HelloAngel
ONE love, blood, life
[SIMG]http://bonovox.interference.com/about/u23-sml.jpg[/SIMG]
By Regina O'Numb
2004.10
Ed. Note: In Sept. 1979, "U2-3" first hit shelves in Ireland. In honor of the 25th anniversary of U2's debut release, here is the story of "3."
"I hadn't heard them play. But that first encounter brought me face to face with a foursome who had a precociousness, open-mindedness and willingness to learn that was unusual among Irish bands I'd met heretofore, a demeanor that implied that if their musical abilities were anyway comparable to their personality, U2 were a band worth keeping a line open to." -- Bill Graham, Hot Press, March 8, 1979
"They are self-assured, intelligent and funny. You will certainly have a major British success with them. It's about chemistry and they have it," predicts early U2 producer and former Horslips member Barry Devlin's, as recounted in the book "U2: Burning Desire: The Complete Story," after that second demo sessions in Keystone Studios, in late 1978, with The Edge emerging as the musical director of the group and Bono's passionate lyrics accompanied by a whirl of reverberating guitars.
Paul McGuinness goes to London with the demos to contact the record companies. It is Feb. 1979 when McGuinness meets Chas De Whalley, a talent scout for CBS Records in the UK, for the first time. De Whalley listens and sees some photos; he is much more impressed with the photos of four teenagers with pop art pretentious and how they won the talent contest in Limerick than he is with the tapes. De Whalley talks to his boss about U2, suggesting someone should see the band play in Dublin as soon as possible.
Back in Dublin, Jackie Hayden, a marketing manager for CBS in Dublin and one of the judges from the Limerick talent contest, persuades Nicky Graham of CBS London's A&R department to hear U2 live and to let the band record some serious demos. Meanwhile, De Whalley comes to Dublin in June 1979 to see U2 at McGonagles and observes that the most of the fans were school kids. The crowd loved the band, jamming up against the front of the stage and pogoing ferociously.
"This guy's amazing," De Whalley recalled about Bono to Record Collector magazine in 2004. "He's either going to be the next sensational Alex Harvey [a moderately successful Scottish musician in the '70s] or else, he's going to be David Bowie."
In London De Whalley suggests to the boss that they give U2 two days at Windmill Lane studios in Dublin and a deal to release the demos as a single on CBS Ireland.
In Aug. 1979 it is Edge's guitar that catches De Whalley's attention. "He was playing the Gibson Explorer, which was unusual," he said to Record Collector. "The Edge was still experimenting with the guitar sound with which he would later revolutionize the sound of rock."
Later that month the band play another incredible gig at Dandelion Market. After the concert, U2 move across town to Windmill Lane where they are booked from 6 in the evening until midnight to work on some favorites—Stories For Boys," "Boy/ Girl" and "Out Of Control." Edge, Larry and Adam are in the main studio, while an engineer plays jazz piano and the microphone's set up in the control room. Neither Adam nor Larry is the world's best timekeeper and without the fuss and fury of a live show to hide behind, their tempos are not to be trusted. They have problems with "Out Of Control." De Whalley and Bono suffered from a personality clash and the co-producer have real problems with the rhythm section, finding Adam and Larry's style far too busy for his personal taste.
"We had a huge problem laying down a coherent drum track to 'Out Of Control' because Larry's time keeping was not at all good," De Whalley said. "They kept telling me, 'He has lessons with the best drummer in Dublin, he must be good.'"
"Adam also operates on a slightly different sense of timing from
virtually any other musician," De Whalley recalled, "so part of what made them a mess was the fact that Larry was over-ambitious and Adam didn't have a sense of timing either."
In an interview with the band for International Musician 18 months later, Adam quipped that "Different races have different rhythms, and Ireland has always been famous for it's rhythm method."
The songs are mixed the following night. To De Whalley, the sessions are nothing more than a set of so-so demos, the EP a bit crude, but four weeks later "U2-3" is released in Ireland.
De Whalley remembers the "U2-3" sessions for their friction, both spoken and unspoken. "They were a pretty damn average post-punk band," he said. "They weren’t particularly good—a lot of sound and fury signifying not a great amount. Except that the front man was absolutely mesmerizing, even then. He was also extremely energetic and was running all around the stage, and that would later develop into climbing onto the amps and swinging from the roof."
Edge's guitar playing impressed De Whalley immensely. "The big broad, echo thing wasn't there then," he said. "But he never played the standard full chord that everybody plays. Right from the start he was doing broken chords with open strings, so that bit of their style was in there to begin with."
De Whalley also saw something unique in the young group. "It was a real group with four people in it, all doing a specific job, like The Beatles or the early Stones," he said. "But it wasn't rock music, and it certainly wasn't punk, it was something else. Kind of atonal. It was strange and eerie, with a lot of echo from Edge's guitar."
****************************************************
"The tapes were awful. We didn't know at the time, we had nothing to compare them with. We did the set up as we would do for a live show and play the set. Supposedly, [that] was a good way to do a demo," Adam said in "U2: Touch The Flame."
"That was early proto-punk. We knew what sort of material we wanted. So if you want a particular idea, you start picking instruments and amps and effects and what have you. When you start doing that, you start to develop a sound. Then, when you have a sound, you find certain things work better on that and you get into a certain vocabulary of music. And before you know what's happening, you're on the way to a style, a sound and to musicianship," said Edge in "Into the Heart: The Stories Behind Every U2 Song."
"It was like every night after the gig we'd want to break up, but then every morning we'd wake up and want to start again. Like when we were trying to get a record deal, people would come down to see us play one of our all-time great gigs, but then they'd bring their bosses down to impress them and we'd die before their very eyes. It was very embarrassing," Bono said in "U2: Touch The Flame."
****************************************************
CBS UK wanted to know if U2 would make money for them within a year. One of the A&R men explained that U2 would probably take two or three years.
In March 1979 U2 had signed a contract with CBS for Ireland only but the band was still without an international deal. Paul McGuinness renegotiates the original deal so that they would be signed to CBS for five years in Ireland only, leaving them free to negotiate separate deals for other territories. This would give them some much-needed finance and the opportunity to build up their reputation. If they could have a hit within their home territory, Paul is sure that an international deal will follow.
In the UK, record companies have begun experimenting with different record formats such as 12-inch singles, picture sleeves and colored vinyl. Hayden persuades Graham to give CBS Ireland the tapes of the "Out Of Control" demos that they had recorded as the label was clearly no longer interested in using them themselves. "I argued that since CBS UK had paid for the three track demos and were no longer interest[ed], could they not give those tapes to CBS Ireland for us to release. He checked and the relevant authority in CBS UK said, ‘Yes,’" Hayden recalled in the June 20, 1985 issue of Hot Press. It is agreed that CBS Ireland will release a three-track 12-inch limited edition of 1,000 copies, with each record individually numbered. As far as anyone knew, the idea of numbering a limited edition had not been done before in the UK.
Each copy of the release is individually hand-numbered by Hayden, who used the special numbering ploy to get orders from the record shops, promising them key numbers like 999 as an inducement. This version has all four band members' names scratched into both sides of the vinyl and the word "Ireland" on the label. Paul McGuinness also suggests that there should be a simultaneous release of the same tracks in a seven-inch version with a picture sleeve designed by Steve Rapid, member of Radiators from Space who would later find design success as Steve Averill.
As U2 prepares to release its first single in Ireland for CBS, Bono and Edge appear on Dave Fanning's show on the fledgling Radio 2 in September to play "Out of Control," "Stories for Boys" and "Boy-Girl." Hayden, enlists the assistance of Ian Wilson to let listeners choose which song should be the A-side single. The fans choose "Out of Control" a song that Bono wrote on his 18th birthday.
Three days after its release, U2-3 becomes the biggest selling 12-inch record ever in Ireland. The limited edition sold out and the seven-inch is selling well.
McGuinness and Hayden also manage to persuade Niall Stokes, editor of Hot Press, to put U2 on the front cover of the magazine. This was unheard of for a band with no recording history, but Hot Press was already right behind the band and agreed readily.
Hayden telexes CBS in London with this fresh proof that he had been right all along and urged them to reconsider. He never receives a reply.
On Oct. 5, U2 makes its television debut on RTE. With the single "U2-3" at the top of the Irish chart, Bono simply can't understand why the London-based record companies are not responding more positively to U2. In exasperation, he goes to London with his girlfriend, Alison Stewart, and a friend, Andrew Whiteway. They are armed with dozens of copies of "U2-3" and distribute them personally to every music publication in the capital. The initial reaction from the rock critics is positive and Bono returns to Dublin reassured.
Garry Bushell of Sounds magazine is the first member of the British rock press to review U2's debut vinyl offering. "Another great undiscovered Irish band...on the strength of this cassette, U2 are of a poppy, Television bent, boasting ace atmospheric sounds with floating dreamy vocals," he wrote. "Watch out for a Dave McCullough feature soon."
Northern Irish Sounds writer Dave McCullough is besotted with the band and convinces his editors they deserved a spread, a remarkable feat for an unsigned act. McCullough and photographer Paul Slattery fly over for a Dublin meeting in Aug. 1979. "Dave and I got off the plane at Dublin airport and were met by the band," McCullough recalled in "Burning Desire." "They were in Adam's old Austin A40 car, which was held together by bits of string. I'm not kidding, I thought this car would pack between the airport and Paul McGuinness' offices in the city. They came off as really nice blokes-really genial, humorous guys. Bono was always spouting off, he was a guy with opinions, which I thought was wonderful."
The subsequent feature and the continued interest of the rest of the rock press causes many of London's record companies to show an interest in the band and, over the next few months, EMI. CBS, Stiff and A&M all fly to Dublin to see U2 in action.
First in is Muff Winwood from CBS, a talented A&R man but one who feels, despite the pressure being brought to bear by both De Whalley and Hayden, that the band needs further development. Soon after this De Whalley is moved sideways to CBS' associated label Epic as label manager and eventually leaves the company to return to journalism, but not before working with U2 again on the "Another Day"/"Twilight" single.
"CBS would not have gotten U2 to where they ended up," said De Whalley in "Burning Desire." "The company's attitude towards fledgling acts would not have suited U2. Quite probably they might have put out one album, not had a hit single, been dropped, broken up - blah blah blah."
"Bono's got that Irish literary thing, I saw that straight away," EMI's Tom Nolan said. "I talked to him for a long time after the gig—we walked around Grafton Street talking about music. I thought he was very artistic in an Irish kind of way—he had an interest in genuine art. I don't think he saw himself as a rock star." Unfortunately, Nolan was eventually fired. A&M's Charlie Eyre, Gem Records also came by and nothing, they aren't interested.
The band can't be categorized, there is nothing else like them on the scene. To break them will take time, patience and careful strategy. There will be no quick return on the record company's investment, which will have to be reasonably large. The Edge's parents have given him one year to see if he can make a living out of rock 'n' roll and the 12 months are nearly up. For Edge's part, he has agreed that if nothing happens with the band after that time, he will enroll at Bolton Street Technical College to study engineering.
With the British music press writing glowing reviews of "U2-3" McGuinness tries to capitalize on the interest and negotiates a deal with independent distributor Rough Trade to enable British fans to acquire "U2-3" trough the normal retail outlets. To compound this move, McGuinness also decides that the time is right for U2 to go to London and play some live dates.
The band gets together $3,000 to embark on its debut London tour. During the tour, disaster strikes on many occasions—25 people in the audience, breaking a string, billed as V2, billed as UR. While U2 is in London, Bill Stewart of Island Records receives an alert from Rob Partridge of Island's PR department to check this young unsigned band.
Partridge presses Bill Stewart, Island's A&R head, to offer U2 a deal. Annie Roseberry and two publishing executives from the company's publishing arm, Blue Mountain Music, fly to Belfast to see the band in action at Queen's University. At a later show, Feb. 26, 1980 at the National Boxing Stadium in Dublin, U2 is offered a deal by Stewart. The band is triumphant and has every right to be.
Island boss Chris Blackwell is a very astute businessman and legendary for his ear for a song and his eye for a band—he is also keen to sign U2. On March 23, 1980 the contracts are finally exchanged, rumor has it, in the ladies toilet of London's Acklam Hall/Lyceum. The deal is for four albums over the next four years. During the first 12 months Island will issue three U2 singles and the band's debut album with a reported advance of $50,000, including recording costs and a further $50,000 for tour support. Island will have world rights for U2 excluding Ireland, where the band will stay with CBS. Although the advance is not large, the conviction and enthusiasm shown for the band by Island's staff more than makes up for the shortfall. To complete the package, McGuinness signs the band's publishing to Blackwell's own Blue Mountain Music.
U2 is finally in business.
Information for this article came from Hot Press magazine, "U2 Live: A Concert Documentary" by Pimm Jal de la Parra, "U2: Burning Desire: The Complete Story" by Sam Goodman,NME magazine, Record Collector magazine, U2 magazine and U2.com.
By Regina O'Numb
2004.10
Ed. Note: In Sept. 1979, "U2-3" first hit shelves in Ireland. In honor of the 25th anniversary of U2's debut release, here is the story of "3."
"I hadn't heard them play. But that first encounter brought me face to face with a foursome who had a precociousness, open-mindedness and willingness to learn that was unusual among Irish bands I'd met heretofore, a demeanor that implied that if their musical abilities were anyway comparable to their personality, U2 were a band worth keeping a line open to." -- Bill Graham, Hot Press, March 8, 1979
"They are self-assured, intelligent and funny. You will certainly have a major British success with them. It's about chemistry and they have it," predicts early U2 producer and former Horslips member Barry Devlin's, as recounted in the book "U2: Burning Desire: The Complete Story," after that second demo sessions in Keystone Studios, in late 1978, with The Edge emerging as the musical director of the group and Bono's passionate lyrics accompanied by a whirl of reverberating guitars.
Paul McGuinness goes to London with the demos to contact the record companies. It is Feb. 1979 when McGuinness meets Chas De Whalley, a talent scout for CBS Records in the UK, for the first time. De Whalley listens and sees some photos; he is much more impressed with the photos of four teenagers with pop art pretentious and how they won the talent contest in Limerick than he is with the tapes. De Whalley talks to his boss about U2, suggesting someone should see the band play in Dublin as soon as possible.
Back in Dublin, Jackie Hayden, a marketing manager for CBS in Dublin and one of the judges from the Limerick talent contest, persuades Nicky Graham of CBS London's A&R department to hear U2 live and to let the band record some serious demos. Meanwhile, De Whalley comes to Dublin in June 1979 to see U2 at McGonagles and observes that the most of the fans were school kids. The crowd loved the band, jamming up against the front of the stage and pogoing ferociously.
"This guy's amazing," De Whalley recalled about Bono to Record Collector magazine in 2004. "He's either going to be the next sensational Alex Harvey [a moderately successful Scottish musician in the '70s] or else, he's going to be David Bowie."
In London De Whalley suggests to the boss that they give U2 two days at Windmill Lane studios in Dublin and a deal to release the demos as a single on CBS Ireland.
In Aug. 1979 it is Edge's guitar that catches De Whalley's attention. "He was playing the Gibson Explorer, which was unusual," he said to Record Collector. "The Edge was still experimenting with the guitar sound with which he would later revolutionize the sound of rock."
Later that month the band play another incredible gig at Dandelion Market. After the concert, U2 move across town to Windmill Lane where they are booked from 6 in the evening until midnight to work on some favorites—Stories For Boys," "Boy/ Girl" and "Out Of Control." Edge, Larry and Adam are in the main studio, while an engineer plays jazz piano and the microphone's set up in the control room. Neither Adam nor Larry is the world's best timekeeper and without the fuss and fury of a live show to hide behind, their tempos are not to be trusted. They have problems with "Out Of Control." De Whalley and Bono suffered from a personality clash and the co-producer have real problems with the rhythm section, finding Adam and Larry's style far too busy for his personal taste.
"We had a huge problem laying down a coherent drum track to 'Out Of Control' because Larry's time keeping was not at all good," De Whalley said. "They kept telling me, 'He has lessons with the best drummer in Dublin, he must be good.'"
"Adam also operates on a slightly different sense of timing from
virtually any other musician," De Whalley recalled, "so part of what made them a mess was the fact that Larry was over-ambitious and Adam didn't have a sense of timing either."
In an interview with the band for International Musician 18 months later, Adam quipped that "Different races have different rhythms, and Ireland has always been famous for it's rhythm method."
The songs are mixed the following night. To De Whalley, the sessions are nothing more than a set of so-so demos, the EP a bit crude, but four weeks later "U2-3" is released in Ireland.
De Whalley remembers the "U2-3" sessions for their friction, both spoken and unspoken. "They were a pretty damn average post-punk band," he said. "They weren’t particularly good—a lot of sound and fury signifying not a great amount. Except that the front man was absolutely mesmerizing, even then. He was also extremely energetic and was running all around the stage, and that would later develop into climbing onto the amps and swinging from the roof."
Edge's guitar playing impressed De Whalley immensely. "The big broad, echo thing wasn't there then," he said. "But he never played the standard full chord that everybody plays. Right from the start he was doing broken chords with open strings, so that bit of their style was in there to begin with."
De Whalley also saw something unique in the young group. "It was a real group with four people in it, all doing a specific job, like The Beatles or the early Stones," he said. "But it wasn't rock music, and it certainly wasn't punk, it was something else. Kind of atonal. It was strange and eerie, with a lot of echo from Edge's guitar."
****************************************************
"The tapes were awful. We didn't know at the time, we had nothing to compare them with. We did the set up as we would do for a live show and play the set. Supposedly, [that] was a good way to do a demo," Adam said in "U2: Touch The Flame."
"That was early proto-punk. We knew what sort of material we wanted. So if you want a particular idea, you start picking instruments and amps and effects and what have you. When you start doing that, you start to develop a sound. Then, when you have a sound, you find certain things work better on that and you get into a certain vocabulary of music. And before you know what's happening, you're on the way to a style, a sound and to musicianship," said Edge in "Into the Heart: The Stories Behind Every U2 Song."
"It was like every night after the gig we'd want to break up, but then every morning we'd wake up and want to start again. Like when we were trying to get a record deal, people would come down to see us play one of our all-time great gigs, but then they'd bring their bosses down to impress them and we'd die before their very eyes. It was very embarrassing," Bono said in "U2: Touch The Flame."
****************************************************
CBS UK wanted to know if U2 would make money for them within a year. One of the A&R men explained that U2 would probably take two or three years.
In March 1979 U2 had signed a contract with CBS for Ireland only but the band was still without an international deal. Paul McGuinness renegotiates the original deal so that they would be signed to CBS for five years in Ireland only, leaving them free to negotiate separate deals for other territories. This would give them some much-needed finance and the opportunity to build up their reputation. If they could have a hit within their home territory, Paul is sure that an international deal will follow.
In the UK, record companies have begun experimenting with different record formats such as 12-inch singles, picture sleeves and colored vinyl. Hayden persuades Graham to give CBS Ireland the tapes of the "Out Of Control" demos that they had recorded as the label was clearly no longer interested in using them themselves. "I argued that since CBS UK had paid for the three track demos and were no longer interest[ed], could they not give those tapes to CBS Ireland for us to release. He checked and the relevant authority in CBS UK said, ‘Yes,’" Hayden recalled in the June 20, 1985 issue of Hot Press. It is agreed that CBS Ireland will release a three-track 12-inch limited edition of 1,000 copies, with each record individually numbered. As far as anyone knew, the idea of numbering a limited edition had not been done before in the UK.
Each copy of the release is individually hand-numbered by Hayden, who used the special numbering ploy to get orders from the record shops, promising them key numbers like 999 as an inducement. This version has all four band members' names scratched into both sides of the vinyl and the word "Ireland" on the label. Paul McGuinness also suggests that there should be a simultaneous release of the same tracks in a seven-inch version with a picture sleeve designed by Steve Rapid, member of Radiators from Space who would later find design success as Steve Averill.
As U2 prepares to release its first single in Ireland for CBS, Bono and Edge appear on Dave Fanning's show on the fledgling Radio 2 in September to play "Out of Control," "Stories for Boys" and "Boy-Girl." Hayden, enlists the assistance of Ian Wilson to let listeners choose which song should be the A-side single. The fans choose "Out of Control" a song that Bono wrote on his 18th birthday.
Three days after its release, U2-3 becomes the biggest selling 12-inch record ever in Ireland. The limited edition sold out and the seven-inch is selling well.
McGuinness and Hayden also manage to persuade Niall Stokes, editor of Hot Press, to put U2 on the front cover of the magazine. This was unheard of for a band with no recording history, but Hot Press was already right behind the band and agreed readily.
Hayden telexes CBS in London with this fresh proof that he had been right all along and urged them to reconsider. He never receives a reply.
On Oct. 5, U2 makes its television debut on RTE. With the single "U2-3" at the top of the Irish chart, Bono simply can't understand why the London-based record companies are not responding more positively to U2. In exasperation, he goes to London with his girlfriend, Alison Stewart, and a friend, Andrew Whiteway. They are armed with dozens of copies of "U2-3" and distribute them personally to every music publication in the capital. The initial reaction from the rock critics is positive and Bono returns to Dublin reassured.
Garry Bushell of Sounds magazine is the first member of the British rock press to review U2's debut vinyl offering. "Another great undiscovered Irish band...on the strength of this cassette, U2 are of a poppy, Television bent, boasting ace atmospheric sounds with floating dreamy vocals," he wrote. "Watch out for a Dave McCullough feature soon."
Northern Irish Sounds writer Dave McCullough is besotted with the band and convinces his editors they deserved a spread, a remarkable feat for an unsigned act. McCullough and photographer Paul Slattery fly over for a Dublin meeting in Aug. 1979. "Dave and I got off the plane at Dublin airport and were met by the band," McCullough recalled in "Burning Desire." "They were in Adam's old Austin A40 car, which was held together by bits of string. I'm not kidding, I thought this car would pack between the airport and Paul McGuinness' offices in the city. They came off as really nice blokes-really genial, humorous guys. Bono was always spouting off, he was a guy with opinions, which I thought was wonderful."
The subsequent feature and the continued interest of the rest of the rock press causes many of London's record companies to show an interest in the band and, over the next few months, EMI. CBS, Stiff and A&M all fly to Dublin to see U2 in action.
First in is Muff Winwood from CBS, a talented A&R man but one who feels, despite the pressure being brought to bear by both De Whalley and Hayden, that the band needs further development. Soon after this De Whalley is moved sideways to CBS' associated label Epic as label manager and eventually leaves the company to return to journalism, but not before working with U2 again on the "Another Day"/"Twilight" single.
"CBS would not have gotten U2 to where they ended up," said De Whalley in "Burning Desire." "The company's attitude towards fledgling acts would not have suited U2. Quite probably they might have put out one album, not had a hit single, been dropped, broken up - blah blah blah."
"Bono's got that Irish literary thing, I saw that straight away," EMI's Tom Nolan said. "I talked to him for a long time after the gig—we walked around Grafton Street talking about music. I thought he was very artistic in an Irish kind of way—he had an interest in genuine art. I don't think he saw himself as a rock star." Unfortunately, Nolan was eventually fired. A&M's Charlie Eyre, Gem Records also came by and nothing, they aren't interested.
The band can't be categorized, there is nothing else like them on the scene. To break them will take time, patience and careful strategy. There will be no quick return on the record company's investment, which will have to be reasonably large. The Edge's parents have given him one year to see if he can make a living out of rock 'n' roll and the 12 months are nearly up. For Edge's part, he has agreed that if nothing happens with the band after that time, he will enroll at Bolton Street Technical College to study engineering.
With the British music press writing glowing reviews of "U2-3" McGuinness tries to capitalize on the interest and negotiates a deal with independent distributor Rough Trade to enable British fans to acquire "U2-3" trough the normal retail outlets. To compound this move, McGuinness also decides that the time is right for U2 to go to London and play some live dates.
The band gets together $3,000 to embark on its debut London tour. During the tour, disaster strikes on many occasions—25 people in the audience, breaking a string, billed as V2, billed as UR. While U2 is in London, Bill Stewart of Island Records receives an alert from Rob Partridge of Island's PR department to check this young unsigned band.
Partridge presses Bill Stewart, Island's A&R head, to offer U2 a deal. Annie Roseberry and two publishing executives from the company's publishing arm, Blue Mountain Music, fly to Belfast to see the band in action at Queen's University. At a later show, Feb. 26, 1980 at the National Boxing Stadium in Dublin, U2 is offered a deal by Stewart. The band is triumphant and has every right to be.
Island boss Chris Blackwell is a very astute businessman and legendary for his ear for a song and his eye for a band—he is also keen to sign U2. On March 23, 1980 the contracts are finally exchanged, rumor has it, in the ladies toilet of London's Acklam Hall/Lyceum. The deal is for four albums over the next four years. During the first 12 months Island will issue three U2 singles and the band's debut album with a reported advance of $50,000, including recording costs and a further $50,000 for tour support. Island will have world rights for U2 excluding Ireland, where the band will stay with CBS. Although the advance is not large, the conviction and enthusiasm shown for the band by Island's staff more than makes up for the shortfall. To complete the package, McGuinness signs the band's publishing to Blackwell's own Blue Mountain Music.
U2 is finally in business.
Information for this article came from Hot Press magazine, "U2 Live: A Concert Documentary" by Pimm Jal de la Parra, "U2: Burning Desire: The Complete Story" by Sam Goodman,NME magazine, Record Collector magazine, U2 magazine and U2.com.
)
it´s good meet you here, Jamila!
hello, hello, hola! Ashley! really we had good times there, in the zootopia-1! And about U2´s stories, everybody know these stories, but to me, is really great remember them! 
I must thank you, as a staff member, to get so good feelings here! This is great! 
oh Carrie, thank you so much, for all the good things! You´re an extraordinary person and fan. You do the great work here! You´re great! YOU! 
