corianderstem
Blue Crack Distributor
I thought that article was going to say he was concerned because he was working with U2!
Here's what scares me from the article. Bono is disappointed that NLOTH didn't have significant radio airplay. Hell, the best stuff on that album was the least radio friendly. (Getting a song on the radio) "That's our drug of choice now". If that's the case, my suggestion is go to rehab immediately and kick that habit. When the band focuses on getting airplay we get stuff like "The Saints are coming". While the song by itself is fine, I don't think it makes any new fans and it sure as hell doesn't give the established fan base (whether you are into Pre-Achtung U2 or Achtung/Post-Achtung U2) anything more than a sugar high. While I'm sure that subconsciously U2 was hoping for a killer single off of Achtung, I don't think it was their primary driver and at least they didn't let that want get in the way of letting the music speak for itself. During that time period we got singles like The Fly. While it ended up being a moderately successful single, it had an ulterior motive; get people talking and excited about U2 and what they're doing. Let's all be honest about this band, they put out their best work when they have motives outside of trying to chase top 40 radio. I know it's not the best parallel, but I'd much rather see the band grow old gracefully (like Springsteen or Dylan) by putting out music that challenges themselves and their listeners rather than ensure that they get a song out that Seacrest is going to play. Please, just let the music speak for itself.
I agree, however, I think that almost every song on AB was tighter, and, in structure, poppier, than the work on NLOTH. Big hooks, verse, chorus, verse, a big chorus. It's all there.
I think chasing a single is fine if that's what they want, and that's what keeps them moving. We wouldn't have BD, or Desire if they weren't chasing great singles.
but I'm sad that NLOTH got the shaft.
There were some who "got" it but just didn't "like" it.
Love it that the article says that Danger Mouse is producing the "club" album.
Or Window In The Skies...
Love it that the article says that Danger Mouse is producing the "club" album.
My god you are a barrel full of sunshine, aren't you?
He's probably the longest lasting troll we have in here...
About the last 10 or so comments I've seen from him have been to pop up out of the blue and piss on the positivity shown in the thread by making wild, unconnected and pretty base-level analytical statements designed to decrease the enjoyment and appreciation felt by others.
Or, quite literally:
Urban Dictionary: shart
The second album is what he calls a "club" record, that will feature Lady Gaga collaborator RedOne, Black Eyed Peas rapper Will.I.Am and French superstar David Guetta.
I'm subconsciously hoping you're kiddingWhile I'm sure that subconsciously U2 was hoping for a killer single off of Achtung, I don't think it was their primary driver and at least they didn't let that want get in the way of letting the music speak for itself. During that time period we got singles like The Fly. While it ended up being a moderately successful single, it had an ulterior motive; get people talking and excited about U2 and what they're doing. Let's all be honest about this band, they put out their best work when they have motives outside of trying to chase top 40 radio.
I'm subconsciously hoping you're kidding
they went from the Salome sessions to Even Better ... and Mysterious Ways + chopping up one monster track into 3 different 4 minute songs
if they'd do that now some on this forum would claim they're top 40 horny, money hungry commercial hacks
But the problem is, U2 is not soley to blame for the shaft. It just wasn't well recieved by the audience as a whole, and what's the point of playing the songs if the stadium or arena sounds like crickets? It's a shame because 80% of the album is pretty amazing, yet even some of the most die hard in here just didn't "get" it.
It always amazes me how the 90's get placed on a pedestal around here. It's also my favourite U2 decade but some people really exagerate.Exactly...
The jester is whack.
I don't want U2 to make music that can be played on radio. I want U2 to define what can be played on radio.
I guess my point is, and has always been that they would not have to play to a stunned audience in a stadium if they tailored the tour to the album. Smaller, intimate. Instead they went for bigger, thinking it would make them closer...hence you have to sell seats and the only way to to that is by playing hits, and making hits. I know---I saw it when I was at the Raleigh show, people sitting during most of the NLOTH songs, standing for all of the war horses. I don't know---thats boring to me. What does this mean for any new music? I just wish U2 would stop acting like they have to be liked by everyone in Top 40 radio---does that s%it really even matter anymore?
Love it that the article says that Danger Mouse is producing the "club" album.
And these are tame compared to his old days...
My god you are a barrel full of sunshine, aren't you?
SHART!
lS NOT!
A POCKET FULL OF SUNSHINE!
I've been saying this for ages, claiming that 360º has zero connection to the album because it's pretty clear that NLOTH is a product post-360 conception. But when I say that, I'm always the bad guy.Well said. They were in trouble the moment they conceived the 360 tour for NLOTH. NLOTH would have been better suited to a smaller more intimate setting. I don't understand why U2 feels as it has to chase those fans who only loved them in the JT-era. But I guess 'hits' sell tickets, which pays for a tour stage that is a monument to ego and excess. I love U2, and yes, I am going to shows, but I'm sad that NLOTH got the shaft.
And these are tame compared to his old days...
T
They clearly make a distinction between the "12 songs" album (presumably the Rock album) and this second, or Club album, but that still doesn't clarify if Danger Mouse produces both albums or just the Rock album.
I'm subconsciously hoping you're kidding
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