The "Key" for U2 to Make Another Great Album

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gherman

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The last 2 U2 albums have revolved around writting great songs which why I feel HTDAAB was full of very good songs but as an album was not greater than the sum of its parts, as Bono puts it. Achtung Baby is "greater than the sum of its parts." I think this has to do with the fact many of the songs on the album came from one song. The Fly, Zoo Station, Lady With the Spinning Head (B-Side) and Ultraviolet all really had the same roots. This might be the key to a more coheisive album. What do you guys think would be the "key" to U2 pulling this off again?
 
I sort of feel they came close with ATYCLB. Its about 3 songs short of another album great complete album like Joshua Tree or Achtung Baby.

I think the key is they just do what they want to do and not try to force it. I agree with your assessment of Bomb. Alot of really good songs on that album but it doesnt flow as an album. That could also be a result of several producers working on it.

They should lock themselves up in a studio someplace for an extended period with Eno and Lanois (face it, all of their great albums, these guys have been involved) and see what comes out. Odds are it would be pretty good.
 
the new album needs to have some attitude - i like any u2 music but this time we dont need any 'soft' songs - attitude, deepness, meaning - like some more achtung flavor...
 
Mostly inspiration, musically.

Third major lyrical theme, like America/desert worked for JT and new Europe/Edge's marriage breakdown worked for AB. Mortality or Africa, perhaps.

ATYCLB had a great start, all very good songs from 1-5 (minus Elevation) but then you can feel it run out of gas.
 
They need to take away the fear of another u2 backlash (like Rattle and Hum) and try something that 1. They haven't done before and 2. Something that they enjoy doing.
 
Every time U2 are in a crisis, they come out of it stronger & make brilliant albums. When they are on a roll, they are good but the spark isn't the same as when they are doing it for themselves (Edge's Marriage crisis) instead for the fans.
No offense.
 
WITS said:
Every time U2 are in a crisis, they come out of it stronger & make brilliant albums. When they are on a roll, they are good but the spark isn't the same as when they are doing it for themselves (Edge's Marriage crisis) instead for the fans.
No offense.

What was the "crisis" prior to Joshua Tree? I dont think they had any major turmoil going on during that time frame. Achtung Baby, yes. But not Joshua Tree.
 
I agree entirely with most of the above.

Hitting on a line of inspiration and then trying to work that into something is where U2 get their best end results. I think that the last album in particular was probably too focused on the end result from the very beginning. Sort of working from that backwards, rather than working from 'something' forwards and figuring it out as it goes.

And I agree with U2girl, the inspiration must be there and involve musically something new and thematically something personal. Again, a problem I think with the last album, and it's where ATYCLB differs most dramatically from the Bomb.

Mortality and Africa - not so much, not quite directly anyway. People want Bono to have some sort of fire back in his belly, but at the same time they fear him unleashing buckets of the simplistic preaching on us. I think it's fair to fear it as well. Look at Love and Peace & Crumbs. This is Bono in 2004? They're both fine songs musically, if not with their own production problems, but Bono's lyrics on both are either so simplistic and clichéd you can't believe it's him 25+ years into writing lyrics (L&P) or so clearly aimed as part of his Oprah-couch wider campaign (Crumbs) that it's understandable that given a vote the average U2 fan would probably try and steer him away from these topics. HOWEVER there is an angle to it that could/should/would be brilliant. The guy is in this incredibly unique position, sort of in history really. It doesn't have to be about Africa as such, doesn't have to be the kind of angry political rant we all want back, but he is still not likely to be dropping any time soon. What about the lessons he's learning about people and the world? TRULY learning - the kind of stories and opinions no doubt you'd hear from Bono at 2am when his media sound bite radar is switched off? When he comes home from a day with a President or company executive or aid worker or orphans - there's got to be a thought process there that isn't just personal (ie "Fuck THAT guy!" - which we're never going to hear, even if it's what he thinks), isn't so much politically aimed in any one direction or other, but just Bono as a human commenting on the humanity in all it's forms around him. Sounds wanky, but the guy clearly would have strong - very strong - things to say in private that are not the Oprahfied sound bites we hear over and over. Good or bad. Great day with amazing people, terrible day with terrible people. Love and Peace and Crumbs are actually on-topic, but off demographic. They're both aimed square at the middle of the road. They're not the Thoughts of Bono as we would expect. One day he's going to really open up and talk about this period of his life in an honest and really fascinating way. I just think there's a way he can do it now through U2 without it being personal and political, which is specifically why he's not doing it now, and without it having to be a dumbed down simplistic jingle to match the campaign pitch.

Somewhere in the middle in between the preaching on one side, and the too private true feelings on the other, is I guess the diary of how it all feels to be the guy in this position. I don't need to tell you specifically about the people I meet with, or spin a company slogan to explain to you how my day at work was. Neither does he, and if he doesn't use this experience and feed it through U2 at some point... would be a real shame. Someone actively involved in the process and the protest. You're normally only ever hearing it from one side or the other.

Anyway, as you were...
 
All you cant leave behind flows a lot better as an album in my opinion.

As for Achtung being "greater than the sum of the parts", I remember hearing Bono say once that Atomic Bomb not being greater than the sum of the parts. So that explains a lot now. I really think they should have one idea to base the album around and then go from there. Zooropa had it, Pop had it (sorta), JT had it, Achtung had it, and even AYCLB had a central idea.
 
LAPOE lyrics were decent enough, if it wasn't for the hippy-to-the-max chorus and the "where is the love" ending. When I saw the lyrics printed before the album came out I thought : ok, he's being sarcastic. Evidently not.

I think Crumbs is closer to what I mean. Talk about the corrupt globe this time, politicians making empty promises, the developed world not caring enough, how it makes you feel having meetings after meetings after meetings. Say what it is like to see the hell of African poverty, corrupt dictators, civil wars and disease from up close. It doesn't have to be "I wanna mess with Bush" or as direct as the SBS speech from Rattle and Hum, it can be more like the desperation and bitterness of Please.

Or delve into the mortality - they did touch on this on the past 3 albums (Gone, Kite, One step closer ...). Surely he will ponder on this as the years go by, and since his father died.
 
Rather than the desperation and bitterness of Please, i would prefer the emotion and dignity of Miss Sarajevo.
 
Their new album needs a new musical style with more attitude and a cohesive theme...

While their last album had great music, on the whole it felt to me like a collection of between album singles rather than a cohesive album.

I think that happened because their desire to make a punk rock style album hit a dead end and then they ended up assembling a collection of songs in the aftermath because it was time for a new album rather than making an album because there was genuine inspiration for one based upon a unifying theme...
 
Blue Room said:


What was the "crisis" prior to Joshua Tree? I dont think they had any major turmoil going on during that time frame. Achtung Baby, yes. But not Joshua Tree.

Actually they did to a certain extent. Bono speaks of 1986 as the year he spent reconnecting with friend who had for one reason or another been casualties of their rising success, Gavin and Guggi in particular, so I'm sure it involved a lot of emotional turmoil. Also, Bono visited El Salvador and Nicaragua during this time as well. Then of course there was the death of Greg Carroll which was extremely distressing for all of them but Bono in particular because they had become very close. Then add to that they interupted their recording work to do the Conspiracy of Hope tour which was a major affect on them considering the way they work.

Dana
 
I've been reading some of the posts on this thread and I have to say you all make some good points. I never really thought of it that way, but it seems like almost every album except for HTDAAB has some sort of general cohesiveness to it. It didn't seem like an album spawned from any particular idea or sound. It is a great album though, but I think it is due to the fact that each song has something unique and interesting to say. I really can't think of any other U2 album that doesn't have its songs rooted in at least an idea of a musical direction or an inspiring thought.

So far, I think they are getting an idea (seems to be experimentation and new surroundings), but the bigger picture is yet to be seen. I have to say I'm a lot more excited by the hype that is building this time around as opposed to pre-Atomic Bomb hype.
 
Didn't the band state sometime during the Vertigo Tour (later on) that they felt HTDAAB didn't feel like an "album" but more like a collection of songs?

HTDAAB has some great U2 songs on it, but you could get each track and put it on another U2 album.

And I agree with the poster that said ATYCLB has a strong start. It has a very strong A-side to it (Elevation included), but U2 took a wrong turn after In A Little While. The album does feel whole though. I get the message. They'll get it right on the next one.
 
Kite and In a Little While have really REALLY grown on me... I also am one of the the few who enjoy "When I look at the world" and I've liked "New York" alot since Bono re-wrote the lyrics...

but to me One Step Closer, Peace on Earth, Wild Honey and Grace aren't much better than filler.

And I agree about Bomb as well- the least cohesive album they've put out since Zooropa probably... though oddly enough Zooropa seemed to turn the disjointedness into a theme that worked for itself- Bomb, has some great tracks but it doesn't feel like an album to me, not like War, UF, JT, AB and most of ATYCLB...
 
Atomic Bomb to me, feels like the 'Best Of' of a 2 or 3 year period rather than an album that took 2 or 3 years to make. If that makes sense. And even then, I think they re-recorded the previous 'Best Of' versions and drained them a bit.

The Key for me is for U2 to forget about the business aspects while making the album. Just cut a record, the old fashioned way, be it rock, pop, punk, world music, whatever it is. Forget about target demographics, prime release dates, viability of lead singles or any singles for that matter, just make the closest album to their hearts they can. Minus the bulsshit of the business aspects.
 
Inner El Guapo said:
Atomic Bomb to me, feels like the 'Best Of' of a 2 or 3 year period rather than an album that took 2 or 3 years to make. If that makes sense. And even then, I think they re-recorded the previous 'Best Of' versions and drained them a bit.

The Key for me is for U2 to forget about the business aspects while making the album. Just cut a record, the old fashioned way, be it rock, pop, punk, world music, whatever it is. Forget about target demographics, prime release dates, viability of lead singles or any singles for that matter, just make the closest album to their hearts they can. Minus the bulsshit of the business aspects.

You're Hired !!!
 
Inner El Guapo said:
Atomic Bomb to me, feels like the 'Best Of' of a 2 or 3 year period rather than an album that took 2 or 3 years to make. If that makes sense. And even then, I think they re-recorded the previous 'Best Of' versions and drained them a bit.

The Key for me is for U2 to forget about the business aspects while making the album. Just cut a record, the old fashioned way, be it rock, pop, punk, world music, whatever it is. Forget about target demographics, prime release dates, viability of lead singles or any singles for that matter, just make the closest album to their hearts they can. Minus the bulsshit of the business aspects.

Which brings up the question that I've heard posed before but never discussed... with iTunes, iPods and all this other stuff... can we expect the concept of an album to remain around indefinitely into the future?

...U2 already seem to have adapted more to a climate where albums as we've known them for decades aren't the only way & time to release music... more and more regularly they consistently release handfuls of new songs on compilations or benefits in between albums, almost but not quite to the extent that there is not a real lull in new material while we're waiting for the next album...

after ATYCLB it was Electrical Storm and Hands that Built America,

since HTDAAB we've had Mercy and a slew of others from "the complete U2," Window in the Skies, a re-make of One with MJB (ducks flames from other posters), The Saints are Coming...

am I wrong or did this sort of constant stream of new U2 songs not happen nearly as much in the 80s and 90s?

(and I'm not counting 80s & 90s B-sides to singles)
 
dr. zooeuss said:


Which brings up the question that I've heard posed before but never discussed... with iTunes, iPods and all this other stuff... can we expect the concept of an album to remain around indefinitely into the future?

...U2 already seem to have adapted more to a climate where albums as we've known them for decades aren't the only way & time to release music... more and more regularly they consistently release handfuls of new songs on compilations or benefits in between albums, almost but not quite to the extent that there is not a real lull in new material while we're waiting for the next album...

after ATYCLB it was Electrical Storm and Hands that Built America,

since HTDAAB we've had Mercy and a slew of others from "the complete U2," Window in the Skies, a re-make of One with MJB (ducks flames from other posters), The Saints are Coming...

am I wrong or did this sort of constant stream of new U2 songs not happen nearly as much in the 80s and 90s?

(and I'm not counting 80s & 90s B-sides to singles)

If we accept that the label is basically only interested in sales and if it's a big major label it is certainly only interested in sales, then we can move on to how the artist themselves view it because the want of the label becomes negligible. Short of being on an independent label, you'll have to throw some sacrificial logs onto the commercial fire, i.e. the mid-album releases:

As musicians, albums can be viewed as a musicians work expressed as a set of songs meant to convey a statement, artistic, musical or both. Any musician worth their salt would treat an album and each slotted song very carefully, then depnding on the power of the artist, the label could manipulate things.

Albums, as viewed by musicians can also be looked at as a great opportunity to get out and sell yourself and promote your band by attaching some cool songs you got with some others so that people will go out and buy it, maybe there is no message, no statement and no larger artistic goal.

I'd guess if you fall into the latter group, you'd just as soon use the digital media, file sharing for profit networks and leave it at that. Cut down on costs, get the best songs you got out there and try and become famous or rich or whatever. And as cynical as it sounds, if you abandon the album structure, if you are part the pop machine in large fashion, this is exactly what you are doing.

The musicians who care about anything other than that will and should WANT to make albums, and if they carry enough weight as in able to make their label some money) then they should be able to do just that, regardless of what technology delivers it.

So in short, perhaps in the future albums will become a thing of the past for the one machination that never needed them in the first place, short of a cash grab. The pop machine, whatever genre it falls under. And for those musicians who still care about saying SOMETHING for goodness sakes, I think the album will carry on just fine. Maybe it's all digital, and you have to download the artwork, or it's sold as a zip drive, whatever the fuck, I think it will never die.
 
Inner El Guapo said:


If we accept that the label is basically only interested in sales and if it's a big major label it is certainly only interested in sales, then we can move on to how the artist themselves view it because the want of the label becomes negligible. Short of being on an independent label, you'll have to throw some sacrificial logs onto the commercial fire, i.e. the mid-album releases:

As musicians, albums can be viewed as a musicians work expressed as a set of songs meant to convey a statement, artistic, musical or both. Any musician worth their salt would treat an album and each slotted song very carefully, then depnding on the power of the artist, the label could manipulate things.

Albums, as viewed by musicians can also be looked at as a great opportunity to get out and sell yourself and promote your band by attaching some cool songs you got with some others so that people will go out and buy it, maybe there is no message, no statement and no larger artistic goal.

I'd guess if you fall into the latter group, you'd just as soon use the digital media, file sharing for profit networks and leave it at that. Cut down on costs, get the best songs you got out there and try and become famous or rich or whatever. And as cynical as it sounds, if you abandon the album structure, if you are part the pop machine in large fashion, this is exactly what you are doing.

The musicians who care about anything other than that will and should WANT to make albums, and if they carry enough weight as in able to make their label some money) then they should be able to do just that, regardless of what technology delivers it.

So in short, perhaps in the future albums will become a thing of the past for the one machination that never needed them in the first place, short of a cash grab. The pop machine, whatever genre it falls under. And for those musicians who still care about saying SOMETHING for goodness sakes, I think the album will carry on just fine. Maybe it's all digital, and you have to download the artwork, or it's sold as a zip drive, whatever the fuck, I think it will never die.

well said- you've obviously thought that through very thoroughly- which is what I was hoping since I haven't, but was just throwing it out there- I'm not a musician and so I've never really understood the issues musicians turn over when considering the question.
 
The last two were already great albums to me, so I say they just stick to whatever they're doing right now and add a little heavier/harder guitar.
 
Yeah, Edge came to the forefront a little bit more in ATYCLB, but then he seemed to take a really minimalist approach in HTDAB (other than Vertigo, of course).

I know that he's talked about trying to achieve maximum effect with minimum playing, but I think we'd all really like to hear another album where Edge is much more aggressive and does actually warrant the description of being "on fire".
 
The_Edge89 said:


Just for me and others that doesn't know, how high would that be?
Has he hit a note that high in the past?

Wide Awake on Bad and "Don't You Look Back" on WGRYWH are high C's :) And he hit the Wide Awake on 2005-12-04 - Boston and I think he hit the high C on WGRYWH on 2006-12-09 - Hawaii, not sure if it is a C on that one. The intressting thing about that note on WGRYWH is that he never did that on ZooTV, but on Vertigo tour :)
 
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