Or, and hear me out for a sec, perhaps it truly was a terrible idea that pissed a whole lot of people off.
Have U2's 21st century releases done irreparable damage to their legacy?
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Or, and hear me out for a sec, perhaps it truly was a terrible idea that pissed a whole lot of people off.
Duff
The Fly
Choice of singles over the last 12-13 years hasn't been good overall.
womanfish
Rock n' Roll Doggie ALL ACCESS
Or, hear me out for sec, it was admittedly a bad idea but was completely overblown by the bandwagon mentality of Twitter and Facebook. Because of all the trouble and stress that people deal with every day, being "pissed off" about having 11 songs plopped in your library of 30,000 songs is just about the most ridiculous, childish and pathetic things I can think of. And to have "professional" music critics actually let a release method alter their view of the content of the album, in retrospect makes them look infantile and foolish.
ps. - this does not mean I think the Apple thing was inconsequential or not a mistake on the bands part. I just think looking back on it, especially after these last couple years of actual problems and difficulties, makes the reaction of social media and critics, especially pitiful.
womanfish
Rock n' Roll Doggie ALL ACCESS
I don't think that Best Thing was a bad choice. But Boots and Miracle. oy.
What do people think would be the best single choice from SOE? I would say Best Thing or Summer of Love. Looking at the tracklist, this was not a very singley record.
I mean, you know Bono probably wanted it to be American Soul. So at least it wasn't that.
super fly guy
New Yorker
Red flag day,short punchey song.
Yea it was a bit more than that. Were/are there people who are.just bandwagon jumpers? Of course. There always is. On everything.
But there were a lot of people who genuinely saw this move as an invasion of privacy and a massive technocratic overstep. And it has lasted all this time not because of bandwagon jumpers, but because the critics had a point.
mikal
Blue Crack Addict
My favorite overreaction to the Apple thing was when this girl told me that her human rights were violated. I then gave her examples of situations where human rights are actually violated on a daily basis, and then she said "Well I never liked U2 anyway".
That pretty much sums it up. U2 pissed off people that didn't like them to begin with. I haven't heard one case of someone who was a big fan of theirs that said "That's it! Everything they've ever done is void because their album appeared on my phone!"
That pretty much sums it up. U2 pissed off people that didn't like them to begin with. I haven't heard one case of someone who was a big fan of theirs that said "That's it! Everything they've ever done is void because their album appeared on my phone!"
womanfish
Rock n' Roll Doggie ALL ACCESS
I get where you/they are coming from. But, I was always a bit confused about the "invasion of privacy" argument. Do they think Apple doesn't already know every song in your library? To me, invasion of privacy is if you were to take something from someone, not give something to them. Are the stock apps that come on iphones that you can't even delete invasion of privacy? I mean let's live in reality here. the entire phone is pure invasion of privacy as it tracks what you do, where you go, who you talk with, what you buy, and every site you look at.
I just think it was a insane overreaction, that of course builds steam as it becomes a meme that people can poke fun at and make jokes about. Sure. Make fun of I understand. Having actual angry emotions because of it? I can't understand what sort of life a person must live to have that reaction.
To put it in perspective as well. I know we all see this as a huge mistake. And because of the reaction, yes it was for the band's image. But I don't think we can always take the public's reaction to something and then translate that into actual fact.
I mean, we have tens of millions of people who are pissed off and angry about vaccines and masks, but it doesn't mean that taking vaccines and wearing masks is wrong. It means those people and their reactions are wrong.
In the end, I would guess that the band actually did reach hundreds of thousands of listeners that would never had listened or enjoyed their music otherwise. Or even known who they were. So maybe it had a slight silver lining.
The saddest part is that now, everyone has willingly given Apple access to control their entire library and playlists and pay 10 bucks a month to listen to everything for "free!" Apple gives free curated playlists to everyone, without their consent!!! aaaaaahhhhhh
sigh.
mikal
Blue Crack Addict
I'm actually going to go a in a bit of a different direction:
NLOTH - For Your Love (never released but would have been the perfect choice)
SOI - Troubles (I think this would have gotten a lot of air play.)
SOE - Spotify version of "Little Things"
Irvine511
Blue Crack Supplier
Yes … but consent matters. I think if you had to boil it down to a word, it’s less privacy and more “I didn’t agree to this.”
womanfish
Rock n' Roll Doggie ALL ACCESS
Absolutely Magnificent. Perfect for Rock, Classic Rock, Alternative, Adult Alternative stations. Exactly where they needed to focus on coming off of Bomb's success.
Volcano is a cool choice. I really like this song and is both different and cool enough to get some attention.
Red Flag - probably my favorite on the album to be honest, don't love the way the song starts... but just a great tune. Even with all my love, not sure it would have gotten much play, but still a strong choice.
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womanfish
Rock n' Roll Doggie ALL ACCESS
Well said.
womanfish
Rock n' Roll Doggie ALL ACCESS
Love The Troubles... The Troubles, EBW, Crystal Ballroom, Volcano. All better than Miracle as a lead off.
Not sure about For Your Love... is there actual audio of this?
Love this version of Little Things, I never had heard it before. But fantastic.
phanan
Blue Crack Addict
Really don't have to overthink the lead single strategy.
NLOTH - Magnificent
SOI - Invisible
SOE - Little Things (I'll stay with the original)
NLOTH - Magnificent
SOI - Invisible
SOE - Little Things (I'll stay with the original)
mikal
Blue Crack Addict
I used to have audio of it but couldn't find it the last time I searched. It was a banger (well, U2's version of a banger) and then they slaughtered it and turned it into Stand Up Comedy.
womanfish
Rock n' Roll Doggie ALL ACCESS
The banger got mashed. Like an Irish potato.
MrPryck2U
ONE love, blood, life
Lead singles or first singles can be a little misleading. Usually the songs released afterward are stronger and/or more popular. Boots is just the easiest go-to when citing poor single choices. It should NOT have been included on the album let alone released as a single. Lol! Magnificent is the song I would have picked for No Line. If not that, then the title track. Miracle is not so bad. Every Breaking Wave would have been my choice for SOI. I don't even remember what the lead single of SOE was, but I would have picked Lights of Home.
DaveC
Blue Crack Addict
does the blackout count since it got that facebook premiere with a video before we heard anything else from the album? i don't think it was officially released as "a single" for sale the same way that get out and best thing were.
phanan
Blue Crack Addict
Well if Wiki means anything, Best Thing was the lead single.
MrPryck2U
ONE love, blood, life
I actually went there too and finally looked it up.
I actually like Best Thing, but I wouldn't have used it for a first single. The remix is really cool.
lazarus
Blue Crack Supplier
I feel like there are a few different routes you can go with a lead single:
1. an bold artistic statement with an important theme/ambitious sonic approach
2. a big rocker/energetic track to say "hey we're back, and we're still cool and not boring"
3. a pop song aimed at the mainstream market, or at least the adult contemporary demographic of it
Something like With or Without You or Numb is clearly in the #1 slot. The Fly is mostly #2 with a little bit of #1 because of the change in direction. Vertigo, Desire, and The Miracle clearly #2. They probably thought Boots had a little bit of #1 but it was really just a #2 (no poop pun intended).
Best thing is the only time in memory that they went the #3 route*, and it's baffling because there aren't any young people interested in what U2 is doing in terms of pop music. So essentially you're directing the single at, what, suburban parents? It doesn't make them look cool, it doesn't make them look particularly energetic, and it doesn't look like they have anything important or interesting to say from a lyrical or musical standpoint. It's a love song. Now that's fine, and the * exception noted above would be Sweetest Thing, which was promoting a Best Of collection that's meant to be for a more mainstream/casual fan. But for a new loosely-themed album that tackles big issues about mortality, and was delayed because they wanted to address the current political climate, it doesn't make a whole lot of sense.
The Blackout does make sense, because it's in the #2 category but also has some #1 because of its subject matter tying it to current events. In fact, its lyrics about democracy being in danger and an "extinction level event" sound just as apt now in 2021 as they did in 2017. But for some reason, they did a soft press on it instead of a hard press of making it an official lead single, and to me it lessened the impact of SOE's release.
What you see here is U2 mixing up their desire for a hit with the need to appear relevant, and they really should have realized the latter is more important. The Blackout wouldn't be out of place on KROQ and sounds modern enough to be played alongside music from U2's descendants. It's not the type of track that becomes a hit in the Vertigo sense, but it certainly would grab more attention.
So yeah, while I love Red Flag Day and it's probably my favorite on the album, and Little Things is the serious, epic track, I think they almost made the right choice, until they didn't.
1. an bold artistic statement with an important theme/ambitious sonic approach
2. a big rocker/energetic track to say "hey we're back, and we're still cool and not boring"
3. a pop song aimed at the mainstream market, or at least the adult contemporary demographic of it
Something like With or Without You or Numb is clearly in the #1 slot. The Fly is mostly #2 with a little bit of #1 because of the change in direction. Vertigo, Desire, and The Miracle clearly #2. They probably thought Boots had a little bit of #1 but it was really just a #2 (no poop pun intended).
Best thing is the only time in memory that they went the #3 route*, and it's baffling because there aren't any young people interested in what U2 is doing in terms of pop music. So essentially you're directing the single at, what, suburban parents? It doesn't make them look cool, it doesn't make them look particularly energetic, and it doesn't look like they have anything important or interesting to say from a lyrical or musical standpoint. It's a love song. Now that's fine, and the * exception noted above would be Sweetest Thing, which was promoting a Best Of collection that's meant to be for a more mainstream/casual fan. But for a new loosely-themed album that tackles big issues about mortality, and was delayed because they wanted to address the current political climate, it doesn't make a whole lot of sense.
The Blackout does make sense, because it's in the #2 category but also has some #1 because of its subject matter tying it to current events. In fact, its lyrics about democracy being in danger and an "extinction level event" sound just as apt now in 2021 as they did in 2017. But for some reason, they did a soft press on it instead of a hard press of making it an official lead single, and to me it lessened the impact of SOE's release.
What you see here is U2 mixing up their desire for a hit with the need to appear relevant, and they really should have realized the latter is more important. The Blackout wouldn't be out of place on KROQ and sounds modern enough to be played alongside music from U2's descendants. It's not the type of track that becomes a hit in the Vertigo sense, but it certainly would grab more attention.
So yeah, while I love Red Flag Day and it's probably my favorite on the album, and Little Things is the serious, epic track, I think they almost made the right choice, until they didn't.
womanfish
Rock n' Roll Doggie ALL ACCESS
I think that Best Thing got more radio airplay than anything off of SOI, mostly the adult alternative market. But I agree with your analysis here. I too was a bit baffled by The Blackout Facebook tease thing and then... nothing.
So many good lead single options off SOI. Obviously Invisible, but the stutter step with the SuperBowl thing, was just another nail in the coffin for very good album.
EBW, The Troubles, Crystal Ballroom, Volcano, hell even Raised By Wolves could have been interesting choices that would have fit into your #1 or #2 criteria.
So I'm of the thought that Blackout is one of those U2 tunes that is purposefully vague so as to have dual meanings - kind of how Until The End Of The World is obviously about Judas but can also be interpreted as a song about an ending relationship.
Alas...
I have always been of the thought that The Blackout is actually about the band.
The dinosaur is U2, Big Mouth is Bono.
The lights going out is the drama the band went through during SOI... be it the release, or the bike crash almost ending the band (a literal blackout).
When the lights go out who you are will appear - sure it could be about america under trumpism, but it could also be about a band trying to find their way after a public backlash.
Anyhoo - I agree that it should have been the single.
I would have also released The Showman at some point accompanied with a tongue in cheek video poking fun at themselves for the itunes thing, the bike thing, the gigantic ego thing, etc. etc. The band has shown they have a sense of humor and have no issue making fun of themselves - and I think they missed the mark by not doing so.
So yea - for me it would have been Blackout, Summer of Love, Little Things, Love Is Bigger.
Then toss the Showman video out as a pun somewhere in there (but not an actual single).
phanan
Blue Crack Addict
I don't think The Blackout is quite strong enough to be a leadoff single, but it definitely could have been the follow-up after Little Things.
I do like the idea of The Showman being kind of that final single that makes fun of their recent missteps.
I do like the idea of The Showman being kind of that final single that makes fun of their recent missteps.
Oh I'd also like to add that while I do believe they made pretty much all the wrong single choices for SOE (other than Love Is Bigger) I don't think the RIGHT releases would have resulted in any sort of fourth "moment" for them. Just some better press and an opportunity to wipe away 2014. Alas, that didn't happen.
lazarus
Blue Crack Supplier
You're right; SOI could have been the fourth moment and a rebound from No Line's lack of popularity, but SOE was likely not going to make up for that debacle.
They'd sure be in a better place than they are now, though, had they not picked one-two garbage punch of Best Thing and Get Out.
They'd sure be in a better place than they are now, though, had they not picked one-two garbage punch of Best Thing and Get Out.
lazarus
Blue Crack Supplier
In a surprising turn of events after U2's big drops on the recent Rolling Stone top albums list, they made a considerably high appearance on Rolling Stone's new 100 Greatest Music Videos of All Time list. Their decision to upload all of their classics on YouTube appears to have paid off. While I would have preferred seeing All I Want Is You, the Corbijn version of One (b&w, band in drag) placed at #25.
“One” was such an important song for U2 that they hired three directors to make three completely different videos for it. Mark Pellington made an arty one that was little more than black-and-white images of running buffalo, while Rattle and Hum director Phil Joanou shot a glammed-up Bono lip-syncing the song in a bar. The third one, directed by the band’s longtime photographer Anton Corbijn, is clearly the keeper. It features the band in drag, stark images of Bono’s father, Bob, the band playing at Berlin’s Hansa studio, and two Trabant cars traveling around the city and ultimately colliding. But the band ultimately felt it was best to take the Corbijn clip out of rotation, since proceeds from the song were going to AIDS charities, and they felt like their dress might be read as a link between AIDS and sexuality. “They replaced it with a video of Bono in a bar surrounded by models, which I particularly didn’t like,” Corbijn later told The Guardian. “But once the song had died in the charts a few months later they got MTV to start running my video instead. That’s why I like working with U2: They have stayed very loyal to me, which is rare in music.” —A.G.
“One” was such an important song for U2 that they hired three directors to make three completely different videos for it. Mark Pellington made an arty one that was little more than black-and-white images of running buffalo, while Rattle and Hum director Phil Joanou shot a glammed-up Bono lip-syncing the song in a bar. The third one, directed by the band’s longtime photographer Anton Corbijn, is clearly the keeper. It features the band in drag, stark images of Bono’s father, Bob, the band playing at Berlin’s Hansa studio, and two Trabant cars traveling around the city and ultimately colliding. But the band ultimately felt it was best to take the Corbijn clip out of rotation, since proceeds from the song were going to AIDS charities, and they felt like their dress might be read as a link between AIDS and sexuality. “They replaced it with a video of Bono in a bar surrounded by models, which I particularly didn’t like,” Corbijn later told The Guardian. “But once the song had died in the charts a few months later they got MTV to start running my video instead. That’s why I like working with U2: They have stayed very loyal to me, which is rare in music.” —A.G.
mikal
Blue Crack Addict
At a Packers game right now. They’ve played 3 U2 songs. Legacy intact
Hollow Island
New Yorker
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