Any word from Danger Mouse?

[Nick66]

What "half" ? He's on 9 out of 11 songs.

I'm referring to the songs where he is either credited alone, or credited first. Those are the ones he had the biggest influence, and where I can hear his work the most.

 

[Martinuk100]

Dangermouse is all over the sound of this album. They recorded with him for the best part of 3 years on and off. I'm sure when Songs of Experience arrives sometime next year we'll see his production credits on this record too.

I'm sure when Dangermouse took the gig 4 years back he looked at their back catalogue and coached the band to write differently and play to their strengths. The whole album has a really polished, not over produced and fresh sound. It's their best work since All That You Can't Leave Behind. There isn't a classic track on here that's amongst their best but it doesn't matter.

The work Paul Epworth and Ryan Tedder did really adds to the first half of the album. Song for Someone could have been an over produced mess with strings etc... Ryan Tedder has given it some restraint and let a beautiful melody speak for itself.

If the band have more studio work to do for Songs of Experience I'd book them again if they're available. If Adele still has studio work left to do they'll be busy.


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[Reggie Thee Dog]

There isn't a classic track on here that's amongst their best but it doesn't matter.
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Wow, that's a bold statement. I didn't care for WOWY when I first heard it...I also thought Beautiful Day was the stupidest name for a song...I love those songs now, and they are 'classics'...

Who's to say anything regarding the lasting power of the songs or the album as a whole, less than a week after the release...

 

[U2girl]

I got the feeling that Danger Mouse's work is present on ALL songs. All the things Epworth and others did is possibly polish a few songs - that Danger Mouse already did - to make them slightly more pleasing to radio. And if my assessment is true, then good job everyone!

There are no "Crazy Tonights" on this album - desperate attempts to make a Top 40 song that is really just terrible. The slight polishing of "Miracle" or EBW makes the song a bit more poppy, which may give U2 another hit (well, at least something that lasts more than one week in the Top 40, like GOYB).

If U2 still fail to have a hit, then at this point, they should stop trying to get one. If one occurs on any future release, great, but just release albums that they like.

EBW, SFS, California and Miracle. All blatant radio attempts.

 

[Izzy.nyc]

There's no blatant radio attempt that I can hear. It's unabashedly raw, no stereotypical song structure or campy chorus. There's depth to each and every song the more you listen to it. I've waited for over 15 years to say I needed several listens to warm up to it.


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[ozeeko]

Oh come on, the first 4 songs are all radio-bait, as is Volcano, and you could even argue Iris. Does that make them bad? Not at all, I actually like most of them because they're at least following through with their intentions. The only ones I don't like as much are Volcano (though recorded and performed better, sounds like it's from the Boots, SUC world), and The Miracle (a song that could've been a pure pop thrilling single if Bono didn't get in his own way with it). SFS is not my cup of tea but it at least accomplishes what it sets out to do.

 

[BVS]

Is Dangermouse ok?


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[purpleoscar]

Is Dangermouse ok?


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He probably is now.

 

[Niceman]

It's been 5 days since the album dropped. It would be inappropriate for Eno & Lanois to speak up and possibly interfere with the album's reception at this point. Whether they have negative, positive, or anything else to say.

And what is there for DM to say? "I hope you like my work?"

Give it time. I'm sure he'll be talking about these albums for the rest of his life.

 

[super fly guy]

Is Dangermouse ok?


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Maybe,we'll see.

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