He didn't like Moment of Surrender?
Sounds like he didn't like the album as a whole, despite the work he did on it, based on his "don't get me started on the last album" comment.
He didn't like Moment of Surrender?
It seems like they managed to piss of all of the producers after the shit they pulled with No Line on the Horizon. I'm pretty sure - based on the interviews with Eno and Lanois before and especially after the record came out - the end product was far away from what they originally intended to do.
It seems like they managed to piss of all of the producers after the shit they pulled with No Line on the Horizon. I'm pretty sure - based on the interviews with Eno and Lanois before and especially after the record came out - the end product was far away from what they originally intended to do.
I do recall an interview with Eno where he was asked about the African inspired sounds not really being featured on the album.
He said after having a chance to revist the material after they came back to Dublin, he said it just didn't work in the way they had hoped.
You have a link or anything? I'm really curious about this now.
Thanks for the video! I hadn't seen it before.
I think I might be the only person here that loves the Linear version of Winter.
You have a link or anything? I'm really curious about this now.
I think I might be the only person here that loves the Linear version of Winter.
Beal - I think I know what you're talking about and I'm pretty sure it was a Rolling Stone interview. Unfortunately, I can't remember which one. I believe it was the same interview where Eno reveals that he has a "U2 diehard's wet dream" of unreleased U2 material.
Brian Eno: You know what? It's very funny, because on the last U2 album we spent time in North Africa, recording.
Pitchfork: In Morocco, right?
Brian Eno: In Morocco. And the reason none of that really appeared on the record, even though we did quite a lot of stuff there, was because it sounded kind of synthetic. It sounded kind of like "world music" add-on. I'm sure it would have got a few people saying, oh, how interesting, they've broken out into North African music, but actually it just didn't sound convincing. We were very impressed by the music while we were there, but there was no realistic or emotionally satisfying way of marrying it using the music that we were doing, so in the end not very much of it at all showed through. But influences aren't always in terms of sound. As I was saying earlier, they're in terms of how you approach music and what you use it for. I think that was picked up, and it was absorbed.
I think I might be the only person here that loves the Linear version of Winter.
I burn a copy of the album
I think I might be the only person here that loves the Linear version of Winter.
I love Eno's work as a producer and his solo work has some incredible heights (Taking Tiger Mountain, Another Green World), but if he thought the version of Winter we received was finished, he's out of his damn mind. The lyrics are hideous, high minded yet lacking flow or grace, and the music goes nowhere special. It feels like several rather dull songs carelessly stapled together. Replace Crazy Tonight or SUC with it, but that's all.
I thought the linear version of Winter was very good as well. Had some urgency to the music that gave it some tension. I liked the outro too. Unique for U2 and special.
I love Eno's work as a producer and his solo work has some incredible heights (Taking Tiger Mountain, Another Green World), but if he thought the version of Winter we received was finished, he's out of his damn mind. The lyrics are hideous, high minded yet lacking flow or grace, and the music goes nowhere special. It feels like several rather dull songs carelessly stapled together. Replace Crazy Tonight or SUC with it, but that's all.
In the basement of London's Olympic Studios, armed only with a MacBook and a Nord keyboard, Brian Eno is leading a doomed, one-man insurgency. It's early December and U2 are wrapping up their sessions for No Line, the track listing almost finalised, but Eno is still pushing for prayerful, moody songs that were long ago abandoned. He's most passionate about Winter, which sounds like no other U2 song. It begins with fingerpicked, chiming acoustic guitar and falsetto backing vocals, and once Bono hits a key line -- "Summer sings in me no more" -- Eno's dramatic strings kick in. "Listening to the silence, the deaf and dumb roar of white noise/Your voice," Bono sings at one point, followed by a choral chant. "Beautiful, isn't it? They're bonkers to leave it off," Eno says with real sadness, as the tune winds up with soaring, dissonant strings -- they're synthesised, played on his little keyboard down here in the basement.
"It’s too long, it needs a bit of work," he says of Winter. "But, you know, they won’t spend time on it. They’ve spent months working on the ones that are supposed to be the radio singles. Months! This: played, put aside."