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Think they did just that, almost identical to what they did on Songs of Experience. Have an album they thought was ready to go, abandon it, rework and re-record it within a year, release a year later than intended. Wiki says Lillywhite was brought in January 2004. As with Experience, all done...

It's a possibility. They re-recorded Songs of Experience in one year with Lillywhite to capture a fuller, live sound. Also, given they keep going on about how they are 'songwriters' now, I assume they arrived at the studio with fully fledged songs ready to go rather than their old technique of...

It's a stylistic choice, Discotheque, the accompanying video... it might be strange but it's not career suicide. Again, maybe it is for prudes who rage against 'faggots' in bible belt America that didn't like it but they're supposed to push boundaries. But there wasn't much in the way of...

Pop could have been one of their greatest - maybe their greatest - if: (a) They went all out on the electronic influences (e.g. pursue the vibe from the first three tunes to the end) (b) Had a couple of smash hits that slam dunked their concept (c) Was released a few years earlier when...

This is true, certainly in the UK. I was reading a book about Creation Records, the UK indie label of My Bloody Valentine, Ride, Teenage Fanclub and Oasis. By time Be Here Now was ready to come out, a lot of Oasis label mates were not able to ride on the coattails of their guitar pop success...

Think Discotheque was a perfect lead single. Had the grooves and style they were going for. Mofo would have been a statement of intent. Definitely agree that there wasn't any unifying smash hit on that album, and a more mainstream choice for single wouldn't have made any difference at all.

I was somewhat surprised at this too! As said above, the Pop singles are gold dust and having easy access to this when you have none of the singles is brilliant (Pop was well before my time), especially if you are into the 90s electronica at the time. To mainstream listeners, delving into all...

I think its a great move, there's a lot hidden gems in there that aren't available for streaming and it just makes them easily accessible. Particularly interesting are the b-sides from the Pop singles that haven't been available (the superior single mix of Please is something to look forward to...

Great news, about time Pop singles and b-sides were uploaded. Although I'm certain they had them all there about 10 years ago; is there some sampling issues going on with these that originally took them off (or maybe I've completely misremembered and they were never there). For a band that...

Not the only contradiction these cucks have. Yeah but what's rape and corruption compared to the real crime that is forgetting somebody's name?

Codeword for 'I'm a MAGA CUCK'.

Broadly agree with this. Stuff like I'll Go Crazy is the sort of immature chart baiting nonsense that was a sign of things to come on the Song of... albums. I like Experience better than Innocence, primarily because of The Little Things, far and away their best song from those albums. But...

I wish I could hear it, but to my ears, Atomic City is sterile and polished rock, no major difference from your other run of the mill 'rawk' songs they've thrown at us in the last ten plus years. I think the song itself is insipid but the production ain't much better. In my mind, the big 'f***...

I think All That You Can't Leave Behind was their last truly great album. I love everything about that album, being very cohesive and focused in its themes and music. Atomic Bomb in hindsight is where the decline starts. It could and should have just been a blip ala Rattle & Hum because there's...

Again, better than rock cliches like Atomic City. 40 Ft Man is evidence that there's still sparkle when they just throw themselves into it and don't overthink it.

More remixes/alternative versions? They really do have a tendency to batter us over the head for really mediocre songs. It's almost as if they are forcing it to be a classic. See also Song For Someone and Get Out Your Own Way.

Atomic City's the sort of generic crap that the embarrassing Lenny Kravitz or Kid Rock would spew out. If you're gonna rock, do it properly and be rough and ready, not 'clean' sounding to fit the radio, and display some angst and anger rather than 'shout it out loud, I'm on top of the world'...

They probably revisited Songs of Ascent and tore apart the ethereal and atmospheric interesting sonic qualities in favour of bland rock riffs, ala the lobotomised versions of the Pop songs for 1990-2000 compilation.

So what do we think the Brian Eno choral intro is? Is this something from the unreleased Songs of Ascent from back in 2009? It sounds beautiful, and I hope it means (a) they are working with Eno on a new album again. Or (b) it is a take from Songs of Ascent that they will revisit, and points...

After a string of releases over the last few years that can only be summed up as 'absolute bollocks', culminating in the risible generic rawk of Atomic City, they've finally gone and done something good again with Glorify. I don't doubt their intentions to try and be the best they can be at all...

Probably old news to you all, but I read a rumour they were offered to do more shows but declined. Which either means they want to move on to whatever project they have up their sleeves next, or just tired of living in Las Vegas (hellhole I know).

Give it a year regarding this recent album they're talking about. "We feel a long way from those songs now".

https://www.nme.com/news/music/bono-says-u2s-new-album-will-be-an-unreasonable-guitar-record-with-big-choruses-3545635 "I think we have to give them a reason to be interested in it. I just want to write great tunes, because that’s where U2 started – with big choruses, clear ideas. And let’s go...

What a wild find. Seems so jarring hearing two very familiar songs pretty much meshed together, and with the benefit of knowing Little Things in its final version, it does sound like something they're still working out. Yet still miles and miles better than all their recent awful single releases...

It's a very tasteful adaptation of the melody. These traditional tunes deserve to be remodelled and I think its quite an ambitious thing for U2 to adapt. Shows greater artistry and sophistication in their work, and it sounds it too. Compare that to pretty boy teeny bopper Ryan Tedder writing...