Brian Eno is involved too ?

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U2DMfan said:
Look at the productivity of the 1999 sessions.

Forget the sound for now, think about the productivity.

The more songs they write, the easier it is to pick out an album's worth and hammer into shape, the faster the process goes, the earlier US FANS GET THE THE FUCKING ALBUM.
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F**k the US. Why should they be first. F##ing Americans :censored:
 
Well, I've never had any real complaints about any Eno/Lanois album except for bits of ATYCLB, so given their track record, I think this is fine.

Anyway, I really don't think the blame should be assigned to producers for weak songs.
 
roy said:


F**k the US. Why should they be first. F##ing Americans :censored:
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Perhaps "we fans" would have been a better turn of phrase?

In any case, after having now worked with Rubin, maybe the band will see the difference between his style and that of Eno/Lanois and insist on a cleaner sound from them.

Can tigers change their stripes?
 
Chill Mike D said:
Well, I've never had any real complaints about any Eno/Lanois album except for bits of ATYCLB, so given their track record, I think this is fine.
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I think the fact that Achtung Baby improved so much live is a testament to poor production. They murdered the outro to UTEOTW in the studio, just took good music and killed it. Zoo Station was lost in production. The Fly's outro had a similar problem to UTEOTW. TTTYAATW was only ever decent live. LIB, Mysterious Ways, and EBTTRT were all much better live. I just think Achtung Baby had so much potential and was over-produced.

And ATYCLB, each of the last five songs sucked, as well as the studio versions of Stuck in a Moment and Elevation.
 
phillyfan26 said:


I think the fact that Achtung Baby improved so much live is a testament to poor production. They murdered the outro to UTEOTW in the studio, just took good music and killed it. Zoo Station was lost in production. The Fly's outro had a similar problem to UTEOTW. TTTYAATW was only ever decent live. LIB, Mysterious Ways, and EBTTRT were all much better live. I just think Achtung Baby had so much potential and was over-produced.

And ATYCLB, each of the last five songs sucked, as well as the studio versions of Stuck in a Moment and Elevation.
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This is the greatest post I've ever seen. :up:

Can you give me my opinions back? I need them for the new Coldplay thread in B&C. :uhoh:
 
phillyfan26 said:


I think the fact that Achtung Baby improved so much live is a testament to poor production. They murdered the outro to UTEOTW in the studio, just took good music and killed it. Zoo Station was lost in production. The Fly's outro had a similar problem to UTEOTW. TTTYAATW was only ever decent live. LIB, Mysterious Ways, and EBTTRT were all much better live. I just think Achtung Baby had so much potential and was over-produced.

And ATYCLB, each of the last five songs sucked, as well as the studio versions of Stuck in a Moment and Elevation.
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What the fuck are you talking about?

You're deaf or dumb.

Pick one.
 
Seems to me, all the arguing about producers aside, the really significant news here is that they're in Morocco. Who saw that coming? That will definitely influence the songs one way or another, regardless of whether they do all the polishing in Dublin, and regardless of whether Rubin, Eno, Lanois, Dr. Dre or Phil Spector is at the helm. I think we should all be excited about that.
 
Absolutely, the uncomfortable setting (seeing that they will not be remotely close to home) can only lead to a more plentiful creative experience.

I was trying earlier to emphasize the fact that this could be very productive on setting along with the comfort of the known producers.

If you've ever written a song, you get it.

You can approach writing one way and a song a different way.
No ideas vs some partial ideas.

It's the difference between an idea coming through and a song seeing fruition.

Whatever.
 
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LemonMelon said:


This is the greatest post I've ever seen. :up:

Can you give me my opinions back? I need them for the new Coldplay thread in B&C. :uhoh:
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MrBrau1 said:


What the fuck are you talking about?

You're deaf or dumb.

Pick one.
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I couldn't have gotten more polar responses if I tried. You can't make this stuff up.
 
If it wasn't for Popmart being infinitely better than the demo tape called Pop, Zoo TV would be the most drastic live improvement of any U2 album.
 
Screwtape2 said:


To be fair to the band, aren't almost all albums made better when performed live?
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This is true, but I'm saying that in these two instances there was much greater improvement than normal. I think Pop was just not ready, and I think Achtung Baby was poorly produced. I think the live versions of the songs prove me correct.

The difference, to me, is that it's almost across the board with these albums.
 
phillyfan26 said:
If it wasn't for Popmart being infinitely better than the demo tape called Pop, Zoo TV would be the most drastic live improvement of any U2 album.
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:grumpy: I must disagree with you there.

Discotheque - Roughly equal, maybe a bit better live
Do You Feel Loved - Better in the studio
MOFO - Better live
IGWSHA - Better in the studio
Staring At The Sun - too different to compare, I happen to prefer the acoustic versions
Last Night On Earth - Better live
Gone - Roughly equal until the Elevation tour, when it started getting awesome
Miami - Better live
Playboy Mansion - N/A
Velvet Dress - too different to compare
Please - A little better live
Wake Up Dead Man - Better in the studio

Compare that to Achtung, where 99% of the album was 45 times better live.
 
LemonMelon said:
Discotheque - Roughly equal, maybe a bit better live
Do You Feel Loved - Better in the studio
MOFO - Better live
IGWSHA - Better in the studio
Staring At The Sun - too different to compare, I happen to prefer the acoustic versions
Last Night On Earth - Better live
Gone - Roughly equal until the Elevation tour, when it started getting awesome
Miami - Better live
Playboy Mansion - N/A
Velvet Dress - too different to compare
Please - A little better live
Wake Up Dead Man - Better in the studio
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Discotheque - Significant improvement, the studio took too much focus off the core of the song, which is the guitar riff
Do You Feel Loved - Not a good song in either case
Mofo - Way better live, one of their best live songs ever, Rock >>> Techno
IGWSHA - Not a good song in either case
Staring at the Sun - Better in Studio
Last Night on Earth - Live, better intro and outro
Gone - Improved on Popmart, Domination on Elevation Tour outro
Miami - Better Live
Playboy Mansion - Not a good song in either case
Velvet Dress - Live is infinitely better
Please - Live is way better, after the first two verses and choruses the song fails in studio and live becomes stellar
Wake Up Dead Man - Studio

For those scoring at home, that's 7 better live, 2 better studio, 3 songs that were bad in both instances.
 
phillyfan26 said:


This is true, but I'm saying that in these two instances there was much greater improvement than normal. I think Pop was just not ready, and I think Achtung Baby was poorly produced. I think the live versions of the songs prove me correct.

The difference, to me, is that it's almost across the board with these albums.
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I'm not sure if AB is better live because of bad production or having the tracks be more like jams than a percise versions. They remind me of how The Police had very tight songs on their records but would then slow and stretch the songs out in a live setting. I'm not sure if that's more the case of what happened to Achtung Baby tracks that were done live.
 
Screwtape2 said:


I'm not sure if AB is better live because of bad production or having the tracks be more like jams than a percise versions. They remind me of how The Police had very tight songs on their records but would then slow and stretch the songs out in a live setting. I'm not sure if that's more the case of what happened to Achtung Baby tracks that were done live.
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Well in some cases, that's true. I'll give Mysterious Ways and Love is Blindness to that effort. But my examples are songs like UTEOTW, which lost its outro in the production, the best part of the song. Another is EBTTRT, which lost its best part, the guitar riff, in the production. It stood out live, and was buried in studio. Literally, half of the riff is so faint, I never heard it till I looked for it after hearing it played live. Zoo Station lost a ton of its sound in the production, and didn't even have a chorus riff until played live. TTTYAATW didn't seem to have any guitar in studio. The Fly's outro was terribly produced. Those five songs all suffered from the production, in my opinion.
 
I think both AB was a superb album that happened to work live too. Pop on the other hand went into the stratosphere live.

Aside from IGWSHA and DYFL, correctly dropped early on, every song was better live. For me, anyway.

U2MDfan, how do we know that lots of songs won't = trouble of picking out what makes the album ?
 
I still think DYFL and IGWSHA could have worked.

But still the POP album went over the moon live, it just improved so much. It turned out Live the way U2 wanted it to be on the album.
 
I must say, some of U2.com's wording is confusing (what's new, though?):

‘There’s no word on what the new material is for,' according to one of the team in Fez. ‘But they’re on a roll and the ideas are coming think and fast.’
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What would it be for other than a new album? And if it's not for a new album, how much more will some other project postpone things now?
 
I don't think people should over-react about this news regarding Lanois and Eno. We know U2 have been working on the new album for a while now with Rick Rubin and must have some material recorded at least, in one form or another. Either Lanois and Eno are helping them on totally new material or reworking some of the stuff they did with Rubin or just polishing it.

I think it was a good idea to start of with Rubin, see what he can bring to the table ie. a bit like Chris Thomas but hopefully more successfully. Then once they have taken on board his suggestions and way of working, bring in Lanois and Eno after that.

I wasn't that sure about Rubin as the sole producer of the album, I thought that the sound would be too stripped back and boring. Unfortunately that's what the last two albums were like for me, bland and boring overall.

I respect the decision to strip back their sound, but not to the detriment of its overall effect and appeal i.e. U2's best work has always had a great power and sense of excitement about it, I'm nto sure If I could take too many more Stuck In A Moment and Hands That Built America type songs.
 
phillyfan26 said:


I think the fact that Achtung Baby improved so much live is a testament to poor production. They murdered the outro to UTEOTW in the studio, just took good music and killed it. Zoo Station was lost in production. The Fly's outro had a similar problem to UTEOTW. TTTYAATW was only ever decent live. LIB, Mysterious Ways, and EBTTRT were all much better live. I just think Achtung Baby had so much potential and was over-produced.

And ATYCLB, each of the last five songs sucked, as well as the studio versions of Stuck in a Moment and Elevation.
Click to expand...

Totally disagreed. Do you know what texture in music is? That's what Achtung Baby has got. In fact I think the opposite happened. Although I think that Achtung Baby works very well live, the songs lost the texture and all the effects that gave it when played live. Sure the outro for UTEOTW is great in live performances but have you thought that the studio version was supposed to be like that? If not, we'd get something similar to that poor versions that we can find in the "Salome working tapes". On the other hand, EBTTRT sucks live... for me. I never liked the fact that U2 played this song in a very different note and the opening riff is there just because... Same with Zoo Station and The Fly: they're real monsters in live shows and I wouldn't switch them for anything, but the production of these songs on the album is for genious.

ATYCLB... same thing. I like the album version of Elevation, don't like the pseudo-raw Tomb Raider version. SIAM is very nice in the studio, specially the final horns. About the last five songs: New York doesn't have huge differences to the live performances and Grace is awesome IMO.
 
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