Shuttlecock XXII: Summer of Laz

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A great post namckur, think you've done really well as you usually do in summarising, but it lets the band off too easy. They're idiots, who consistently make extremely poor decisions that totally override all the good stuff that you point out.

You think I'm being too easy on them, I think you're being too hard on them. I think you and Laz had a debate about that a while back.

I mean come on, you just called them idiots. And 'totally override'? They have made some poor decisions no doubt, but none of them - and I'm not sure which ones exactly you're referring to - override the fact that there are a bunch of really good songs on these records(IMO).

NLOTH is miles ahead of the last two albums in my books, because they actually went there and tried some stuff, and a lot of the time it worked: title track, MOS, Fez, Cedars.

Here's the thing - outside of the four tracks you mentioned, and White As Snow, I rarely have the desire to listen to anything else from NLOTH. I still enjoy everything on SOI except SFS and everything on SOE except Get Out, American Soul, and The Showman.

I also don't agree that SOI and SOE are these wonderfully tied-together thematic records. There's hints of it, but there's also a lot of shit. And a lot of the songs you mention that tie into the themes are quite shit, so for me at least, I couldn't give a fuck if it's some sort of impressive 'this is how music saved me' and 'I still miss my mum' or 'I love Ali heaps', because those songs, Miracle, Iris, Best Thing, are shithouse.

That's just, like, your opinion, man. I really love the verses of Iris with Bono's rarely-used-in-recent-years lower register, and the chorus, however typically U2-ish, is uplifting imo. And I'm not going to have the argument about The Miracle again because we're just never going to agree on anything with regards to that song.

But objectively speaking, the thematic unity is there with maybe the exception of 2-3 songs. I don't know what to tell you if you can't see it. It's pretty obvious.

Again, I really like about six or so songs from SOE, and had I been able to see them on this tour, I'd have been quite happy to hear those six or so songs live, which I think is really impressive and a drastic improvement on SOI. I think the record still pales in comparison to NLOTH because they're all pretty rote tunes though, lacking something special that makes them really stand out as the four I mentioned from NLOTH.

See this is one of the weirdest things to me - I prefer SOI to SOE, and after seeing you crap over SOI for several years, it's genuinely surprised me to see you championing SOE, relatively speaking. To each his own.

I don't think this is it for U2, in no way. But I don't have a lot of confidence that what comes next is going to be great. I think the only way for them to achieve greatness again would be to drop the fucking pretences. JT30 was the best press the band has had since 2004, and it was amazing. Just give us good setlists with all your great stuff and a few of the (actually good) new songs thrown in - Red Flag Day, Love is Bigger, Little Things, Blackout, Landlady, Troubles, MOS, Fez, Cedars, NLOTH, etc. Write some new songs that just exist because they came to you, not because you're trying to re-manufacture the mood of 2000 and 2004 when the rest of the world has left you behind long ago.

I think there are plenty of signs they could be nearing an end.

Regarding the underlined, I'm a bit perplexed by it. I don't hear much of any attempt to sound like ATYCLB or HTDAAB on these records.

I'd advise you to temper your expectations though - a few posts up, you mentioned Nick Cave. Wishing for an artist to be something they aren't is setting yourself up for disappointment.
 
Really enjoyed reading the extended thoughts from namkcuR, laz, Cobbs, etc., though I disagree with a fair bit (Cobbs perhaps not that much), and from djerdap on the Berlin gig. Top stuff folks.

I wish I enjoyed the last couple of albums even half as much as some of you. I realised this past leg of the tour how decidedly unenjoyable it is to find you've moved really far away from a band who you not only once loved, but whose career has become part of your life. I'd be listening to the Mixlr stream wishing I was listening to anything else. The sheer scripted nature of it really bugged me. Obviously I know what U2 are like, nobody needs to explain that to me, but fucking hell I felt like I was listening to a musical with all the damn monologues leading into the songs. And I loathe musicals. You can't rank forms of art, except to say that musicals are the absolute lowest of the low. Pure garbage, from which I never derive a shred of enjoyment. (Fight me.) The fact this tour was more a Broadway production than a rock gig is maybe what killed it the most for me.

Anyway. I know it's got bad because part of me wants the Australia rumour to be untrue, so that I don't have to face up to the part of me that maybe doesn't want to spend money on this band any more.

But Cobbs and kabigon's sets are pretty good. I'd pay for those.

Here's my own go at the band trying to balance IE/EI with JT30/LT30:

1. The Blackout
2. Lights of Home
3. I Will Follow
4. Gloria
5. Beautiful Day
6. Where the Streets Have No Name
7. I Still Haven't Found
8. With or Without You
9. Exit
10. Bullet the Blue Sky
--- Intermission: God Part II ---
11. Elevation
12. Vertigo
13. Desire
14. Acrobat
15. The Best Thing
16. Angel of Harlem
17. Every Breaking Wave
18. Stuck in a Moment
19. Get Out of Your Own Way
20. Pride

21. One
22. Love Is Bigger
23. All I Want Is You
[New Zealand only: 24. One Tree Hill]

A couple of random shows get Love Rescue Me after AIWIY. They soundcheck Heartland for fucking ever and don't play it.
 
I know it's not popular with you, but i thought Love Rescue Me was shit-hot back in the day when BB King was a defacto co-headliner, towards the end of Lovetown.

But that was a long, long time ago. And BB King's dead.
 
I came into true U2 fandom just as Rattle and Hum was released...and I’ve always thought it was a great record. I’d love to see a Lovetown Tour homage.
 
1. The Miracle (Of Jeffrey Hyman)
2. Lights of Home
3. I Will Follow
4. Song For Someone
5. Beautiful Day
6. Iris
7. Get Out of Your Own Way
8. American Soul (Large Australian flag unfurled)
9. Sunday Bloody Sunday (recent slow version)
10. Until The End of The World

Intermission: Video OF Headache and Axver fighting, musical accompaniment is Stand Up Comedy performed by Celine Dion. Eventual winner of fight is a kangaroo who wanders by, knocks both combatants out and makes off with Axver's six pack of Foster's.

11. Elevation
12. Angel of Harlem
13. Stuck in a Moment You Can't Get Out Of
14. You're The Best Thing About Me (Acoustic/bongos)
15. Every Breaking Wave (Piano version, Bono & Edge only)
16. Pride
17. I Still Haven't Found What I'm Looking For
18. Vertigo
19. City of Blinding Lights
20. With or Without You

Encore Break

21. One
22. 13
 
The Miracle (Of Joey Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief Ramone)
 
If you're referring to the Haim guitar part in Lights Of Home and the Summer Of Love riff that Tedder apparently wrote, I don't let that bother me too much. Haim and Tedder got credit, right? Does a hip-hop artist lose his integrity when he samples somebody else's work?

I don't think we're too far apart on the other stuff, so I'm only going to reply to this part. My issues isn't with the "sampling", I don't care if they take inspiration from younger artist. I'm talking about the fact that in the actual liner noted, almost every song on SOE has a credit for "additional guitar" and "additional keyboards" by someone who's not Edge. Maybe Bono can't play second guitar in the live shows, but it's inexcusable for all these people to be contributing parts to every song. It reeks of overproduction. When you only have Lanois and Eno producing and playing a little extra they at least are representing a unified front. But when there are like 5 different producers, and you bring in someone like Brent Kutzle (another One Republic member), it boggles the mind.
 
My issue with bringing in relatively inexperienced young producers, particularly those from a pop space, is that I can't imagine them really challenging the band. What the fuck is someone 25-30 years younger than U2 going to say to criticize them for a terrible idea? They're just happy to be in the presence of legends.

Eno always made it clear when he thought a track wasn't panning out. He almost erased Streets, for fuck's sake. Rick Rubin told the band to get their shit together before he would consider working with them. Ryan Tedder wouldn't push the band like that, so why would we expect exemplary work from U2 with him around?
 
Rick Rubin is still someone who shouldn’t be allowed anywhere near a studio where U2 is recording. His instincts do not match their strengths.

To your general point about younger producers, I agree. Of course, Danger Mouse probably did challenge them, and look what happened to his efforts. “Hey thanks Brian but we think Ryan Tedder might help get this across the finish line that we keep moving.”
 
Rick Rubin is still someone who shouldn’t be allowed anywhere near a studio where U2 is recording. His instincts do not match their strengths.

To your general point about younger producers, I agree. Of course, Danger Mouse probably did challenge them, and look what happened to his efforts. “Hey thanks Brian but we think Ryan Tedder might help get this across the finish line that we keep moving.”

I get what you're saying on an academic level, but practically speaking, in terms of the final product, is the first half of SOI really so bad to you?
 
I'm not saying they should work with Rick Rubin, just that his level of seniority and experience set a certain standard of expectations for the band that many producers wouldn't bother with.
 
This is why I wish the band would work with someone like Nigel Godrich or Flood. A producer who is used to dealing with long, drawn-out recording sessions and is also willing to challenge the band. But I doubt more and more that it will happen again.

Even if U2 insists on getting say Jack Antonoff or Ryan Tedder for the next album, I want them to at least be confident enough to stick with one person for the whole process; not a hodgepodge of people behind the boards.
 
They should go gravelling back to Eno and Lanois

"here you go, now will you produce our damn album please"

load-of-dense-grade.jpg
 
I get what you're saying on an academic level, but practically speaking, in terms of the final product, is the first half of SOI really so bad to you?

The difference in the sonics of the tracks is pretty big, IMO. I will likely never listen to the official EBW again while I can use the earlier guitar-heavy version in my playlist instead. I’ve said many times how much I detest the “dee dee dee dee dee” keyboard part in what they would up releasing. Makes it the worst song on the album. I actually don’t dislike The Miracle or Song For Someone, as both have great hooks, but they’re it really the songs I’d like to hear then doing. The Chris Martin “whoo whoo” shit on Iris makes that one hard to listen to, though the rest of it is alright and prevents me from skipping.

I’ve always loved California so I won’t qualify that one, same with Volcano as I love the early-80s U2 sound on it.

Having said all that, the majority of the album’s thematic weight and memorable instrumentation doesn’t arrive until Raised By Wolves. And with previous U2 albums that wasn’t the case.



I'm not saying they should work with Rick Rubin, just that his level of seniority and experience set a certain standard of expectations for the band that many producers wouldn't bother with.
 
I mean come on, you just called them idiots. And 'totally override'? They have made some poor decisions no doubt, but none of them - and I'm not sure which ones exactly you're referring to - override the fact that there are a bunch of really good songs on these records(IMO).

I disagree, because the poor decisions are actively harming them.

They had an A Grade banger in Love is Bigger on this record, and it should have been the lead single.

Instead, the two songs they led with and marketed the most are comfortably the two worst songs the band has ever produced.

But objectively speaking, the thematic unity is there with maybe the exception of 2-3 songs. I don't know what to tell you if you can't see it. It's pretty obvious.

I see it. Maybe that's the problem. It lacks any subtlety.

Regarding the underlined, I'm a bit perplexed by it. I don't hear much of any attempt to sound like ATYCLB or HTDAAB on these records.

I'm not referring to the sound. I'm referring to them trying to recapture their 00-06 popularity.

I'd advise you to temper your expectations though - a few posts up, you mentioned Nick Cave. Wishing for an artist to be something they aren't is setting yourself up for disappointment.

Not what I said, I have literally zero expectations on that front.

This is why I wish the band would work with someone like Nigel Godrich or Flood. A producer who is used to dealing with long, drawn-out recording sessions and is also willing to challenge the band. But I doubt more and more that it will happen again.

Nigel Godrich is far too talented to work with U2.
 
I disagree, because the poor decisions are actively harming them.

They had an A Grade banger in Love is Bigger on this record, and it should have been the lead single.

Instead, the two songs they led with and marketed the most are comfortably the two worst songs the band has ever produced.

You'll get no argument from me that pushing AS and Get Out so hard was a bad decision, but all you have to do is not listen to them. To say that that decision overrides or ruins all the good stuff, I just don't get that argument.

I see it. Maybe that's the problem. It lacks any subtlety.

That kind of feels like you're moving the goal posts.

I'm not referring to the sound. I'm referring to them trying to recapture their 00-06 popularity.

Fair enough.

Not what I said, I have literally zero expectations on that front.

Fair enough.

Nigel Godrich is far too talented to work with U2.

Well, he already has. Only one track, but he has. He is credited with 'additional production' on the single(i.e. 7 EP) version of Walk On. I believe it's this one:

 
You'll get no argument from me that pushing AS and Get Out so hard was a bad decision, but all you have to do is not listen to them. To say that that decision overrides or ruins all the good stuff, I just don't get that argument.

it doesn't ruin the other songs - it's just another in what's becoming a long line of baffling marketing decisions by a band who are obsessed with remaining relevant.

that best thing actually did fairly decently only shows that if, ya know, they actually picked one of the good songs on the album, they might have had something.

not a top 20 billboard hit - those days died with Boots. but something that could have given them a last "moment" - which seems to be all they are chasing. it's incredibly frustrating to watch them do it over and over again.
 
Yeah, most of us are not just fans of the music but cheerleaders in one way or another. I’ve spend decades having to put up with haters not just among people I know but in the media and the public at large. And when they make these boneheaded, cringeworthy decisions it makes it that much harder to defend them. It’s hard to say “but the other songs are so good!” when what people have been exposed to is crap like Get Out and American Soul, or when the previous album was rammed down their throats, first hearing the overproduced desperate rock of The Miracle and the adult contemporary sounds of EBW in sequence. Who with good taste would believe us or want to look deeper?
 
if U2 is this obsessed with Kendrick, they should work with Mike Will Made It or Flying Lotus



Can you imagine every single song on a U2 album with that woman saying “Mike Will Made It” at the beginning? I mean, if that collaboration challenges the band, I’m here for it.
 
maybe they should get kid capri to shout "THIS IS A WOOOOOORLD PREMIERE!!!" randomly over top of a handful of otherwise lovely tracks.
 
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