LP15 - We're due for a break from the norm

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I like GOOYOW.

Prefer this to silliness like RBW...
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The single worst trend in interference history was when these wankers started saying Hut Dab - the agreed upon spelling of the pronunciation of the acronym for How To Dismantle An Atomic Bomb.

I fear I had a part in this. In fact...

I remember being told by someone the reason why they were referring to the album as Hut Dab

I also vividly remember needing every ounce of restraint in my body to keep from putting my fist through the computer screen

...was this me, and does our scheduled fight have a very long prehistory?

I mean they’re the same concept.

At lease we avoided “Null Auth”.

It's "en-loth" and I have definitely said that out loud.
 
At this point I'm waiting for somebody to admit they pronounce Pop Pee-Oh-Pee
 
It’s definitely “en-loth” and if any of you say otherwise yer weird. No Line is good too.

But yeah no I’m not saying “hut dab” for HTDAAB. To me it’s just Bomb and that’s it.
 
For those who are anti-acronym, is it, like, total declination of the shorthand, or are there exceptions? I mean, I don't use it constantly, but find it has its place when discussing less popular material (e.g. Do You Feel Loved -> DYFL; alternatively, Stuck In a Moment You Can't Get Out Of -> Stuck).

Just kinda depends on what titles I'm talking about (in the song names above, for instance, Do You Feel Loved doesn't really have a strong identifying word in its title, so I opt for the acronym; Stuck In a Moment You Can't Get Out Of, meanwhile, has the more unique "Stuck" to its name (while also being a 'popular' U2 song, but ignore that for now), so I find simply writing "Stuck" to suffice.


...can't believe I'm devoting time to argue the merits of abbreviating U2 titles. god we need something new to talk about
 
Veering just a bit back to the production discussion, I can’t think of another artist who is either as insecure or tone deaf as to what their strengths and unique qualities are as U2 has been the last 15 years of so.

It’s really kind of odd, how we almost wish they would just bring their ideas and play, and let someone else with a great ear put an album together, or decide when it’s done because we can’t trust them!

Can anyone think of another artist that deals with this to the same degree as U2??
 
Veering just a bit back to the production discussion, I can’t think of another artist who is either as insecure or tone deaf as to what their strengths and unique qualities are as U2 has been the last 15 years of so.

It’s really kind of odd, how we almost wish they would just bring their ideas and play, and let someone else with a great ear put an album together, or decide when it’s done because we can’t trust them!

Can anyone think of another artist that deals with this to the same degree as U2??

this is a good point - i can think of lots of artists who've tried way too hard to hold on to semi-recent "relevance" but none with the same kind of decades-long career as U2.
 
I mean... Coldplay probably.

It’s been so long that Coldplay released a worthy album that you’d think so, but all their albums have been smash hits with their target audience so they are very savvy and know what they’re doing to play to the crowds.

Sadly, U2 are largely the musical equivalent dads trying to act cool when creating those wretched singles - like those ones who go into Tesco and buy Ed Sheeran records to look trendy. I don’t like Coldplay’s latter stuff, but they succeed with it and know how to do it.

U2, when trying to look all youthful and trendy by hiring talentless teeny bop duds like Tedder and releasing shite like The Best Thing About Me, just end up being embarrassing. When they go into this full blown mid life crisis mode, it’s as far away as possible from the mystique and spiritual nature of the same band who released The Unforgettable Fire.
 
It’s been so long that Coldplay released a worthy album that you’d think so, but all their albums have been smash hits with their target audience so they are very savvy and know what they’re doing to play to the crowds.

Sadly, U2 are largely the musical equivalent dads trying to act cool when creating those wretched singles - like those ones who go into Tesco and buy Ed Sheeran records to look trendy. I don’t like Coldplay’s latter stuff, but they succeed with it and know how to do it.

U2, when trying to look all youthful and trendy by hiring talentless teeny bop duds like Tedder and releasing shite like The Best Thing About Me, just end up being embarrassing. When they go into this full blown mid life crisis mode, it’s as far away as possible from the mystique and spiritual nature of the same band who released The Unforgettable Fire.



U2 are notably older than Coldplay. I don’t know why anyone needs to criticize them for being rock dads or whatever.

If U2 did what they’re doing now decades ago, they’d be successful at it. Age has a lot to do with this.

However, I would say Coldplay still has the “we need to be the biggest band in the world and stay relevant for forever” mentality, and it’s taken away from the times of Viva la Vida or X&Y etc. when the band experimented with different sounds. Now they’re just trying to tag along the biggest name they can to work with.
 
Ghost Stories was unique, and came from the heart. I’m not crazy about it, but I sure do respect it and wish they would’ve kept going with that rather than their heaping pile of shit that is their most recent album.



A Sky Full of Stars was mildly popular, so they followed that direction. In reality it is a steaming turd that was wildly out of place on that album.
 
A Sky Full of Stars was mildly popular, so they followed that direction. In reality it is a steaming turd that was wildly out of place on that album.



Agreed entirely. That’s where U2 and Coldplay strongly differ in their creative processes. U2 still wants their own thing with someone popular’s name on it. Coldplay is happy to be outshone on their own music. Probably a big reason why U2’s attempts fail but I prefer it that way.
 
Well there's a lot of gray area between being outshone by a guest, and burying the guest so far in the mix you can't even hear them. I'm still confused why they even bothered ringing up Lady Gaga.

And what's even more odd is that they featured Lykke Li so much more prominently on The Troubles just an album earlier. Lykke did a fantastic job, but imagine Gaga getting to share that lead vocal, and releasing it as a single. Could have been pretty big. Summer of Love may not have had the same potential, but it could have been executed a lot better with the mixing and arranging.
 
The Troubles is unique in that sense though, and arguably one of the most successful songs they haven’t tried to force down everyone’s throat. I’ve heard that song be featured in so many places. You’re right though about the Gaga stuff, and I think that’s typically the rule with them.
 
Well there's a lot of gray area between being outshone by a guest, and burying the guest so far in the mix you can't even hear them. I'm still confused why they even bothered ringing up Lady Gaga.

And what's even more odd is that they featured Lykke Li so much more prominently on The Troubles just an album earlier. Lykke did a fantastic job, but imagine Gaga getting to share that lead vocal, and releasing it as a single. Could have been pretty big. Summer of Love may not have had the same potential, but it could have been executed a lot better with the mixing and arranging.

I agree, Gaga sounds great, what you can hear of her. It adds a desperate wail to the song that's a perfect counterpoint to upbeat arrangement. They should have brought her forward, would have made a good song even better. Maybe they were worried that having a second artist besides One Republic have such a prominent place in the song would overshadow them. But yeah, Lykke Li on The Troubles is fantastic
 
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