Funny thing about UF -- it's an album I've never thought about in concrete "critical" terms like all the others. Instead, it's a great
feeling, more like a favourite restaurant than a favourite movie, you know? Except for Pride, Bad, and MLK, this is such a stream-of-consciousness album I never really did suss out which titles belong to which tracks *L* But then you guys pose these questions and I get to discover WHY this record's so flippin' great! End of Preamble
EP&America works for me on a number of levels: first off, the DRUMS! The tension at the end between Bono's voice and Larry -- man! sneaks up on ya -- this floaty, wandering, searching vibe, pushing, pushing, and all of a sudden you're holding your breath 'cause Larry's about to take you out...
And Bono's vocal: the whole record is a series of images and feelings fading in and out. Here, the strangled word,
"hunger!", flares out of this building intensity, and then that brilliant moment at the end when the tension breaks and I hear, like a gasp,
"in pieces on the floor". Leaves me gasping, every time.
The fact that Bono can improvise on the mic blows me away, too. This track captures a particularly raw, immediate sound. It feels candid, which is a privilege to these ears.
And finally -- this may sound weird, but I'm sure you all recognize what I mean -- the space
between EP&A and MLK. One of the subtle pleasures of a great album (or mixed tape
) is the segue from one song's closing notes into the next opening note. I love the way all that chaotic questing resolves into the crystal simplicity of MLK. Makes the latter doubly restful.
Same thing happens between Promenade (talk about "wandering"!) and the gentle heartbeat that will become the marathon called Bad. Also thanks to Larry.
Okay, I'll stop now...
Deb D
------------------
in memoriam
Peter Gzowski (1934-2002)
He set my feet upon a rock
made my footsteps firm
the greatest frontman in the world -- by truecoloursfly:
http://www.atu2.com/news/article.src?ID=1575