It’s an indication of the changing face of the music business that Foo Fighters no longer release physical singles – their last ‘product’ being a limited edition twelve-inch vinyl featuring Rope, the first song released from 2011’s Wasting Light album. This is a shame, for some of the band’s most interesting and invigorating work has been tucked away on their singles.
- The Colour And The Shape Album
- 1997 The Colour And The Shape Rar File
- Foo Fighters The Colour And The Shape
Here’s 10 Foos b-sides which might just cause you to re-evaluate your thoughts on Dave Grohl’s stadium rockers, or fall in love with the band anew.
The Colour And The Shape (Monkey Wrench, 1997)
The Colour And The Shape is something of a curio in the history of the Foo Fighters, not merely because it didn’t actually end up on the album of the same name, but because it’s the sole track from the band’s fraught second album sessions at Bear Creek studio to have obtained an official release in its original form. Rawer, noisier and thrashier than any of the cuts which made the album, it’s a song which will make old school fans nostalgic for a time when the Foos were a less polished, more fun collective.
The Colour and the Shape - 1997 There Is Nothing Left to Lose - 1999 One by One - 2002 In Your Honor dividido en dos CD's- 2005 Skin And Bones - 2006 Echoes, Silence, Patience and Grace - 2007 Greatest Hits - 2009 Algunas canciones que les recomiendo que escuchen: Learn to Fly No Way Back Times Like These Next Year My Hero Best of You. 'The Colour And The Shape' (1997) lyrics - FOO FIGHTERS. The Colour And The Shape (1997). Doll; Monkey Wrench; Hey, Johnny Park! My Poor Brain.
Winnebago (This Is A Call, 1995)
Co-written with former Gray Matter frontman Geoff Turner, Winnebago first appeared on Pocketwatch, the cassette-only album Dave Grohl recorded under the pseudonym Late!. Revamped by Grohl during the October 1994 recording session which yielded the first Foo Fighters’ album,Winnebago was ultimately nudged from the final track-listing by the song Wattershed, but has a cult reputation among hardcore fans and is often included in the set-list for ‘intimate’ Foo’s shows.
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Dear Lover (My Hero, 1998)
Recorded during the band’s second stab at making The Colour And The Shape with Gil Norton, this understated ballad was presumably omitted from the final running order as Grohl decided that the album already had enough mid-paced, sentimental, starry-eyed love songs already.
Make A Bet (Learn To Fly, 1999)
First recorded back in 1992, with Grohl’s big sister Lisa playing bass, Make A Bet is one of the oldest songs in the Foo’s catalogue. Curiously, Grohl went back and re-recorded the song again in 2002 with producer Nick Raskulinecz, this time re-titling the song Win Or Lose. This version is better.
Fraternity (Generator, 2000)
Written and recorded for There Is Nothing Left To Lose, Fraternity was left off the album, and subsequently re-recorded in December 1999, when the band booked a session at Grohl’s 606 studio in order to try out some potential B-side material with newly recruited guitarist Chris Shiflett. To date, this is the only song from this studio session to have surfaced.
Danny Days (All My Life, 2002)
Another cover, with added novelty value for Foo Fighters fans in that it’s one of only two songs (the other being a cover of Jawbreaker’s Kiss The Bottle) recorded by the band on which guitarist Chris Shiflett takes lead vocals. Originally recorded by the Ramones for 1980’s Phil Spector-produced End of The Century album, the sweetly melodic song is titled in tribute to the band’s tour manager Danny Fields. Oddly, despite the fact that the Foo’s version was recorded at Taylor Hawkins’ home studio, the drums on this track were played by former David Lee Roth sticksman Gregg Bisonette.
FFL (Best Of You, 2005)
One of 31 songs recorded for the Foo Fighters’ fifth album, In Your Honour, FFL (Fat Fucking Lie) is one of the most aggressive, full-tilt songs recorded by the band in the past decade, but ultimately not seemed worthy of a place on the album’s ‘heavy’ side. A shame, because this side of the Foo’s isn’t heard often enough.
Spill (Best Of You, 2005)
Recorded, as with FFL, during the monster sessions for In Your Honour, Spill didn’t make the cut for the album, which is curious, as it’s a better song than at least half the songs which were included. Perhaps too ‘typical’ of the band’s early sound, it’s another firm fan favourite, and one of the Foo’s most under-rated and less known ragers.
Seda (Long Road To Ruin, 2007)
A sweet and pretty little ditty, with a skiffle beat and country feel, the low-key Seda was recorded during pre-production for Echoes, Silence, Patience & Grace before Gil Norton arrived to produce the album sessions. A charming addition to the Foo’s catalogue, it’s one of their least-heralded cuts.
Requiem (Everlong, 1997)
Recorded at Radio 1’s Maida Vale studios on April 30, 1997 for Steve Lamacq’s Evening Session show, this Killing Joke cover carries not of the original’s bristling menace, but takes on a dreamier, trippier quality thanks to Grohl’s softly-spoken vocals. Famously, Nirvana ‘appropriated’ the riff to Killing Joke’s Eighties for Come As You Are, but this cover ensured that Grohl and KJ frontman Jaz Coleman became firm friends, leading to Grohl drumming on the band’s self-titled 2003 album.
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. Alfa laval cas software sales.
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.
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.
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 Colour And The Shape Album
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.
1997 The Colour And The Shape Rar File
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.