I do think there is something to be said about an idea coming rather quickly, etc. in terms of it being 'deemed' special, and getting everyone on the same page. It a powerful bond to play in a room and have that spark come. If a musician can arrive at this point, obvs. there is something drawing that group of people to those chords, those sounds, etc.
This doesn't mean you can't labor over something for months/weeks, etc. and come up with a masterpiece. It would seem more often than not U2 like at arrive at something, or Edge has it all worked out and its easy for the others to add in subtle additions.
The "trying" to work a hit does seem like a harder thing for U2 to accomplish given their historical working methods. It would seem Edge has the idea already, and/or they arrive at it, like "One." This doesn't mean they don't tinker with bit during the formal recording.
The production aspect is interesting. I am always interested in that during Pop, Howie B. said they should just be U2 and not worry so much about the "dance aspect." I agree with 65980 that the Pop tunes were fairly solid. It was the production which suffered.
The general production of those songs comes off as less dark - and the recording sessions were done in places like Miami in addition to the normal Dublin, etc. It really felt that way too, plus Edge was past his personal issues at this time. I think the song's on Pop were pretty flushed out, they were often classic arrangements. I am thinking about Starring at the Sun, and Last Night On Earth, even Wake Up... all were very A/B/A/B - Oasis like (which was an inspiration for all at the time.) Its funny what really shined on that record was the same ole' U2 bread and butter - stuff like Please, and Mofo for the "hard core" fans. The stuff that takes us somewhere, not the out of the box sing/songs. Its songs like Streets/Beautiful Day that cross over the sing/song coupled with the atmospherics which get people excited about U2 - and then people will check out of the other tunes. U2 needed to do the big song after being off so long from the Zoo Tv days during that era. Instead Disco' turned everyone off. U2 corrected this prob. on All You Can't Leave Behind for the masses. Vertigo too (though - the ipod commercial DID wonders for that tune.)
That Pop album shouldn't have failed. The lead off single was the killer - just like GYOB didn't do No Line any favors.