Songs of Experience vol. 29: No More Acronyms

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People acting like White As Snow isn't a real U2 song or something because it borrows a melody from the public domain is the dumbest fucking thing in the world.

See this is what I don't like.

1 - I never said WAS isn't a 'real U2 song' - stop putting words in my mouth.
2 - "the dumbest fucking thing in the world" is a bit strong worded and patronising isn't it...
3 - I never complained about chord progressions. Those are far less extreme than specific melodies and/or riffs. Not that I even complained much to start off with anyway, I just said it's a pet annoyance.
 
See this is what I don't like.

1 - I never said WAS isn't a 'real U2 song' - stop putting words in my mouth.
2 - "the dumbest fucking thing in the world" is a bit strong worded and patronising isn't it...

You aren't the first to make complaint about White As Snow. It's been going on for a long, long time on these boards. In fact, it's difficult to have a conversation about the song without its borrowed melody coming up, as if it's an asterisk on the track or something.
 
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You aren't the first to make complaint about White As Snow. It's been going on for a long, long time on these boards. In fact, it's difficult to have a conversation about the song without its borrowed melody coming up, as if it's an asterisk on the track or something.

Fair enough.

Obviously some people are bugged by it and others not. It's a nice song anyway, it doesn't make it any less of a song. But I do prefer Winter.
 
I never said the sampled songs were bad. Just that it bugs me is all. As I said, a pet annoyance thing for me. When all is said and done, I'm very excited to hear the album.

You didn't use the word "annoyance". You said "hate". And you said you were disappointed in hearing the band used a sample, as if that makes them lesser artists.

Evolve. Because I can tell you that the majority of people reading your posts are going to think your reaction is petty and naïve.
 
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I'm not seeing a photo credit here, unless it's in the lower left hand corner of the first page next to the block of text, too blurry to read. Are these Anton Corbin photos or someone else?
 
You didn't use the word "annoyance". Y

To me, pet-hate pretty much means the same as minor annoyance specific to myself.

Edit- Here we go:

pet hate in British
(pɛt heɪt)
noun
a minor annoyance that a person identifies as particularly annoying to them, to a greater degree than it may be to others
 
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The Cedars Of Lebanon sample is from a piece called "Against The Sky" and isn't Eno persay but Harold Budd with both Lanois and Eno as collaborators from a wonderful album called The Pearl. It's notable too that the intro to Streets owes one hell of a lot it's origins to the piece An Ending (Ascent) from Eno's 1983 Apollo record. Nowt wrong with tasteful samples and subtle nods/homage.

Looking forward to the Hedley Lamarr cameo. Rockreeedge!
 
The Cedars Of Lebanon sample is from a piece called "Against The Sky" and isn't Eno persay but Harold Budd with both Lanois and Eno as collaborators from a wonderful album called The Pearl.


Wow. So U2 needed three additional people to help them make this song? Very disappointed. You'd think after 25 years of being in a band they'd be able to write songs using just their own ideas.

Shameful.

Looking forward to the Hedley Lamarr cameo.

:applaud:

 
To a lesser extent, I'm always annoyed by those who claim that TGBHF is the last song on ATYCLB, or Fast Cars the last on The Bomb because it's that way on the version they have. They're bonus tracks on certain editions. Not the official final track.

But see, my Australian pressing doesn't actually specify that TGBHF is the bonus track. There's a sticker on the cover that mentions an "exclusive bonus track", but the back simply lists twelve songs, no indication which is the bonus. Now, you might say it's obvious that the last track is the bonus, but it's not hard to find examples of albums where the bonus track is inserted elsewhere, and when I got ATYCLB I was thirteen, had no Internet, and had never bought an album labelled as having a bonus track before so I wondered which one might be the track in question until I got online two years later.

I suppose it helps TGBHF that it feels quite natural after Grace. If the band had used, say, Big Girls are Best, that would've stuck out a lot more - or if they'd just put in some dead air like October hiding on the Best Of after AIWIY.

I can't really compare it to HTDAAB because I knew Fast Cars was the bonus before I even bought the deluxe edition, by which point I had already downloaded the leak of the 11-song standard album.

Also, this samples discussion is ridiculous. If a sample ruins your opinion of a song, especially if the sample is so subtle you didn't know it was there until somebody told you, then maybe music isn't for you because this is such an extreme and unrealistic notion of creative purity.
 
Also, this samples discussion is ridiculous. If a sample ruins your opinion of a song, especially if the sample is so subtle you didn't know it was there until somebody told you, then maybe music isn't for you because this is such an extreme and unrealistic notion of creative purity.

People are making my comments bigger than what they are, again. Music isn't for me? Sweeping statement, that. That is more ridiculous than the samples talk from my perspective. All I've done is announce a pet-hate of mine, which means a little annoyance. It's just.... weird how someone can tell me that music isn't for me because I voiced an opinion of a pet-hate, and not even in a forceful way either. I'm a musician by the way, so don't tell me music isn't for me, it's quite insulting.

Now regarding TGBHF, it's the bonus track where I'm from too, but I never considered it part of the album. I even separated it from ATYCLB in my itunes, doing the same with Fast Cars for HTDAAB also.
 
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People are making my comments bigger than what they are, again. Music isn't for me? Sweeping statement, that. That is more ridiculous than the samples talk from my perspective. All I've done is announce a pet-hate of mine, which means a little annoyance. It's just.... weird how someone can say music isn't for you because I voiced an opinion of a pet-hate, and not even in a forceful way either. I'm a musician by the way, so don't tell me music isn't for me...
I think the knack, Jarvio, is to have an opinion, share it, and then treat what follows as discussion, rather than personal attack. It's an online forum. And differing opinions delivered with gusto are the best things that ever happened a forum.
 
I think the knack, Jarvio, is to have an opinion, share it, and then treat what follows as discussion, rather than personal attack. It's an online forum. And differing opinions delivered with gusto are the best things that ever happened a forum.

Fair enough, I just get a bit riled up at some of the wording is all. It seems sweeping-statement-esque. Music is a very passionate subject for me, which is why I took offence maybe more than the person intended.
 
But see, my Australian pressing doesn't actually specify that TGBHF is the bonus track. There's a sticker on the cover that mentions an "exclusive bonus track", but the back simply lists twelve songs, no indication which is the bonus. Now, you might say it's obvious that the last track is the bonus, but it's not hard to find examples of albums where the bonus track is inserted elsewhere, and when I got ATYCLB I was thirteen, had no Internet, and had never bought an album labelled as having a bonus track before so I wondered which one might be the track in question until I got online two years later.

I suppose it helps TGBHF that it feels quite natural after Grace. If the band had used, say, Big Girls are Best, that would've stuck out a lot more - or if they'd just put in some dead air like October hiding on the Best Of after AIWIY.

I can't really compare it to HTDAAB because I knew Fast Cars was the bonus before I even bought the deluxe edition, by which point I had already downloaded the leak of the 11-song standard album.

The only case I can think of where bonus tracks didn't come at the very end of the album was a reissue of All Things Must Pass. They stuck the bonus tracks at the end of Disc 1, which always seemed odd to me.

But I take your point that the first exposure to an album can dictate what you think is the "last" track. In my case, when I first downloaded No Line on the Horizon it came with the NLOTH(2) bonus track at the end. Even though I know it's a bonus track, ending with Cedars feels incomplete to me since I'm used to hearing Cedars go straight into NLOTH(2).
 
Blink 182 Neighborhoods has 3 or 4 bonus tracks inserted throughout. They wanted to keep the flow of the main songs/segues intact.
 
1."Ghost on the Dance Floor"4:17
2."Natives"3:55
3."Up All Night"3:20
4."After Midnight"3:25
5."Snake Charmer" (bonus track)4:27
6."Heart's All Gone Interlude" (bonus track)2:02
7."Heart's All Gone"3:15
8."Wishing Well"3:20
9."Kaleidoscope"3:52
10."This Is Home"2:46
11."MH 4.18.2011"3:27
12."Love Is Dangerous"4:27
13."Fighting the Gravity" (bonus track)3:42
14."Even If She Falls" (bonus track)
 
Cheers. You don't happen to have one of your famous clips of that do you? Wouldn't mind marrying what we heard then, to explanations of that song from articles, journos etc.

'Love is all We Have Left'

Go to the U2 by U2 Facebook page, then go to the videos link, and look for the 9th video up from the bottom called, "The Cat is Sleeping" :)
 
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Would you care to rank it against all the SOI songs as well as what we've already heard from SOE in various forms?

Don't be shy.
I believe you will hear a sonic space and soundscape in 'Summer of Love" you haven't heard from U2 this side of Eno & Lanois, which is why I say it will be my favourite U2 song in 17 years - since I love the U2 of sonic space and openness. I really wish U2 would always record with Eno/Lanois. They have made their best songs with them because of their soundscapes and disdain for overblown, in your face, production ('Elevation' notwithstanding, but even that song has an elasticicity and breathability lacking in, for example, the studio version of 'Vertigo', which is compressed to death and slaps you in the face - and not in a good way.

'Summer of Love' is also said to tie in the personal and the political in a way that has never been done before in a love song. Mark my words, this will be the most immediately likable song on the album in the opinion of the majority upon first listens.... just my opinion of course.
 
I believe you will hear a sonic space and soundscape in 'Summer of Love" you haven't heard from U2 this side of Eno & Lanois, which is why I say it will be my favourite U2 song in 17 years - since I love the U2 of sonic space and openness. I really wish U2 would always record with Eno/Lanois. They have made their best songs with them because of their soundscapes and disdain for overblown, in your face, production ('Elevation' notwithstanding, but even that song has an elasticicity and breathability lacking in, for example, the studio version of 'Vertigo', which is compressed to death and slaps you in the face - and not in a good way.

'Summer of Love' is also said to tie in the personal and the political in a way that has never been done before in a love song. Mark my words, this will be the most immediately likable song on the album in the opinion of the majority upon first listens.... just my opinion of course.
But just for confirmation - you haven't actually heard it yet, right?
So it could end up being a mash of Grace and Red Light, with Edge sampling the snorter of a guitar solo first found in Song for Someone...
 
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