Songs of Surrender - Discussion, reviews, impressions

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Great review:

https://atwoodmagazine.com/u2sos-u2-songs-of-surrender-album-review/

Music, Reviews
March 22, 2023
SURRENDER TO THE MUSIC AND THE CALL OF U2
by Brianna Corrine

Featuring 40 songs from over 40 years, U2’s ‘Songs of Surrender’ is an odyssey well worth a listen as beloved tracks are reinvented into stripped acoustic versions with an exceptional amount of love, care, and attention – leaving old hits with an unmatched sense of novelty.

What more is there to be said about one of the most prolific bands to exist possibly ever? With more than 40 years together under their belt, it’s truly a shock to see such a poignant sense of humility from U2’s four members – Bono, The Edge, Larry Mullen, and Adam Clayton – who have altered the music industry and been a force promoting boundless change universally.

The famed Dublin four piece have dismantled what it means to be punk, rock, alternative, pop, and every mismatched combination in-between, and reconstructed them to fit their own definition and desires. From giving a new breath of intimacy to the world of punk rock, stripping rock to its core, and giving alternative pop an identity of unmatched classicism. U2 is revolutionary. With a discography packed with heartfelt anthemic ballads, introspective diverse explorations of life’s most boggling questions about faith and clever dissections of personal hardships, it’s apparent that the ultimate crux of U2 is its four members’ untethered devotion to music. It is larger than them and all they can do is, well, surrender to it – and act as emissaries of its prestigious call. The band make it clear that in the discourse of musical genius, they are small, even if critics and local observers would beg to differ.

Released March 17 via Island Records, Songs of Surrender is a perfect portrait of U2. As a stripped back and reinvented curation of 40 songs from throughout their musical catalogue, the raw talent and expert artistry that lives within U2’s collective body of work is put on proud display. Rounded out in just under three hours, this album is truly an auditory experience, and the difference between the original songs and these new reworks is astounding.

The album begins with “One,” and though there are slight lyric changes with the elimination of the outro and the presence of a definite tempo difference, being that the song like the rest of the album is acoustic, the soul of the song stays the same. In classic U2 style, the tune is littered with biblical references and is intent on discussing world issues such as the AIDs crisis, and the common goal of love and unity. With the inclusion of backing piano chords and the gentle use of a drum kit, the song sounds like a lullaby and is increasingly comforting in nature. Bono’s soulful vocals paired with The Edge, Mullen, and Clayton’s wistful backing give this song a refreshing new life without being too jarring for longtime fans of the band.

Following “One” are hard-hitters “Where the Streets Have No Name,” “Stories for Boys,” and “Out of Control,” which experience an intriguing reimagining. As these tracks are usually played, you would not expect for them to be so beautiful when stripped back. With weaned back instrumentation and production on these new versions, the lyricism is allowed the full spotlight which adds a newfound sense of value to the songs.

The second quarter of the album includes “Stuck In A Moment You Can’t Get Out Of,” off 2000’s Grammy Award-winning tenth studio album All That You Can’t Leave Behind, which has its emotions heightened to levels with the new production. Thematically, its no secret that this track is particularly painful and yet somehow, the altered rendition possesses an even more powerful grip and jerks tears from listeners almost instantly. It steals your lungs right from your chest as the lyrics ring out, “I wasn’t jumping, for me it was a fall. It’s a long way down to nothing at all.” Something about the aching draw of Bono’s vocals as he converses with the backing acoustics makes this conversation into a truly excruciating dance between the boundaries of life and death.

Also in the middle of the album lies “Ordinary Love,” which experienced a bit of change with the implementation of an almost Spanish-sounding guitar. With its easy plucks and progressions that carry the song as if it’s weightless, even though its a melancholic romance that would be sure to weigh heavy on the heart, the alterations seem effortless and natural – as if this was the way the song was meant to be played since its original release in 2013.

Perhaps one of the most interesting parts about the reconstruction that went on with the formation of this album is the idea that at the original time of production, these songs were considered as close to perfect as possible by the band. By going through this process of reimagination, there is the indication and introduction of the idea that nothing can ever be perfect. You can write one song with a hundred different constructions and alter the lyrics for days and never be thoroughly satisfied. By conducting this reinvention – which goes beyond the usual remastering that often occurs – U2 have opened themselves up to a unique form of intimacy.

Take “I Still Haven’t Found What I’m Looking For,” which has long been established as a seminal classic and is known for its particular vulnerability. However, with the changes, the song has reaffirmed itself as a timeless piece of music. With the subtle tempo build and immersive auditory atmosphere built by a light tinny guitar, tappy drum, and steady bass and guitar combo, this rendition of the song is wholly immersive. It places the listener on an open craggy cliffside on the coast of Ireland, and leaves them to realize that whatever they are searching for, whether it is love or knowledge, may not be as far as you once thought.

In the same vein as “I Still Haven’t Found What I’m Looking For,” is the new rendition of fellow The Joshua Tree classic, “With or Without You,” which takes the lead in the final quarter of Songs of Surrender. The song is still wholly anthemic in its production and nature, but with an added layer of je ne sais quoi found through the purity exuded by Bono’s raw vocals that contrast beautifully against the airy instruments. The juxtaposition of each of the elements of production here make the tune that much more personal and divine than the original version.

Continuing on in this refreshed auditory trek through U2’s discography, we arrive at “Sunday Bloody Sunday,” which, when instrumentally stripped to its nerve endings, is viscerally impactful.

Lyrically the song is stunning; it always has been and it will continue to be, as it illustrates a devastating image of political unrest. In the original version of the song, fear and anger are deeply apparent through the screeching electric violin coupled with thumping drums and a gritty guitar that leaves little room for a casual breath. The Songs of Surrender version provides a more somber sensation to the track. Rather than aggression and rage, disappointment and quiet frustration are illuminated. Overall, the revisions made to this recording work marvellously to allow for the absolute gut-punch that are these lyrics to hit home and drive their message against violence to the soul of each individual who tunes in.

Finishing off this collection of songs is “40,” the final track off 1983’s third studio album, War, which once again exhibits the raw talent of U2. “I will sing, sing a new song,” Bono gently sings over a tender, lilting backdrop. The placement of “40” at the end to round out this album is especially clever, being that the band has closed countless shows with it. There is a unique resonance with the inclusion of this song, and it leaves the album in a place of hope, which is the end goal of surrender – the lead concept of this album.

There is far more that could and should be delved into and dissected with Songs of Surrender, but fundamentally the album is perfection.

Yes, it has been done before, as the songs are not new, but they are by no means tired. Something incredibly genuine and wholly authentic thrives in these reimaginings. The lyrics have been given the space they deserve to flourish, and of course Irish culture is also highlighted as each and every song illustrates riveting storytelling.

The way U2 have updated and refreshed a large selection of some of their best songs with fresh vocals, new and rearranged lyrics, and acoustic instrumentation prove the excellence that is the brotherhood of this band. Lyrics, vocals, and instruments work in flawless unity to communicate and open the door for new chapters to be written by the band, and for everyone – creators, muses, and observers alike to surrender to the music and all that it preaches.

The sheer length of Songs of Surrender is biblical, but it is no doubt worth it to go on the 2 hour 46 minute journey and immerse yourself in this reimagination of musical masterpieces.
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Headache in a Suitcase said:
how about - "ya know, this isn't my cup of tea, but this clearly a lot of work went into this, so i respect the effort. thankfully the original recordings still exist, so i'll just choose to listen to those instead."
Click to expand...

this is where i'm at.

i haven't listened to SOS, other than a few snippets of the early-released songs which i was very "meh" about. i don't really feel like investing almost 3 hours of my life into listening to more of that, so the likelihood of me ever listening to SOS in full is almost zero. i've never been a big fan of "re-recorded" music by anyone, really. i won't be listening to the "new version" of dark side of the moon, for example.

but i also won't come in here talking shit about it. SOS is clearly not just a half-assed cash grab and the band put a lot of effort into this. if you like it - awesome. if you don't - cool. just let people enjoy it if they enjoy it.

i'll be waiting patiently for the next album of hopefully all-new material. i just pray to the flying spaghetti monster that it isn't another goddam "Songs of ____" album :crack:
 
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DeVaul said:
It’s… fine? I think the original lyrics still hold up in their universality and wish the band could understand that.
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Yeah I meant more musically than lyrically; I’m trying to block out lyrics
 
DaveC said:
this is where i'm at.

i haven't listened to SOS, other than a few snippets of the early-released songs which i was very "meh" about. i don't really feel like investing almost 3 hours of my life into listening to more of that, so the likelihood of me ever listening to SOS in full is almost zero. i've never been a big fan of "re-recorded" music by anyone, really. i won't be listening to the "new version" of dark side of the moon, for example.

but i also won't come in here talking shit about it. SOS is clearly not just a half-assed cash grab and the band put a lot of effort into this. if you like it - awesome. if you don't - cool. just let people enjoy it if they enjoy it.

i'll be waiting patiently for the next album of hopefully all-new material. i just pray to the flying spaghetti monster that it isn't another goddam "Songs of ____" album :crack:
Click to expand...

While I wouldn't blame you for this feeling after listening to bits of the first few, I think there are some that just need to be heard. I would say that Stories for Boys, 11 O'Clock, and Bad would be a good place to start. Stay and Dirty Day are both excellent. And if you still think meh, then wait for the new stuff.
 
I still think of Get on Your Boots the most in need of a second chance.
 
This is an enjoyable listen, but I wish it was billed not as “redone” work but instead just simply an unplugged album. Listening to Stay was like being at a U2 concert with some Bono improv.
 
clerks said:
I still think of Get on Your Boots the most in need of a second chance.
Click to expand...

Here's a link to the remix I think makes Boots an actually very cool song. I added some "Let me in the sound" backing vocals at the beginning and added in some underlying guitar towards the end that the regular remix didn't have. Ya gotta have a little of that guitar!

https://spectrio.egnyte.com/dl/JSXF8Vmqdv
 
I’m making the excruciating journey through this thing today

SYCMIOYO - Wow almost as bad as the original but still an improvement
 
Here is a bizarre and unhinged review like none I've ever seen before. It doesn't mention the music. And it is presented by the high brow artsdesk.com which of course is included on AOTY percentage.

https://theartsdesk.com/new-music/album-u2-songs-surrender#comment-149782
U2 are better than their many critics make out. Their Stakhanovite work ethic in creating huge sonics, not-a-bolt-out-of-place songwriting and stagecraft that could reach every corner of the biggest venues long before the days of giant LED screens made them the biggest band in the world with good reason. Bono Vox’s “Marmite personality” was also a big part of that: it pretty much requires a messiah complex to work that hard to reach that many people.

U2 are also worse than many of their defenders will admit. As Bono’s Great Statesman act became his defining facet, it sucked attention away from his skills as a rock star and caused vast harm out in the real world. Elisabeth Pisani’s The Wisdom Of Whores: Bureaucrats, Brothels And The Business Of AIDS has the horrifying chapter and verse on how his cult-leader religiosity funnelled billions of well-meaning donors’ money into all the wrong places. And he set the template for the neoliberal saviour-complex politician or billionaire as rockstar, as adopted most disastrously by Tony Blair for his more… counterproductive global misadventures, and more recently by Elon Musk.

All that in turn revealed the smoke and mirrors involved in U2. Rock songs about general yearnings for spirituality and togetherness are fine, great even – but when the driving force behind them is revealed to be a grubby little man who’s half Russell Brand and half Henry Kissinger, they can ring a bit hollow. There’s also the fact that Bono is, objectively, a rubbish singer. The sine qua non of boomers’ and Gen X’s tendency to give a free pass to white men who theatrically and unnecessarily strain and grunt as signifiers for “really meaning it, man”. It’s singing as pro wrestling.

That was OK in those stadia, and on those Eighties records where the rest of the band’s contributions are perfectly built to highlight his strengths and allow for his weaknesses. But do we need “intimate” re-recordings (sorry, “reimaginings”) of forty songs from their back catalogue in a Brian Eno ambient style where the instrumentation is stripped away to almost nothing Bono’s voice is close miced and it feels like he’s cod-emoting about five millimeters away from your ear? No we do not. This is horrible. Go away, Bono.


@joemuggs
 
I can't imagine a single human being on this planet preferring the SOS version of WOWY. Not even horrible, just completely neutered. 3 minute long WOWY with worse lyrical additions? I actually liked the live take of this a lot better.

Stay has some weird double tracked vocals I don't care for, but the main problem I have is the fake out first chorus. Once they do the full chorus, they add on the "stay with the demons you drowned" lines so it actually ruins the build up that was there on the original. I like the negative space in the second verse and the use of piano overall.

SBS wasn't as bad as I was led to believe but it wasn't good either. The new lyrics in the last verse are turbo cringe. I really don't like the SOS takes of the big hits for the most part; I'm not sure if Streets or WOWY is the worst.

Lights of Home has to be one of the best tracks in the whole set. Very good arrangement. I've always been whatever about this song but it stands out positively here.

I actually didn't recognize Cedarwood Road at first. Sounds like a very different song. Bono doesn't really nail the vocal melody. Overall, I do like the bridge but it all feels a little aimless because the melody is so weak.

As with the other early era tracks, Bono completely rewrites I Will Follow to make it more self conscious and literate. Not a fan. The musical arrangement is quite pretty though.

Two Hearts is pretty cool! I'm not going to listen to this version again in all likelihood but it's one of the high effort arrangements that I can appreciate.

They changed too much about Miracle Drug. This one seemed like a no brainer but I don't like what they did with the melody. Boring and doesn't stick.

Little Things is probably the best track in the whole set. Nearly as good as the original, only real downside is a slightly less climactic outro. Makes me appreciate the writing more than I already did.

40 is an effective closer, of course, and I like this slightly more menacing and despondent take on the original with the fuzzy synth additions and heavily reverberated guitar plucking. It's haunting.

Overall, disc 4 is a big mess containing some of the best and worst tracks. I kind of feel that way about the whole experience but this disc definitely had the widest standard deviation in terms of quality.

I won't ever listen to this in full again, but spread out over two days I appreciated the handful of really good moments I got out of it.
 
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The songs stuck in my head the most are the ones sung by THE Edge ironically for me who loves loves loves loves Bono's voice.

2 Hearts, Desire and Peace on Earth. Probably because they are the most NEW to me just for that and I like them.

Invisible, God Angels, Horses and Miracle Drug are my favorites. But the last 3 were already in my Top 10 list in my head, so they were already loved.

There are a few songs, I can barely hear any changes. I'm probably just dumb.

I do wonder in concert, how some of these songs will go. Bono seems to have his own versions close to SOS, but not quite during his book tour...

I'm assuming they will play the songs live pretty close to original for AB, but maybe we will get the SOS versions of the classics. But I can't imagine them doing that for Streets, etc...
 
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i can't even buy the 4 disc CD version as it was limited? So the only physical copy of the album will be 16 out of 40 tracks going forward?

I got the digital one, but that's weird... or I'm stupid and more are coming.

I really want the lyrics, not even sure they do that.
 
Some of y'all out here acting like the lyrics were changed to

Walk On,
Walk On,
The conflict in Ukraine
Zelinkskyy not in pain
Walk on
Stay say from Putin tonight



It's so fucking minor you wouldn't know what they're referencing unless it didn't explicitly say "Ukraine".


I'm going to say it: This is the best version of the song.
 
LemonMelon said:
I can't imagine a single human being on this planet preferring the SOS version of WOWY. Not even horrible, just completely neutered. 3 minute long WOWY with worse lyrical additions? I actually liked the live take of this a lot better.

Stay has some weird double tracked vocals I don't care for, but the main problem I have is the fake out first chorus. Once they do the full chorus, they add on the "stay with the demons you drowned" lines so it actually ruins the build up that was there on the original. I like the negative space in the second verse and the use of piano overall.

SBS wasn't as bad as I was led to believe but it wasn't good either. The new lyrics in the last verse are turbo cringe. I really don't like the SOS takes of the big hits for the most part; I'm not sure if Streets or WOWY is the worst.

Lights of Home has to be one of the best tracks in the whole set. Very good arrangement. I've always been whatever about this song but it stands out positively here.

I actually didn't recognize Cedarwood Road at first. Sounds like a very different song. Bono doesn't really nail the vocal melody. Overall, I do like the bridge but it all feels a little aimless because the melody is so weak.

As with the other early era tracks, Bono completely rewrites I Will Follow to make it more self conscious and literate. Not a fan. The musical arrangement is quite pretty though.

Two Hearts is pretty cool! I'm not going to listen to this version again in all likelihood but it's one of the high effort arrangements that I can appreciate.

They changed too much about Miracle Drug. This one seemed like a no brainer but I don't like what they did with the melody. Boring and doesn't stick.

Little Things is probably the best track in the whole set. Nearly as good as the original, only real downside is a slightly less climactic outro. Makes me appreciate the writing more than I already did.

40 is an effective closer, of course, and I like this slightly more menacing and despondent take on the original with the fuzzy synth additions and heavily reverberated guitar plucking. It's haunting.

Overall, disc 4 is a big mess containing some of the best and worst tracks. I kind of feel that way about the whole experience but this disc definitely had the widest standard deviation in terms of quality.

I won't ever listen to this in full again, but spread out over two days I appreciated the handful of really good moments I got out of it.
Click to expand...



I always really enjoy your music thoughts. Agree with a lot. Thank you.
 
TinKnight said:
Some of y'all out here acting like the lyrics were changed to

Walk On,
Walk On,
The conflict in Ukraine
Zelinkskyy not in pain
Walk on
Stay say from Putin tonight


It's so fucking minor you wouldn't know what they're referencing unless it didn't explicitly say "Ukraine".


I'm going to say it: This is the best version of the song.
Click to expand...



No, but they were changed. Significantly. My issue *isn’t* the nod to Ukraine, it’s just the overall inferior lyrics. IMO, “stand up for freedom” (woof) and the clunky lines about the dancer are no match for a glass heart cracking or a singing bird in an open cage.

The original absolutely soars on Edge’s electric guitar riff as Larry keeps the whole thing moving. SOS take is just, y’know, fine.
 
Irvine511 said:
I always really enjoy your music thoughts. Agree with a lot. Thank you.
Click to expand...
Of course! I find this project fascinating as a songwriter because I'm working on an album right now and the process of constantly tweaking lyrics, both consciously and subconsciously, serves as a reflection of the inner life of the writer. I can track my own life across various demos. Bono is in a very different headspace today than he was when they recorded Boy, so even if I didn't care for all the changes, it would have been ridiculous to expect the same old same from those songs. I can imagine feeling awkward singing OG Stories For Boys at his age in the same manner that I would feel awkward singing at 32 some of the songs I wrote when I was 16.

If anything, I wish he would have found a new simile for heavy as a truck. [emoji849]
 
Some songs that would have been a more natural fit for this collection but U2 overlooked because they insisted on turning half of it into U218 Acoustic:

An Cat Dubh
Shadows and Tall Trees
Tomorrow
Drowning Man
A Sort of Homecoming (they already have a readymade take of this from the JT30 tour)
Promenade
Running to Stand Still
One Tree Hill
Exit
Heartland
Love Is Blindness
The First Time
Your Blue Room
Miss Sarajevo
Staring at the Sun
If You Wear That Velvet Dress
Please
North and South of the River
The Ground Beneath Her Feet
Kite
In a Little While
Summer Rain
A Man and a Woman (I've always loved this song idk)
One Step Closer
Fast Cars
Smile
Moment of Surrender (no clue why one of their best songs of the century, with that title no less, wasn't included on Songs of fucking Surrender)
White As Snow
Cedars of Lebanon
Iris
The Troubles
Summer of Love

In general, I felt like too many of the arrangements skewed light, cute and sugary. Even UTEOTW lacked darkness, but song choice was part of the issue. Some of U2's best songs are simmering ballads that would have complemented Bono's present day voice.
 
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Only just now looking at the shorter track listings. Wild that the 16 song versions don't have two of the singles (Beautiful Day and With or Without You).
 
LemonMelon said:
Some songs that would have been a more natural fit for this collection but U2 overlooked because they insisted on turning half of it into U218 Acoustic:

An Cat Dubh
Shadows and Tall Trees
Tomorrow
Drowning Man
A Sort of Homecoming (they already have a readymade take of this from the JT30 tour)
Promenade
Running to Stand Still
One Tree Hill
Exit
Heartland
Love Is Blindness
The First Time
Your Blue Room
Miss Sarajevo
Staring at the Sun
If You Wear That Velvet Dress
Please
North and South of the River
The Ground Beneath Her Feet
Kite
In a Little While
Summer Rain
A Man and a Woman (I've always loved this song idk)
One Step Closer
Fast Cars
Smile
Moment of Surrender (no clue why one of their best songs of the century, with that title no less, wasn't included on Songs of fucking Surrender)
White As Snow
Cedars of Lebanon
Iris
The Troubles
Summer of Love

In general, I felt like too many of the arrangements skewed light, cute and sugary. Even UTEOTW lacked darkness, but song choice was part of the issue. Some of U2's best songs are simmering ballads that would have complemented Bono's present day voice.
Click to expand...

The most obvious miss was MOFO!!!!!
 
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