re-recorded all the drums himself, bar two ballads. The Colour and the Shape was a product of its time and all the things Grohl was going through. It’s that one magical, flawless album that can never be equalled no matter what Dave Grohl & Co. The Foo Fighters got it right the first time when they released The Colour and the Shape in 1997 At 47 minutes, it was already a bit longer than the average album, but what a towering 47 minutes they are! There is a reason that The Colour and the Shape is consistently the album that all others are compared to.