Songs of Ascent / New U2 Music / Soon

[VintagePunk]

"you're in my mind, all of the time/i know that's not enough"

one of my favourite U2 lyrics

The line that gets me is "coffee is cold, but it'll get you through." It just screams apathy to me, like, it's not great, or good even, but you'll settle for it, because you really don't give a shit enough to fix it. Brilliant.

I think he does a great job of likening a gathering storm to the unresolvable tension and conflict in a relationship, with the notion that if the storm would come, the energy/tension/anger would dissipate, and everything would be okay again.

 

[BVS]

Wow, I think it's a great song. Moody and atmospheric, and while there are a few clunky phrases in there (the sea it swells like a sore head; the air is heavy, heavy as a truck), I think what he does lyrically well in it more than makes up for those. I'm really sorry they didn't leave it in the setlist.

I really actually like the first part of that line.

I think the line would have been much better if it was "heavy like a drug", which was the speculation for awhile.

The line that gets me is "coffee is cold, but it'll get you through." It just screams apathy to me, like, it's not great, or good even, but you'll settle for it, because you really don't give a shit enough to fix it. Brilliant.

I know a lot hate that line almost as much as the truck line, but I think it's brilliant.

I really think the clunkiest part is the E LEC TRIC AL STORM part, I understand the analogy, but it's just not a common enough phrase and it's sung very oddly to be a chorus.

 

[VintagePunk]

I really actually like the first part of that line.

I think the line would have been much better if it was "heavy like a drug", which was the speculation for awhile.

Ha, for a long time I used to think it was "heavy as a church," which is kind of weird too, but I got it, because sometimes churches have this oppressive feeling, with the scent of incense, etc, hanging in the air, and a vibe of gravity. To this day, I like mine better.

I know a lot hate that line almost as much as the truck line, but I think it's brilliant.

I really think the clunkiest part is the E LEC TRIC AL STORM part, I understand the analogy, but it's just not a common enough phrase and it's sung very oddly to be a chorus.

I've heard the phrase lots, though mostly from older people. Maybe it's an age or a regional thing.

 

[lazarus]

Interesting, I never made the Oasis connection, which in essence would be a Beatles connection.

To me it always came off as a wanna be TGBHF, but with clunky lyrics.

Yeah, I guess the difference is that TGBHF really sounds like an exotic place the band hasn't been before, whereas Electrical Storm is like Staring at the Sun part 2 (downbeat verses, "uplifting" chorus/bridge), but far inferior--and SATS is my least favorite song on Pop.

Plus, the guitar on TGBHF, particularly near the end, is just phenomenal, and again, not Edge-by-numbers like on ES.

The less said about the lyrics, the better. And as you said in your later post, the actual "Electrical Storm" chorus is delivered weakly.

Not to mention the "baby don't cry" section is painful, and in retrospect a disturbing glance ahead at the band's all-time creative nadir (both lyrically and musically) with the "baby baby baby" section of Crazy Tonight.

 

[An Cat Gav]

I happen to like Big Girls Are Best. I just wish Bono hadn't pulled the punches with the lyrics.

am i the only one who likes October?

 

[powerhour24]

I love ES, but TGBHF trumps it in every way imaginable.

I never thought of the use of the term 'electrical storm' as weird, sure its not what most people would call a thunderstorm, but upon hearing it you obviously know what it means, and I'm in the same camp with VintagePunk, I like the analogy.

 

[powerhour24]

am i the only one who likes October?

No, its desperately under-rated.

 

[An Cat Gav]

I love ES, but TGBHF trumps it in every way imaginable.

I never thought of the use of the term 'electrical storm' as weird, sure its not what most people would call a thunderstorm, but upon hearing it you obviously know what it means, and I'm in the same camp with VintagePunk, I like the analogy.

I think they're both great songs, but yeah, TGBHF does trump it as it's the best song of the decade(IMO).

 

[lazarus]

I would have said that before NLOTH, but it's still Top 10 for me.

Stateless wouldn't be too far behind, either.

 

[ozeeko]

If we're talking the William Orbit mix, then Electrical Storm is a great tune. I like the way they don't force the "you're in my mind all the time" part of the song, and how it doesn't kick in 'til 2nd time around. They let the atmosphere take you first.

While "the air is heavy, heavy as truck" is definitely one of Bono's worst, it doesn't bother me as much as "butter on toast" or Miracle Drug's "freedom has a scent" or even "little old lady". Stupid line, but for some reason not as bad. Maybe because he doesn't articulate it that well, and if you wanted to, you could just pretend he said "drug" or whatever. But "heavy as a truck?" - that had to be one of the most rushed lines in Bono's career. I bet they were recording the vocal, got to that part, and Bono realized he didn't have anything.

 

[U2girl]

ES is U2 by numbers. OK song, but U2 by numbers none the less. It tanked live though, much like Your blue room.

 

[U2girl]

I think they're both great songs, but yeah, TGBHF does trump it as it's the best song of the decade(IMO).

Moment of surrender gets my vote for best song this decade.

 

[BVS]

Not to mention the "baby don't cry" section is painful, and in retrospect a disturbing glance ahead at the band's all-time creative nadir (both lyrically and musically) with the "baby baby baby" section of Crazy Tonight.

Um, Achtung Baby...

 

[corianderstem]

I love Electrical Storm, although it's one of the rare times for me where the chorus is the weakest part of a U2 song. Love the verses, the truck line doesn't bother me.

Love the peak the song hits with the "heyyyyy" bit.

 

[lazarus]

Moment of surrender gets my vote for best song this decade.

Agreed, unless we're counting Mercy.

Um, Achtung Baby...

...where it's used in a desperate, plaintive fashion, not as radio-friendly shorthand like in the other songs.

Cori: deja vu?

 

[corianderstem]

BVS stole my brain. He'd better return it intact ... AND UNEATEN, thankyouverymuch.

 

[U2girl]

Agreed, unless we're counting Mercy.

I'd be curious to see Eno and Lanois work on Mercy. It is one of their best songs of this decade.

 

[BVS]

BVS stole my brain. He'd better return it intact ... AND UNEATEN, thankyouverymuch.

In due time...

 

[lazarus]

I'd be curious to see Eno and Lanois work on Mercy. It is one of their best songs of this decade.

Yeah, hard to say who was behind the boards on the version we have. According to the Limited Edition book, it was the last song recorded during the sessions; the second to last being A Man and a Woman, which Jacknife Lee produced.

Whoever it was, they sure captured the Achtung vibe pretty well. I can only imagine how a recording that isn't a copy of a copy sounds.

 

[Niceman]

I don't think they're going to need more than one leg to test the songs out.

And to be honest, I'm glad the European fans are going to be the judge before North America, considering the tepid reaction to POP over here. Perhaps the more experimental tracks will have a better chance overseas and convince the band to use them.

Excellent point!

 

[U2DMfan]

Mercy and MOS are both great examples of why U2 need to spend less time in the studio.
MOS is said to be in a very early incarnation. Surely they didn't have time to dummy up Mercy. They need to trust their instincts more.

I'd also personally throw in Native Son, Xanax, the alternate ABOY and Sometimes.
I prefer all of these songs. They just don't sound watered down by studio fatigue.
Also, I absolutely adore Zooropa. I think Levitate sounds better than half of ATYCLB.
I think Smile, even in it's rough stage was as good as half of HTDAAB...

I definitely think there is a consistent vein here.

 

[trevgreg]

Mercy and MOS are both great examples of why U2 need to spend less time in the studio.
MOS is said to be in a very early incarnation. Surely they didn't have time to dummy up Mercy. They need to trust their instincts more.

I'd also personally throw in Native Son, Xanax, the alternate ABOY and Sometimes.
I prefer all of these songs. They just don't sound watered down by studio fatigue.
Also, I absolutely adore Zooropa. I think Levitate sounds better than half of ATYCLB.
I think Smile, even in it's rough stage was as good as half of HTDAAB...

I definitely think there is a consistent vein here.

It certainly helps knowing though that these songs did get released in the end somehow. Plus, I think we can apperciate these songs a bit more solely for the demo/b-side status. Who knows if we'd be looking at them as "filler" if it were otherwise?

 

[Aygo]

I'd also personally throw in Native Son, Xanax, the alternate ABOY and Sometimes.
I prefer all of these songs. They just don't sound watered down by studio fatigue.


I think Levitate sounds better than half of ATYCLB.

I like the HTDAAB alternate versions and I like when U2 goes rough. But these songs, as much as I liked it, they sound pretty unfinished and the production is awful (I prefer the over production of the final versions than this excessive roughness).

I'd switch "Wild Honey" and "Peace On Earth" by "Levitate" (and TGBHF - all versions)... and would completly change the order of the tracklist of that album.

 

[Screwtape2]

And to be honest, I'm glad the European fans are going to be the judge before North America, considering the tepid reaction to POP over here. Perhaps the more experimental tracks will have a better chance overseas and convince the band to use them.

I completely agree. I feel that Europe overall has a greater acceptance of the experimental or out there.

 

[powerhour24]

Mercy and MOS are both great examples of why U2 need to spend less time in the studio.
MOS is said to be in a very early incarnation. Surely they didn't have time to dummy up Mercy. They need to trust their instincts more.

I'd also personally throw in Native Son, Xanax, the alternate ABOY and Sometimes.
I prefer all of these songs. They just don't sound watered down by studio fatigue.
Also, I absolutely adore Zooropa. I think Levitate sounds better than half of ATYCLB.
I think Smile, even in it's rough stage was as good as half of HTDAAB...

I definitely think there is a consistent vein here.

Amen, with the exception of Xanax and the alt. Sometimes, those two improved greatly to me, especially with Sometimes-- the dirty guitar doesn't work for that kind of emotion.

Levitate

 

[U2DMfan]

The chorus in Fast Cars is a turd. The chorus in Xanax is the best part of the whole song.

And with Sometimes, I think the album version is an overwrought seven layer cheese cake. The alternate version feels more personal, more subtle and the guitar work in the verses is pretty great, IMO.

As for what Aygo said, the production can be helped. They could master them better.
They could re-record them into more finalized versions if need be, production means very little on the finished versions we have. I am talking about stopping somewhere before it gets too 'shiny' and polished, to the point where little vibrant character is left in these songs. Native Son, for whatever downside there is, has a spirit that Vertigo lacks completely. And had Mercy been thrown through the ringer like, I dunno just say OOTS, it might have been more palatable to the people who claim they hate it but I know I wouldn't like it. For an example of what I'm talking about just listen to those new POP versions on the second best of. If you prefer those, maybe you don't get what I'm talking about, if they make your stomach turn a little bit, I figure you catch my drift.

 

[No spoken words]

The chorus in Fast Cars is a turd. The chorus in Xanax is the best part of the whole song.

And with Sometimes, I think the album version is an overwrought seven layer cheese cake. The alternate version feels more personal, more subtle and the guitar work in the verses is pretty great, IMO.

As for what Aygo said, the production can be helped. They could master them better.
They could re-record them into more finalized versions if need be, production means very little on the finished versions we have. I am talking about stopping somewhere before it gets too 'shiny' and polished, to the point where little vibrant character is left in these songs. Native Son, for whatever downside there is, has a spirit that Vertigo lacks completely. And had Mercy been thrown through the ringer like, I dunno just say OOTS, it might have been more palatable to the people who claim they hate it but I know I wouldn't like it. For an example of what I'm talking about just listen to those new POP versions on the second best of. If you prefer those, maybe you don't get what I'm talking about, if they make your stomach turn a little bit, I figure you catch my drift.

What if you make my stomach turn? What then?

I'm with you, though, both regarding this post and your prior one. I can't believe how much more I enjoy Native Son than Vertigo, etc. But I do.

I watched the making of The Unforgettable Fire doc last night, for the first time in at least 20 years. This was their 4th album, Lanois/Eno were new to the U2 camp, and even then Lanois said to Eno regarding Pride that "this band can work a song to death" or something to that effect. And, though I love the band to death, they are, at least to me, guilty of this fairly often. Though, in the case of Pride, that turned out fairly well (I loathe that song Live but revere the studio version).

 

[corianderstem]

I find the reworked Pop songs to be only slightly less than appalling.

 

[U2DMfan]

What if you make my stomach turn? What then?

I'm with you, though, both regarding this post and your prior one. I can't believe how much more I enjoy Native Son than Vertigo, etc. But I do.

I watched the making of The Unforgettable Fire doc last night, for the first time in at least 20 years. This was their 4th album, Lanois/Eno were new to the U2 camp, and even then Lanois said to Eno regarding Pride that "this band can work a song to death" or something to that effect. And, though I love the band to death, they are, at least to me, guilty of this fairly often. Though, in the case of Pride, that turned out fairly well (I loathe that song Live but revere the studio version).

I can also be your personal antacid.
All I have to do is start talking about the ski slopes on Hoth.

Relatively speaking though, even overworking Pride or Streets back then was a walk through the part compared to now. If memory serves they only spent 6 or 8 months on both of those albums total. Whatever it was, it was less than a year of recording. But yeah...I am certainly not inventing this as a 'gripe'.

I love them too, I just wish they could break some of these habits.
I also love the studio version of Pride. It's fucking fantastic.

 

[No spoken words]

I can also be your personal antacid.
All I have to do is start talking about the ski slopes on Hoth.

It really is that easy. Give me Hoth, some slopes, an ion cannon and some Wampa meat and I'm aglow with joy.

Relatively speaking though, even overworking Pride or Streets back then was a walk through the part compared to now. If memory serves they only spent 6 or 8 months on both of those albums total. Whatever it was, it was less than a year of recording. But yeah...I am certainly not inventing this as a 'gripe'.

Oh, most definitely, relatively speaking they were nowhere as bad as they are now. I've read that fucking "Stand Up Comedy" took 18 months to finish, or something like that. Much as I like NLOTH, that song should be shot. 18 months??????

I love them too, I just wish they could break some of these habits.
I also love the studio version of Pride. It's fucking fantastic.

Yeah, along with the doc I watched the videos from TUF and while the Pride video is nothing special, that song still gives me great pleasure, especially the 2nd part of Edge's solo, stupendous.

Also, the video for the title track is like the most bat-shit insanely bad and yet hypnotic video ever. I still don't know what's going on or why it's going on, etc, but I sort of like it. It's like LSD took some LSD and had a 4:00 vision of what a carnival in Hell is like.