BVS
Blue Crack Supplier
Haven't you just described any rockstar over 40?
Songs of Ascent: the lost album
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Haven't you just described any rockstar over 40?
U2DMfan
Rock n' Roll Doggie VIP PASS
I love the song. There are three main components to my love for the song.
Bono's wailing + Eno's piano rhythm + Edge's muted delay guitar
I think Edge sounds more like Adam Jones from Tool here (in those muted parts - left channel) than he sounds like himself. I'm not sure this a great example of Edge redundancy.
However, for my money, Unknown Caller is two factors away from being one of U2's best songs ever. Some of the clumsy lines in the 'greek chorus' section (especially "force quit, move to trash") but mostly that guitar in the intro. Which is just basic vanilla Edge as you can get.
In my mind, you have to think of the delay he's using and how he's using it. Not just the sound but also the technique/style of play.
When he uses little delay with that clean crisp sound and he's just plucking a few sparse notes (intro Unknown Caller, Crumbs, Miracle Flub), it does get old. It's a comfort zone he needs to be pushed out of, IMO.
When he uses heavy delay and plays several notes, it's always better because it does create more of a wall of sound. It's also always better, IMO, up tempo. Such as the chorus in City of Blinding Lights.
I love the Edge's full delay sound. Such as used in the chorus to OOTS, a song I don't really care much for. But when he's scaling it back and still using it, I think maybe it comes off as he's just mailing it in. Does this make sense?
I don't think he's doing anything different then or now, other than he's using distortion and no delay (Vertigo, Elevation, Boots), which he rarely ever did before. Without getting into a bunch of geeky guitar talk, basically I think it's just a personal preference. I still get goose bumps when I hear U2's version of Unchained Melody (the studio version) precisely because of Edge's guitar (but also Boner's excellent vocals).
If he went back to that well, I'd be satisfied. I guess all I'm saying is, all of his delay technique/tone is not equal. I can understand the complaints about some of this stuff but I've never heard a single person complain about the delay in Streets or Bad. Even when it shows up again. The problems/complaints seem to be when it's very minimalistic.
U2DMfan
Rock n' Roll Doggie VIP PASS
Some but not all. Not the artists who have embraced the idea of no longer being enshrined on the posters in teenagers rooms.
It's the difference between truly making music for yourself and trying to reach a demographic.
There are boatloads of quotes from Bono about coveting the young crowd.
He even specifically talks about having a 'single' that launches them into a popularity they desire.
"Relevance" to U2 and Radiohead and Pearl Jam are at least 2 or perhaps even 3 entirely different things, aren't they? So I think the answer to your question is pretty obvious. Pearl Jam can be embarrassing all on their own with their "look how punk we are" ethos and another stale rendition of Spin The Black Circle with a different name. But they're not doing it by trying to twist their music into something it's not. They are just derivative and boring at times (relax, I still love 'em too). Because that's who they are.
I guess what I'm saying here is that I don't believe this is who U2 should be.
I think this is what they are made to be, because of the various dynamics in the band and how they haven't really embraced the next phase of their career. The same phase that happens to all of them. They can't want to be pop culture staples and dodge this, there is no exception to the rule.
I also would make the argument that Pearl Jam should be more dynamic in their sound but that is really who they are, because there is no other motivation for them to be anything other than what they are. U2 have this commercial motivation for relevance. Everything they do, creatively, is colored by it. It's undeniable, uncomfortable and is hindering the band's music. I stand by this, 100%.
To sum, any artist over 40 without this commercial motivation doesn't have to fall in that category. U2, in those spots, does because it's not who they are, it's who they think they need to be.
corianderstem
Blue Crack Distributor
I wonder who he considers "the young crowd" these days.
It's one thing if he's trying to remain relevant to people in their late teens, early twenties but quite another if he's going after Justin Bieber fans.
That's too horrifying to even contemplate.
I have to admit, while I don't care whether or not they're considered "cool" or are worried about them being "dad rock," I would reeeeeally like them to just say "fuck it" and do what they want to do.
Not to say that they're not doing that now, I just wish they'd stop framing it within this goal of wanting to reach younger people.
It's one thing if he's trying to remain relevant to people in their late teens, early twenties but quite another if he's going after Justin Bieber fans.
That's too horrifying to even contemplate.
I have to admit, while I don't care whether or not they're considered "cool" or are worried about them being "dad rock," I would reeeeeally like them to just say "fuck it" and do what they want to do.
Not to say that they're not doing that now, I just wish they'd stop framing it within this goal of wanting to reach younger people.
BVS
Blue Crack Supplier
But if the quotes weren't there, what you said earlier remains true.
Musically speaking, you described everyone over 40. Look at the way you described it, "Imagine four lily-white, almost 50, rock stars, dressed in their sunglasses and leather..." Admit this is much about image than anything. People have a hard time watching their rock stars age.
It's embarassing(to many) when we see Bruce put his crotch in the camera, or when Eddie Vedder or Thom Yorke try to do some rock n roll jump and only get a few inches off the ground.
It's a hard business to grow old gracefully in, especially a band compared to a solo artist.
So strip away all that bullshit and then let me ask again, how do you define dad rock?
Hey, I dislike SUC just as much as anyone in here, but would I dislike it anymore or less if it were a young band? No, just the same.
Niceman
Rock n' Roll Doggie VIP PASS
I love SUC, and I don't have any children.....................................
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ozeeko
Refugee
I think F-BB had the potential to be a truly transcending experience, much like Streets or Bad, but it's not quite there. For one thing, while Eno's keyboards and Bono's singing give you quite a lift, it's the Edge who should've provided that last detail that would've made the song come alive. I'm not even sure what it needed, and as it stands it's a pretty decent song, but I can't help but feel that Edge was a little too understated with his choice. That said, I do like what he does in the intro to BB (the Adam Jones stuff you were referring to). It's when the song takes off and Bono comes in that he just kinda goes "ehhh, that's all i feel like working on today, cruise control time", and as a result his guitar part peaks early. Lucky for us, the rest of the crew were in top form, and they carry the rest of the tune.
As for the rest of your post, I agree with everything you have to say with the mailing it in.
And their Unchained Melody IS killer.
PookaMacP
War Child
Spot on. The interesting guitar work doesn't have to be intricate or complicated. It just has to sound interesting (not necessarily new either). See, for example, the see-saw sound on 'Please', or the curious rhythm sounds and stabbing solo on the amazing 'Moment of Surrender'. (Whoever said earlier that Larry was boring on NLOTH - I think the style, sound and mix of the electronic and acoustic drums is fantastic on 'MOS'). In fact, see a lot of Pop for the last evidence of a wealth interesting sounds: 'If You Wear that Velvet Dress', the swirl on 'Discotheque', everything on 'Mofo', the industrial sound of 'Gone', the crunching intro to 'Last Night on Earth', and pretty much all the layers of 'Wake Up Dead Man' - even the Howie B-inspired weird sounds on the criminally-wasted-as-a-B-side 'I'm Not Your Baby'.
Having said that, when the chime works, it can be amazing. I know I'm in a minority here, but 'Window in the Skies' is to me one of the best three or four things U2 have done in the last decade, and is built from the Edge's chime intro. Then there's the intro to 'Unknown Caller', which has to be the best minute or so of U2 music in nearly two decades. Agreed that the 'Walk On' guitar kills it a little, but the chorus and brilliant outro make up for this.
Who knows where we go next, but it just has to be more interesting from the Edge to make a great U2 record.
Earnie Shavers
Rock n' Roll Doggie VIP PASS
Not immediately or automatically. Not anyone/everyone in a band over 40 is automatically partaking in Dad Rock. But I can't think of anyone in a band over 40 still desperately trying to cling to a youthful/energetic image of a 'rockstar' who doesn't come off looking ridiculous, and releasing sub-par material in the process. So by that definition, yes, any and all of them.
As much as Bono goes on about still wanting to appeal to the youth, he's also always banging on about how writers/painters etc only get better with age, hitting their peak after 50, so why not a band? - and he's right, but to me, as much as I find watching Bono with that awful long hair trying to leap around to the utterly terrible Vertigo to be the definition of cringeworthy, - and yes, Dad Rock - what annoys me is that the pursuit and ambition of one cripples the the other. Spending too much of their apparent 'golden age' of creativity, and maturity as writers and musicians, on trying to force the simplistic energy of youthful creativity, is probably giving us the second best option.
How many of us - honestly - would point to Song Group A (Vertigo, Elevation, All Because of You, Stand Up Comedy etc etc) and say, hell yeah, spend more time on that, and less time on Song Group B (Moment of Surrender, Stateless, Ground Beneath Her Feet etc etc). Anyone? But in terms of physical time spent in the studio along with, I guess, creative ambition and energy 'spent', Group A, I am sure, takes up the lions share. That's a shame far beyond any simple embarrassment at the sight of Bono in guyliner talking up his sense of competition with Kings of Leon and the Killers. Even far beyond "come all ye soul rockin' people" or whatever that nonsense was.
Earnie Shavers
Rock n' Roll Doggie VIP PASS
So, then you know they do the same thing you accuse Edge of doing?
He does now, but I think the point is that for a long period he was defined as:
Edge - Inventive.
not just
Edge - Chimey.
Even if that was the most famous incarnation, due to it coming from the period when the band blew up massive. For a long time though it was a continually changing, always inventive thing, that mad professor image of him noodling away until all hours trying to force the sound of his guitar to mirror some image or sound or feeling in his head. I really don't see him doing that now. I get the image now of him kind of clocking in and out, supplying guitar parts that fit only as basically required. Need a bit of a build up here, bit of a background there etc. Not much more.
i'm trying to figure out this whole thing 'cause i agree with many of the arguments on both sides of the asile here.
for me, the idea that they're hurting themselves by trying to be too "hip and cool with the kids" has more to do with the image they project than with the songs themselves, or edge's guitar chimey thing... i mean fuck, he's been doing that since the early 80's. i didn't know that it expired after 28 years. if you think the edge being chimey is boring ya really shoulda hopped off the bandwagon a decade or two ago.
anyhoo... my thing is just with how they publicize and cary themselves. i have some issues with some of the lyrics (unknown caller), but i don't have a problem with a band of their age recording get on your boots or playing it live... i just thin it's silly to try and put it out as the first single because the kids will dig it. and yes, i like breathe and even like stand up comedy.
u2 became lame for the first time for me at the rock hall of fame concert. the jagger and springsteen duet's were amazing, yes... but i had just sat thru three hours of some of the greatest artists in the history of rock and roll celebrating their entire careers with this epic setlist... and then u2 comes out and every song they play on their own is from 2000 on. the one old song of theirs that they did was prefaced by this long preachy intro that was cut short by the older bruce springsteen chiming in and pretty much telling boner to shut up and play. they completely fucked up because the night, and in a night of concerts featuring great collaborations with some epic artists, u2 decided to bring along the black eyed peas... just screaming "hey, look at us! we're still hip!"
u2, at that moment, became the old dude at the club. we all get to a point where we start getting a little too old to be doing things we used to do, and we have to adjust to our new found maturity and, while not using our youth, just change the way we approach things. but we all know that one person who thinks they're still in college, and it's really all kinda sad. u2 have become that person. u2 have become the thing they once mocked. they've become the mirror ball man, and they're on their way to becoming machpisto.
i'd just like u2 to take the bruce springsteen aproach of "yea, i'm old... so what? i still rock out for 3 hours every night so go F yourself."
u2 still make great music, they still put on a great live show... it's ok to admit that they're old, embrace that they're old, and not try to hide that they're old.
for me, the idea that they're hurting themselves by trying to be too "hip and cool with the kids" has more to do with the image they project than with the songs themselves, or edge's guitar chimey thing... i mean fuck, he's been doing that since the early 80's. i didn't know that it expired after 28 years. if you think the edge being chimey is boring ya really shoulda hopped off the bandwagon a decade or two ago.
anyhoo... my thing is just with how they publicize and cary themselves. i have some issues with some of the lyrics (unknown caller), but i don't have a problem with a band of their age recording get on your boots or playing it live... i just thin it's silly to try and put it out as the first single because the kids will dig it. and yes, i like breathe and even like stand up comedy.
u2 became lame for the first time for me at the rock hall of fame concert. the jagger and springsteen duet's were amazing, yes... but i had just sat thru three hours of some of the greatest artists in the history of rock and roll celebrating their entire careers with this epic setlist... and then u2 comes out and every song they play on their own is from 2000 on. the one old song of theirs that they did was prefaced by this long preachy intro that was cut short by the older bruce springsteen chiming in and pretty much telling boner to shut up and play. they completely fucked up because the night, and in a night of concerts featuring great collaborations with some epic artists, u2 decided to bring along the black eyed peas... just screaming "hey, look at us! we're still hip!"
u2, at that moment, became the old dude at the club. we all get to a point where we start getting a little too old to be doing things we used to do, and we have to adjust to our new found maturity and, while not using our youth, just change the way we approach things. but we all know that one person who thinks they're still in college, and it's really all kinda sad. u2 have become that person. u2 have become the thing they once mocked. they've become the mirror ball man, and they're on their way to becoming machpisto.
i'd just like u2 to take the bruce springsteen aproach of "yea, i'm old... so what? i still rock out for 3 hours every night so go F yourself."
u2 still make great music, they still put on a great live show... it's ok to admit that they're old, embrace that they're old, and not try to hide that they're old.
powerhour24
ONE love, blood, life
What they need to do is have the bravery they had to do whatever they wanted in the 90s.
Dear U2,
You're the richest musicians going, and no CDs go many times platinum or diamond anymore, its the unfortunate way of the world, but pirates can't steal live experiences and you're making more than anyone, and from what we've heard throughout the past decade, there's been an awful lot of drive towards trying stuff out in studio, but now you're too gun-shy to release it, so people think you're done progressing, which just isn't true. Who cares what the Billboard chart says or what Paul McG says, you've made yourselves and him plenty rich by now, and you keep coming together for the love of your music, please share more of that love with your fans!!
Dear U2,
You're the richest musicians going, and no CDs go many times platinum or diamond anymore, its the unfortunate way of the world, but pirates can't steal live experiences and you're making more than anyone, and from what we've heard throughout the past decade, there's been an awful lot of drive towards trying stuff out in studio, but now you're too gun-shy to release it, so people think you're done progressing, which just isn't true. Who cares what the Billboard chart says or what Paul McG says, you've made yourselves and him plenty rich by now, and you keep coming together for the love of your music, please share more of that love with your fans!!
Like Headache, I see comments on both sides that I agree with. It's always tempting to place U2 history in nice, oversimplified packages, and this is even necessary when you're trying to discuss a career as long and varied (though full of exceptions in each simplified period) as U2's. But I think we can all agree that when we're tackling something as manageable as one band member's efforts on a single album, we can afford a good deal of complexity in our analyses, which, thankfully, many of you have been providing.
If you go through NLOTH song by song, concentrating just on Edge's work, I think it's quite clear that both the defenders and critics have good points. On the first three tracks you get an exceptionally eclectic range of guitar work from the Edge. And I think all of it is excellent, a good mix of classic Edge work and some that is less obviously so. The sequencing of these tracks works wonderfully, and Edge's style-changing is a big part of this.
Track 4, UC, is the first place he gets into trouble, but even here much of the work is good. The intro, while perhaps comforting on initial listen to U2 fans, is far too reminiscent of the Walk On riff. Someone in the recording team should have vetoed this pretty far back in the song's writing history. Given the fact that we're dealing with an extended, disconnected intro here, The Edge could have come up with something much more impressive, even if it was simply using the same settings and adding some notes/speeding things up with the playing. The rest of his work on this song is great in my opinion--the tortured, low rumblings during the 2nd verse and the outro solo are Edge at his very best and perhaps even at his least predictable (on record). On Crazy Tonight, Edge goes back to the chimes, which would have maybe been OK if he hadn't already done this type of work better this decade (Electrical Storm, Window in the Skies, and Yahweh--and even if you hate this song, I think it's undeniable that Edge's work here is better in the similar-sounding chorus and definitely in the verses). First big misstep here.
The GOYB v. Vertigo debate is not one that I want to reopen, but suffice it to say that it wouldn't still be flaring up if the "sound alike" group wasn't on to something. (No need to respond to this, BVS
). I'm somewhere in the middle myself, but I'll just say that the guitar work in this one would likely have been looked upon more favorably if U2 had never released a certain 2000s single. Stand Up Comedy. Whew. A supposedly raw blues riff that couldn't sound more polished. A decent idea with a terribly misguided effects/production approach.
I think most of the criticism of Edge on this album starts with track 4 and ends with track 7. I actually like the minimalist, super-pointed approach Edge takes on FBB. It works for the song and lets Eno and Bono shine--well, at least as much as is possible in an intermission type of piece like this. Edge (and the band) throw a curve with WAS, and the acoustic guitar is really a nice change of pace. Unlike some of you, I think Breathe is Edge doing raw right...he really roars here in a way that I find far more convincing than ABOY, LAPOE, or any other bluesy rocker he's tried to conjure up this decade (not to mention the angsty sounding solo that sounds like a short cousin of the 11 O'Clock Tick Tock solo). And COL exhibits some beautifully understated and highly effective work, a la If You Wear That Velvet Dress.
So in total, my verdict is 4 misses and 7 hits. I think what makes Edge's work particularly controversial here, however, is that he hits some pretty high highs and some very low lows. In terms of guitar sound, NLOTH is more eclectic and inspired than HTDAAB (by a good bit), but a little less so than ATYCLB, which doesn't really repeat any Edge sounds throughout its 11-song tracklist. I also agree with U2DMfan that the issue isn't so much with Edge revisiting similar sounds (e.g. chimes or delay) but with the execution of these sounds. When he does something that sounds similar enough to something else to draw a comparison, it better be up there in quality. Example of Edge doing this right on NLOTH: Magnificent riff. Example of Edge doing this wrong on NLOTH: UC introduction/main riff.
If you go through NLOTH song by song, concentrating just on Edge's work, I think it's quite clear that both the defenders and critics have good points. On the first three tracks you get an exceptionally eclectic range of guitar work from the Edge. And I think all of it is excellent, a good mix of classic Edge work and some that is less obviously so. The sequencing of these tracks works wonderfully, and Edge's style-changing is a big part of this.
Track 4, UC, is the first place he gets into trouble, but even here much of the work is good. The intro, while perhaps comforting on initial listen to U2 fans, is far too reminiscent of the Walk On riff. Someone in the recording team should have vetoed this pretty far back in the song's writing history. Given the fact that we're dealing with an extended, disconnected intro here, The Edge could have come up with something much more impressive, even if it was simply using the same settings and adding some notes/speeding things up with the playing. The rest of his work on this song is great in my opinion--the tortured, low rumblings during the 2nd verse and the outro solo are Edge at his very best and perhaps even at his least predictable (on record). On Crazy Tonight, Edge goes back to the chimes, which would have maybe been OK if he hadn't already done this type of work better this decade (Electrical Storm, Window in the Skies, and Yahweh--and even if you hate this song, I think it's undeniable that Edge's work here is better in the similar-sounding chorus and definitely in the verses). First big misstep here.
The GOYB v. Vertigo debate is not one that I want to reopen, but suffice it to say that it wouldn't still be flaring up if the "sound alike" group wasn't on to something. (No need to respond to this, BVS
). I'm somewhere in the middle myself, but I'll just say that the guitar work in this one would likely have been looked upon more favorably if U2 had never released a certain 2000s single. Stand Up Comedy. Whew. A supposedly raw blues riff that couldn't sound more polished. A decent idea with a terribly misguided effects/production approach. I think most of the criticism of Edge on this album starts with track 4 and ends with track 7. I actually like the minimalist, super-pointed approach Edge takes on FBB. It works for the song and lets Eno and Bono shine--well, at least as much as is possible in an intermission type of piece like this. Edge (and the band) throw a curve with WAS, and the acoustic guitar is really a nice change of pace. Unlike some of you, I think Breathe is Edge doing raw right...he really roars here in a way that I find far more convincing than ABOY, LAPOE, or any other bluesy rocker he's tried to conjure up this decade (not to mention the angsty sounding solo that sounds like a short cousin of the 11 O'Clock Tick Tock solo). And COL exhibits some beautifully understated and highly effective work, a la If You Wear That Velvet Dress.
So in total, my verdict is 4 misses and 7 hits. I think what makes Edge's work particularly controversial here, however, is that he hits some pretty high highs and some very low lows. In terms of guitar sound, NLOTH is more eclectic and inspired than HTDAAB (by a good bit), but a little less so than ATYCLB, which doesn't really repeat any Edge sounds throughout its 11-song tracklist. I also agree with U2DMfan that the issue isn't so much with Edge revisiting similar sounds (e.g. chimes or delay) but with the execution of these sounds. When he does something that sounds similar enough to something else to draw a comparison, it better be up there in quality. Example of Edge doing this right on NLOTH: Magnificent riff. Example of Edge doing this wrong on NLOTH: UC introduction/main riff.
corianderstem
Blue Crack Distributor
Ugh, no kidding. I've been puzzled and irritated as to why U2 was acting like BEP were the second coming or something, kept trying to force them on us through production on the album, an opening act, and then performing with them.
(And then Rolling Stone putting them on the cover as the main reason to be excited about rock music, and my reaction was to try not to vomit too much.)
I always thought I was just missing something about BEP's "hidden genius" or something, and why U2 kept trying to convince me they were good, but I suppose your theory about trying to be cool makes more sense.
Yuck.
I agree with what you say after that, about embracing being older and saying "fuck it." I don't see them quite as unhip and embarrassing as you do, though.
Although I might not just care if any of the bands I like are considered "uncool." I just don't give a fuck about that.
i cringe every time i hear bono say "[insert hip and cool with the kids celebrity here]'s in the house, y'all," as if bono got all of his lingo from kid'n'play.
next he's going to be telling us that jay-z is all that and a bag of chips.
next he's going to be telling us that jay-z is all that and a bag of chips.
powerhour24
ONE love, blood, life
Well Will.I.Am is actually a talented musician and producer... the rest of the group? Not so much. Although I was pleasantly surprised by Fergie's contribution to Gimme Shelter at the Hall of Fame concert.
lazarus
Blue Crack Supplier
He was saying "y'all" all the way back during ZooTV; I'm pretty sure it's near the beginning of the Sydney video.
Anyone remember when Kurt Loder was interviewing them on a rooftop for PopMart, and Bono was singing "No Diggity"? It was fucking hilarious.
corianderstem
Blue Crack Distributor
Yeah, I'll give him that. His production being on NLOTH seemed to spearhead all this "Let's do something with the BEP!" trend that followed, so I'm still going to blame him for all of that.
Bands U2 like are important because... ? 
Bands playing new material and not relying on hits (though next time...Mick Jagger, leave Stuck alone) And kids were reallllly diggging Boots.Springsteen's working class hero image is just as polished and as well known as U2's "band of the people" is. And it's far, far easier for solo musicians to do whatever they want. U2's never been able to do that because of their insecurities and, well, 4 guys having to agree on every album.
yes, well... he should have kept it in 1992.
corianderstem
Blue Crack Distributor
Because it comes across to me like they're trying to convince us they're as good as U2 seems to think they are, and I ain't buying it.
corianderstem
Blue Crack Distributor
Because it annoys me, and therefore it's an issue for me.
Of course it's not an actual issue. We're just discussing thoughts and opinions as the conversation flows, which is kind of how these threads work.
Of course it's not an actual issue. We're just discussing thoughts and opinions as the conversation flows, which is kind of how these threads work.
Headache, GREAT POST HERE!
Bram, just a few down, GREAT POST AS WELL!
As a general rule, I don't like to discuss things like "cool" and "dad rock" because the definition of both terms is, to put it mildly and understate it greatly, elusive!
Not to mention, I really don't see a crisis with U2 here given the fact that "the kids" are attending the shows as much as they ever have on 360. Its the usual age-diverse U2 crowd.
To me, the only way to see this is in shades of gray- both sides clearly have points.
Headache, I could not agree more regarding what you said about the rock hall concert! I remember being sick of reading 360 set lists filled with too much 00's material and thinking "well, the rock hall concert is coming, so maybe we'll see I Will Follow, Gloria or Bad, or at least NYD and SBS in the same set." And what do we get? Stuck? MW cut short by the Black Eyed Peas? Get the f out of here!
Like Headache and Bram both said, I don't see U2's "dad rock" issue being about much more than the image and "trying to hard to be 'cool'" elusive as the definition of that word is.
U2MDFAN said "Breathe" is U2 aiming for blues rock and winding up at dad rock and I frankly couldn't disagree more. No, Breathe is not the very peak of U2 creativity, like say, Numb or Mofo or The Fly or TUF in its day, but it is relatively unique for U2, is structured in an interesting way and does have some nice raw guitar work and genuinely good Edge solos. Also, it is clear, both album and live, that Edge really, really gets into Breathe and believes in it. "Dad rock," again, whatever that is, I could really only see being present in Elevation or Vertigo.
Breathe as blues? I don't see it. The closest U2 has ever come to blues rock, I think is Trip Through Your Wires, When Love Comes To Town and Angel of Harlem, which, save for the drums in "Trip" could not be any further from Breathe. Maybe the theme of Breathe is blues like- being bothered by a sales man, having some disease, rejecting what others promise will bring happiness, and walking out and connecting with an imperfect world, "finding grace inside a sound" and seeing the bright side through it all.(which really makes it no different than Beautiful Day in this regard) But the music could not be any further from blues inspired if it tried.
While we are still off topic, The Rock Hall set was inexcusable to say the least!
Even if U2 does not agree with Headache's contention that it is ok to be old in general, its the Rock Hall of Fame concert, celebrating ROCK HISTORY. Its damn well ok to be old here, even if U2 does not accept this on their own tours!
Here is how it should have gone:
Streets
I Will Follow
Because The Night(Patty Smyth/Bruce_
Still Haven't Found(Bruce)
Bad
Sunday Bloody Sunday
Gimme Shelter(Mick and BEP)
Magnificent
Mysterious Ways(BEP, don't cut it off, let Will I AM snippet his song in the outro)
Beautiful Day
One/Hear Us Coming/40
NOTE TO U2: Vertigo is a fun song, great riff, catchy, I and most others greatly enjoy hearing it live and are glad you wrote it and had such success with it. The lyrics are not even as throw away as many suggest. HOWEVER IT IS NOWHERE NEAR ONE OF YOUR TOP TIER SONGS AND DOES NOT BELONG IN A CONCERT CELEBRATING THE WORK OF THE GREATEST ARTISTS IN ROCK HISTORY. End of the rant, Sorry!!
Even if U2 does not agree with Headache's contention that it is ok to be old in general, its the Rock Hall of Fame concert, celebrating ROCK HISTORY. Its damn well ok to be old here, even if U2 does not accept this on their own tours!
Here is how it should have gone:
Streets
I Will Follow
Because The Night(Patty Smyth/Bruce_
Still Haven't Found(Bruce)
Bad
Sunday Bloody Sunday
Gimme Shelter(Mick and BEP)
Magnificent
Mysterious Ways(BEP, don't cut it off, let Will I AM snippet his song in the outro)
Beautiful Day
One/Hear Us Coming/40
NOTE TO U2: Vertigo is a fun song, great riff, catchy, I and most others greatly enjoy hearing it live and are glad you wrote it and had such success with it. The lyrics are not even as throw away as many suggest. HOWEVER IT IS NOWHERE NEAR ONE OF YOUR TOP TIER SONGS AND DOES NOT BELONG IN A CONCERT CELEBRATING THE WORK OF THE GREATEST ARTISTS IN ROCK HISTORY. End of the rant, Sorry!!
An Cat Gav
Rock n' Roll Doggie Band-aid
Can you send this letter via first class mail please so it gets their quicker please!!!!
Yup...any rock band that lasts long enough will get uncool and be accused of dad-rock.
U2 bringing along BEP for the "we're cool!" claim would be more credible if Bono didn't have a long history of liking hip hop.
corianderstem
Blue Crack Distributor
Ha ... now you'll get a bunch of people in here yelling about categorizing BEP as hip hop.
so you're saying that bono just has bad taste?
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