I dig the laid-back swagger of it, the Byrds-ian jangle of that guitar fused with Edge's echo, and lyrically it works on a number of levels, personal and universal (which is when I think Bono is at his best): it's a critique from the third world of the first world, it's a critique of religious institutions from a secular perspective, it's a critique from the lesser side of a one-sided relationship, romantic or otherwise. Very clever.
This is so weird. I've actually been listening to 80's U2 a lot the last week. Easily one of the best run of albums of any band of that decade. Just shy of New Order and The Smiths in terms of consistency. Achtung Baby and beyond, though? Not as big of a fan. Even The Joshua Tree is spotty for me. This album's okay, I guess.
Track picks
3. Sometimes You Can't Make It On Your Own
4. Love And Peace Or Else
5. City Of Blinding Lights
6. All Because Of You _________________ Inversion Verses
https://thesplitinfinitives1.bandcamp.c...ion-verses
This is so weird. I've actually been listening to 80's U2 a lot the last week. Easily one of the best run of albums of any band of that decade. Just shy of New Order and The Smiths in terms of consistency. Achtung Baby and beyond, though? Not as big of a fan. Even The Joshua Tree is spotty for me. This album's okay, I guess.
Track picks
3. Sometimes You Can't Make It On Your Own
4. Love And Peace Or Else
5. City Of Blinding Lights
6. All Because Of You
As a Fanboi of U2:
First bolded phrase... thank you.
Second bolded phrase... how dare you... haahha mostly kidding.
I am curious what the later tracks on the Joshua tree (assuming that's the case as most say that) you don't like and why... but just to understand another perspective. Not trying to say you are wrong and probably should give it some more time/effort (I'm trying really hard, hehe).
I dig the laid-back swagger of it, the Byrds-ian jangle of that guitar fused with Edge's echo, and lyrically it works on a number of levels, personal and universal (which is when I think Bono is at his best): it's a critique from the third world of the first world, it's a critique of religious institutions from a secular perspective, it's a critique from the lesser side of a one-sided relationship, romantic or otherwise. Very clever.
And the swagger I do like (the syncopated timing and all). And I agree with your bolded statement.
It's the music. I feel it is cheeky and doesn't match the vision of the meaning of the song you describe. I feel the vocal performance isn't earnest like we used to get from Bono. It felt earnest when he wrote Bullet the Blue Sky... like spine chillingly earnest. This somehow seems like a board member of a giant corporation earnest. Which I know is terrible - but there is something about how bleeding heart Bono turned into corporation Bono and I have a hard time reconciling that... BUT I do realize that's a tough thing you know... it's like at least he's doing something. Most people with lots of money could give two shits.
And I'm not trying to make the Bono is an ass comment and ignore the music. I feel like this song incorporates that feeling for the first and possibly only time (imo). I actually hate that argument because it allows people to say stuff like that and ignore the other amazing work U2 does. But this song somehow says it for the first time for U2.
Somehow those lyrics turned from how sad - we should stop giving them just the crumbs from the table to F yeah... they totally just get crumbs and I'm rich. I realize that's wrong, but it just feels that way when I listen to the song.
I don't like the guitar (the tone I like, but there's something cheeky about the arrangement) and synth strings... I find it kind of annoying. I also feel the fade out is a cheap way to end the song.
Sorry, I'm not trying to rip on your interpretation of the song, I'm just saying what I think about the song. Your interpretation is a valid interpretation. I just can't see it that way anymore. Oh I should probably say I had your interpretation when the album first came out and it wasn't until about 2008 when I started seeing the album in a different light. When it first came out, I was hook line sinker still that U2 could do no wrong.
As for what is in them that I like? Good Music. Competency. Restraint. Humility. Earnestness.
I can agree on that. However, while Pop was largely a mis-step (lacking restraint, humility and earnestness), I consider ATYCLB and HTDAAB to be a return to form, and consider them to have those qualities that you find lacking. I'll concede that from ATYCLB onward, they've been a band looking backward rather than just forward (trying to assimilate everything they've been). But that's the natural arc of life past 40, as you face your own mortality, you look back. I remember people dissing "Beautiful Day" because Edge sounded so much like the early records. I've never understood why people insist on artists changing for change's sake. If I'd invented a recognisable sound like Edge did, I'd OWN it as well.
Yikes... Hilariously bad, superficial, arena rock -- just going through the motions and anthemic posturings... There was so much more creativity, thought and emotion invested in the likes of War and Joshua Tree. Really hard to imagine wasting one's time with this, especially in this day and age when so much extraordinary music is at one's fingertips. I dont think I've ever made it through the whole album though, so maybe I'm wrong and it culminates with this era's Sister Ray. _________________ Best Classical Best Films Best Paintings
I can agree on that. However, while Pop was largely a mis-step (lacking restraint, humility and earnestness), I consider ATYCLB and HTDAAB to be a return to form, and consider them to have those qualities that you find lacking. I'll concede that from ATYCLB onward, they've been a band looking backward rather than just forward (trying to assimilate everything they've been). But that's the natural arc of life past 40, as you face your own mortality, you look back. I remember people dissing "Beautiful Day" because Edge sounded so much like the early records. I've never understood why people insist on artists changing for change's sake. If I'd invented a recognisable sound like Edge did, I'd OWN it as well.
I don’t have an issue with artists having a “sound” – you don’t need to switch things up to still make quality records, but you do need to experiment within that formula so to speak. If every single Dinosaur Jr. record sounded like You’re Living All Over Me they probably wouldn’t be one of my favorite bands even if that record is one of my favorite things ever.
My problem with How to Dismantle An Atomic Bomb isn’t that it is comfortable or nostalgic. My problem is that it sounds sterile, half-baked, and shallow with none of the things that made U2 interesting for me. It’s predicable to the point it feels generic and dull, lacking organic feeling or authentic expression. It feels like an album that was made with nothing really to say or do beyond filling a quota and paycheck.
It goes to show just how different an interpretation can be. Re the music not matching the sentiment, I disagree. I hear it as being the moment someone in a position of weakness sees completely through someone in power. That swagger is the reversal of power, giving dignity or even aloofness to the disenfranchised. As in, "I'm not playing by these rules anymore, I need something other, and you're no longer part of this equation".
I don’t have an issue with artists having a “sound” – you don’t need to switch things up to still make quality records, but you do need to experiment within that formula so to speak. If every single Dinosaur Jr. record sounded like You’re Living All Over Me they probably wouldn’t be one of my favorite bands even if that record is one of my favorite things ever.
My problem with How to Dismantle An Atomic Bomb isn’t that it is comfortable or nostalgic. My problem is that it sounds sterile, half-baked, and shallow with none of the things that made U2 interesting for me. It’s predicable to the point it feels generic and dull, lacking organic feeling or authentic expression. It feels like an album that was made with nothing really to say or do beyond filling a quota and paycheck.
I get what you're saying. Track 10 - "Origin of the Species" feels really forced, and painted by numbers. Pretty much exactly what you're saying. I guess for me, there were just plenty of moments that did have something to say, and happened to be exactly what I needed and meaningful for me at that point in time.
As for what is in them that I like? Good Music. Competency. Restraint. Humility. Earnestness.
I don't want to get in a fight and really am curious, do you think that actually in the mocking anti-earnestness, anti-restraint - it actually could be the most competent, showing why restraint is important, very humble and earnest? What I mean is this was an era where they actually were writing music to mock aspects of our culture missing these things... and maybe got lost in doing so a little, but it probably is a fine line? I mean you obviously appreciate that about Zooropa and Achtung Baby? This is just the last chapter in that storyline. Or do you feel, sure that's what they were trying, but they failed at it?
That synopsis after Pop I can agree with you and I also understand the consensus even from U2 themselves that Pop isn' very good, but there's some really cool stuff on Pop in my opinion (both musically and conceptually) and I can't really think of a terrible song (but probably a couple less awesome songs) - I'd love some details of what's terrible on Pop from you. The concept of the album is absolutely fantastic given the time the album came out (what we just talked about in another thread): Pop punk, Britpop, Boy Bands, Divas, etc.
They had their release party at a K-Mart... the imagery and meaning of the tour... just absolutely fantastic commentary on society at the time. So as a piece of art, I actually think it some of their best work. But as music, I think I get maybe how it could be a turn off that person doesn't get it - or maybe it's the music is so bad it doesn't matter what it means... haha... idk.
But I get it - IF the music makes it hard to believe the lyrics... Just like it did for me on "crumbs".
What I like about each song:
Discotheque: The guitar work and mockery of club life
Do You Feel Loved: The guitar part in the beginning almost sounds like something a DJ would have done scratching or something (@ 0:1. Seems like a life of pop is everything is great and warm and fuzzy, yet maybe lacking any real sense of love or earnestness. This song does drag a bit though. Some changes in the arrangement or something could have improved it.
Mofo:
Probably the most "electronic" U2 ever got. Explosions of great work from Edge again. Then Bono's voice is probably the sexiest it's been yet. They lyrics are pretty earnest conflict first introduced about religion, something previously he'd done in earnest and this is the first time in an almost mocking place - where is God now? Not looking for him anymore. Also dealing with his mother's death. Looking to music to "fill that God shaped hole".
If God Will Send His Angels:
Honestly I like this mostly because of the bass, drums and guitar. Again, another song about the absence of God and struggling with that (as a religious person). If God Will Send His Angels - will it even help? Plus this is funny: The cartoon network turns into the news...
Jesus never let me down - Jesus used to show me the score - then they put Jesus in show business - now it's hard to get into the door... I don't know I find that pretty earnest.
Staring at the Sun- beginning of the album to really take off musically for me. The first few songs were musically unique - playing with new things, but weren't the bread and butter I wanted. Conceptually, it fits into the theme of the album -we are all lost MOFOs, and it hurts cause there used to be hope. It also is the first time this hits not just personally and religiously, but politically on the album (unless you count the country songs bit on the previous song).
Last Night On Earth: the intro teases you with this almost blues thing, and then it turns that blues idea into an electronic version of it. Kind of interesting musically. I don't care that much about this song, even if musically I like it. The tone of that bass is fantastic, just enough fuzz. Passionate chorus you'd expect from arena rock U2. Post chorus has kind of cool guitar thing. Somehow it does have all this energy but falls flat, like U2 describes it - all the light came from the stage, not from us.
Gone:
This song musically is one of my favorites. The two guitar parts, that bass line, the drums. The eerie NIN feel subtlety in the background. That guitar exploding... the subtle piano. Idk... musically just fantastic.
Lyrically this is probably the most earnest and honest song about his struggle with fame.
https://www.azlyrics.com/lyrics/u2band/gone.html
Miami:
Not a bad song, but wouldn't be something I really would want to listen to over and over. When I first listened to it though I really liked it because it was really different for U2. Probably only time you can hear Bono scream on a record. Plus he says petrol. hehe. It does fit the whole Pop feel though. Again - this is where you have a sub-awesome song on an album, yet it doesn't make the album suck or make me think WFT U2, what is this garbage. The feel, the lyrics, the concept of the song still fits the album.
The Playboy Mansion:
Continuing the fake pop aesthetic of the album, they tackle fake love. I absolutely love the guitar tone on this, how it get's clipped with the wah pedal. Just fantastic. Plus it's funny. Surgery, the fountain of youth -hehe. Talk Shows are the new confession. Again that religious slight with WTF - America is this supposed religious place yet there's nothing holy here. Banks are like cathedrals and casinos are like banks. I mean just slamming what we've turned into and on a level most weren't aware of in the 90s. The 2001 and 2008 crashes in the markets hadn't happened yet.
If You Wear That Velvet Dress:
This is the first time I think U2 ever wrote a sexy song. I don't think there's a big philosophical/religious/conceptual thing going on here like usual. That bass is so nice.
Please: (to me you will find very little music more like this: Good Music. Competency. Restraint. Humility. Earnestness.)
The jazzy drums and bass in this are pretty damn cool. And I'll just leave this here for why: (Noticed musically this is a different take completely - all the parts are slightly different, best to listen to the album version)
Wake Up Dead Man:
First time Bono drops the F bomb on record. The crowning statement for the message of the record. A plea for his now dead relationship with religion/God to wake back up, but it's dead (I've unfortunately felt this very strongly and it is a very honest/real thing to tear yourself into reality like this). It's the Korn version of Santa isn't real anymore? hahahahaha. just kidding, they couldn't pull this off.
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. Seems like a life of pop is everything is great and warm and fuzzy, yet maybe lacking any real sense of love or earnestness. This song does drag a bit though. Some changes in the arrangement or something could have improved it.
