Get Out of Your Own Way

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Peter_The_Roman said:
Yes, I mean it depends on how you judge it. If you're going to judge the song by how catchy it is then yes I agree it is a good song and I am temped to belt it out. However, it does lack in the areas of creativity and originality as it is practically just a re-mix of previously recorded pieces. They knew those pieces were successful so they just stuck to that formula instead of trying to come up with a new sound or trend.

I think that the reason some people are upset with U2 is that they no longer seem to be the trend setters that they once were and instead are trying to copy whatever is popular on the radio. For example, Coldplay got its inspiration from U2 and modeled their music after them but if you listen to a song like "EBW" now you hear U2 copying Coldplay. What has happened here? :huh:
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I think people are getting confused about who is copying who. U2's just sounding like U2, which I don't think they should have to apologize for.
 
Iggy Fizz said:
I honestly do not get this criticism.

So U2 have inspired other bands, who often sound like U2. And then when U2 continue to sound like U2, they are now allegedly copying these other bands?

This is a lazy, shallow criticism that makes no sense and is unfortunately all too popular in the music press.
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I agree in full.

U2 created their sound and they should never be criticized for "sounding like U2."

I would suggest when it comes to this specific song, however, that to ape BD is a misstep.

They're in Nickelback territory now.
 
Alphorn said:
I really don't see the resemblance to either song.
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I think most of the Beautiful Day comparisons come from the synths and bass tone sounding a tad similar. That and it use's the same chords used in Beautiful Day's main riff as well (G-A-D-Bm, G-A-D, as opposed to A-Bm-D-G-D-A).

Not really getting the City of Blinding Lights suggestion either though.
 
I'm pretty sure they're quite shameless about it with intent, as well. SOI and SOE both clearly are visitations and reflections of their career from start to present. It's not a coincidence... I doubt they're even hoping you don't notice. I just don't think it went over well.
 
chad_kroeger.jpg
 
BVS said:
There’s not a fucking eye roll big enough...
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Don't let them roll too hard . . .

They might come out of socket and fall into your skull.

The resulting rattling noise would be deafening.
 
lazarus said:
Also the heartbeat sound in the background?

It's pretty shameless in what they're trying to reproduce.
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I hadn't noticed that off the top of my head. Will half to take a closer listen later on.

LuckyNumber7 said:
I'm pretty sure they're quite shameless about it with intent, as well. SOI and SOE both clearly are visitations and reflections of their career from start to present. It's not a coincidence... I doubt they're even hoping you don't notice. I just don't think it went over well.
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This talk about the song “borrowing” a bit from a previous hit reminds me of something Duran Duran was going through in recording their 2011 album, All You Need is Now. Mark Ronson was the producer and purposely tried pushing the band to write material that was in a similar vein to their first three albums. His excuse at the time was that the contemporary scene was really influenced by that particular sound and that it would be worth it for the band to try doing something along those lines again, or reclaim their territory so to speak.

Maybe the biggest example of this was the song Girl Panic. The song literally started with Ronson telling the drummer to “play a drum part like Girls on Film”, then asking the bassist to “play a bass part like Girls on Film”, then telling the lead singer the song had to be “about girls” and not the concept he was going with before that.





At least two of the other songs on that album were also made because Ronson asked the keyboardist to create soundscapes similar to their cult classic, The Chauffeur.

But yeah, Duran’s an interesting situation because, like U2, they’re a band that’s tackled a lot of different musical genres and styles over the years. So you have people who would tend to prefer the “original” sound, the particular era which had certain band members, or this-or-that instead. That particular album was probably their most well-received by the fan base in a long time though. I even remember reading a fan talk about how they literally started weeping when they heard Girl Panic, because it meant they were actually hearing “that sound” again. But then you had some fans who said “they’re trying too hard” to sound like their young selves and so on. Again, probably a situation all too familiar here!
 
trevgreg said:
I think most of the Beautiful Day comparisons come from the synths and bass tone sounding a tad similar. That and it use's the same chords used in Beautiful Day's main riff as well (G-A-D-Bm, G-A-D, as opposed to A-Bm-D-G-D-A).

Not really getting the City of Blinding Lights suggestion either though.
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Listen a bit more closely to the Chorus right after they say get out of your own way. I clearly hear COBL
 
I just think too many of you are overthinking things. It’s a good, catchy song. Sure it resembles previous work but it’s not like like Always was to Beautiful Day. Just stop analyzing and enjoy the song.
 
mikal said:
I just think too many of you are overthinking things. It’s a good, catchy song. Sure it resembles previous work but it’s not like like Always was to Beautiful Day. Just stop analyzing and enjoy the song.
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Seriously. People around here are really good at finding new things to complain about. GOOYOW doesn’t sound like BD or COBL, and COBL and BD don’t even sound alike!
 
mikal said:
I just think too many of you are overthinking things. It’s a good, catchy song. Sure it resembles previous work but it’s not like like Always was to Beautiful Day. Just stop analyzing and enjoy the song.
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I still think it's one of the best choruses on the album. I've said it before but the backing "ohhhhs" by Edge are really great.

Does it resemble Beautiful Day with the "heart beat" style drum? yeah but EBW had a very With or Without you feel to it and hat didn't stop me from loving the song.
 
I have friends that think every U2 song sounds the same and some in the general public feel this way as well.

Obviously some tracks in a 40 year career are going to be similar there are only so many notes you can play before repeating yourself is pretty likely.

Its a good catchy pop song - lose the megaphone during the live performances and it can be a good sing along track for the crowd.
 
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Iggy Fizz said:
I honestly do not get this criticism.

So U2 have inspired other bands, who often sound like U2. And then when U2 continue to sound like U2, they are now allegedly copying these other bands?

This is a lazy, shallow criticism that makes no sense and is unfortunately all too popular in the music press.

I have lots to criticize the band about, but not this.
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While I don't like this song.... completely agree. Just a weird criticism. And Coldplay would be lucky to record a song like EBW
 
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I don't really mind the formula borrowing from previous hits if the song itself was effective. For me, it's not and some of the lyrics are clunky. It's not terrible though. Criticism can be moderate.
 
apparently Adam said to the BBC: 'I don't want to do anything that I've heard before… going into this record we went, 'We need a clean slate'.

that's from U2.com. perhaps he hasn't listened to GOOYOW...? :hmm:
 
trevgreg said:
I hadn't noticed that off the top of my head. Will half to take a closer listen later on.







This talk about the song “borrowing” a bit from a previous hit reminds me of something Duran Duran was going through in recording their 2011 album, All You Need is Now. Mark Ronson was the producer and purposely tried pushing the band to write material that was in a similar vein to their first three albums. His excuse at the time was that the contemporary scene was really influenced by that particular sound and that it would be worth it for the band to try doing something along those lines again, or reclaim their territory so to speak.



Maybe the biggest example of this was the song Girl Panic. The song literally started with Ronson telling the drummer to “play a drum part like Girls on Film”, then asking the bassist to “play a bass part like Girls on Film”, then telling the lead singer the song had to be “about girls” and not the concept he was going with before that.











At least two of the other songs on that album were also made because Ronson asked the keyboardist to create soundscapes similar to their cult classic, The Chauffeur.



But yeah, Duran’s an interesting situation because, like U2, they’re a band that’s tackled a lot of different musical genres and styles over the years. So you have people who would tend to prefer the “original” sound, the particular era which had certain band members, or this-or-that instead. That particular album was probably their most well-received by the fan base in a long time though. I even remember reading a fan talk about how they literally started weeping when they heard Girl Panic, because it meant they were actually hearing “that sound” again. But then you had some fans who said “they’re trying too hard” to sound like their young selves and so on. Again, probably a situation all too familiar here!
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Such a great album
 
Normally I would be happy to just ignore a song I don’t like. But this is what they’re using to promote the album… I think it's the worst song on the album.

Get Out must be the most toothless political song the band has ever released. I know, it doesn’t directly address a specific political situation, it’s more a message to people who are engaged in political activism. But what is that message anyway? “You are your own worst enemy,” only worded in a more obscure way. Is this a useful sentiment for Bono to gently coo at us? Not really. And if the other message is “I could help you, but it’s your fight” … then why bother writing a song about this stuff at all. Write about something else. Instead of stepping up to the moment, Get Out more tiptoes up to the moment, then tiptoes away. Love is Bigger has a far more valuable and clear message IMO. Songs like The Blackout, Little Things and even Love is All We Have Left also speak to the political moment in better, more interesting ways.

Even if I could get into the song’s lyrics, at least somewhat, I can’t look past the shameless musical recycling of Beautiful Day, one of the band’s most iconic songs and one of my favourite U2 songs ever. I’m not sure what the band was thinking here. Well, I mean obviously they just want another hit. I guess Get Out does offer some new things though… There’s a pointless 20 second fade-in, a bizarre verse about slaves, and maybe the most radio pandering chorus the band has ever recorded.

Okay I’m done now, no more shitting on Get Out from me. :p
 
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Scorpionac said:
Normally I would be happy to just ignore a song I don’t like. But this is what they’re using to promote the album… I think it's the worst song on the album.

Get Out must be the most toothless political song the band has ever released. I know, it doesn’t directly address a specific political situation, it’s more a message to people who are engaged in political activism. But what is that message anyway? “You are your own worst enemy,” only worded in a more obscure way. Is this a useful sentiment for Bono to gently coo at us? Not really. And if the other message is “I could help you, but it’s your fight” … then why bother writing a song about this stuff at all. Write about something else. Instead of stepping up to the moment, Get Out more tiptoes up to the moment, then tiptoes away. Love is Bigger has a far more valuable and clear message IMO. Songs like The Blackout, Little Things and even Love is All We Have Left also speak to the political moment in better, more interesting ways.

Even if I could get into the song’s lyrics, at least somewhat, I can’t look past the shameless musical recycling of Beautiful Day, one of the band’s most iconic songs and one of my favourite U2 songs ever. I’m not sure what the band was thinking here. Well, I mean obviously they just want another hit. I guess Get Out does offer some new things though… There’s a pointless 20 second fade-in, a bizarre verse about slaves, and maybe the most radio pandering chorus the band has ever recorded.

Okay I’m done now, no more shitting on Get Out from me. :p
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I think all of these criticisms are valid, and I am not a big fan of the song's message, either, whatever it really is. That said, I can't help but enjoy the song. There's something about the last 45 seconds or so (before Kendrick Lamar comes in), where the entire band is playing, that gives me the feeling that the last 45 seconds of "Mercy" gives me.
 
What the hell is going on in this thread? It's clearly a song to their kids about reaching for their dreams.
 
The song is okay, it's more or less just there for me. I don't hate it, but I can't find myself seeking it out. I actually don't mind the verses, but I just don't care for that chorus. The lyrics are clunky, but the way Bono signs them works for me. Now that chorus is just too unabashedly big and dying for radio ubiquity that I want to Get Out of My Own Way and enjoy it, but...can't. I think they figured this out to better effect on Love Is Bigger Than Anything In Its Way, but no doubt two of U2's worst and needlessly long songs titles ever.

The intro is alright and for whatever reason the melody reminds me of something by Sigur Ros.

I'm in a minority here, but yes, I prefer American Soul to this. Weirdly enough, it's another song where I prefer the verses to the chorus, but at least that chorus is better IMO. Also, musically that song has a lot going on, especially in the verses which I can appreciate as well as Edge's backup vocals.
 
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