Daveone
The Fly
God Part III said:
Well i don't sense that from reading the review.
MERGED-->Press Reviews of HTDAAB HERE
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Well i don't sense that from reading the review.
Flying FuManchu
New Yorker
Uhmmmm... that's like Bono's writing style...
believer75
War Child
Daveone said:
Me neither. They praise ATYCLB and say there is nothing on this new album that is as memorable.
Does it seem to you guys that the reviews for the album that have come out recently are not as favorable, as say, the reviews we read over a month ago?
Why do you think that is? A lot of the reviewers (MTV, Rolling Stone, Spin, Independent, etc.) don't sound as excited about it as the reviews prior to the album being leaked or streamed.
I think they will change their minds once the songs catch on and take shape in tour, video, radio, etc. U2's songs and albums catch fire as they go along.
rjhbonovox
Refugee
- Joined
- Nov 1, 2002
- Messages
- 2,139
Not entirely an acurate review but some of the things said like U2 sound tired and have reverted back to an old format are near to being correct in my opinion. The album does sound like their retreading old ground even though the songs are pretty good and the album is a pretty good listen. Although he also says about the songs not being as memorable as ATYCLB which is crap cos there is one thing, this album is a stronger album than ATYCLB.
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believer75 said:
This album, much more that the last one is a grower, so it's impossible to make a sound judgement from one listen (I prefer it that way). Because of that I take these reviews with a pinch of salt. For every review like this, you get at least one excellent review ..NME review giving it 9/10, for example!
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roy
Refugee
Andy Gill thinks ATYCLB is a better album, nuff said......
rjhbonovox
Refugee
- Joined
- Nov 1, 2002
- Messages
- 2,139
I dont see that myself, I think this album is as immediate as anything they have ever done, similar to ATYCLB in its hooks and repeated choruses.
Dr_Macphisto
War Child
U2_Guy said:
What joke is this again?
Dr_Macphisto
War Child
enjoyed the review... much obliged Dima
The Guardian Review
U2 have returned to their early, embarrassing style. But Alexis Petridis can't help punching the air
(Island)
Friday November 19, 2004
The Guardian
Buy How to Dismantle an Atomic Bomb now
Even by the usual drug-drenched rock autobiography standards, Julian Cope's Head On has an exotic supporting cast. We meet rock managers who believe the Beatles' success was down to ley-lines, Scouse mystics theorising that humanity is controlled by an all-powerful duck, and an adolescent Courtney Love, dealing LSD provided by her father. But perhaps the most surprising cameo comes from U2, struggling post-punkers in the brief period when Cope's Teardrop Explodes were Britain's hippest band. Their sense of purpose was so at odds with the Teardrop's drug-addled nihilism that they become a running joke. Cope dubs them the Hope Brothers, "because they've got two hopes of making it: Bob Hope and no hope".
How wrong, you might wonder, can a man be? Yet it is worth noting that Head On provides a salutary reminder of how uncool U2 once were. Even in the late 1980s, when they had become the world's biggest band, their lethal combination of painful sincerity and pomp and circumstance often drew mocking laughter from critics.
Twenty years on, no one thinks U2 are uncool, largely because of their 1990s volte-face, where they demonstrated a self-awareness previously unknown at their level of fame. They revamped their sound with three albums that - by superstar standards, at least - counted as brave experiments, and developed a new image that recognised their own absurdity and mocked their old earnestness.
It was unprecedented and it didn't last. Their 2000 album All That You Can't Leave Behind marked an artistic u-turn, a return to old-fashioned U2. Its follow-up is aimed squarely at fans who prefer Rattle and Hum to Achtung Baby! and honestly believe that 1996's Pop was a bewildering, alienating piece of envelope-pushing in the tradition of Lou Reed's Metal Machine Music, rather than a U2 album with some dance beats on it and not enough big choruses.
Virtually everything that once made U2 the kind of band that the Teardrop Explodes or the Pet Shop Boys sniggered at, is back on How to Dismantle an Atomic Bomb. The lyrics address social issues with brushstrokes so broad, they make undoubtedsincerity sound suspiciously like cliché: in those high-powered meetings he has with Blair and Bush, you can only hope Bono comes up with something a bit more convincing than "we need love and peace, lay down your guns". The Edge's trademark guitar sound is filled with portentously echoing harmonics. And one song, Yahweh, features an introduction of pattering drums and distant synthesisers that, were it by anyone else, would be roundly castigated for being a transparent imitation of the introduction to U2's With or Without You.
And yet - as anyone who has been dragged along to a ghastly sports arena protesting that they hate everything U2 stand for, then unaccountably ended up punching the air to Pride, will tell you - there is something undeniable about U2. How to Dismantle an Atomic Bomb may be unadventurous and melodramatic, but it is packed with disarming moments. City of Blinding Lights is shameless stuff, building from a howl of feedback through a majestic, booming piano line to a chant-a-long chorus designed to reach the back rows of some ghastly sports arena. But you would have to be pretty churlish to remain unmoved by it, as you would by brash current single Vertigo or the supercharged Motown stomp of All Because of You.
Driven by a ferociously powerful rhythm section, U2 sound pleasingly raw, particularly next to the current wave of stadium rock pretenders, with their good causes and pained expressions and elegiac piano ballads. How to Dismantle an Atomic Bomb leaves Keane sounding like Supertramp (not that difficult, as Keane actually do sound like Supertramp) and makes Coldplay - the band most regularly tipped to take on U2's mantle - appear callow and one-dimensional in their approach. You can't imagine them ever coming up with something that roars into life with the swagger of Love and Peace or Else. This, U2 seem to be saying, is how you get them pulling out the lighters in South America and eastern Europe: listen and learn.
But there is more to How to Dismantle an Atomic Bomb than the guilty pleasure of well-turned stadium bombast. The chilling thing about 1980s U2 was their pomposity, but the real legacy of Achtung Baby! appears to be self-awareness. Sometimes You Can't Make It on Your Own affectingly hymns the singer's late father, pulling back from mawkishness. "You're the reason I sing," it offers, before adding, wittily, "You're the reason why opera is in me." Original of the Species, meanwhile, is about as close to clear-eyed warts-and-all self-portrait as you are ever going to get from a multi-millionaire rock superstar. "Some things you shouldn't get too good at, like smiling, crying and celebrity," Bono sings. "Some people got way too much confidence, baby." The 1990s experimentation may have disappointingly vanished, but it seems highly unlikely anyone will laugh at U2 again.
U2 have returned to their early, embarrassing style. But Alexis Petridis can't help punching the air
(Island)
Friday November 19, 2004
The Guardian
Buy How to Dismantle an Atomic Bomb now
Even by the usual drug-drenched rock autobiography standards, Julian Cope's Head On has an exotic supporting cast. We meet rock managers who believe the Beatles' success was down to ley-lines, Scouse mystics theorising that humanity is controlled by an all-powerful duck, and an adolescent Courtney Love, dealing LSD provided by her father. But perhaps the most surprising cameo comes from U2, struggling post-punkers in the brief period when Cope's Teardrop Explodes were Britain's hippest band. Their sense of purpose was so at odds with the Teardrop's drug-addled nihilism that they become a running joke. Cope dubs them the Hope Brothers, "because they've got two hopes of making it: Bob Hope and no hope".
How wrong, you might wonder, can a man be? Yet it is worth noting that Head On provides a salutary reminder of how uncool U2 once were. Even in the late 1980s, when they had become the world's biggest band, their lethal combination of painful sincerity and pomp and circumstance often drew mocking laughter from critics.
Twenty years on, no one thinks U2 are uncool, largely because of their 1990s volte-face, where they demonstrated a self-awareness previously unknown at their level of fame. They revamped their sound with three albums that - by superstar standards, at least - counted as brave experiments, and developed a new image that recognised their own absurdity and mocked their old earnestness.
It was unprecedented and it didn't last. Their 2000 album All That You Can't Leave Behind marked an artistic u-turn, a return to old-fashioned U2. Its follow-up is aimed squarely at fans who prefer Rattle and Hum to Achtung Baby! and honestly believe that 1996's Pop was a bewildering, alienating piece of envelope-pushing in the tradition of Lou Reed's Metal Machine Music, rather than a U2 album with some dance beats on it and not enough big choruses.
Virtually everything that once made U2 the kind of band that the Teardrop Explodes or the Pet Shop Boys sniggered at, is back on How to Dismantle an Atomic Bomb. The lyrics address social issues with brushstrokes so broad, they make undoubtedsincerity sound suspiciously like cliché: in those high-powered meetings he has with Blair and Bush, you can only hope Bono comes up with something a bit more convincing than "we need love and peace, lay down your guns". The Edge's trademark guitar sound is filled with portentously echoing harmonics. And one song, Yahweh, features an introduction of pattering drums and distant synthesisers that, were it by anyone else, would be roundly castigated for being a transparent imitation of the introduction to U2's With or Without You.
And yet - as anyone who has been dragged along to a ghastly sports arena protesting that they hate everything U2 stand for, then unaccountably ended up punching the air to Pride, will tell you - there is something undeniable about U2. How to Dismantle an Atomic Bomb may be unadventurous and melodramatic, but it is packed with disarming moments. City of Blinding Lights is shameless stuff, building from a howl of feedback through a majestic, booming piano line to a chant-a-long chorus designed to reach the back rows of some ghastly sports arena. But you would have to be pretty churlish to remain unmoved by it, as you would by brash current single Vertigo or the supercharged Motown stomp of All Because of You.
Driven by a ferociously powerful rhythm section, U2 sound pleasingly raw, particularly next to the current wave of stadium rock pretenders, with their good causes and pained expressions and elegiac piano ballads. How to Dismantle an Atomic Bomb leaves Keane sounding like Supertramp (not that difficult, as Keane actually do sound like Supertramp) and makes Coldplay - the band most regularly tipped to take on U2's mantle - appear callow and one-dimensional in their approach. You can't imagine them ever coming up with something that roars into life with the swagger of Love and Peace or Else. This, U2 seem to be saying, is how you get them pulling out the lighters in South America and eastern Europe: listen and learn.
But there is more to How to Dismantle an Atomic Bomb than the guilty pleasure of well-turned stadium bombast. The chilling thing about 1980s U2 was their pomposity, but the real legacy of Achtung Baby! appears to be self-awareness. Sometimes You Can't Make It on Your Own affectingly hymns the singer's late father, pulling back from mawkishness. "You're the reason I sing," it offers, before adding, wittily, "You're the reason why opera is in me." Original of the Species, meanwhile, is about as close to clear-eyed warts-and-all self-portrait as you are ever going to get from a multi-millionaire rock superstar. "Some things you shouldn't get too good at, like smiling, crying and celebrity," Bono sings. "Some people got way too much confidence, baby." The 1990s experimentation may have disappointingly vanished, but it seems highly unlikely anyone will laugh at U2 again.
Dr_Macphisto
War Child
damn... that guy pretty much flat-out hated the new album.
Dima
Acrobat
Dr_Macphisto said:
it's from Hits Daily Double: in the process of merging the threads regarding press' reviews the title of my thread got lost
allbecauseofme
The Fly
- Joined
- Oct 3, 2004
- Messages
- 275
review of htdaab from entertainment weekly here.
'bomb' squad
their nnew cd may be hit and miss but david browne gives u2 points for rocking like old times.
During an interview with the edge before the release of all that you cant leave behind four years ago, U2's modest, skulcapped guitarist told me the band was apprehensive when he dusted off his trademark needle prick sound for "Beautiful Day"; their first reaction was that it felt toopredictable. on how to dismantle an atomic bomb, however, not only is the edge once more flicking away at his strings just like old times, but many of the grand gestures U2 had dismantled with each new, exploratory album following the joshua tree are also back for a return engagement. From the arrangments to the inevitable crashing-wave cresendos, echoes of "i will follow" nad "new years day" rumble through the songs. All thats missing is bono's old white flag.
What motivated this lets-rock-again backpedaling for such a forward looking band? Ego, perhaps. At the 2001 grammys, Bono's remark that U2 were reapplying for the job of "best band in the world" was the first sign that these men still hunger for arena crowds and platinum sales; the latest indication is their current, craven i-pod tie-in campaign. It's a wonder that atomic bomb's don't include demographic spreadsheets.
That said, U2 are on the few remaining bands who can make pop-chart lust work for them, as atomic bomb intermittinglt demonstrates. "Crumbs from your table" is the type of glorious gallop this band can write in its pub nap, but noone does it better; the tune will surely be ahighlight of the groups next tour. "city of blinding lights" energeticaly works the same terrian, all whoo-hoo! chorus and monolithic roar. compare U2's fate to that of r.e.m, who started out around the same time yet sound as if they can barely get through a song on this years lackluster around the sun. In rock and roll, at least, forced enthusiasm trumps lethargy evry time.
But perpetual is an elusive beast, too, as U2 also learn on an album so tortured it took eight producers to finish it. Bono's voice sounds weathered; the spirit may be willing, but the throat muscles aren't always. Neither are the songs up th the amps-on-11 level. "Love and peace or else" wants to be a towering statement, but on what? the lyrics refer both to a fractured personal relationship and a need to reconnect -a recurring theme on the album- and to wartime images of the "the troops on the ground(who) are about to dig in."(Despite the album title political grandstanding doesnt dominate the songwriting). the guitars detonating around those words are mostly bombast, and the song turns into musical flop sweat. So it goes with other attempts to party like it's 1989. "All because of you", one of several puchy three-chorders that should be direct as a laser beam, bogs down in logy proguction. The single "Vertigo" an unlikely mix of vigor and after-hours-club-hopping ennui, avoids that fate but just barely.
For all that, something about U2 - their continued seriousness of purpose, a sound still very much their own- makes you root for them. Take "sometimes you cant make it on your own," essentially a middling rewrite of "where the streets have no name." mid way through, as the music begins to crest, bono intones, "can...you...hear...me...when...I...sing?" Upon hitting sing his voice and the edges guitars merge into a cathartic release. Then Bono adds, almost as an afterthought, "your the reason I sing." At least he has a reason, which, at this stage of their game, is justification for anyone to care about U2.
'bomb' squad
their nnew cd may be hit and miss but david browne gives u2 points for rocking like old times.
During an interview with the edge before the release of all that you cant leave behind four years ago, U2's modest, skulcapped guitarist told me the band was apprehensive when he dusted off his trademark needle prick sound for "Beautiful Day"; their first reaction was that it felt toopredictable. on how to dismantle an atomic bomb, however, not only is the edge once more flicking away at his strings just like old times, but many of the grand gestures U2 had dismantled with each new, exploratory album following the joshua tree are also back for a return engagement. From the arrangments to the inevitable crashing-wave cresendos, echoes of "i will follow" nad "new years day" rumble through the songs. All thats missing is bono's old white flag.
What motivated this lets-rock-again backpedaling for such a forward looking band? Ego, perhaps. At the 2001 grammys, Bono's remark that U2 were reapplying for the job of "best band in the world" was the first sign that these men still hunger for arena crowds and platinum sales; the latest indication is their current, craven i-pod tie-in campaign. It's a wonder that atomic bomb's don't include demographic spreadsheets.
That said, U2 are on the few remaining bands who can make pop-chart lust work for them, as atomic bomb intermittinglt demonstrates. "Crumbs from your table" is the type of glorious gallop this band can write in its pub nap, but noone does it better; the tune will surely be ahighlight of the groups next tour. "city of blinding lights" energeticaly works the same terrian, all whoo-hoo! chorus and monolithic roar. compare U2's fate to that of r.e.m, who started out around the same time yet sound as if they can barely get through a song on this years lackluster around the sun. In rock and roll, at least, forced enthusiasm trumps lethargy evry time.
But perpetual is an elusive beast, too, as U2 also learn on an album so tortured it took eight producers to finish it. Bono's voice sounds weathered; the spirit may be willing, but the throat muscles aren't always. Neither are the songs up th the amps-on-11 level. "Love and peace or else" wants to be a towering statement, but on what? the lyrics refer both to a fractured personal relationship and a need to reconnect -a recurring theme on the album- and to wartime images of the "the troops on the ground(who) are about to dig in."(Despite the album title political grandstanding doesnt dominate the songwriting). the guitars detonating around those words are mostly bombast, and the song turns into musical flop sweat. So it goes with other attempts to party like it's 1989. "All because of you", one of several puchy three-chorders that should be direct as a laser beam, bogs down in logy proguction. The single "Vertigo" an unlikely mix of vigor and after-hours-club-hopping ennui, avoids that fate but just barely.
For all that, something about U2 - their continued seriousness of purpose, a sound still very much their own- makes you root for them. Take "sometimes you cant make it on your own," essentially a middling rewrite of "where the streets have no name." mid way through, as the music begins to crest, bono intones, "can...you...hear...me...when...I...sing?" Upon hitting sing his voice and the edges guitars merge into a cathartic release. Then Bono adds, almost as an afterthought, "your the reason I sing." At least he has a reason, which, at this stage of their game, is justification for anyone to care about U2.
roy
Refugee
I thought this guy was a complete arsehole until he said 'musical flop sweat'...
bathiu said:You just proved my point... I didn't even once said anything that can go to ATYCanLB vs Pop category... all I did was a true picture of ATYCanLB...
Now, since your whole little speech there was build on Pop bashing, ATYCanLB loving type of arguing...
I'm asking: who has the problem?
Some points from your post...
No, U2 does not sound like U2 on ATYCanLB, so how were they "starting to accept this sound" on this "album?
About looking/sounding "cool"...*cought* Elevation video prooves something diferent.
ohh.. and a huge LOL for the "11 singles" part... are you sure you're talking about ATYCanLB?
The truth is that the only way you can "make" ATYCanLB a "masterpiece" is by comparing it to Pop... and in that you failed big time. Your only argument is about comercial failure and "techno elements"... And here the bullshit is hidden.
First, the album AND the tour sold very good... the only problem was that at that time the "sold out staduim concerts" were no longer possible (that's why POPmart was a huge succes having 80+% of sold out tickets)
Second, there is no techno on Pop, if you want to hear techno find some remixes of Beautiful day... on Pop there were used "electronic" elements wich BTW were mostly guitars and bass processed on computers... and BTW ATYCanLB have more "samples" than Pop.
Like I said you don't have arguments even when you want to compare ATYCanLB to Pop...
Right now I can only repeat myself:
ohh look, because maybe you failed to nottice that on first reading, there is nothing about Pop in this
Can you do the same?
And BTW AB/Zooropa/Pop are back on 4, maybe 5 tracks... ATYCanLB is back only on 1... the rest is new U2 or 2004 versions of the 80s... makes you think, doesn't it?
No I didn't, you keep saying Pop is better than ATYCLB (which it isn't). Your picture of ATYCLB is blurred by Pop loving.
I don't have a problem with Pop but YOU have a problem with ATYCLB, so much that you keep repeating it. You even changed it's name. How sad is that?
As I said, I like 6 songs of Pop, how is that hating the album? I just don't buy into the over-ratedness of it from the vocal minority.
U2 has plenty of U2 sound on ATYCLB: from the classic riff on "teach me" in Beautiful day, to the 90's U2 sounding Elevation, to the classic U2 sound of Walk on with Edge's ringing guitar back from the 80's, Kite also sounds like something they'd back then, When I look at the world features also 90's guitar, New York is a combination of 80's guitar in the verse (UF-like Edge) and a 90's guitar sound in the chorus. 6 out of 11 songs.
Yep, unlike Pop/Pomart, they looked cool that time around. 11 singles part is true; even New York and Grace, with some editing, could theoretically be singles. (since New York was played a lot in the promo tour for ATYCLB, I suspect it was an early single candidate anyway)
I agree the best way to rate an album, rather than comparing it to the best one, is comparing it to the previous one. I didn't fail at all, all the points I had about Pop were proven over time.
Pop is a 50-50 album, only 6 ok songs, the stand outs clearly being Staring at the sun and Gone - and even those aren't classic material by U2 standards. (ahem, unlike Beautiful day or Kite, for example, which as far as I know even the most passionate ATYCLB hater likes)
Pop did not sell as good as it was expected to, it did 6-8 millions which is less/equal in Zooropa's case - which says a lot - than 4 of its predecessors. The tour had attendance problems in US. (with a band of U2's status and live reputation, anything BUT a 100% sellout is not a success)
First three songs are clearly inspired by techno. ATYCLB has NO samples of other musicians like Pop does.
You have made several points on Pop, and none of them are true, as you can see.
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bort269
War Child
SteveGed said:
All Because Of You?
is that lacking guitar in your opinion?!?!
bathiu
Refugee
Again... you said nothing U2girl... everything NOt true... and again To make ATYCanLB good you have to make Pop bad... I feel sorry for you...
OK... I'm sorry for the last part, but you do realize - I hope - that when it comes to music in places where some people see shit others see flowers...
But it's realy YOU that are using argument ATYCanLB is good because it's not Pop, not me... I gave you a full explanation why u2000 is a huge shit and what you did in reply? Of course some more Pop bashing... why not...
You're saying my picture of ATYCanLB is blured?
I said that Pop isn't a good album, remember? but ATYCanLB in comparison looks like huge shit... actualy like very old and dry, big dog shit...
...is a bell rigning already? oh we poor Pop lovers... poor we...
I wont even repeat anymore what's wrong with ATYCanLB because you'll ignore it once again...
/sidenote/ Pop sold more copies than Zooropa.... thank you...
...and no... ATYCanLB has no 11 singles... even those 4 "real" singles are weak until you hear live versions of them...
/edit/ HTDAAB rules!!!!!!!!!!!
OK... I'm sorry for the last part, but you do realize - I hope - that when it comes to music in places where some people see shit others see flowers...
But it's realy YOU that are using argument ATYCanLB is good because it's not Pop, not me... I gave you a full explanation why u2000 is a huge shit and what you did in reply? Of course some more Pop bashing... why not...
You're saying my picture of ATYCanLB is blured?
I said that Pop isn't a good album, remember? but ATYCanLB in comparison looks like huge shit... actualy like very old and dry, big dog shit...
...is a bell rigning already? oh we poor Pop lovers... poor we...
I wont even repeat anymore what's wrong with ATYCanLB because you'll ignore it once again...
/sidenote/ Pop sold more copies than Zooropa.... thank you...
...and no... ATYCanLB has no 11 singles... even those 4 "real" singles are weak until you hear live versions of them...
/edit/ HTDAAB rules!!!!!!!!!!!
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nurse chrissi
Rock n' Roll Doggie FOB
The People Review
Sorry about the size - I would not be adverse to someone resizing if they wanted to
Sorry about the size - I would not be adverse to someone resizing if they wanted to
nurse chrissi
Rock n' Roll Doggie FOB
The Entertainment weekly "review"
and yes I am embarassed that I bought the magazine thank you
and yes I am embarassed that I bought the magazine thank you
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nurse chrissi
Rock n' Roll Doggie FOB
Second page of the entertainment weekly
Catman
Rock n' Roll Doggie
Re: Review: An Eloquent and Ravishing Explosion
Wow! : That is one of the best reviews I've read concerning HTDAAB! Good job 
KennethTanner said:
Wow! :
That is one of the best reviews I've read concerning HTDAAB! Good job 
ladywithspinninghead
Rock n' Roll Doggie Band-aid
The Globe and Mail (one of Canada's two national daily newspapers) printed its review today (3.5 stars):
http://www.theglobeandmail.com/serv...AC/20041119/CD19RVT/TPEntertainment/?query=U2
- Julie
http://www.theglobeandmail.com/serv...AC/20041119/CD19RVT/TPEntertainment/?query=U2
- Julie
I don't think David Browne is listening to the same album as the rest of us. Calling SYCMIOYO a "middling rewrite of Where The Streets Have No Name?" Huh? Those two songs couldn't be further apart.
So far I'm pretty disappointed with almost every "press" review I've read. It seems like many are completely missing this album.
So far I'm pretty disappointed with almost every "press" review I've read. It seems like many are completely missing this album.
KennethTanner
Babyface
Re: Re: Review: An Eloquent and Ravishing Explosion
Thank you, Catman. If you liked my review, I think you'll also like Beth Maynard's thoughts on the 48-page book which accompanies the new album (but only in the limited edition boxed set). You can find her amazing insights on the book at:
u2sermons [dot] blogspot [dot] com
(look for her entry on November 17)
I'm not allowed to post URLS yet (too much of a newbie).
Catman said:
Wow! :
Thank you, Catman. If you liked my review, I think you'll also like Beth Maynard's thoughts on the 48-page book which accompanies the new album (but only in the limited edition boxed set). You can find her amazing insights on the book at:
u2sermons [dot] blogspot [dot] com
(look for her entry on November 17)
I'm not allowed to post URLS yet (too much of a newbie).
angelordevil
Rock n' Roll Doggie VIP PASS
My kinda review...
Hope this hasn't been posted yet....is it my imagination, or are we seeing a kind of monumental republican/democrat divide on this new album?
While some still haven't found what they're looking for, my ears are triumphantly smiling.
Is that possible...smiling ears?
..............................................................
U2 drops a 'Bomb'
New CD packs the force of a classic
By Mark Brown, Rocky Mountain News
November 19, 2004
U2
How To Dismantle An Atomic Bomb
Grade: A
When fans name U2's three greatest albums (and for some reason, it's always three), The Joshua Tree always comes up first, quickly followed by Achtung Baby.
Advertisement
What fills that third slot is always up for debate. Boy? The Unforgettable Fire? War? Pop? Just kidding on that last one.
If nothing else, that debate just ended. How To Dismantle an Atomic Bomb, due in stores Tuesday, undeniably takes that third slot. It may not have the sweeping vision of The Joshua Tree - though it comes close - but that's the only quibble. It's 11 very good to great classic U2 songs, sounding fresh and vibrant, with a renewed sense of purpose.
Fans hailed 2000's All That You Can't Leave Behind as a return to classic U2 form, and in some ways it was. It sounded like U2 - the words and guitars and sounds were there - but it sorely lacked the heart and soul that runs through the band's best work.
How To Dismantle an Atomic Bomb brims with that heart and soul. The death of Bono's father has been cited as a motivation behind some of this music, and it seems true; Sometimes You Can't Make It on Your Own and One Step Closer seem steeped in loss and hope at the same time.
In fact, many of the songs are filled with delicious ambivalence. Original of the Species is a soothing reassurance, possibly to a child. The message is simply to slow down and enjoy what's here. "The end is not as fun as the start / Please stay a child somewhere in your heart."
It has U2's trademarks, including The Edge's chiming guitar licks, without feeling like a repeat. If it's a throwback in any way, it's because it's one of those albums that will have fans clamoring to hear the new songs live, rather than just the old classics.
In some ways, it's not U2 that's back so much as Bono and The Edge. The bass and drums of Adam Clayton and Larry Mullen, respectively, are as dependable and inventive here as they've been in the past. But The Edge has gotten his distinctive sound back and lost the self-consciousness that brought down earlier works. It's he and Bono who bring the dynamics to U2's work, and both are dead-on here.
The best U2 albums are both soaring and quiet. On The Joshua Tree you had anthems like Where the Streets Have No Name, coupled with quieter moments like Running To Stand Still. Hey, if it's a formula, it works. Here you've got the anthemic City of Blinding Light setting up the later introspection of One Step Closer.
Sometimes those quiet moments end up living deep inside the louder songs, such as when Bono sings "Where you live should not decide / whether you live or whether you die" in the otherwise-rollicking Crumbs From Your Table.
Lyrically, the album is a reminder of U2's humanity, an aspect of the band that often got lost in the Zoo TV/PopMart presentations that took up much of the '90s. "A heart that hurts / is a heart that beats," Bono softly croons in One Step Closer.
It ends with Yahweh, perhaps the most blatantly religious song the band has done since 40. In it the band looks for redemption and renewal: "Take this soul / Stranded in some skin and bones / Take this soul / And make it sing." It's that search that has marked U2's best work.
Hope this hasn't been posted yet....is it my imagination, or are we seeing a kind of monumental republican/democrat divide on this new album?
While some still haven't found what they're looking for, my ears are triumphantly smiling.
Is that possible...smiling ears?
..............................................................
U2 drops a 'Bomb'
New CD packs the force of a classic
By Mark Brown, Rocky Mountain News
November 19, 2004
U2
How To Dismantle An Atomic Bomb
Grade: A
When fans name U2's three greatest albums (and for some reason, it's always three), The Joshua Tree always comes up first, quickly followed by Achtung Baby.
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What fills that third slot is always up for debate. Boy? The Unforgettable Fire? War? Pop? Just kidding on that last one.
If nothing else, that debate just ended. How To Dismantle an Atomic Bomb, due in stores Tuesday, undeniably takes that third slot. It may not have the sweeping vision of The Joshua Tree - though it comes close - but that's the only quibble. It's 11 very good to great classic U2 songs, sounding fresh and vibrant, with a renewed sense of purpose.
Fans hailed 2000's All That You Can't Leave Behind as a return to classic U2 form, and in some ways it was. It sounded like U2 - the words and guitars and sounds were there - but it sorely lacked the heart and soul that runs through the band's best work.
How To Dismantle an Atomic Bomb brims with that heart and soul. The death of Bono's father has been cited as a motivation behind some of this music, and it seems true; Sometimes You Can't Make It on Your Own and One Step Closer seem steeped in loss and hope at the same time.
In fact, many of the songs are filled with delicious ambivalence. Original of the Species is a soothing reassurance, possibly to a child. The message is simply to slow down and enjoy what's here. "The end is not as fun as the start / Please stay a child somewhere in your heart."
It has U2's trademarks, including The Edge's chiming guitar licks, without feeling like a repeat. If it's a throwback in any way, it's because it's one of those albums that will have fans clamoring to hear the new songs live, rather than just the old classics.
In some ways, it's not U2 that's back so much as Bono and The Edge. The bass and drums of Adam Clayton and Larry Mullen, respectively, are as dependable and inventive here as they've been in the past. But The Edge has gotten his distinctive sound back and lost the self-consciousness that brought down earlier works. It's he and Bono who bring the dynamics to U2's work, and both are dead-on here.
The best U2 albums are both soaring and quiet. On The Joshua Tree you had anthems like Where the Streets Have No Name, coupled with quieter moments like Running To Stand Still. Hey, if it's a formula, it works. Here you've got the anthemic City of Blinding Light setting up the later introspection of One Step Closer.
Sometimes those quiet moments end up living deep inside the louder songs, such as when Bono sings "Where you live should not decide / whether you live or whether you die" in the otherwise-rollicking Crumbs From Your Table.
Lyrically, the album is a reminder of U2's humanity, an aspect of the band that often got lost in the Zoo TV/PopMart presentations that took up much of the '90s. "A heart that hurts / is a heart that beats," Bono softly croons in One Step Closer.
It ends with Yahweh, perhaps the most blatantly religious song the band has done since 40. In it the band looks for redemption and renewal: "Take this soul / Stranded in some skin and bones / Take this soul / And make it sing." It's that search that has marked U2's best work.
u2head
The Fly
TIME Review of HTDAAB!
http://www.time.com/time/magazine/article/0,9171,1101041122-782116,00.html
Mysterious Ways
Making records has always been misery for U2. But on 'How to Dismantle an Atomic Bomb,' they rediscovered the secret: fusion
By JOSH TYRANGIEL/DUBLIN
Bono’s lyrics are as artful as ever, but the album’s star is the Edge
Sunday, Nov. 14, 2004
U2's Adam Clayton and Larry Mullen Jr. realize that much of the world thinks they are criminally lucky. The Edge works out most of U2's melodies on his guitar and Bono writes the bulk of the lyrics, leaving bassist Clayton and drummer Mullen Jr. just a few empty bars to fill and plenty of leisure time. But U2's less famous members are hardly dead weight. In fact, their job is to be live weight — or at least ballast. They are steady, difficult to impress and maddeningly unromantic. "If we're in the studio trying to build the rocket," says Bono, "Edge is under the hood with his slide rule, I'm trying to become fuel, Larry is pointing out the reasons it'll never fly, and Adam's asking, 'Do we really want to go there?' They're always reasonable and usually correct — and I hate them for it."
The indispensable wisdom of the rhythm section was proved most recently during the making of U2's new album, How to Dismantle an Atomic Bomb. For all its success, U2 has never enjoyed making records, largely because the force and diversity of the band members' personalities, combined with their politeness and respect for one another, turns the process into something slow, sloppy and complicated — like democracy. There was hope, though, in October 2003, when the group gathered in Dublin to give a close listen to songs that Bono, 44, and the Edge, 43, believed were ready for release. "All we needed was the assent of the politburo and the record would have been out for Christmas," says Bono. Clayton, 44, and Mullen Jr., 43, focused on each track and then voted decisively that the songs were simply not good enough. "When it comes to signing off on a project," says Clayton, "you ask questions like, 'Have we got a first single to open the campaign?' Frankly, we were missing more than just a first single." Says Mullen Jr.: "It was awkward, but it had to be said."
With 2000's All That You Can't Leave Behind — an album that sold 4 million copies, spawned a $110 million — grossing North American tour and earned the band a Super Bowl half-time-show slot — U2 appeared to regain the coveted title of biggest and best band in rock 'n' roll. But neither Clayton nor Mullen Jr. could shake the feeling that the record had been overpraised by a public relieved to see aging rockers not thoroughly embarrassing themselves. "On the last album there was lots of good feeling," says Clayton, "but only Beautiful Day was a hit. I felt that, if our goal is still to be the biggest band in the world, the new record had to have three or four songs that would bring in new people. Three or four hits."
When it became clear that Clayton and Mullen Jr. were not going to budge, producer Steve Lillywhite was brought in to break the deadlock. "They played me the record," says Lillywhite, "and it was, well, it had the weight of the world on its shoulders. It certainly wasn't any fun." After several lengthy meetings, Bono and the Edge caved. "The songs were good," says Bono, "but good won't bring you to tears or make you want to leave your house and tour for a year. The bastards were right."
Acceptance of that, however, ushered in a typical U2 mini-depression. The not-good-enough songs had taken a year to make, largely because the members of U2 long ago convinced themselves that they're unskilled musicians who, as the Edge says, must "wait for God to walk through the room" before they can write a good song. The humility is charming, but it also provides a convenient excuse for working slowly. "They operate in total chaos," says Lillywhite. "They work slowly, get frustrated and then hold these epic meetings to bemoan how slowly they're working and how frustrated they are. I love them, but sometimes they just need to put one foot in front of the other."
Knowing that a strong first single was U2's greatest concern, Lillywhite, 49, who has produced the band on and off since 1980, decided to re-record a promising track called Native Son. He set the group up in a Dublin warehouse to get a martial drum sound reminiscent of its early days and persuaded the Edge to "stop worrying about the fine line between White Stripes and Whitesnake"--or between art rock and arena rock — and just let loose. When the music started to smolder, Bono grabbed a microphone. "He was awful," says Lillywhite. "The song was all about gun control — an extension of his political beliefs. Bono doesn't try that kind of thing much anymore, but when he does, you can feel the ambivalence from the band, and so can he. They want the rock star." Native Son was rewritten, stripped of politics and retitled Vertigo. Gradually, it emerged as the most rousing — and ironically, seemingly effortless — opener of U2's career.
Despite Lillywhite's success with Vertigo, the process didn't get any easier. U2 continued to work in moments of epiphany followed by days of wallowing. The Edge obsessed over his guitar sound, Clayton and Mullen Jr. hung around to offer criticism, encouragement and rhythm, and Bono checked in via cell phone during breaks from his various attempts to save the world. "He really wasn't around a hell of a lot," says Lillywhite. Nevertheless, his lyrics were the only thing flowing with relative ease. "It's all done in the morning now," says Bono cheerfully. "I used to stay out late and try to walk the muse home. Now I get up fresh-faced at 7 a.m. and take advantage of her while she's passing out."
In another band, Bono's absences to lobby world leaders for African debt relief and AIDS assistance might have been corrosive, but while Mullen Jr. still refers to the singer as the "little fella" in moments of annoyance, those moments are increasingly rare. "Part of it is all of us being past 40," says Mullen Jr. "But the truth is, it's better for Bono not to be here. He gets frustrated and feels like he can be doing more important things, which I think he's proven is true." When he returns, the band is actually eager to talk politics. "I really didn't like the idea of him appearing in a photograph with George Bush," says the Edge. "Larry didn't like seeing him with [Vladimir] Putin. But Bono felt that in the end, even though he agreed on some level, the benefits [of such photo ops] far outweigh the negatives. We're always discussing it, but then we discuss everything."
After 10 months of endless talking and recording-studio drudgery, U2 held another meeting and finally reached something approaching unanimity on the new album. "I do believe we have the hits now," says Clayton — and he's right. How to Dismantle an Atomic Bomb is the catchiest album U2 has ever made, though it is neither political — the titular bomb refers to Bono's tempestuous father, who died in 2001--nor, as Vertigo suggests, a garage rocker. Mostly it's perfectly rendered grandiose pop, enormous in sound and theme. Bono sings about salvation (Yahweh), love (A Man and a Woman), doubt (One Step Closer) and, on All Because of You, himself ("I like the sound of my own voice, I didn't give anyone else a choice") in vocals crisper and more confident than those on All That You Can't Leave Behind. The rhythm section supports him with typically selfless precision during the verses and controlled fury during the breaks.
But the real star of Bomb is the Edge. On the up-tempo tracks, his guitar swaggers with a grimy, lo-fi elegance. On the half a dozen ballads, he doesn't hesitate to sample the clean, echoing minimalism he created on U2's earlier records. The result is an album that references old sounds for the devoted, integrates fuzzy new ones for the kids and delivers a staggering number of indelible hooks. The only notable weakness is that the pursuit of those hooks keeps Bomb rooted in the thrill-delivering formula of verse-chorus-verse-pedal-steel solo, depriving it of the mood-altering qualities of Achtung Baby or The Joshua Tree. Listening to Bomb straight through a few times is a bit like staring into a closetful of sequins. But depth is not what this album is after. It's a statement of competitiveness and relevance, and the best example of intelligent pop hitmaking this year.
Having gone through the agony of making hits, U2 wants to make sure its songs will be heard. Radio has been unfriendly to the band for years (its last Top 10 hit was 1997's Discotheque, which peaked at No. 10), so the group decided to cooperate with Apple on a customized black iPod and the now ubiquitous Vertigo silhouette ads, though they didn't do it solely for a payday. "A big car company once offered us $25 million for one of our songs," says Bono, "and we turned them down. No money changed hands in this deal. Downloading is the future, and we want to be King Canute. Let's get on the surfboard and ride the wave." As of last week, Vertigo had ruled the iTunes download chart for most of the past month. "We shall not go gently," says Bono.
U2 will start yet another world tour in March 2005, right after its members turn up for their presumed induction into the Rock and Roll Hall of Fame. None of them are particularly pleased to be reminded that they released their first record 25 years ago, as the hall requires for inductees, but Bono admits he can't wait to join his idols the Beatles and Bob Marley. Clayton and Mullen Jr., naturally, have a different take. "I suppose if people want to shower you with honors, the only reasonable thing to do is accept them," says Clayton. "But it does feel premature," says Mullen Jr. "We're trying to stay focused on the big prize." Someone has to.
***
http://www.time.com/time/magazine/article/0,9171,1101041122-782116,00.html
Mysterious Ways
Making records has always been misery for U2. But on 'How to Dismantle an Atomic Bomb,' they rediscovered the secret: fusion
By JOSH TYRANGIEL/DUBLIN
Bono’s lyrics are as artful as ever, but the album’s star is the Edge
Sunday, Nov. 14, 2004
U2's Adam Clayton and Larry Mullen Jr. realize that much of the world thinks they are criminally lucky. The Edge works out most of U2's melodies on his guitar and Bono writes the bulk of the lyrics, leaving bassist Clayton and drummer Mullen Jr. just a few empty bars to fill and plenty of leisure time. But U2's less famous members are hardly dead weight. In fact, their job is to be live weight — or at least ballast. They are steady, difficult to impress and maddeningly unromantic. "If we're in the studio trying to build the rocket," says Bono, "Edge is under the hood with his slide rule, I'm trying to become fuel, Larry is pointing out the reasons it'll never fly, and Adam's asking, 'Do we really want to go there?' They're always reasonable and usually correct — and I hate them for it."
The indispensable wisdom of the rhythm section was proved most recently during the making of U2's new album, How to Dismantle an Atomic Bomb. For all its success, U2 has never enjoyed making records, largely because the force and diversity of the band members' personalities, combined with their politeness and respect for one another, turns the process into something slow, sloppy and complicated — like democracy. There was hope, though, in October 2003, when the group gathered in Dublin to give a close listen to songs that Bono, 44, and the Edge, 43, believed were ready for release. "All we needed was the assent of the politburo and the record would have been out for Christmas," says Bono. Clayton, 44, and Mullen Jr., 43, focused on each track and then voted decisively that the songs were simply not good enough. "When it comes to signing off on a project," says Clayton, "you ask questions like, 'Have we got a first single to open the campaign?' Frankly, we were missing more than just a first single." Says Mullen Jr.: "It was awkward, but it had to be said."
With 2000's All That You Can't Leave Behind — an album that sold 4 million copies, spawned a $110 million — grossing North American tour and earned the band a Super Bowl half-time-show slot — U2 appeared to regain the coveted title of biggest and best band in rock 'n' roll. But neither Clayton nor Mullen Jr. could shake the feeling that the record had been overpraised by a public relieved to see aging rockers not thoroughly embarrassing themselves. "On the last album there was lots of good feeling," says Clayton, "but only Beautiful Day was a hit. I felt that, if our goal is still to be the biggest band in the world, the new record had to have three or four songs that would bring in new people. Three or four hits."
When it became clear that Clayton and Mullen Jr. were not going to budge, producer Steve Lillywhite was brought in to break the deadlock. "They played me the record," says Lillywhite, "and it was, well, it had the weight of the world on its shoulders. It certainly wasn't any fun." After several lengthy meetings, Bono and the Edge caved. "The songs were good," says Bono, "but good won't bring you to tears or make you want to leave your house and tour for a year. The bastards were right."
Acceptance of that, however, ushered in a typical U2 mini-depression. The not-good-enough songs had taken a year to make, largely because the members of U2 long ago convinced themselves that they're unskilled musicians who, as the Edge says, must "wait for God to walk through the room" before they can write a good song. The humility is charming, but it also provides a convenient excuse for working slowly. "They operate in total chaos," says Lillywhite. "They work slowly, get frustrated and then hold these epic meetings to bemoan how slowly they're working and how frustrated they are. I love them, but sometimes they just need to put one foot in front of the other."
Knowing that a strong first single was U2's greatest concern, Lillywhite, 49, who has produced the band on and off since 1980, decided to re-record a promising track called Native Son. He set the group up in a Dublin warehouse to get a martial drum sound reminiscent of its early days and persuaded the Edge to "stop worrying about the fine line between White Stripes and Whitesnake"--or between art rock and arena rock — and just let loose. When the music started to smolder, Bono grabbed a microphone. "He was awful," says Lillywhite. "The song was all about gun control — an extension of his political beliefs. Bono doesn't try that kind of thing much anymore, but when he does, you can feel the ambivalence from the band, and so can he. They want the rock star." Native Son was rewritten, stripped of politics and retitled Vertigo. Gradually, it emerged as the most rousing — and ironically, seemingly effortless — opener of U2's career.
Despite Lillywhite's success with Vertigo, the process didn't get any easier. U2 continued to work in moments of epiphany followed by days of wallowing. The Edge obsessed over his guitar sound, Clayton and Mullen Jr. hung around to offer criticism, encouragement and rhythm, and Bono checked in via cell phone during breaks from his various attempts to save the world. "He really wasn't around a hell of a lot," says Lillywhite. Nevertheless, his lyrics were the only thing flowing with relative ease. "It's all done in the morning now," says Bono cheerfully. "I used to stay out late and try to walk the muse home. Now I get up fresh-faced at 7 a.m. and take advantage of her while she's passing out."
In another band, Bono's absences to lobby world leaders for African debt relief and AIDS assistance might have been corrosive, but while Mullen Jr. still refers to the singer as the "little fella" in moments of annoyance, those moments are increasingly rare. "Part of it is all of us being past 40," says Mullen Jr. "But the truth is, it's better for Bono not to be here. He gets frustrated and feels like he can be doing more important things, which I think he's proven is true." When he returns, the band is actually eager to talk politics. "I really didn't like the idea of him appearing in a photograph with George Bush," says the Edge. "Larry didn't like seeing him with [Vladimir] Putin. But Bono felt that in the end, even though he agreed on some level, the benefits [of such photo ops] far outweigh the negatives. We're always discussing it, but then we discuss everything."
After 10 months of endless talking and recording-studio drudgery, U2 held another meeting and finally reached something approaching unanimity on the new album. "I do believe we have the hits now," says Clayton — and he's right. How to Dismantle an Atomic Bomb is the catchiest album U2 has ever made, though it is neither political — the titular bomb refers to Bono's tempestuous father, who died in 2001--nor, as Vertigo suggests, a garage rocker. Mostly it's perfectly rendered grandiose pop, enormous in sound and theme. Bono sings about salvation (Yahweh), love (A Man and a Woman), doubt (One Step Closer) and, on All Because of You, himself ("I like the sound of my own voice, I didn't give anyone else a choice") in vocals crisper and more confident than those on All That You Can't Leave Behind. The rhythm section supports him with typically selfless precision during the verses and controlled fury during the breaks.
But the real star of Bomb is the Edge. On the up-tempo tracks, his guitar swaggers with a grimy, lo-fi elegance. On the half a dozen ballads, he doesn't hesitate to sample the clean, echoing minimalism he created on U2's earlier records. The result is an album that references old sounds for the devoted, integrates fuzzy new ones for the kids and delivers a staggering number of indelible hooks. The only notable weakness is that the pursuit of those hooks keeps Bomb rooted in the thrill-delivering formula of verse-chorus-verse-pedal-steel solo, depriving it of the mood-altering qualities of Achtung Baby or The Joshua Tree. Listening to Bomb straight through a few times is a bit like staring into a closetful of sequins. But depth is not what this album is after. It's a statement of competitiveness and relevance, and the best example of intelligent pop hitmaking this year.
Having gone through the agony of making hits, U2 wants to make sure its songs will be heard. Radio has been unfriendly to the band for years (its last Top 10 hit was 1997's Discotheque, which peaked at No. 10), so the group decided to cooperate with Apple on a customized black iPod and the now ubiquitous Vertigo silhouette ads, though they didn't do it solely for a payday. "A big car company once offered us $25 million for one of our songs," says Bono, "and we turned them down. No money changed hands in this deal. Downloading is the future, and we want to be King Canute. Let's get on the surfboard and ride the wave." As of last week, Vertigo had ruled the iTunes download chart for most of the past month. "We shall not go gently," says Bono.
U2 will start yet another world tour in March 2005, right after its members turn up for their presumed induction into the Rock and Roll Hall of Fame. None of them are particularly pleased to be reminded that they released their first record 25 years ago, as the hall requires for inductees, but Bono admits he can't wait to join his idols the Beatles and Bob Marley. Clayton and Mullen Jr., naturally, have a different take. "I suppose if people want to shower you with honors, the only reasonable thing to do is accept them," says Clayton. "But it does feel premature," says Mullen Jr. "We're trying to stay focused on the big prize." Someone has to.
***
bathiu said:Again... you said nothing U2girl... everything NOt true... and again To make ATYCanLB good you have to make Pop bad... I feel sorry for you...
OK... I'm sorry for the last part, but you do realize - I hope - that when it comes to music in places where some people see shit others see flowers...
But it's realy YOU that are using argument ATYCanLB is good because it's not Pop, not me... I gave you a full explanation why u2000 is a huge shit and what you did in reply? Of course some more Pop bashing... why not...
You're saying my picture of ATYCanLB is blured?
I said that Pop isn't a good album, remember? but ATYCanLB in comparison looks like huge shit... actualy like very old and dry, big dog shit...
...is a bell rigning already? oh we poor Pop lovers... poor we...
I wont even repeat anymore what's wrong with ATYCanLB because you'll ignore it once again...
/sidenote/ Pop sold more copies than Zooropa.... thank you...
...and no... ATYCanLB has no 11 singles... even those 4 "real" singles are weak until you hear live versions of them...
/edit/ HTDAAB rules!!!!!!!!!!!
So now you don't want to compare ATYCLB to the prevoius album?
I guess the truth hurts. Just as much as I may have compared Pop to ATYCLB, so did you. Your picture of ATYCLB is blurred, in that you like Pop so much you can't give an objective/fair opinion on ATYCLB.
You said ATYCLB lacked emotion which I replied to. You said it was weak which it isn't (certainly no more than Pop).
You disliking a "pop in U2 version" album is not my problem. I never once called Pop shit like you called ATYCLB, nor did I twist it's title like you did with ATYCLB. So much about who hates an album.
No, Zooropa did better thank you. 9 millions, and with Pop I heard numbers from 6 to 8 millions. An album that took a couple of months is more succesful as an album that took years, and nothing on Pop can compare itself to Stay.
Yes, ATYCLB has 11 singles. I don't think they were weak, BD was a hit U2 hasn't had for years. Stuck in a moment helped boost ATYCLB, Walk on became the U2 song after 9/11.
Of course, most U2 songs have great live versions - but that doesn't mean the studio version was crap.
Aardvark747
Blue Crack Addict
Good read!
bathiu
Refugee
Clear, simple fatcs...
Pop - 8mlns wordwide; 1,5mlns in U.S. -> 6,5mlns ROTW
ATYCanLB - 10,4 wordwide; 4,2mlns in U.S. -> 6,2mlns ROTW
You were saying something about ATYCanLB not being a record made for American market?
You were saying something that 9/11 has nothing to do with this record's succes?
My first post U2Girl was about ATYCLB alone... it is you that jumped on me with Pop vs ATYCanLB... check back the thread!
There were no "hits" on ATYCanLB... Vertigo was their first SINCE Staring At The Sun (on Bilboard)...
Yes, the studio versions are crap... without live versions of them ATYCanLB isn't worth mentioning...
Pop - 8mlns wordwide; 1,5mlns in U.S. -> 6,5mlns ROTW
ATYCanLB - 10,4 wordwide; 4,2mlns in U.S. -> 6,2mlns ROTW
You were saying something about ATYCanLB not being a record made for American market?
You were saying something that 9/11 has nothing to do with this record's succes?
My first post U2Girl was about ATYCLB alone... it is you that jumped on me with Pop vs ATYCanLB... check back the thread!
There were no "hits" on ATYCanLB... Vertigo was their first SINCE Staring At The Sun (on Bilboard)...
Yes, the studio versions are crap... without live versions of them ATYCanLB isn't worth mentioning...
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