Of these 3 future projects, which are you most excited about ?

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U2girl

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SOA with - presumably - Eno and Lanois

The Spiderman soundtrack

The Rick Rubin songs - U2 did say they will go back to working with him
 
My vote goes to Rubin album - U2 could use a break from Eno and Lanois team, NLOTH isn't really the reinvention/innovative album Lanois talked about and if Rubin does half of what he did for Cash/Metallica/Diamond/ for U2 ...an he did say he'd love to work with U2.
 
SoA, then daylight.

I don't really care about Spiderman (and who knows what of it we'll actually ever get from U2), and I really, really, really hope they don't team up again with Rubin.
 
SoA, definitely. I love NLOTH and I am curious to see what else there's from these sessions!
I'm not that interested in Rubin's work at all, and Spiderman... hm... meh, don't care much either way.
 
SOA. I don't care about Eno/Lanois being "innovative" so much as I like how the albums they produce are generally "arty", which is what I love about NLOTH.

The Spiderman project sounds pretty cool; it will be interesting to hear what comes out of it.

Rick Rubin can burn in hell for eternity for all I care.
 
SOA for sure. i also don't think the Rubin sessions will be revisited. "Boy Falls From The Sky" is already slated for the Spiderman soundtrack, and "Thank You For The Day" was already worked on in the NLOTH sessions and could be included on SOA. so all that leaves is the crappy Bon Jovi sounding "All My Life".
 
I suspect that the Spiderman musical will be either a complete triumph, or a total disaster like Paul Simon's 'Capeman' debacle. But, in terms of U2, if the songs for the musical project are considered separate from band music, does this mean that Bono and Edge think they're either considered not good enough for U2, or completely different from their more obvious 'sound'? Maybe Adam and Larry have vetoed some of the songs if they were ever considered for a U2 album? In any case, the whole thing seems (to me) to be a big distraction from U2 at a time when I'd be hoping that they'd be getting the SOA material into some sort of order.

Or...could it be that SOA is completely recorded, and that all the band need to do is decide on a tracklisting? If that was the case, then it could be released at any time, on the assumption that no further remixing / overdubbing / is required.
 
the Rattle & Hum 20 year anniversary collectors edition remaster, complete with Lovetown Sydney DVD.

if only.........:drool:
 
bigjohn2441 said:
the Rattle & Hum 20 year anniversary collectors edition remaster, complete with Lovetown Sydney DVD.

if only.........:drool:
Click to expand...

Hell yeah! I'd take that before any of the other three choices. (I was thinking about this today, and if Lovetown Sydney isn't released, then maybe the final Lovetown Dublin show would be nice?)
 
I was torn between Spiderman and SoA, but after hear Kingdom, I'm all in for SoA.

And I still think they won't work with Rubin again. So, whatever we see with him on the credits is from those sessions and that's it.
 
Assuming that they WILL work with Rubin, since that's part of the point of the thread...

1) Resuming work with Rubin, regardless of WITS' mediocrity

2) SOA

3) Spiderman
 
Songs of Ascent by a mile. I think that the only part of NLOTH that lets me down on the creativity/innovation front is actually the middle third (Crazy, Boots, Comedy), but the rest has more than enough to keep things very interesting indeed. And, when you look at it in this fashion, you might also notice that the songs that aren't very good on NLOTH - i.e. the same middle third, plus the 'we could have written this any time in the last ten years and it's still boring' Breathe - were written by U2 on their own. The creative spark that they have/had with Eno and Lanois is obviously in a very special place and sounds like those on Kingdom point in an extremely interesting direction.

The Rubin stuff might be interesting, because I loved Window in the Skies, but there's obviously a reason why they shelved it in the first place. Could it be that it's just not very good? Still, it would get my second place in your list, though a long long way off my interest in Songs of Ascent.

And finally, the Spiderman thing. I've almost zero interest in this, my only hope being that they take songs like the demo we heard of 'Boy Falls...' and use them up on this project so they don't appear on any future album. The manner in which it's being talked about by Bono and The Edge doesn't suggest anything near as interesting as 'Alex Descends Into Hell For A Bottle Of Milk'. That's not to say that the kind of pure pop songs they're talking about for the project can't be interesting. Rather, of the beach clips that came out in 2006, for me Window in the Skies really was the only interesting one. Everything else was just throwaway with that dull All That You Can't Leave Behind sound.
 
With Rubin I could imaging more 'standard' sounds, from bluesy riff rock like Breathe and SUCk to really reverbed classic pop like WITS. Another thing against the idea in my mind, is that Rubin expects the artists he works with to have all the songs written and ready to go. U2 thrive on improvisation in the studio. So I could only see a downside to that.

Don't get me wrong, I like plenty of Rubin productions but I think the fascination with him is a bit overrated. He's more of a 'best takes' guy, playing by ear than adding creative input. They might be better off with any number of different producers than him.

U2, as much as some don't like to admit, benefit greatly from outside creative influence.
Maybe some think the E/L well is running dry but I think they enhance U2 more than anything. If the next album is an E/L production, I am on board. If not, I'd like to see them work with a musician of some sort at the production desk.

As far as show tunes...eh, I am interested to hear it, just out of curiosity.
I am a little put off with the concept that they might have written some killer tune for fucking Broadway and Stand Up Crapathon can still make the album.

So yeah, after NLOTH, I am excited for the next album more than these other projects.
Kingdom (whatever it's name is) sounds cool to me, what I've heard of it. Harmonies and atmosphere FTW. :drool:
 
I look forward to the release of any future U2 albums. SoA or Rubin's album both excite me. Spiderman will probably be good and interesting in parts, just like how SOME of MDH soundtrack was good.
 
I just don't get why U2 won't just do something for the sake of complete art...as in, have Danny Lanois guide them into the dark underworld just for a fun record, not unlike Passengers, but more rootsy

How about we take a dive into fantasy land for a second, I could see a session with U2, Danny, Eno on keys, and Emmy Lou Harris on backing vox in places.

U2 could make the king of Starbucks records, soundtracky/brooding tunes. It would satisfy so many of us. It wouldn't ever prohibit other more "classic" U2 records.

I do enjoy the No Line record save the middle tunes, Stand Up, Boots (which is ok) and Crazy Tonight.

I will never understand some of the lyrical choices Bono made on this record.

Anyway, I think U2 should work with Danny and Eno, but stick to this Kingdom sounding stuff as that is really something in my view.

I would love to know what Danny and Eno really think of the middle portion of the No Line record, its just bad white funk in Stand Up Comedy. God.

I would say no to Rubin sessions as well, thou' I didn't mind Windows in the Sky.

Looking forward to see what the next move is for U2.

Last words, Magnificent should have been a hit. Why it wasn' put out there first is a blunder, but its not really a big deal. U2 is always going to U2 at this point.
 
Songs of Ascent.

I care so little about the Rick Rubin sessions. Window in the Skies is amongst the worst U2 songs ever, and the most exciting part of the beach clips was a Strokes tune. Yawn.
 
U2DMfan said:
With Rubin I could imaging more 'standard' sounds, from bluesy riff rock like Breathe and SUCk to really reverbed classic pop like WITS. Another thing against the idea in my mind, is that Rubin expects the artists he works with to have all the songs written and ready to go. U2 thrive on improvisation in the studio. So I could only see a downside to that.
Click to expand...

This is the biggest issue I have with Rick.

Really, the only producer I have interesting in seeing work with U2 (again), other than E/L, is Flood... E/L/F would be amazing. But I doubt that will ever happen. The way I see it with NLOTH is that the majority of it is an album by U2, with Eno and Lanois included in U2, and self-produced by U2 with help from Steve Lillywhite. Krazy, Boots, SUC, and Breathe are U2 songs produced by E/L/L.
 
digitize said:
Really, the only producer I have interesting in seeing work with U2 (again), other than E/L, is Flood... E/L/F would be amazing.
Click to expand...

You're not alone there mate. :up::up: I still have hopes that Flood will be back one day.
 
SOA, definitely. the Rubin stuff could be cool too - we have no idea what they have shelved. just because we heard a couple of the songs in beach clip form doesn't mean there's not more we haven't heard. But NLOTH is awesome, so a continuation of the NLOTH sessions would probably also be awesome, and I'm very excited by the idea of SOA coming out sooner rather than later.

Spiderman, eh, not terribly excited for it. Boy Falls From The Sky is great, but seeing as it's currently not a U2 project and just a Bono and Edge project, I'm not as interested. Who knows if we'll even get versions of the songs with Bono singing. Half the reason I listen to U2 is for his voice... I don't really listen to musicals. Still, the idea of a Spiderman musical IS pretty cool :D
 
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