PopDaisy
Acrobat
Streets.
This should have been the album after Pop
- Thread starter icebergy
- Start date
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Streets.
And some songs that are generally well-loved by Interference... they worked on what eventually became The Fly, Ultraviolet, and LWTSH for ages and ages. Also, all of Pop fits this category.
Well, we don't really know about 'Where the Streets Have No Name'. We know the recording and arrangement were difficult for all involved to record (although I suspect they have exaggerated it over the years for the sake of a good story), but I think Earnie was referring more to the composition of a song than the final studio arrangements.
Who knows? The main chords, tune, and chorus might have come together in 5 minutes in the summer/fall of 1986.
The Achtung Baby stuff that digitize refers to does seem to have taken more time, but I think that's more because they were so self-conscious about coming up with a new sound at that time that they intentionally worked compositions to death in order to try to come up with something new. But again, we don't really know. Although there was lots of endless noodling with 'The Fly', 'Ultraviolet', etc., the basic songs may have arrived quickly and then taken months to develop through U2's hyper-critical process.
Who knows? The main chords, tune, and chorus might have come together in 5 minutes in the summer/fall of 1986.
The Achtung Baby stuff that digitize refers to does seem to have taken more time, but I think that's more because they were so self-conscious about coming up with a new sound at that time that they intentionally worked compositions to death in order to try to come up with something new. But again, we don't really know. Although there was lots of endless noodling with 'The Fly', 'Ultraviolet', etc., the basic songs may have arrived quickly and then taken months to develop through U2's hyper-critical process.
I just wanted to add that I find Achtung and Pop to be two extreme ends of U2's studio process -- yes, the songs are stronger on Achtung, but not that much stronger. But whereas Achtung Baby was masterfully recorded and produced (and thus enhancing its already strong songs), the problem with Pop (yes, I think it has problems) lies in its execution in the studio, which then made its quite good songs sound weaker than they were.
Also, since U2 are kind of musically average in terms of instrumental skills and instincts as players, I think Edge having time to work and re-work parts/backing tracks/solos/sonic textures is really key to U2's success/failure vis-a-vis studio recordings. His workaholic stuff on Achtung hugely elevated the musical depth / soundscapes of those songs, but this is lacking for me on Pop. It seems on Pop that they were determined to get the producers and engineers to leave the final marks on the tracks, rather than Edge (as is the norm) having the final say. Maybe Edge was just too happy to be bothered -- he may be more effective when he's in misery!
Also, since U2 are kind of musically average in terms of instrumental skills and instincts as players, I think Edge having time to work and re-work parts/backing tracks/solos/sonic textures is really key to U2's success/failure vis-a-vis studio recordings. His workaholic stuff on Achtung hugely elevated the musical depth / soundscapes of those songs, but this is lacking for me on Pop. It seems on Pop that they were determined to get the producers and engineers to leave the final marks on the tracks, rather than Edge (as is the norm) having the final say. Maybe Edge was just too happy to be bothered -- he may be more effective when he's in misery!
donkeytimes
The Fly
- Joined
- Jan 14, 2009
- Messages
- 150
I do think there is something to be said about an idea coming rather quickly, etc. in terms of it being 'deemed' special, and getting everyone on the same page. It a powerful bond to play in a room and have that spark come. If a musician can arrive at this point, obvs. there is something drawing that group of people to those chords, those sounds, etc.
This doesn't mean you can't labor over something for months/weeks, etc. and come up with a masterpiece. It would seem more often than not U2 like at arrive at something, or Edge has it all worked out and its easy for the others to add in subtle additions.
The "trying" to work a hit does seem like a harder thing for U2 to accomplish given their historical working methods. It would seem Edge has the idea already, and/or they arrive at it, like "One." This doesn't mean they don't tinker with bit during the formal recording.
The production aspect is interesting. I am always interested in that during Pop, Howie B. said they should just be U2 and not worry so much about the "dance aspect." I agree with 65980 that the Pop tunes were fairly solid. It was the production which suffered.
The general production of those songs comes off as less dark - and the recording sessions were done in places like Miami in addition to the normal Dublin, etc. It really felt that way too, plus Edge was past his personal issues at this time. I think the song's on Pop were pretty flushed out, they were often classic arrangements. I am thinking about Starring at the Sun, and Last Night On Earth, even Wake Up... all were very A/B/A/B - Oasis like (which was an inspiration for all at the time.) Its funny what really shined on that record was the same ole' U2 bread and butter - stuff like Please, and Mofo for the "hard core" fans. The stuff that takes us somewhere, not the out of the box sing/songs. Its songs like Streets/Beautiful Day that cross over the sing/song coupled with the atmospherics which get people excited about U2 - and then people will check out of the other tunes. U2 needed to do the big song after being off so long from the Zoo Tv days during that era. Instead Disco' turned everyone off. U2 corrected this prob. on All You Can't Leave Behind for the masses. Vertigo too (though - the ipod commercial DID wonders for that tune.)
That Pop album shouldn't have failed. The lead off single was the killer - just like GYOB didn't do No Line any favors.
This doesn't mean you can't labor over something for months/weeks, etc. and come up with a masterpiece. It would seem more often than not U2 like at arrive at something, or Edge has it all worked out and its easy for the others to add in subtle additions.
The "trying" to work a hit does seem like a harder thing for U2 to accomplish given their historical working methods. It would seem Edge has the idea already, and/or they arrive at it, like "One." This doesn't mean they don't tinker with bit during the formal recording.
The production aspect is interesting. I am always interested in that during Pop, Howie B. said they should just be U2 and not worry so much about the "dance aspect." I agree with 65980 that the Pop tunes were fairly solid. It was the production which suffered.
The general production of those songs comes off as less dark - and the recording sessions were done in places like Miami in addition to the normal Dublin, etc. It really felt that way too, plus Edge was past his personal issues at this time. I think the song's on Pop were pretty flushed out, they were often classic arrangements. I am thinking about Starring at the Sun, and Last Night On Earth, even Wake Up... all were very A/B/A/B - Oasis like (which was an inspiration for all at the time.) Its funny what really shined on that record was the same ole' U2 bread and butter - stuff like Please, and Mofo for the "hard core" fans. The stuff that takes us somewhere, not the out of the box sing/songs. Its songs like Streets/Beautiful Day that cross over the sing/song coupled with the atmospherics which get people excited about U2 - and then people will check out of the other tunes. U2 needed to do the big song after being off so long from the Zoo Tv days during that era. Instead Disco' turned everyone off. U2 corrected this prob. on All You Can't Leave Behind for the masses. Vertigo too (though - the ipod commercial DID wonders for that tune.)
That Pop album shouldn't have failed. The lead off single was the killer - just like GYOB didn't do No Line any favors.
a great song of theirs that took a lot of work over a very long period of time...
Considering U2 are perfectionists...probably more than we'll ever know. Streets I believe took almost half of the sessions for JT. And BD took awhile before Bono came up with the hook.
Considering U2 are perfectionists...probably more than we'll ever know. Streets I believe took almost half of the sessions for JT. And BD took awhile before Bono came up with the hook.
Edge had the musical outline (and pretty much all the guitars) of Streets written before the sessions even began though. This is discussed in some detail on the JT making-of DVD and he actually plays the tape in the documentary. Different drums and no synth, but the song was basically there from day 1.
LemonMelon
More 5G Than Man
And there aren't other bands that write better rock songs than Stand Up Comedy, Vertigo, and Elevation?
But if you listen to the tape in the DVD, you wouldn't even know it's not the final version if it wasn't for the drum track (and obviously no vocals). Everything that makes Streets the song it is (musically) was cooked up by Edge in his house.
Snowlock
Refugee
Sadly, no.
allbecauseofu2
Refugee
- Joined
- Jan 2, 2005
- Messages
- 1,258
i don't the get hate for the 00's u2 "rock" songs. The only thing i;ll say is that some of them come alive better in a live setting.
mikal
Blue Crack Addict
i like One Step Closer, White As Snow, and Cedars. maybe there are other bands that make those types of songs better, but i don't really care because i like those songs. 
BVS
Blue Crack Supplier
i like One Step Closer, White As Snow, and Cedars. maybe there are other bands that make those types of songs better, but i don't really care because i like those songs.
Is this even allowed? You may want to check the forum rules to see...
Prove it with a youtube vid!i like One Step Closer, White As Snow, and Cedars. maybe there are other bands that make those types of songs better, but i don't really care because i like those songs.
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