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U2
RATING: 8
PLAY THESE: THE ELECTRIC CO., AN CAT DUBH / INTO THE HEART, OUT OF CONTROL
SKIP THESE: THE OCEAN, SHADOWS AND TALL TREES
An impressive debut album, Boy combines sweeping, atmospheric textures and post-punk edginess to create a distinctive sound that had the music world buzzing with excitement in the early 1980's - and deservedly so. Although the band has not yet perfected its trademark style on the LP, all of the basic elements are already in place: The Edge's chiming, heavily-processed guitar lines, bassist Adam Clayton's steady pulse, the hard-hitting precision of Larry Mullen Jr.'s drums, and the distinctive, impassioned vocals of Bono.
Standout tracks include the energetic 'I Will Follow,' a punkish two chord rocker that remains a fan favorite, and 'The Electric Co.,' a raucous Siouxsie And the Banshees/Ramones hybrid featuring a boisterous Edge riff that demonstrates just how much the band depended on their guitarist to achieve their unique sound. The aggressive, in-your-face Sex Pistols swagger of 'Out Of Control' is yet another highlight, its chiming guitars, joyful vocals, and swirling harmonies making it a candidate for the best punk song of all-time. Very cool.
If you prefer the band's softer, more atmospheric material you may want to check out 'An Cat Dubh,' a dark, brooding track with a great riff that drifts off into a spacey, Eno-like coda in the ending, eventually segueing into the lovely 'Into The Heart,' a great ballad with a distinctive, throbbing bass line that sounds like- yup, you guessed it - a heartbeat. But perhaps the best song is the second track on the album, 'Twilight,' a powerful, moody song containing stunning ensemble playing from each member of the band that also features a beautiful chorus and an aggressive, pedal-to-the-metal Edge guitar solo that serves as a precursor to the guitarist's effects-laced axe work on Achtung, Baby.
Unfortunately, the album really starts to sag in the second half, with each successive track sounding more and more the same - a serious problem made even worse by the conspicuous absence of catchy hooks in each of the songs (yeah, I'm talking to you, Bono). In addition, Bono's underdeveloped, youthful vocals really start to grate after a while, and while no-one can find fault with his enthusiasm, it is clear that his voice would get a lot better with age. Nevertheless, this is a fine debut album for the talented Irish lads, and one of the best records of 1980.
RATING: 4
PLAY THESE: GLORIA, I FALL DOWN, I THREW A BRICK THROUGH A WINDOW
SKIP THESE: IS THAT ALL, WITH A SHOUT, SCARLET, etc.......
Ah, the dreaded sophomore jinx....A catastrophic artistic reversion, October is a dull, thoroughly uninspiring Christian rock album that suggests the band used up all their good ideas on Boy. It is important to note that October was recorded when U2 were at a proverbial spiritual crossroads, unable to decide whether they were a "Christian rock band,' or simply just a "rock band of Christians." And since three-quarters of the band was experiencing a spiritual revival of sorts, it will come as no surprise that October is overflowing with Christian imagery - you know, the sort of evangelical Old Testament lingo that you'd be more likely to hear from Ned Flanders than from a rock and roll band.
However, the band's religious tone is probably the most positive thing about this album. When Bono enthusiastically exhorts the faithful with gleeful yelps of "rejoice!" and "Jerusalem,' he not only sounds like a man on a mission, the singer also proves that contemporary Christian music really can produce spiritual highs. And as we all know, most of today's generic Christian rock bands do everything but produce spiritual highs. Well, apart from Stryper, that is.....
So what's the biggest problem with October? The answer, alas, is the songwriting. I've listened to this album about a dozen times over the course of the last several months, and I still can't remember any of the tunes except for 'Gloria.' There are no hooks or melodies to speak of, and every song sounds exactly the same - you'd need a photographic memory to hum along. Rumor has it that Bono was forced to improvise most of the lyrics after he misplaced his original words before the recording sessions, an unfortunate incident which partially explains why everything sounds so underdeveloped and fragmented. The other major problem is Steve Lillywhite's sub-standard production, as the album's flat, murky tone makes the album sound as though it was recorded somewhere in the heavily-polluted depths of the Irish Sea.
The only standout track is the energetic hit single 'Gloria,' an emotionally-uplifting religious hymn that really pushes all the right buttons, and although I could do without all the instrumental solos just before the final chorus, the overall effect is breathtaking. And if you want to hear something that doesn't really sound like U2 you might want to give 'Tomorrow' a listen, as the song merges hard rock and Irish folk music with some interesting results. The song itself is pretty weak, but the use of traditional Irish instruments like the Oillean Pipes and Bodhran are a really nice addition.
RATING: 8
PLAY THESE: SUNDAY BLOODY SUNDAY, TWO HEARTS BEAT AS ONE, NEW YEAR'S DAY
SKIP THESE: RED LIGHT, REFUGEE
The band's darkest, most political album to date, War is an excellent CD that presents an angrier, more passionate U2 to the world. And although the album is full of lofty political "messages," the band rarely sounds preachy or out of touch with the audience; if anything, U2 finds a way to make the issues more personal, more relevant. Did I mention that this a fantastic album? Well, I'll say it again. There are a lot of great songs here. Tons and tons! And for the most part the melodies are somewhat memorable. The production is pretty decent too. Producer Steve Lillywhite must have twiddled the wrong knobs or something, 'cause the album sounds a helluva lot more powerful than the previous two releases. There's nothing here but heavy, propulsive beats, thunderous bass lines, jagged shards of distorted guitar, and the occasional maniacal Paul Hewson scream - it's pretty intense. But good. Really good.
The album's best track is 'New Years Day,' an earth-shattering, rock-your-socks-off kind of song that features a beefed-up piano riff and an aggressive guitar solo that may very well be one of The Edge's greatest performances. More importantly, this song marks the moment when Bono really fulfills his potential as a vocalist, as the young singer pushes his upper-register voice to its absolute limit in the chorus, employing a honeyed, gritty tone that raises the emotional stakes to unprecedented levels. And although I have no idea what the heck he's singing about, it all sounds pretty darn good.
Of course, the album's best-known track is 'Sunday Bloody Sunday,' a gut-wrenching protest song inspired by the tragic events of 30 January 1972, when British soldiers shot into an unarmed crowd of civil rights demonstrators in Dublin, killing thirteen innocent people and injuring countless others. A heartfelt criticism of the ongoing religious conflict in Ireland, 'Sunday Bloody Sunday' serves as a stern reminder that revolution is never glamorous - it destroys families, friendships, even entire nations. Another stellar track is 'Seconds,' a bass-heavy anti-war anthem that takes aim at the Cold War-era nuclear arms race, noting that it "takes a minute to say goodbye, push the button and pull the plug." The only bona-fide love song on the album is the energetic 'Two Hearts Beat As One,' a great funk tune with a groovy rhythm track that is probably the closest thing to a dance song that U2 had recorded up until this point (I really, really love that "I can't stop the dance" bit). The album closes with the quaint, harmony-laden '40,' a beautiful musical adaptation of Psalm 40 that just might be the best religious song the group ever came up with. Somewhere up there, The Big Man Upstairs is smiling.
RATING: 9
PLAY THESE: SUNDAY BLOODY SUNDAY, I WILL FOLLOW, "40"
SKIP THESE: NONE
Recorded live in Germany and the United States during the band's highly-successful 1983 War tour, Under A Blood Red Sky is U2's first live EP, and the all-important record that proved the band could flourish in an arena setting. Most of the tracks are vastly superior to their studio-recorded counterparts: the guitars are louder, the rhythm section is more potent, and Bono's voice is more powerful. Highlights include the ultra-political 'Sunday Bloody Sunday,' as well as the lovely '40,' which somehow manages to make the transition from a quaint, unassuming hymn to a show-stopping, lighters-aloft football stadium anthem without sounding the least bit overblown. In a world where precious few live rock albums are worth listening to, Under A Blood Red Sky is the oh-so-rare exception. A "must have" for any dedicated U2 fan.
RATING: 7
PLAY THESE: PRIDE (IN THE NAME OF LOVE), BAD, A SORT OF HOMECOMING
SKIP THESE: ELVIS PRESLEY AND AMERICA, 4th OF JULY, PROMENADE
The first of several classic U2 albums produced by the dynamic duo of Brian Eno and Daniel Lanois, The Unforgettable Fire is a collection of moody, atmospheric compositions that bravely walks the fine line between pretentious pseudo-art and good music. Based upon the lyrics in The Unforgettable Fire, it would be a definite understatement to suggest that Bono and the boys were enamored with the good ol' United States of America. And while there's nothing wrong with tippin' your hat to the Stars 'N Stripes per say, the whole "Elvis Presley And America" shtick goes way, way, way too far. So far, in fact, that I can't help but think that the album sounds like the aural equivalent of Bono giving America a sensuous, full-body oil massage ("There, is that it? A little to the right perhaps?"). Ok, ok, I know the analogy sounds pretty twisted, but there is a definite "America overload" at work.
Nevertheless, everything still works on this record. My personal favorite is the epic 'Bad,' an uplifting song about heroin addiction (huh?) that starts off quietly but then build up into this huge, bombastic refrain during which Bono lets loose with such unrestrained fury that I can hardly believe this is the same guy who sang 'I Will Follow' just a few years earlier. Heck, Mr. Bono sounds so good on this track that its sometimes easy to overlook Adam Clayton's fantastic, melodic bass line - one of his very best on a U2 record. The Martin Luther King tribute 'Pride' is another highlight, as The Edge cranks up his trusty delay pedal to create a memorable, chiming guitar riff that serves as a perfect backdrop to Bono's joyous lyrics. And while the melody isn't the greatest in the world, Bono sings with such unabated enthusiasm in the chorus that its hard not to like the song. A definite classic. In addition, 'A Sort Of Homecoming' is an energetic track with not one but TWO catchy choruses, while the darker-sounding 'Wire' is is a great, energetic track and one of the lesser-appreciated gems on the album. The title track, 'The Unforgettable Fire' is a haunting, apocalyptic song about the 1945 atomic bombing of Hiroshima; its not immediately ear-grabbing, but it will probably grow on you after a few listens. Unfortunately, the album also contains a lot filler, the majority of which is unmemorable ambient noodling of the most boring variety. Eight out of ten.
WIDE AWAKE IN AMERICA [EP] (1985)
RATING: 7
PLAY THESE: BAD (LIVE), A SORT OF HOMECOMING (LIVE), LOVE COMES TUMBLING
SKIP THESE: NONE
A four-song EP intended as a stop-gap between The Unforgettable Fire and The Joshua Tree albums, Wide Awake in America is primarily of interest to the hard-core U2 fan. This isn't to suggest that it isn't a good record - it's actually pretty darn good at times. Included are live performances of two Unforgettable Fire tunes, 'A Sort Of Homecoming' and 'Bad,' both of which are better than their respective studio recordings. The other two offerings are both Unforgettable Fire outtakes, both of them better than most of the material that actually made it onto the album. 'Love Comes Tumbling is a nice catchy tune, while 'The Three Sunrises' sees U2 explore more of their "atmospheric" side. (Incidentally, both songs are also available on 1998's Best Of The B-Sides 1980-1990).
RATING: 10+
PLAY THESE: WHERE THE STREETS HAVE NO NAME, I STILL HAVEN'T FOUND WHAT I'M LOOKING FOR, WITH OR WITHOUT YOU, RED HILL MINING TOWN
SKIP THESE: BULLET THE BLUE SKY
The all-important album that made U2 global superstars, The Joshua Tree is an amazingly diverse potpourri of top-notch songs that may very well be the best record of the 1980's - a dubious distinction, to be sure, but one that places the band in such elite company as Robert Palmer and Phil Collins....All kidding aside, this is a fantastic album that deserves all of the accolades that have been thrown its way over the past fifteen years. Nearly every track has something to offer, and although The Joshua Tree is not my favorite U2 album (that honor belongs to 1991's Achtung Baby), I would be seriously amiss if I did not acknowledge it as the band's most glorious achievement. And although The Joshua Tree lacks the sort of wide-eyed, youthful idealism that was so characteristic of the band's early recordings, the album more than makes up for it by presenting an older, more world-weary version of U2 that makes their politics seem more 'real,' more profound. The band has arrived.
Production-wise the album sounds a lot like The Unforgettable Fire, but the band spices things up by adding some interesting bluesy/country elements that give the CD a slightly grittier sound. But what really makes the album so amazing are the songs; for the very first time in U2 history, the band managed to create an album that doesn't crash and burn in the second half. There's no filler to be found here - no ambient noodlings, no recycled riffs. Just good songs.
The album kicks off with the hit single 'Where The Streets Have No Name,' a high-octane epic of gargantuan proportions that has all the essential elements of a great U2 song: heavily-delayed arpeggio guitar riffs, a pulsing bassline, a steady, propulsive beat, and an impassioned, sweeping Bono vocal. Inspired by the refugee camps that Bono visited during the Ethiopian famine in the mid-1980's, the song is also a metaphor for heaven, as Bono sings about tearing down the walls between heaven and earth, and of wanting to "reach out and touch the flame" (i.e. God). It's truly gripping. Next is 'I Still Haven't Found What I'm Looking For,' an emotional, gospel-tinged tune with an amazing Bono vocal performance that sees the talented young singer hit some incredibly high notes without using his trademark falsetto. This is followed by the group's first #1 hit single, 'With Or Without You,' a song about soul searching and spiritual redemption that features a masterful Bono vocal, as the singer moves from a soft, sultry delivery in the verses to an explosive, go-for-broke climax in the chorus to great effect. The Edge, too, delivers a fine performance, with his simple-yet-effective guitar lines ringing out quietly at first, eventually culminating in in a glorious feast of powerful guitar riffs that serves as a perfect counterpoint for Bono's vocals. Next is an unconvincing stab at the hard rock genre, 'Bullet The Blue Sky,' a pretentious political manifesto about the civil war in El Salvador made even worse by Bono's melodramatic bullshit speech after the guitar solo ("A man breathes through a saxophone/ And through the walls you can hear the city grow/ Outside its America/ Outside its America/ America"). Much better is the understated ballad 'Running To Stand Still,' a melancholy song about the devastating effects of drug addiction that contains some great bottle-neck slide guitar and a rousing middle eight section.
The second half commences with 'Red Hill Mining Town,' a song about the sense of doom that often surrounds the death of a small, close-knit resource-based community that also features amazing singing from Bono, and a catchy distorted guitar riff from Bono. Oh, and the lyrics are pretty good too ("We'll scorch the earth/ Set fire to the sky/ We stoop so low/ To reach so high"). The hit single 'In God's Country' is a high energy rocker with jangly guitars that sounds like it might be a criticism of American society, but I'll spare you my analysis because I'm probably just talking out of my arse. The song's imagery is really cool though ('I stand with the sons of Cain/ Burned by the fire of your love"). Next is the bluesy 'Trip Through Your Wires,' a raucous Southern rock tune with some great harmonic playing, while 'One Tree Hill' is a gospel-tinged tribute to a U2 roadie who was killed by a drunk driver in Dublin whilst running an errand for Bono. This is followed by 'Exit,' a dark, moody song that clings to the overused "quiet verse, loud chorus" formula without sounding too terribly stale; its not really my cup of tea, but I must say that I gained a new respect for the song when I heard the live version on Rattle And Hum. The album closes on a high note with 'Mothers Of The Disappeared,' a beautiful, synth-based tribute to the mothers of the world who have lost their children to war. A great ending to a wonderful album.
RATING: 9
PLAY THESE: DESIRE, HAWKMOON 269, ANGEL OF HARLEM
SKIP THESE: HELTER SKELTER (LIVE), SILVER AND GOLD (LIVE), BULLET THE BLUE SKY (LIVE)
The soundtrack of the band's feature-film documentary by the same name, Rattle And Hum is a collection of live performances and new studio material that may very well be the most controversial record in the entire U2 canon. While some fans admire its eclecticism, others see it as a pretentious mish-mash of unrelated musical concepts, a massive ego trip gone sour. I'm going to be up front with you right from the start and tell you that I love this album. There are easily seven or eight excellent songs on Rattle And Hum, and I'll be darned if I'm going to dismiss this album just because Rolling Stone magazine claims that it's "out of character for the band," or because Roger Ebert doesn't like the accompanying film (I think it's pretty interesting).
That being said, there are some serious problems with Rattle And Hum. First of all, this album is all over the road. If this album was driving home on a Saturday night it would be required to walk a straight line by the local fuzz - it's that unpredictable. Secondly, the album is way too long. If the band would have deleted the live performances and released only the ten new studio cuts, Rattle And Hum could have been a fantastic album easily on par with The Joshua Tree.
As far as the highlights go, be sure to check out 'Desire,' a hard-hitting blues song with a Bo Diddly beat, as well as the hypnotic 'Hawkmoon 269,' a powerful rocker with some great tom-tom fills and a cool Jim Morrison imitation courtesy of Bono. Also great is the catchy 'Angel Of Harlem,' a Memphis soul number dedicated to Billy Holliday that contains a swingin' horn section and some more amazing vocals from Bono, who proves he could belt out American roots rock with the best of 'em. The album also features a stunning collaboration with Bob Dylan, 'Love Rescue Me,' a folk rock epic that starts off quietly, but builds into this fantastically overblown climax by the end in which Bono screams like a madman while a Stax-style horn section wails away in the background. Bloody amazing. Even better is 'When Love Comes To Town,' a hilarious duet between Bono and B.B. King that features a stinging guitar solo from the old blues master himself and a blistering vocal performance from Bono; the lyrics are really good too. The album closer, 'All I Want Is You,' is nice ballad with some nice, avant-garde strings that really tugs at the heart strings, while 'Van Dieman's Land' is an quiet, understated Irish folk song that features The Edge's first lead vocal on a U2 album. Oh, and I should add that the guitarist has a really nice voice. Somewhat thin and reedy, but nice.
So what isn't so great here? Well, most of the live performances are superfluous. It's not so much that the band sounds crappy - they don't. Not even close. The problem is that Bono ruins most of them with his stupid speeches, transforming otherwise great songs into second-rate Greenpeace political rallies. For example, 'Silver And Gold' chugs along nicely until the instrumental break, whereupon Mr. Pretentious Pop Star embarks on a long, thoroughly uninspiring, and frankly irritating political rant about Bishop Desmond Tutu and "the peacemakers of the West" (Bono: "Am I bugging you?/ I don't mean to bug ya"). But what really irks me is the band's live version of 'Bullet The Blue Sky,' when Bono smugly informs the audience that the God he believes in "isn't short of cash, mister." Incredibly, a few drunk people in the audience cheer. Stupid people! Why are you cheering? Bah humbug.
RATING: 10+
PLAY THESE: THE FLY, ONE, UNTIL THE END OF THE WORLD, MYSTERIOUS WAYS
SKIP THESE: NONE
The album that (for better or for worse) commences U2's nearly decade-long flirtation with electronica, Achtung Baby is a career-defining masterstroke that still stands up as U2's best album. It is also the album that salvaged the group's career. You see, U2 had reached a dead-end of sorts with 1988's Rattle and Hum. Sure, they had achieved unimaginable success in the 1980's, and were still wildly popular throughout the world, but everyone knew that there was nowhere for the group to go but down - both musically and commercially. With Rattle and Hum (and, truth be told, The Joshua Tree) U2 had taken its Americana fascination to the extreme, reverting to a more stripped-down, traditional blues-based sound that proved the band could not only play straight-ahead rock and roll, but excel at it. However, one nagging question remained: what next for the group? No-one was more aware of the problem than U2, who themselves admitted that they had to "go away and dream it up all over again."
And "dream it up" they certainly did. Although Achtung Baby now sounds relatively straight-ahead and conventional in light of subsequent U2 projects, one must not underestimate how "new" it sounded when it was first released in 1991. Particularly noteworthy is the group's liberal use of industrial beats and loops. Of course, now it is commonplace for rock groups to employ dance beats into their music, but in the early 1990's it was a very risky venture, to say the least. The Edge also revamped his style of playing, exploring the outer reaches of his effects pedals, which made for some very interesting sounds indeed. There are also discernable German avante-garde and Madchester rave sonic undertones that manifest themselves from time-to-time. Overall, the album has a very "European" flavor to it, which contrasts sharply with the American influences that dominated the group's late-1980's output.
All of these changes in the group's sound would be meaningless if the band didn't deliver the goods in terms of songwriting, but fortunately Achtung Baby is chalk-full of killer tunes. Most notable, of course, is 'One.' The track has great vocals, and some excellent guitar playing, but its great appeal lies in its lyrics, which are some of the most poignant that Bono has ever written. Although inspired by a romantic relationship, the song also has meaning for many different levels of the human experience (i.e. "we're one, but we're not the same"), and as such is the most universal in the group's impressive catalogue of work.
Other standout tracks include the lead-off single, 'The Fly' with its uncharacteristic (for U2) heavy-rock riffing, and 'Until the End of the World,' a dark hypnotic track with disturbing lyrics that epitomizes the album's overall sense of unease. The mock advert 'Even Better Than the Real Thing,' with it's references to mass consumerism and globalization is also a treat, with a soaring guitar solo, and spacey-sounding effects. On a more optimistic note, 'Mysterious Ways' is a catchy nod to the Holy Spirit ("if you wanna kiss the sky you better learn how to kneel.") with a great beat and a sing-along chorus. 'Ultraviolet,' has Bono's best vocals on the album, and it's rousing chorus screams "single" if only there weren't so many other contenders for the hit parade on the album. The only let-down on the record is 'Who's Gonna Ride Your Wild Horses,' its trite lyrical clichés and familiar melody making it all-too-obvious FM radio fodder (which, indeed, it was).
Overall, this is U2 at its finest. The group has really changed its sound here, but unlike subsequent records - where style supersedes content - most of the tracks are well-written rock songs. In short, the album has it all - good songs, interesting production, superb vocals, and a purpose. Buy it now.
RATING: 7
PLAY THESE: STAY (FARAWAY, SO CLOSE), ZOOROPA, THE WANDERER
SKIP THESE: DADDY'S GONNA PAY FOR YOUR CRASHED CAR
Further delving into the world of "experimental" Euopean electronica, Zooropa was recorded in fits and starts on the final leg of the mammoth Zoo TV tour. Originally conceived by the group as an EP to tide fans over until the next album, the group found itself suitably inspired to create and ended up releasing this full-length CD as an album proper. The results are, to say the least, mixed. With the benefit of hindsight, the album now sounds considerably less than "experimental," which is to say that a lot of the so-called cutting-edge electronica now sounds rather "old hat." Granted, the album has aged rather well, especially considering how technologically-driven music often has a limited shelf-life, but it is very evident by now that U2 were far from pioneers in the realm of electronic music (although they were pioneers in the sense of merging rock and electronica for the masses). Sure, there are 4 or 5 fantastic songs here, but overall the band seems to be putting more energy into creating new sounds (and being "ironic") than augmenting real songs with the aforementioned "neat" sounds.
However, it would be ludicrous to suggest - as many U2 fans do - that Zooropa is pure crap. To allow this often-reviled album to collect dust on a shelf is to miss out on gems such as the 'The First Time,' a stark confessional ballad with emotional Bono vocals, and 'Stay,' a fantastic love song with what is likely Bono's greatest vocal performance of all time. Further, some of the electronic tracks are quite good. Of particular note is the title track, a moody, disturbing concoction of swirling guitars and bleeping synths that builds to a fantastic crescendo with an impassioned Bono vocal performance. The album's most rewarding track, however, is the group's collaboration with Johnny Cash, 'The Wanderer,' a bleak electronic country-and-western piece in which the protagonist descends into the ancient heretical practice of achieving redemption through sin. Ok, ok, I know that it sounds bizarre on paper, but it really works, and old man Cash sounds great on the track.
Unfortunately, the rest of Zooropa rarely reaches this kind of emotional high. Most of the rest of the tracks - including the unlikely (and undeserving) hit single "Numb" - are essentially non-descript (albeit well-recorded) electronic noodlings. It's a shame, really. Perhaps the group would have been better off chucking out the mood pieces and releasing a shorter EP after all.....
PASSENGERS: ORIGINAL SOUNDTRACKS 1 (1995)
RATING: 4
PLAY THESE: MISS SARAJEVO, YOUR BLUE ROOM, SLUG
SKIP THESE: THE REST...
A rather tedious collection of "atmospheric" electronic mood pieces, Passengers is - strangely enough - billed as a soundtrack for a movie that does not exist. Consisting mainly of instrumental tracks, the album is actually a collaboration with famed experimental producer Brian Eno, whose convoluted, overbearing handprints are all over the damn thing. Although it has its moments - the moody 'Your Blue Room' and the sublime Pavorotti collaboration 'Miss Sarajevo' stand out as classics - the overall effect is less than awe-inspiring. It is quite telling that U2 decided not to put its name on the album sleeve, despite the fact that the album was intended as a follow-up to 1993's Zooropa. But rather than delving further into Passengers we'll satisfy ourselves with a quote from the ever-candid Larry Mullen Jr., whose frustration with the band's artsy direction was a source of friction within U2 in the mid-90's: "At the time I just thought, leave your audience alone, you've already given them Achtung Baby and Zooropa....However, 'Miss Sarajevo is a classic." 'Nuff said.
RATING: 7
PLAY THESE: DISCOTHEQUE, LAST NIGHT ON EARTH, STARING AT THE SUN
SKIP THESE: IF YOU WEAR THAT VELVET DRESS, THE PLAYBOY MANSION, MIAMI
If ever there was a necessary addition to the Rock Stardom for Dummies manual, Pop would be an ideal contender. The source of the problem was the group's ill-advised decision to break one of the rules you learn on the first day of Rock Star 101 - do not book the tour before finishing the album. It is a lesson that U2 would learn the hard way, as the band was forced to release an unfinished album in order to fulfill contractual obligations. And while the album is not "unfinished" in the traditional sense that it is missing lyrics or lacking guitars, the band didn't have enough time to mix the songs to their satisfaction. It also appears as though the band couldn't make up their mind as to what kind of a sound they desired. Did they want an groovy, shake your booty kind of "dance" record? Or did they - as a handful of the songs suggest - lose their nerve and desire a return to their rock roots?
As a result of the confusion, this album is very unfocused, and as such it is not surprising that the band has distanced itself from it in recent years. Sure, it has its moments - the campy 'Discotheque' occupies a place in U2's all-time greatest singles - but overall this is not an album that one often pines to listen to. Truth be told, some tracks are downright awful. "Miami" is an utter travesty, with Bono at his absolute worst repeating the lines "Miami, my mammy" until you want to pull out your hair (or his hair transplants) in frustration. Likewise, 'The Playboy Mansion' is downright embarrassing for its attempt to use the Playboy Mansion as a metaphor for heaven (?!). Pfft, indeed.
Thankfully, there are at least 6 really good songs, the best of which is undoubtedly 'Staring at the Sun," a melodic nod to Britpop with a stadium-friendly chorus that Noel Gallagher would kill to be able to write (or at least rip off). The powerful 'Last Night on Earth' also stands out of the pack, as does the low-key 'If God Will Send His Angels,' with its hilarious "blind leading the blonde" line. All in all, this is an album worth owning, but be prepared to hit the skip button from time to time.
RATING: 10+
PLAY THESE: ALL
SKIP THESE: NONE
A first-rate compilation, Best Of 1980-1990 a sizeable chunk of U2's best 1980's output into one tidy little package. As with any "best of" album, there are a few questionable choices ('When Love Comes To Town,' 'The Unforgettable Fire'), as well as a few glaring omissions ('Gloria' 'Red Hill Mining Town'), but overall this is a very effective collection. All the hits are here: 'With or Without You,' 'Pride,' 'Desire,' 'New Years Day,' etc. The band even throws in a re-recording of 'Sweetest Thing,' a Joshua Tree outtake that was originally released as a b-side in 1987. It's a great tune, but an underhanded way to entice U2 fans to shell out for an album full of tunes they already own. Regardless, this is a fine collection, and a great overview of the most important decade in U2's history.
BEST
OF THE B-SIDES 1980-1990 (1998)
RATING: 7
PLAY THESE: SPANISH EYES, HALLELUJAH HERE SHE COMES, TRASH TRAMPOLINE AND THE PARTY GIRL
SKIP THESE: BASS TRAP, EVERLASTING LOVE
A limited edition collection originally issued alongside The Best Of 1980-1990, Best Of The B-Sides 1980-1990 is as the titled suggests - the best of U2's 1980's castaways and outtakes. U2's b-sides are generally pretty lousy, but circa The Joshua Tree sessions the band was on a roll and had a surplus of good material, and it is these songs that make this collection worthwhile. The most notable of the tracks is the original version of 'Sweetest Thing,' recorded in 1987, which is presented here in a slightly more ragged form than the re-made version that we all know and love. Sure, young Bono sounds very obnoxious on this recording, but it makes for a very interesting listen nonetheless. Also great is 'Spanish Eyes,' which features a fiery Bono vocal, as well as the atmospheric 'Walk To The Water,' which strongly resembles some of Robbie Robertson's solo material.
Another interesting thing about this album is that it demonstrates once and for all that Rattle and Hum could have been even better if the band had decided to place the b-sides on the album, instead of the live tracks. Great roots rockers like 'Dancing Barefoot,' 'Room At The Heartbreak Hotel,' and 'Hallelujah Here She Come' would have fit nicely on the oft-reviled album; it is obvious that Rattle and Hum would have been better as a ten or eleven track studio album.
If you want to hear something different check out 'Trash, Trampoline, and The Party Girl,' an early-era b-side that has a really cool party vibe going on - I'm glad the group has finally resurrected it on its current Vertigo tour. The studio-recorded 'Silver and Gold' is also much better than the live version on Rattle and Hum, as all we get is the music, and not the pompous Bono speech that marred the live version on the album.
As for the rest of the tunes, most of them are just filler, particularly the cover songs. U2 have never been a great covers band, and they prove this on karaoke-sounding embarrassments like 'Everlasting Love,' although I suppose the shockingly bad version of 'Unchained Melody' is fascinating in a twisted sort of way. Also, it is interesting to note that some of the guitar sounds The Edge uses in this 1988 recording strongly resemble some of his axe work three years later on Achtung Baby. Wouldn't that be something if 'Unchained Melody' was the missing link between the roots rock of Rattle and Hum and the Euro-electronica of Achtung Baby!
In conclusion, this collection is a must-have for all U2 fans, and even casual fans will likely find much of it worthwhile.
HASTA
LA VISTA, BABY: LIVE FROM MEXICO CITY (2000)
RATING: 7
PLAY THESE: MOFO, DISCOTHEQUE, HOLD ME THRILL ME KISS ME KILL ME
SKIP THESE: I WILL FOLLOW, NEW YEARS DAY, BULLET THE BLUE SKY
Originally available only to U2 Propaganda fan club members, Hasta La Vista, Baby is a collection of songs recorded at the Mexico City stop on the group's infamous Popmart tour in late 1997. It's pretty easy for non fan club members to obtain a copy of this CD as well, but your probably better off seeking out a bootleg video copy of this highly entertaining concert, which is easily available on DVD on BearShare or eBay. Popmart was such an out-of-this world spectacle - the band walking through the crowd at the start of the show, the world's largest video screen, the giant lemon - that you HAVE to see it to fully appreciate what you're hearing, so the CD is really not very essential, although still enjoyable.
The other problem is that many of the best performances that night aren't included on the CD, which means we don't get to hear Edge's brilliant solo electric showstopper 'Sunday Bloody Sunday,' which is probably the best version of the song I've ever heard. Also missing is a gut wrenching performance of 'All I Want Is You,' which included a snippet of the INXS song 'Never Tear Us Apart' in tribute to Bono's friend Michael Hutchence, who committed suicide a few weeks earlier.
However, there are still some great tunes on this CD. 'Discotheque' rocks with a vengeance not displayed on the studio version, while the opening techno/hard rock monstrosity 'MOFO' proves itself to one of the band's best-ever live songs. Period. Just listen to the bass line on that baby - it seems as though Mr. Clayton may have been taking some bass lessons! The guitar-heavy glam rock tune 'Hold Me Thrill Me Kiss Me Kill Me' is also riveting, and when Bono screams "f*** this!!" at the beginning of the song you know you'll be in for a wild ride.
That being said, some of the older songs aren't given the respect they deserve. 'I Will Follow' is basically butchered by the band, and the weird effect on Edge's guitar is totally uncalled for, IMHO. Also, Bono's voice is really shot to pieces, and while he sounds pretty decent when he sings the new songs (which don't have many hard-to-reach notes), he sounds like Lemmy from Motorhead when attempting to hit the high notes on songs like 'New Years Day' or 'Where The Streets Have No Name.' But more often than not he simply takes the easy way out and uses his falsetto in place of his trademark arena rock scream, which takes away the emotional impact these songs require. Oh well, I guess talent sometimes withers with age, but it's still a little sad to hear his once powerful voice reduced to a wimpy shadow of its former self. Also disappointing is the inclusion of the pedestrian 'Bullet The Blue Sky,' which never seems to get put out of its misery, although the good thing about the CD version of the concert is that we don't have to see Bono make an ass of himself with that umbrella he carries around with him (if you've seen the concert, you'll know what I'm talking about).
In the end, though, this is a valuable souvenir of a time that the band was reinventing arena rock. While the band may have gone way too far with the visual aspect of Popmart, the music was just as soulful and powerful as it ever was, and this concert proves it. The band got slammed by the media, and America turned its back on them temporarily, but for most of the world this was the ultimate rock tour experience.
ALL
THAT YOU CAN'T LEAVE BEHIND (2000)
RATING: 10
PLAY THESE: BEAUTIFUL DAY, WALK ON, IN A LITTLE WHILE
SKIP THESE: WILD HONEY
A much-welcomed return to pre-Zooropa form, All That You Can't Leave Behind is an emotionally uplifting album that sees the band reclaim its title as "the world's best rock and roll band." Indeed, the album sounds like a cross between U2's two greatest records, The Joshua Tree and Achtung Baby, grafting the American roots-rock of the former onto the Euro avant garde/psychedelia of the latter. Of course, this being a U2 album, ATYCLB also sounds very modern. For while guitar-rock dominates the proceedings there's also plenty of drum loops, samples, and the like. The band is clearly recharged. Bono is in much better voice than on Pop, and although he can't hit the high notes like he used to, his voice has a croaky, weathered charm that really brings out the warmth in these tracks. The Edge dusts off his effects pedals, and even churns out a couple of classic U2 guitar solos just like he used to in the late 1980's. Adam Clayton's bass playing conspicuous in its excellence, while Larry Mullen Jr. is clearly reveling in the fact that the rest of the group have once again sanctioned the use of real drums.
As for the songs themselves, they are uniformly excellent. 'Beautiful Day' is a made-for-stadium anthem, complete with a soaring melody and a chiming, heavily-processed solo. 'Stuck in a Moment' is a soulful, horn-injected throwback to Rattle and Hum, and when Bono sings about "trying to find a decent melody" one can't help but exclaim the one he's singing will do just fine. Also excellent are 'Elevation,' an energetic rocker which succeeds in spite of the frankly awful "mole digging in a hole" line, and the inspirational "Walk On," in which Reverend Hewson exhorts the U2 faithful to leave the past behind, and embrace the future. "In a Little While" is the album's hidden gem, a bluesy ballad with a hip-hop beat with Bono's best vocal performance in years that reminds us all that pain is temporary, and that we should never cease hoping. Also memorable are 'Kite,' a dialogue between father and son and 'When I Look at The World,' which sounds for the world like it could be an A-side. The other songs are great too - 'Grace' is quaint but really grows on you - which makes it all the more imperative that you pick up a copy of this album. Brilliant. And inspiring.
RATING: 7 (hehehehe!)
PLAY THESE: BIG GIRLS ARE BEST, STUCK IN A MOMENT (ACOUSTIC), WALK ON (SINGLE)
SKIP THESE: BEAUTIFUL DAY (REMIX), ELEVATION (REMIX)
A limited edition EP distributed exclusively by the American retail giant Target, Seven is a collection of - oddly enough - seven (get it?) non-album U2 tracks from the All That You Can't Leave Behind sessions. On this collection we are able to trace the genesis of the magnificent comeback single 'Beautiful Day' via 'Summer Rain,' which is basically 'Beautiful Day' with different lyrics and no hooks. Still, it's an interesting glimpse into the band's creative process, which has rarely been put on public display in such a manner. The other two outtakes included are 'Always,' which is unremarkable in every regard, and 'Big Girls Are Best,' which sounds like the last, labored gasp of the Pop era. Truth be told, its a rather fun tribute to the morbidly obese ladies of the world, with a catchy chorus and a foot tappin' dance beat - it's rare to hear the notoriously self-conscious U2 in such a playful mood.
The EP's focal point is the fantastic acoustic version of 'Stuck,' which many fans prefer over the glossy, overproduced album version. I rather miss the soaring "I never though you were a fool..." pre-chorus, which has been cut from this version, but other than that it's pure bliss. The single version of the ultra transcendent 'Walk On' is also highly recommendable, although the fact that this version eliminates the song's tear-jerking middle eight makes it slightly inferior to the album cut. However, this version does boast a rather swell alternate coda - the soaring "hallelujahs" suit the song to a tee, and overall it has a rawer, more gutsy feel than the album version.
Unfortunately, the EP is almost ruined by the inclusion of two incredibly lame dance remixes of the hit singles 'Beautiful Day' and 'Elevation.' I've never understood U2's illogical desire to remix their songs umpteen million times; for every A-side we have 4 or 5 different mixes, all of which are a inferior to the original, and have incredibly stupid titles. The world certainly doesn't need another "Solar plexus" mix, or another "Bono Taking A Pee In The Shower" mix, or any of the other daftly named remixes that pop up on the band's singles with alarming regularity. Wankers.
RATING: 6
PLAY THESE: ONE, STAY, BEAUTIFUL DAY
SKIP THESE: HANDS THAT BUILT AMERICA
Now this is a disappointment. Although the album boasts more than its fair share of great moments, Best Of 1990-2000 is a huge letdown, a fact made all the more frustrating when one considers just how necessary the compilation is. After all, if the 90's were anything for U2 it would be consistently inconsistent. The band came up with some great tunes, but truth be told it's a bit of a chore to sift through all of the albums to get at them (which is why a compilation of the best songs is such an attractive idea). Another important consideration is that the band put out a couple of great singles in the 90's that did not appear on any albums ('The Ground Beneath Her Feet' and 'Hold Me, Kiss Me, Thrill Me, Kill Me'). Unfortunately, U2 opted not to include one of these monumental tunes, 'The Ground Beneath Her Feet,' on this compilation, which is quite disappointing considering the fact that the song signaled U2's re-birth in the new millennium. Also disconcerting the band's attempt to re-write history by re-mixing all of the selections from Pop. Although it is somewhat understandable that U2 would want to right past wrongs, the new mixes are inferior to the old - especially 'Staring at the Sun,' which sounds flat and disjointed when compared to the glorious original.
Unfortunately, the problems don't end here. The band also includes two new songs, 'Electrical Storm' (not the original, but the William Orbit Mix. Sheesh!) and 'The Hands That Built America,' both of which are a bit dull (especially the latter), and one cannot help but conclude that the compilation would be better off with, say, a 'Walk On' or a 'Zooropa' instead. While all of this is frustrating, the CD partly redeems itself with the inclusion of other gems like 'Beautiful Day,' 'One,' 'Stay,' 'Stuck In A Moment,' 'Mysterious ways,' etc. I suppose it is fitting that such an inconsistent decade like the 90's be book ended with an inconsistent collection, but then again one cannot help but be slightly put off by the whole exercise.
BEST OF THE B-SIDES 1990-2000 (2002)
RATING: 3
PLAY THESE: ELECTRICAL STORM, YOUR BLUE ROOM, NORTH AND SOUTH OF THE RIVER
SKIP THESE: the rest....
Originally packaged with the Best Of 1990-2000 collection, Best Of The B-Sides 1990-2000 should have been slapped with a lawsuit for false and/or misleading advertising. I mean, the title clearly states that the album is "the best of the b-sides,' but what we get is a heaping plate full of revisionist crap that is basically just a slap in the face for the fans. Only a portion of the tracks included are actual B-sides, while most of the rest are just inferior remixes of an assortment of songs, mostly A-sides (?!!). I mean, why include a stupid dance remix of 'Mysterious Ways' when the original was already on the Best-Of collection, and why remix the fan favorite 'Lady With The Spinning Head' when the original was already very good? Most fans don't even have the original B-sides to begin with, so why deny them the right to hear some of them when THIS IS BILLED AS B-SIDE COLLECTION AND NOT SOME FREAKING DANCE MIX CD. Admittedly, the band's B-sides during 1990-2000 weren't as strong as the 1980-2000 ones, so there's not as much to draw from, but I mean, c'mon now! Surely they could've found room for either the charming Willie Nelson/Bono duet 'Slow Dancing,' or the lost gem 'One Shot Of Happy, Two Shots Of Sad,' or even the sublime cover of Lou Reed's 'Satellite of Love.' Dang it, why don't they ever ask my opinion before they pull shit like this?
In spite of these problems, there are a few good tunes on the album, including the vastly underappreciated track 'North and South of the River.' Like most Pop-era tunes it's got a hip hop beat going on, but its a truly beautiful gospel song with some great vocals and a nice melody. Also worthy of praise is 'Your Blue Room,' a technically non-U2 song that first appeared on the group's experimental 1995 Passengers project. It's not particularly melodic, but has this nice atmospheric thing going on that is actually quite entrancing, and a little bit eerie as well. Best of all, though, is the original mix of 'Electrical Storm,' which is miles better than the rather boring William Orbit remix found on the accompanying Best-Of compilation. Great singing, epic guitar sounds, and a nice little groove - man, this song is really good! Too bad it's one of only a handful of worthwhile tracks on this album.....
HOW TO DISMANTLE AN ATOMIC BOMB (2004)
RATING: 8
PLAY THESE: MIRACLE DRUG, SOMETIMES YOU CAN'T MAKE IT ON YOUR OWN, ORIGINAL OF THE SPECIES
SKIP THESE: NONE
For more than two years now, U2 have teased their fans with reports of the imminent release of a new album. To assert that the recent release of How to Dismantle an Atomic Bomb has been surrounded by hype would be the understatement of the year, to say the least. Band members have done little to dampen such excessive fan expectations, with the ever-humble Bono declaring it "the mother of all rock albums." So does the new CD measure up to Bono's typically hyperbolic pronouncements? The answer, alas, is a rather qualified "sort of." Yes, difficultly-titled HTDAAB sees U2 delve delve further back into its rock 'n roll roots, but there is something about the new album that prohibits it from joining the ranks of "great" U2 releases like 1987's The Joshua Tree - or even 2000's wonderful comeback album, All That You Can't Leave Behind.
Judging by the album's liner notes, the source of the problem may have been the dozen or so producers who worked on the CD (such as Chris Thomas, Steve Lillywhite, Brian Eno and Flood, just to name a few). One gets the definite sense that many of the new songs have been recorded and re-recorded so many times that they have by now lost all sense of energy and urgency. As promised by the band, the instrumentation is indeed sparse (by U2 standards, at least), but make no mistake - this is not, by any stretch, straight-ahead rock music. It is very calculated - quite typical of U2 - but it's not really rock and roll, as the band has suggested.
However, it must be noted that the production really sounds great. Everything thing sounds very clean and precise, and the band's playing is focused and tight. In addition, Bono's voice is more powerful than it's been in many years, and one can't help but sit back and marvel at the fact that it is a 45-year-old hitting those high notes with such confidence. In terms of the songs themselves, the new hit single 'Vertigo' is a short energetic rocker with a great riff that represents one of the few moments when U2 get the "rock" thing right. The catchy, emotive 'Miracle Drug' is another contender for the charts, while 'Sometimes You Can't Make It' is a moving ballad with a good arrangement that was inspired by the death of Bono's father a few years back (sample lyric: "and it's you when I look at the mirror..."). Fans of The Joshua Tree will also rejoice in 'Yahweh,' a profound hymn of praise/despair with a huge chorus, as well as 'One Step Closer,' a subtle-yet-grandiose ballad of the highest quality.
But not everything hits the mark this time around. 'Crumbs From Your Table' shamelessly lifts the chorus, guitar solo, and bridge from 'Walk On.' The mini documentary on the bonus DVD shipped with the CD reveals that the song was written in the middle of a group drinking session, and that Larry Mullen Jr. has no memory of writing the song, but still...this deplorable lapse in good judgment is still inexcusable. Nevertheless, HTDAAB is on the whole a very good CD, a consistently listenable album that still manages to please despite failing to live up to its advance billing.
RATING: 6
PLAY THESE: LEVITATE, SMILE, XANAX AND WINE
SKIP THESE: NIGHT AND DAY (TWILIGHT REMIX), NUMB (GIMME SOME MORE DIGNITY REMIX), SALOME (ZOOROMANCER REMIX EDIT)
The most highly anticipated component of the Apple iTunes Complete U2 Digital Box Set, Unreleased and Rare is a digital-only release that sounds a heckuva lot more interesting than it actually is. Although it contains 16 tracks, only 5 are actually never before heard U2 songs. The rest are either alternate versions of How To Dismantle An Atomic Bomb tunes, obscure-but-still-not-very-rare tracks from 80's compilations, or else useless remixes. Neat.
We'll start with the positives here, which include the charming HTDAAB outtake 'Smile.' as well the epic All That You Can't Leave Behind cast-off 'Levitate,' which for some bizarre reason was deemed less worthy than 'New York' for inclusion on the album. It has great vocals, and spacey, stoned ambience, and a completely unexpected though entirely welcomed change in tempo in the middle, with some squiggly guitar sounds straight out of Zooropa. Good stuff, good stuff. Some of the alternate versions of HTDAAB songs are pretty interesting too - the hard rockin' 'Xanax and Wine' is an early-but-superior version of the stupid flamenco wannabe 'Fast Cars,' and it's interesting to see that 'Vertigo' was created form the remains of the even harder-rocking 'Native Son.' There's no doubt that 'Vertigo' made a better single from a commercial standpoint, but I'm not so sure that it's the better song. Bono's vocals on 'Native Son' are amazing considering just how old he is, and Edge sounds like the second coming of the windmillin', child porn downloadin' Pete Townshend.
Some of the "obscure" material in the collection is also interesting, especially 'Jesus Christ,' which is the band's out of character 1988 stab at the gospel-country standard. 'Stateless' is also quite nice, an obscure song included on Bono's Million Dollar Hotel soundtrack - it's sort of an Unforgettable Fire for the new millennium. The novelty Christmas single 'Christmas (Baby Please Come Home' is also pretty enjoyable, and remains one of the few pop Christmas songs worth repeated listening. As for the rest, it's all pretty unmemorable, and I'm not even going to touch the remixes. Although, I will say that including an edit (yes, an edit!) of a remix of a shit b-side ('Salome') is the ultimate definition of scraping the bottom of the barrel.
Less good, however, is an embryonic take of 'Sometimes You Can't Make It On Your Own,' which has a Beatlesque descending chord sequence that doesn't suit the melody, as well as 'All Because Of You,' which is bloody miserable in every regard. No wonder the band scrapped these sessions and started over again - it may have delayed HTDAAB for a year, but it was worth the wait.
I guess I should also mention that the iTunes box set is a complete rip off. Yes, it includes almost every U2 track ever recorded, but you have to buy the entire package, and you can't just pick and choose certain songs. That means if you are a diehard U2 fan, and own all of the albums, you are paying $150 bucks for the right to buy sonically inferior versions of songs you already own - if you want the Unreleased and Rare collection, you have to buy the whole box set. You will also get some crappy early demos, a decent 1981 Boston gig, and a fantastic 1989 Dublin Lovetown concert thrown into the box set, but it's still not worth it. Instead, follow my lead: download Unreleased and Rare and the Dublin concert from Kazaa for free, and forget about the rest.
CONCERT:
U2 (with Kings of Leon)
GM PLACE, VANCOUVER, 9:00 PM, 29 APRIL 2005
RATING: 10
HIGHLIGHTS: CITY OF BLINDING LIGHTS, VERTIGO, NEW YEARS DAY, WHERE THE STREETS HAVE NO NAME, ONE, 40
SETLIST: city of blinding lights / vertigo - stories for boys / elevation / the cry - the electric co. - miami - send in the clowns - i can see for miles / an cat dubh - into the heart / beautiful day / new years day / miracle drug / sometimes you can't make it on your own - no regrets / love and peace (or else) / sunday bloody sunday / bullet the blue sky - hands that built america - when johnny comes marching home / running to stand still / pride / where the street have no name / one / zoo station / the fly / mysterious ways / all because of you / yahweh / 40
Gathering for the third time in as many nights, 20,000 U2 fans were treated to yet another great performance at a sold out GM Place in Vancouver. It was a concert few - if any - will ever forget.
The city has been in an absolute U2 frenzy over the past two months, with the band setting up shop for pre-tour rehearsals in GM Place during the month of March, before commencing the Vertigo tour in San Diego on March 28th, 2005. As if that wasn't enough, the group filmed a video for their forthcoming single ('City Of Blinding Lights') upon their return to Vancouver on Wednesday, issuing a last-minute invite local fans to take part in the process. Five thousand lucky fans witnessed a half-dozen or so renditions of the great new tune at GM Place, and were treated to a free mini-concert of selections from the group's latest CD, How To Dismantle An Atomic Bomb, for their "troubles." Thursday night's gig was also a resounding success, with the conspicuous presence of a film crew doing little to dampen the city's relentless enthusiasm for the Irish quartet.
And the band certainly did not disappoint during Friday night's encore performance. The building was absolutely buzzing with energy, particularly in the General Admission area on the floor. The crowd got a little too aggressive at the edge of the ellipse during 'Sunday Bloody Sunday,' among other songs, and a couple dozen fans were removed either because they were to violent or were being pushed too hard by the crowd (it was difficult to see exactly what happened from my standpoint).
Although similar to the setup for the 2001 Elevation tour, the stage was more interesting this time around. As with the Elevation tour, the design for this stage also featured an ellipse, but the lighting was more captivating this time, mimicking the swirling Vertigo logo as coloured lights circled the stage while traveling at different speeds. The stage backdrops were also very effective - and quite colourful, especially during the terrific concert opener, 'City of Blinding Lights' (the confetti was also a nice touch). Of course, those lucky fans who managed to get into the "bomb shelter" inside the ellipse had the best vantage point, but there really wasn't a bad seat anywhere in the arena. The sound inside the arena was predictably crappy, especially at the start of the concert, but no less so than at other concerts.
The band was in fine form on Friday night. Bono was on the top of his game, hamming it up for the crowd and strutting around the stage like the megalomaniac that he is, particularly at the beginning of the show. Any doubts about the condition of his voice on the tour should be erased tonight, as Bono's singing was more powerful than it has been in a decade - perhaps even longer. He was hitting notes a man his age should never reach, let alone attempt. The Edge had an "on" night as well. He was a little less animated than on the last tour - even Larry made more appearances on the ellipse - but his guitar work was dynamic and inspired. Bassist Adam Clayton for his part was having a great time, and engaged with the crowd more than any other group member barring Bono. But the band member who impressed me the most was drummer Larry Mullen Jr., who absolutely pummeled the drums like a man possessed, song after song. Heck, he even sang background vocals on a few tracks - something he hasn't attempted for almost two decades.
The setlist for this tour has fluctuated quite a bit, and Friday night was no exception. In simple terms, the show consists of a series of three-song mini sets, all of which have a coherent theme. For example, there was an anti-war trilogy ('Love and Peace Or Else,' 'Sunday Bloody Sunday,' and 'Bullet The Blue Sky'), a Zoo TV encore flashback ('Zoo Station,' 'Mysterious Ways,' and 'The Fly), and a "religious" theme at the end of the show ('All Because of You,' 'Yahweh,' and '40'). While this strategy worked well, it was evident that a few of the older songs have outstayed their welcome, in particular the boring 'Bullet The Blue Sky.' Why U2 choose to play this dull, uninspiring political diatribe tour after tour is beyond comprehension, especially considering just how many better songs aren't being played on this tour (i.e. 'Bad,' 'Stay,' or 'With or Without You'). The song pleases neither the casual fan nor most hardcore U2 fanatics, so why bore the audience? Similarly, 'Running To Stand Still' was quite dull and linear, and lost the audience from the start. Bono played lead guitar on this one, and let me tell you - he shouldn't. A better choice for a ballad would have been 'Original Of The Species,' one of the better tunes from the new album.
One of the most remarkable things about the concert is how well most of the new material went over. U2 is the only "veteran" band I can think of whose fans would prefer to hear the new stuff rather over many of the familiar classics. Just think about it. U2 has been around for over 25 years. Only a handful of groups are lucky enough to be around that long, let alone promote a multi-platinum selling album that most fans believe ranks among their best work. To illustrate this point, just look at the mighty Rolling Stones - undoubtedly the longest running, most popular touring act of all time. What were they doing on their 25th anniversary? Touring behind Steel Wheels - a lackluster album that proved in no uncertain terms that the band's best years were far, far behind them. It was a successful tour, to be sure, but the Stones were already a nostalgia act at that point. Thankfully, U2 has not yet fallen into this trap. New tunes like the unbelievably funky 'Love and Peace or Else' were among the highlights of Friday's show, and even some of the slower tunes like the emotive 'Sometimes You Can't Make It On Your Own' and the moving 'Miracle Drug' had the entire arena standing in awe. Even the over-played 'Vertigo' kicked ass, although I must admit that I cringed for Bono when he screamed the word "fuck" during the middle eight section for no apparent reason other than to appear "rebellious." I'm no prude, but it was kind of stupid.
Of course, the classic U2 songs were predictably fantastic. 'Where The Street Have No Name' was amazing, and had the crowd whipped up into a state of collective euphoria. If this isn't U2's most transcendent song, then I don't know what is. I had some doubts going into the concert about 'Sunday Bloody Sunday,' but once again the song blew the roof off the house. 'One' started off a bit slow, as we had to sit through another two minute Reverend Hewson sermon before the song got rolling, but the song was certainly one of the evening's spiritual highpoints. 'New Years Day' was typically excellent as well.
Long-time U2 fans also got a treat when the band rolled out a trilogy of songs from the group's 1980 debut album, Boy. I was delighted when the band launched into my personal fave from the album, 'An Cat Dubh,' although I was obviously one of only a handful of people in the arena who actually knew the song. But even casual U2 fans got into 'The Electric Co.,' which was was absolutely ROCKING and even contained snippets from The Who's 'I Can See For Miles,' among other songs. During this memorable performance Bono procured from a fan what appeared to be a cigarette (of the cannabis variety, perhaps?), and dramatically inhaled the smoke in a typically hyperbolic Bono fashion.
The only truly "cringeworthy" event took place during the encore on 'Yahweh,' when Bono reluctantly brought up some aggressive (though admittedly hot) chick from the crowd onto the stage - only to discover she was shit-faced drunk. Guaranteeing a spot in Hell for her brazenly sacrilegious behavior during the hymn, she actually grabbed Bono's crotch and tried to hump him, at which point Bono started laughing and could be heard saying "no, no....even God has a sense of humor." She was taken away by security, but the whole scene was just plain retarded, and destroyed an entire verse of an otherwise fantastic song. Did she not realize that she was being filmed, or that 20,00 people were embarrassed for her? Thankfully, the show ended on a high note with '40,' which inspired a huge audience sing-along. One by one, the group left the stage, until only Larry remained. He continued laying down the beat, beaming away, while the audience kept on singing, until he too waved goodbye. The crowd kept on singing the "how long to sing this song" refrain even as people were walking onto the streets of the city after the concert. A truly transcendent moment....
All in all, it was a great show. At the end of the concert, Bono said, "oh by the way, this concert is being filmed. Hope you don't mind!" The director of the Live at Boston DVD, Hamish Whathisname, was spotted by countless people in the ellipse, and credible sources have him claiming the show will be released on DVD. However, there is an equally persistent rumor that the Vancouver show served as a dry run for the "real" DVD, which will be filmed in Chicago next week. It would be a shame if the Vancouver shows don't get released - trust me, they would make a killer DVD. Who cares about Chicago anyway? Piece of shit city. Not that I've been there, or ever want to. I just don't like the hockey team.
Oh, and I guess I should mention that the opening act, Kings Of Leon, were brutal. I'm sure nobody cares, but it needs to be said.
P.S. My only regret is that my wife and I couldn't bring my two-and-a-half year old daughter, Jane, with us. She's already a big U2 fan, and sometimes asks to watch my various U2 DVDs (especially Slane Castle). When I first told earlier this week that her mommy and daddy were going to see U2, she was very excited, and exclaimed, "mama and dada go see Bono. On TV!!" Over the next few days, she somehow got the idea planted in her little head that she was going with us to see U2, and was talking about it non-stop. We even caught her singing "All Because Of You" to her reflection in the mirror, using her comb as a microphone. When U2 played the song during the encore, we couldn't stop laughing, thinking of little Jane.
RATING: 10
PLAY THESE: PRIDE (IN THE NAME OF LOVE), WHERE THE STREETS HAVE NO NAME, BEAUTIFUL DAY
SKIP THESE: none
Three U2 compilations in eight years. THREE! Actually, four, if you include the Apple iTunes release Complete U2 Digital Box Set, Unreleased and Rare, which you probably should, since it compiles U2 outtakes and rarities, which was a big selling point of the digital box set. That's unbelievable. If there was any doubt that U2 was a band in decline than look no further than the new "greatest hits" CD U218, the latest in a series of examples of how U2 has been incredibly underproductive since the mid-1990's. Put it to you this way, we have only heard two "real" U2 albums during the same eight years. That is, two new albums with new songs on them. Yet somehow, someway, U2 still manages to release three - that's THREE! - different "best of" collections just time for the Christmas shopping season every few years or so, and still finds time to sell a zillion iPods and DVD's on the side. A more shameless fleecing of its fans by a so-called "active" band I have never seen in my life.
Of course, the band and its minions would argue that U218 is the first U2 CD to encompass the band's entire career, and as such is a valid - no, necessary - addition to the group's discography. Naturally, these people tend to forget that the CD leaves out the first three albums entirely, and the Stalin-like purge of any references to U2's mid-nineties output (Zooropa, Passengers, and Pop) is deafening in its silence. Even more startling is the fact that 44% of the tracks on this CD have been post-2000 releases: All That You Can't Leave Behind is represented by a full FOUR songs ('Beautiful Day,' 'Stuck in a Moment,' 'Walk On,' and 'Elevation'), and even the mediocre (by U2 standards, not today's general crappy musical standards) How To Dismantle An Atomic Bomb contributes 'Vertigo' and 'Sometimes You Can't Make It On Your Own.' So basically, what we have here is a collection of the sixteen most-played U2 songs on American radio circa 2005, plus two new songs that sound slick enough to sound like they could be radio fodder in 2006 and beyond.
Of course, it also goes without saying that this CD is great. You just can't go wrong with these songs. Sure, I would have loved to hear 'Hold Me, Thrill Me, Kiss Me, Kill Me,' Stay,' and 'I Will Follow,' but on the whole this is one great listening experience. I'll never get tired of hearing the majestic 'Where The Streets Have No Name,' and I'd forgotten how brilliant the Bo-Diddley riffin' 'Desire' actually is. The groovy pop gem 'Mysterious Ways' still one of the band's best songs, and even the latter-day hit 'Beautiful Day' stands up to anything the band has ever done. I still cringe when I hear the clunky studio version of 'Sunday Bloody Sunday (although it kicks ass live), but other than that I can't fault the band for much on this CD. I suppose that the somewhat awkward Green Day-collaboration 'The Saints Are Coming' is a bit contrived, and that the Beatlesque (with harmony vocals!) 'Window in the Sky' is an shameful rip-off of Lennon's 'Instant Karma,' but surprisingly, neither of these two new tracks sound out of place at all.
Yes, U2 has gotten middle-aged and lazy in recent times, but they still want to be taken seriously, and don't want to be labeled as a oldies concert act. They still want to make hit records, and desperately want to hang on to rock stardom. It is obvious that the current situation won't last, and that U2 is on the verge of becoming a nostalgic touring band that doesn't sell CD's anymore but tours endlessly. However, for the moment at least, U2 is a band in an enviable position: they sell massive amounts of concert tickets to the lucrative 30-50 year old demographic while still managing to sell a lot of records kids under the age of twenty. This is a band who is just RAKING in the cash, and as it now stands, they are the biggest band in the world. They also happen to make great music, and that is why this CD is very good.