SOE 31: Yes, we have no bananas

The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
I have not heard the song yet but unless Bono lets out a massive audible fart while singing "refu-Jesus", it's not going to be worse than the "little old lady" lyric.

"Refu-Jesus" as a portmanteau is pretty much a massive audible fart.
 
This album seems entirely mastered for headphones so far. It seems very flat and dull through speakers, but there are a lot of subtle details and the sound somehow richer on headphones. Maybe I’m crazy - anyone else hear it this way?

I noticed this too. The subtle details and textures are really apparent with headphones - the songs have an overall richer quality. That might seem an obvious thing to say, but it's more than that.
 
Last edited:
I'm here to double down on it's "13" cause they're true companion albums to such an extent that Bono's considering them the 13th record.

Don't care if it's true. Don't know what it means.

:love:
 
One of my complaints would be that the songs seem sort of muted. I have to listen to them using my headphones pretty much at full volume to get all those textures and subtle details that are really making the songs for me; particularly AS and TB.
 
Just played both in the car while doing some night driving...

GOOYOW - I don't hate it or mind the Beautiful Day-coatings in places. But I can't stop humming the chorus to The Best Thing over it since it's basically the same progression. I didn't mind the reliance on I–V–vi–IV with SOI too much since the songs were pretty good, but here, it just seems a bit odd to have two songs playing the same thing.

The Blackout - Digging it the more and more I hear it. No super chorus present, but Adam's bass and the vibe seem to make up for it.
 
The Blackout album version still stands up, actually improves, to me and the one I like the best out of the three. I actually also like GOOYOW quite a bit, which surprises me as I generally am more meh about that type of song of theirs. Feels like they finally figured out what to do with the sounds they were germinating with Always. American Soul - not sure what to think about it, while it started off with a lot of potential, the prominent reuse of key elements of Volcano kinda turns me off. I do like the part in the later part of the song (even though that too borrows from Volcano) as well. I need to sit on this one awhile.
 
GOOYOW - I don't hate it or mind the Beautiful Day-coatings in places. But I can't stop humming the chorus to The Best Thing over it since it's basically the same progression. I didn't mind the reliance on I–V–vi–IV with SOI too much since the songs were pretty good, but here, it just seems a bit odd to have two songs playing the same thing.

Yeah, there does seem to be much segueing and linkages between the songs.

The above are numbers 3 & 4 in the track listing.
 
Alright.

So is Get Out Of Your Own Way the most inspired pieces of songwriting in the world? No.

But it's good. It's not as much Tedder bullshit as I feared when I started seeing the reviews come in, and if you don't like most of post 2000 U2 then yea, you're going to think this sucks. And I get that.

And those who are like "ehhhrmagad this is the greatest song ever I'm dying" are pretty dumb. coughcoughSilCoughcough

But it's pretty good. I think it's better than Best Thing. It's definitely a push in the All That You Can't Leave Behind direction.

Haven't given American Soul a whirl yet.

I do have hopes that this is going to be a very good album. Not ground breaking, experimental, or on par with Joshua Tree or Achtung Baby... but filled with good, listenable songs.

For some that's a disaster, and I get that. But honestly I'd rather have good songs that aren't necessarily the most ground breaking thing in the world than have a quasi-experimental bull crap like what No Line was.

Well said as usual, I agree.

World Series setlist update: Elecation again? Casuals.
 
Last edited:
Okay, I’m just going to be honest: these aren’t very good songs, are they? Like, I guess I’m happy to have a new U2 album, but, like, this is the band that made Bad. Or even BD/COBL/MOS. And now... this? Like, the songs aren’t awful, but they’re just so many tiers removed from what I know U2 are capable of.
 
To those talking about the songs sounding better/clearer in headphones than on big speakers: you're all correct! These iTunes tracks were all "Mastered for iTunes" meaning they were mixed to sound best on headphones & small speakers (where most people listen). "Mastered for iTunes" tracks are all specifically mastered to sound best on small devices (earbuds, MacBook speakers, etc) which means the files may not sound as loud, clear and "big" on larger/wider speaker setups. The CD or a CD rip will likely sound much better as it won't be mixed down.
 
Okay, I’m just going to be honest: these aren’t very good songs, are they? Like, I guess I’m happy to have a new U2 album, but, like, this is the band that made Bad. Or even BD/COBL/MOS. And now... this? Like, the songs aren’t awful, but they’re just so many tiers removed from what I know U2 are capable of.

Precisely
 
Okay, I’m just going to be honest: these aren’t very good songs, are they? Like, I guess I’m happy to have a new U2 album, but, like, this is the band that made Bad. Or even BD/COBL/MOS. And now... this? Like, the songs aren’t awful, but they’re just so many tiers removed from what I know U2 are capable of.

Yep.

What also gets me is how this music blends in sonically with what other prominent mainstream rock bands are producing. One of the things that set U2 apart at the peak of their abilities was how different they were. Nothing on radio in 1987 sounded like WOWY. Plenty of post-punk bands were evolving in new directions in 1984 but none went quite as impressionistic or abstract as UF. Achtung and Zooropa were absolutely not grunge.

Pop was perceived as a bit of trendhopping, but my god, these four songs just disappear into the same sonic space as today's dime-a-dozen radio rock bands. It's more the production than the songs themselves, though the devolution of Bono's lyrics into bland platitudes doesn't help.
 
Yep.

What also gets me is how this music blends in sonically with what other prominent mainstream rock bands are producing. One of the things that set U2 apart at the peak of their abilities was how different they were. Nothing on radio in 1987 sounded like WOWY. Plenty of post-punk bands were evolving in new directions in 1984 but none went quite as impressionistic or abstract as UF. Achtung and Zooropa were absolutely not grunge.

Pop was perceived as a bit of trendhopping, but my god, these four songs just disappear into the same sonic space as today's dime-a-dozen radio rock bands. It's more the production than the songs themselves, though the devolution of Bono's lyrics into bland platitudes doesn't help.



"Relevance"
 
Yep.

What also gets me is how this music blends in sonically with what other prominent mainstream rock bands are producing. One of the things that set U2 apart at the peak of their abilities was how different they were. Nothing on radio in 1987 sounded like WOWY. Plenty of post-punk bands were evolving in new directions in 1984 but none went quite as impressionistic or abstract as UF. Achtung and Zooropa were absolutely not grunge.

Pop was perceived as a bit of trendhopping, but my god, these four songs just disappear into the same sonic space as today's dime-a-dozen radio rock bands. It's more the production than the songs themselves, though the devolution of Bono's lyrics into bland platitudes doesn't help.

Indeed
 
Yep.

What also gets me is how this music blends in sonically with what other prominent mainstream rock bands are producing. One of the things that set U2 apart at the peak of their abilities was how different they were. Nothing on radio in 1987 sounded like WOWY. Plenty of post-punk bands were evolving in new directions in 1984 but none went quite as impressionistic or abstract as UF. Achtung and Zooropa were absolutely not grunge.

Pop was perceived as a bit of trendhopping, but my god, these four songs just disappear into the same sonic space as today's dime-a-dozen radio rock bands. It's more the production than the songs themselves, though the devolution of Bono's lyrics into bland platitudes doesn't help.

I don’t disagree, but how far do you have to go back to get to what you are talking about? Pop? I just think that, regardless of how you feel about the songs themselves, they fit into the post-2000 era U2 sound just about as well as anything else we’ve heard from them in the last 17 years. Essentially, it’s nothing new.

And I say this as someone who is generally enjoying the new material.
 
I don’t disagree, but how far do you have to go back to get to what you are talking about? Pop? I just think that, regardless of how you feel about the songs themselves, they fit into the post-2000 era U2 sound just about as well as anything else we’ve heard from them in the last 17 years. Essentially, it’s nothing new.

And I say this as someone who is generally enjoying the new material.

Yep. Basically the band was at it's creative peak from 1980-1995 and since then they've been trying to be their commercial peak. I basically consider U2 from Pop to now a different band than U2 from Boy to Hold Me Thrill Me Kiss Me Kill Me.

I enjoy both U2s. One is a nice fun band and the other is one of the best bands of all time. The trick is to mentally separate them. In my opinion.
 
See, if U2 began their career in 2000, there's not a chance in hell I'd be a fan of them.

Lucky they were so fucking good before then.
 
I think these songs are perfectly written for the intended audience which is not the older U2 crowd. 44 puts me in the older crowd and I am enjoying these songs much more than SOI, HTDAAB, and NLOTH. Big subjects sweetened like pop to make them easily digested!! I about wrecked my car when I had my son and 4 of his 11-year friends in my car and they asked me to play Raised by Wolves!!
 
Yep. Basically the band was at it's creative peak from 1980-1995 and since then they've been trying to be their commercial peak. I basically consider U2 from Pop to now a different band than U2 from Boy to Hold Me Thrill Me Kiss Me Kill Me.

I enjoy both U2s. One is a nice fun band and the other is one of the best bands of all time. The trick is to mentally separate them. In my opinion.

An interesting way to think about it... probably a good one as we are still getting the best of both worlds. They continue to release strong material while touring their catalogue as one of the best bands ever for everybody to enjoy.

As a younger fan I’m just happy they are not only still around, but seemingly have the drive to stay at the top of their game by touring and releasing new material. Enjoying it while it lasts, that’s for sure.
 
What was Bono thinking, and how did the band and the entire city of producers and engineers around them let it through?

This is a question I keep coming back to. How did Refujesus make it on to the album? How is Bono allowed out with those round sunglasses on? I have to assume people are speaking truth to power and he’s just not listening. He’s earned so much leeway that it’s actially hurting him. He can’t get out of his own way!
 
See, if U2 began their career in 2000, there's not a chance in hell I'd be a fan of them.

Lucky they were so fucking good before then.
Haha yes! Although I'd listen to a bunch of their songs, I sure as hell wouldn't be on a U2 fan site.
 
Okay, I’m just going to be honest: these aren’t very good songs, are they? Like, I guess I’m happy to have a new U2 album, but, like, this is the band that made Bad. Or even BD/COBL/MOS. And now... this? Like, the songs aren’t awful, but they’re just so many tiers removed from what I know U2 are capable of.

The album that produced 'Moment of Surrender' also produced 'Stand Up Comedy' and 'Get on Your Boots' (as the lead single, no less). The album that produced 'Beautiful Day' also produced 'Peace On Earth', 'Grace' and 'Elevation' (unless you consider a mole digging in a hole to be something revelatory). The album that produced 'City of Blinding Lights' also produced lyrics about intellectual tortoises, mused about highrises on backs, and even pondered over the "mysterious distance" between a man and a woman (while simultaneously trying to rhyme said distance with "romance"). Just saying...
 
Yep. Basically the band was at it's creative peak from 1980-1995 and since then they've been trying to be their commercial peak. I basically consider U2 from Pop to now a different band than U2 from Boy to Hold Me Thrill Me Kiss Me Kill Me.

I enjoy both U2s. One is a nice fun band and the other is one of the best bands of all time. The trick is to mentally separate them. In my opinion.

I think Pop U2 is very much the same as HMTMKMKM U2. Pop is absolutely the last in the 90s trilogy.
 
I’ve only done one listen through, and I’ve avoided American Soul because I hate Volcano, but it’s pretty good. I think it’s a little unfair to compare these songs to Bad and, say, Streets, because those songs have 30 years of magnitude behind them, and, really, no one else has written better songs either. Plus they have the advantage of a lifetime of live performances, which always make the album versions better (really, on TUF, Bad is kind of a nebulous mess, it’s only the order imposed by the superlative live version that makes the album version make sense).

That said.

GOOwhatever sounds better than my initial expensive children’s birthday party band fears, but it’s not my favorite. It has no ache, there’s no hurt, which a good U2 song needs. I feel no stakes. None. It’s just sort of pretty.

TBT is highly enjoyable, I’m still a fan. It also has a tension GOO lacks.

Blackout seems the winner here, definitely the most interesting and nimble.

I do miss the magic. It just doesn’t happen through crappy earbuds. (My good ones are at work).
 
The album that produced 'Moment of Surrender' also produced 'Stand Up Comedy' and 'Get on Your Boots' (as the lead single, no less). The album that produced 'Beautiful Day' also produced 'Peace On Earth', 'Grace' and 'Elevation' (unless you consider a mole digging in a hole to be something revelatory). The album that produced 'City of Blinding Lights' also produced lyrics about intellectual tortoises, mused about highrises on backs, and even pondered over the "mysterious distance" between a man and a woman (while simultaneously trying to rhyme said distance with "romance"). Just saying...

I actually like GOYB and AMAAW, but point taken, for the most part.

My revised takeaway is this: the signs of U2 drifting towards a generic sound plus inane Bonoisms have been around for awhile, at least since ATYCLB. Their roots may even extend into the 90s, depending on what our attitude will be towards Bono's less-sincere usage towards such lyrics (which I won't try to litigate here). The specifics of it aren't that important, but the point is that this stuff has a legacy.

What's really concerning here is that we've heard 1/3 of the album and there's not much of a sign of anything particularly impressive so far. So far, we have basically a pretty generic sound and lyrics that are at best okay and at worst an impressively substantial collection of inane Bonisms for 1/3 of an album. Sure, I've come to like YTBTAM a good bit more, especially with the music videos. But is it really the best song on the album? Feels that way so far to me. And it doesn't even hit the middling highs of SOI.

ATYCLB, HTDAAB, and NLOTH all had their issues, for sure. But there are incredibly special moments on each of those albums. SOI was much thinner on that front. I'm worried that SOE will be thinner still.

So, we will see. You're right that a generic sound and inane Bonoisms aren't new to 2017. But I'm just not sure we'll get something much above decent.
 
I’ve only done one listen through, and I’ve avoided American Soul because I hate Volcano, but it’s pretty good. I think it’s a little unfair to compare these songs to Bad and, say, Streets, because those songs have 30 years of magnitude behind them, and, really, no one else has written better songs either. Plus they have the advantage of a lifetime of live performances, which always make the album versions better (really, on TUF, Bad is kind of a nebulous mess, it’s only the order imposed by the superlative live version that makes the album version make sense).

That said.

GOOwhatever sounds better than my initial expensive children’s birthday party band fears, but it’s not my favorite. It has no ache, there’s no hurt, which a good U2 song needs. I feel no stakes. None. It’s just sort of pretty.

TBT is highly enjoyable, I’m still a fan. It also has a tension GOO lacks.

Blackout seems the winner here, definitely the most interesting and nimble.

I do miss the magic. It just doesn’t happen through crappy earbuds. (My good ones are at work).

It also doesn't happen in a perfectly crafted 3 minute pop song. They've become so compressed to a formula that they've lost what makes them great, which is also what makes them maddening, the noodling around in the studio. A single riff can span 5 different ideas

And them playing around trying to figure out how it becomes a U2 song, versus how do we make this the perfect Pop song?

A song like UTEOTW was built around a riff, in fact the riff IS the chorus of the song. I'd hate to see what U2 would do with a song like that today.
 
It also doesn't happen in a perfectly crafted 3 minute pop song. They've become so compressed to a formula that they've lost what makes them great, which is also what makes them maddening, the noodling around in the studio. A single riff can span 5 different ideas



And them playing around trying to figure out how it becomes a U2 song, versus how do we make this the perfect Pop song?



A song like UTEOTW was built around a riff, in fact the riff IS the chorus of the song. I'd hate to see what U2 would do with a song like that today.



Agreed. It’s not like they didn’t write great, intentional pop songs in the past. MW and ISHF have absolutely ruthless hooks, which is why they are the massive hits they were intended to be. But there does seem to be space that’s missing, which I feel like they always said was key to their appeal — that they let the song breathe, whereas everyone else would move it along or play a solo or whatever.

It seems like a conscious decision not to do that? I feel like they have declined, of course, as everyone does, and they still have great moments, but there seems to be too much awareness about a perceived audience reaction and they are willingly allowing themselves to be strangled by it.

There’s still imagination and joy and well done execution, but ... we’ll see how it all sounds in 1 or 6 or 12 or 200 months from now.
 
Back
Top Bottom