The_Edge89
Rock n' Roll Doggie Band-aid
"The Songwriting Seam" sure sounds like an Fez update to me.
Could anyone check that out to see if I'm mistaken or not?
Could anyone check that out to see if I'm mistaken or not?
Update from U2.com
- Thread starter KUEFC09U2
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The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
If you have answers, please help by responding to the unanswered posts.
The Songwriting Seam
U2.Com hooked up with Brian Eno, Danny Lanois and U2 in Morocco earlier in the summer, to bring you the inside track on the Fez songwriting sessions.
In Part 1 Larry explained that ‘Sometimes you just have to get away in order to write the songs.’ In our second Fez story, the band check out a headline act at the Festival of Sacred Music. In our third story Adam discussed the ‘looser rhythmic structures’ the band have been working with and in our latest update from Fez Edge muses on everything from why they went to Morocco to working with Bono on ‘Spiderman’ and the ‘shock’ of the third dimension at the Cannes film festival. Read on!
So how would you describe what you’re doing here in Morocco with Brian and Danny?
We’re following our instincts which has inspired us to work with the two of them without any clear ambition for where the music is going to go. And for the first time we’re writing together which is totally new and the idea is that we’ll make music and decide later what’s going to happen to it. Everyone’s been quite liberated by this proposition so the music has been coming really easily - the few things we have reviewed we’ve really enjoyed but at the moment we just keep coming up with new ideas.
Why Morroco?
It’s partly about getting out of our comfort zone, giving us the ability to concentrate intensely on the music which can’t be done in Dublin so easily because everyone’s lives are there. But it’s also because we’d had a good time here once before, because the Festival of Sacred Music was taking place and because Brian has been interested in Arabic music for years. And then we also felt we might meet some interesting musicians and we certainly have, some great percussionists, some violin players and it’s exciting for us if we can find new territory.
Compared with All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb this feels quite left-field.
We’re always up for that, for trying something different. It was an early decision of ours that whatever we were going to do next, we didn’t want to go into it with the same set of ideas about what it would be and what we were trying to achieve. We’ve tried to free ourselves of the constraints of thinking ahead, we just wanted to make music for the sake of it.
And Brian and Danny are co-musicians at this stage?
Yes, co-writers, co-conspirators and we don’t know where the music is going to go. We’ve recorded a lot here and elements of that might end up being used, we’ll see, but it could be that we take this material and re-record it elsewhere. We’re planting seeds really, working with the knowledge that whatever we end up with we’ll definitely preserve some element of what we have here.
Does being in North Africa make you think differently about how you make music?
Definitely and that’s coming through in the work, in the musical structures… we don’t feel confined by the standard formats of contemporary music. So if we feel like we’re doing something too reminiscent of how we might have done it in the past, we move on. We’re trying to find other blueprints and formats for songs.
Eno describes Arabic music as having a more narrative thread than the cyclical nature of African-based music…
Because of its scale it’s not a music that lends itself particularly to harmony and so it tends to be about a very clear melodic line. That top line can be taken by a vocal or another instrument - violin often - and it’s interpreted, reconfigured and restated in all kinds of different ways. So effectively a melodic idea, sometimes a very involved melodic idea, is really the centrepiece of the whole thing, unlike a lot of songs founded on the principles of western harmony. Now we’re not jettisoning that tradition but we’re allowing some of those ideas to bleed through into this new work.
Larry remarked on the connections between Irish traditional music and North African music, connections which have been obscured over the centuries.
Yeah, there are certain musics you can find in Ireland which are almost identical, like those you find in the west of Ireland, a kind of singing based on all the little quarter notes with a style totally North African and stretching out to India. It seems to have nothing to do with western music at all.
Last time U2.Com were in the studio with the band it was Abbey Road in London and Rick Rubin was at the helm?
We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring character.
It feels like you’ve hit a very strong songwriting vein since late last year ?
And we just want to keep going with it. It’s like we’ve hit a seam and we want to keep hammering away as long as we can. Inevitably, when you go on the road, your songwriting chops start to get a little dull - there are so many other considerations when you’re playing live - but we’re going to keep this writing going until we want to stop or until it is time to tour again.
At the same time, Bono and you are writing for another project?
Yes, the rumours are true, we’ve been working on the Spiderman stage show. What attracted us was the opportunity to work with Julie Taymor, the director. We’re also working with a writer, Glen Berger, and producers from the world of Broadway. We’ve actually done a lot of the writing already and we’re entering a phase where we’re going to workshop the first draft of script and songs. After that we’ll be in a better position to see if we’re close - or not too close! For us, like Julie, we’re kind of intrigued by the possibility that if we can find an interesting angle on Spiderman then it could have a far greater audience than if we got together with her to work on an opera which would risk being confined to the art house world. We don’t want to do something that is the usual musical fayre of Broadway, and we do want to break new ground, but we also want to make something that people can relate to, that has the chance of being popular on a mass scale.
U23D has also been on your mind recently, particularly with the Cannes premiere.
It’s worked out really well, and it does everything it says on the can. We had a great team on this who came on stage really close to the band and it is the perspective that all true fans of the band, of music generally, would really want to have at a concert. You get the full scale of the event, 3D and big-screen. I found the images of the stadium show pretty awe-inspiring along with the incredible intimacy that 3D brings, the ability to be so close to individual members of the band that you feel like you are standing next to them.
The Director of Photography on U23D said that the film would give even the band would a new take on being in the band.
Yes, its true, I’ve never seen a U2 show so this was the closest I’ve been. Some things were quite shocking to me - like Jim Sheridan picked up on how separate we are during the show up there. When you’re watching a 2D image, you don’t get a sense of that depth and distance and while there are lots of moments when we are very close to each other, a lot of the time we are really separated. Jim said to me he just realised how lonely it must be being the drummer - you’re holding down the whole foundation of the thing but there’s no-one there saying, ‘Come on Larry!’ or whatever because everyone else is off doing other things. Sure, with the technology we use, ear-monitors and so on, we’re totally in touch with each other musically, but physically that separation is interesting to me and I haven’t figured it out.
It’s an unashamed concert movie but as a visceral experience it is on a different planet to anything we’ve ever done in 2D. I was shocked by it, it’s extremely powerful.
More from Fez in a little while.
U2.Com hooked up with Brian Eno, Danny Lanois and U2 in Morocco earlier in the summer, to bring you the inside track on the Fez songwriting sessions.
In Part 1 Larry explained that ‘Sometimes you just have to get away in order to write the songs.’ In our second Fez story, the band check out a headline act at the Festival of Sacred Music. In our third story Adam discussed the ‘looser rhythmic structures’ the band have been working with and in our latest update from Fez Edge muses on everything from why they went to Morocco to working with Bono on ‘Spiderman’ and the ‘shock’ of the third dimension at the Cannes film festival. Read on!
So how would you describe what you’re doing here in Morocco with Brian and Danny?
We’re following our instincts which has inspired us to work with the two of them without any clear ambition for where the music is going to go. And for the first time we’re writing together which is totally new and the idea is that we’ll make music and decide later what’s going to happen to it. Everyone’s been quite liberated by this proposition so the music has been coming really easily - the few things we have reviewed we’ve really enjoyed but at the moment we just keep coming up with new ideas.
Why Morroco?
It’s partly about getting out of our comfort zone, giving us the ability to concentrate intensely on the music which can’t be done in Dublin so easily because everyone’s lives are there. But it’s also because we’d had a good time here once before, because the Festival of Sacred Music was taking place and because Brian has been interested in Arabic music for years. And then we also felt we might meet some interesting musicians and we certainly have, some great percussionists, some violin players and it’s exciting for us if we can find new territory.
Compared with All That You Can’t Leave Behind and How To Dismantle An Atomic Bomb this feels quite left-field.
We’re always up for that, for trying something different. It was an early decision of ours that whatever we were going to do next, we didn’t want to go into it with the same set of ideas about what it would be and what we were trying to achieve. We’ve tried to free ourselves of the constraints of thinking ahead, we just wanted to make music for the sake of it.
And Brian and Danny are co-musicians at this stage?
Yes, co-writers, co-conspirators and we don’t know where the music is going to go. We’ve recorded a lot here and elements of that might end up being used, we’ll see, but it could be that we take this material and re-record it elsewhere. We’re planting seeds really, working with the knowledge that whatever we end up with we’ll definitely preserve some element of what we have here.
Does being in North Africa make you think differently about how you make music?
Definitely and that’s coming through in the work, in the musical structures… we don’t feel confined by the standard formats of contemporary music. So if we feel like we’re doing something too reminiscent of how we might have done it in the past, we move on. We’re trying to find other blueprints and formats for songs.
Eno describes Arabic music as having a more narrative thread than the cyclical nature of African-based music…
Because of its scale it’s not a music that lends itself particularly to harmony and so it tends to be about a very clear melodic line. That top line can be taken by a vocal or another instrument - violin often - and it’s interpreted, reconfigured and restated in all kinds of different ways. So effectively a melodic idea, sometimes a very involved melodic idea, is really the centrepiece of the whole thing, unlike a lot of songs founded on the principles of western harmony. Now we’re not jettisoning that tradition but we’re allowing some of those ideas to bleed through into this new work.
Larry remarked on the connections between Irish traditional music and North African music, connections which have been obscured over the centuries.
Yeah, there are certain musics you can find in Ireland which are almost identical, like those you find in the west of Ireland, a kind of singing based on all the little quarter notes with a style totally North African and stretching out to India. It seems to have nothing to do with western music at all.
Last time U2.Com were in the studio with the band it was Abbey Road in London and Rick Rubin was at the helm?
We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring character.
It feels like you’ve hit a very strong songwriting vein since late last year ?
And we just want to keep going with it. It’s like we’ve hit a seam and we want to keep hammering away as long as we can. Inevitably, when you go on the road, your songwriting chops start to get a little dull - there are so many other considerations when you’re playing live - but we’re going to keep this writing going until we want to stop or until it is time to tour again.
At the same time, Bono and you are writing for another project?
Yes, the rumours are true, we’ve been working on the Spiderman stage show. What attracted us was the opportunity to work with Julie Taymor, the director. We’re also working with a writer, Glen Berger, and producers from the world of Broadway. We’ve actually done a lot of the writing already and we’re entering a phase where we’re going to workshop the first draft of script and songs. After that we’ll be in a better position to see if we’re close - or not too close! For us, like Julie, we’re kind of intrigued by the possibility that if we can find an interesting angle on Spiderman then it could have a far greater audience than if we got together with her to work on an opera which would risk being confined to the art house world. We don’t want to do something that is the usual musical fayre of Broadway, and we do want to break new ground, but we also want to make something that people can relate to, that has the chance of being popular on a mass scale.
U23D has also been on your mind recently, particularly with the Cannes premiere.
It’s worked out really well, and it does everything it says on the can. We had a great team on this who came on stage really close to the band and it is the perspective that all true fans of the band, of music generally, would really want to have at a concert. You get the full scale of the event, 3D and big-screen. I found the images of the stadium show pretty awe-inspiring along with the incredible intimacy that 3D brings, the ability to be so close to individual members of the band that you feel like you are standing next to them.
The Director of Photography on U23D said that the film would give even the band would a new take on being in the band.
Yes, its true, I’ve never seen a U2 show so this was the closest I’ve been. Some things were quite shocking to me - like Jim Sheridan picked up on how separate we are during the show up there. When you’re watching a 2D image, you don’t get a sense of that depth and distance and while there are lots of moments when we are very close to each other, a lot of the time we are really separated. Jim said to me he just realised how lonely it must be being the drummer - you’re holding down the whole foundation of the thing but there’s no-one there saying, ‘Come on Larry!’ or whatever because everyone else is off doing other things. Sure, with the technology we use, ear-monitors and so on, we’re totally in touch with each other musically, but physically that separation is interesting to me and I haven’t figured it out.
It’s an unashamed concert movie but as a visceral experience it is on a different planet to anything we’ve ever done in 2D. I was shocked by it, it’s extremely powerful.
More from Fez in a little while.
major_panic
Rock n' Roll Doggie ALL ACCESS
KUEFC09U2 said:
So THAT'S why Larry always looks so angry at everything!
lazarus
Blue Crack Supplier
They don't even sound close to starting, let alone finishing the recording of an album.
Fall '08 is pretty much indisputable at this point.
Fall '08 is pretty much indisputable at this point.
BANZAI
War Child
- Joined
- Dec 8, 2004
- Messages
- 575
I'm really getting tired of "making music for the sake of it" 
Varitek
Blue Crack Addict
If the beach clips don't appear by the end of the month when the Eze beachgo-er should be back home, I am going to be really agitated, like a drug addict who can't get at a fix they were expecting.....
lazarus said:
Just imagine if they don't feel the songs are any good (which I wouldn't want them to release just for the sake of releasing), we won't see a album until Fall 09.
I think we'll see them heading into the studio this fall, with a break coming over the holidays, then recording again.
Sounds great----even though they're saying the same thing over and over in these interviews (which makes me think they were definitely done at the same time and just released separately), the repeated concept of going somewhere "left-field" is inspiring. But yes, they would all make great politicians---they're masters of repeating the same old talking point over and over. :blah:
Still not terribly thrilled about Spiderman, but this interview does make me a little more keen on hearing it...
It sounds like producing a whole album with Rubin is very questionable at this point. Edge says they only got two songs with him; meanwhile, it sounds like they have a ton of music (though nothing complete) from Fez, and it sounds like all of the band are extremely excited about the Fez material. I wouldn't doubt if they stick to the Fez stuff for the next album and come back to the Rubin stuff some other time. Let's just hope they don't mish-mash it all together into one album---even Edge seems to recognize that there are two very different veins of music there.
There's still plenty of time for fall 2008---it's well over a year. A big factor will be how much Spiderman sucks Edge & Bono away (a la Million Dollar Hotel). They seem to be really excited about this Fez stuff, and if they don't get sidetracked or too cerebral about it, then something concrete can definitely start churning out in the next several months.
We've heard from Larry, Eno, Adam, Edge----the next interview will be Bono (or Lanois then Bono).
Still not terribly thrilled about Spiderman, but this interview does make me a little more keen on hearing it...
It sounds like producing a whole album with Rubin is very questionable at this point. Edge says they only got two songs with him; meanwhile, it sounds like they have a ton of music (though nothing complete) from Fez, and it sounds like all of the band are extremely excited about the Fez material. I wouldn't doubt if they stick to the Fez stuff for the next album and come back to the Rubin stuff some other time. Let's just hope they don't mish-mash it all together into one album---even Edge seems to recognize that there are two very different veins of music there.
There's still plenty of time for fall 2008---it's well over a year. A big factor will be how much Spiderman sucks Edge & Bono away (a la Million Dollar Hotel). They seem to be really excited about this Fez stuff, and if they don't get sidetracked or too cerebral about it, then something concrete can definitely start churning out in the next several months.
We've heard from Larry, Eno, Adam, Edge----the next interview will be Bono (or Lanois then Bono).
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Aygo
Rock n' Roll Doggie
BANZAI said:I'm really getting tired of "making music for the sake of it"
Me too... We went from "punk rock from Venus" and "Edge is on fire" to "focusing on music itself" and "making music for the sake of it".
Can they be more vague ? Getting lost in the music, making something with Rubin, but also something with Eno and Lanois...it'd be nice if the album making would go on a bit faster.
This bit in particular is confusing:
"Last time U2.Com were in the studio with the band it was Abbey Road in London and Rick Rubin was at the helm?
We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring character."
If the Fez material is so good, why go back to Rubin stuff ? And why didn't they push at the "bones of a record" and make a quick album, for a change ?
I wish someone would ask them questions more along the lines of
1. Will you use anything of the "beach clips" apart "Windows" in the future ?
2. Will you continue to work with Rubin or are Eno and Lanois producing this one ?
3. How much, outside of the two new U2:18 songs, was recorded at Abbey Road last Fall ?
4. Can you give us a comparison to any material from your past re: Morocco songs ? Basically, anything more beyond "getting lost in the music" ?
This bit in particular is confusing:
"Last time U2.Com were in the studio with the band it was Abbey Road in London and Rick Rubin was at the helm?
We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring character."
If the Fez material is so good, why go back to Rubin stuff ? And why didn't they push at the "bones of a record" and make a quick album, for a change ?I wish someone would ask them questions more along the lines of
1. Will you use anything of the "beach clips" apart "Windows" in the future ?
2. Will you continue to work with Rubin or are Eno and Lanois producing this one ?
3. How much, outside of the two new U2:18 songs, was recorded at Abbey Road last Fall ?
4. Can you give us a comparison to any material from your past re: Morocco songs ? Basically, anything more beyond "getting lost in the music" ?
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martha
Blue Crack Supplier
These interviews are a lot of people saying nothing.
roy
Refugee
Utoo said:
Edge didin't say that at all:
"We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring "
roy said:
Edge didin't say that at all:
"We’re very excited about the material we worked on with Rick, some great songs came out of it - none of which we have played with Brian and Danny. It feels like that is a separate set of material. There were two recordings that did come out from that period on the last collection but if there is maybe not a full record there with Rick, there is the bones of a record and I think we’ll get back to that because we enjoyed working with him, he’s a very inspiring "
True--I misread his "two recordings" bit to mean two songs came from the Rubin work, whereas he really means Saints and WITS.
However, look at what the band has been saying about this Fez stuff and the big deal u2.com and the band seem to be making about it. "I think we'll get back to that....he's a very inspiring character" is nothing compared to the glowing excitement that's beaming from all of these Fez interviews about the material they were working on there......interviews that u2.com (albeit as lame as they can often be) seems to think are so important they're spreading them out over three months. Whereas the interviews about the Rubin stuff also mentioned writing for music's sake, etc., but little else, these Fez interviews show a band that seems to be excited and interested in the Arabic influence they're exploring.
I could absolutely be wrong, there's no question about that. But when Edge says that the Rubin material is entirely separate and distinct from what they're doing now, and that "we'll get back to" working with Rubin, it gives me the impression that the Rubin stuff is less exciting to them and they'll only get back to it after they finish playing with this Fez influence.
If the two bodies of work truly are so different and can't be married together seamlessly and well, then I hope they do work on them separately. If they can be meshed together to make something unique and good then I'm all for it. But otherwise, I'd prefer an album with a distinct feel, one that's cohesive from start to finish instead a mishmash of vastly different genres.
The_acrobat
Rock n' Roll Doggie VIP PASS
for Achtung it was "chopping down the Joshua Tree"
for ATYCLB it was "enjoying the sound of a band playing in a room together"
for HTDAAB it was "Punk rock from Venus" or "Edge is on fire"
and for this next album, it's "Getting lost in the music" and "Making music for the sake of making music."
While it's good, I hope they don't dick around too long. Damn I hope they get it together in time to release an album by fall of 2008, for my own selfish reasons.
for ATYCLB it was "enjoying the sound of a band playing in a room together"
for HTDAAB it was "Punk rock from Venus" or "Edge is on fire"
and for this next album, it's "Getting lost in the music" and "Making music for the sake of making music."
While it's good, I hope they don't dick around too long. Damn I hope they get it together in time to release an album by fall of 2008, for my own selfish reasons.
PookaMacP
War Child
I've said it before and I'll say it again - I can't understand any criticism of U2.com for the way they're putting this information out. They've given us a huge amount of information over the past couple of months, and given us photos and interviews with the band while things are actually happening. How often has it been that we've had any insight into the way things are going in between albums, apart from random quotes from various sources?
It all sounds great. I really hope they continue writing with Eno and Lanois - remember Morocco was at least the second or maybe third round of writing with them - and produce something great. I've been really into Original Soundtracks 1 over the past while, as well as Zooropa, and have been listening too to Eno's Another Green World. Those sounds, on all three albums, push the boundaries in a really good way. And, of course, when you think about it Acthung Baby and Joshua Tree weren't too bad either! (I just don't like All That You Can't Leave Behind so I'll ignore it, and the credit Eno said he didn't get for it.
It all sounds great. I really hope they continue writing with Eno and Lanois - remember Morocco was at least the second or maybe third round of writing with them - and produce something great. I've been really into Original Soundtracks 1 over the past while, as well as Zooropa, and have been listening too to Eno's Another Green World. Those sounds, on all three albums, push the boundaries in a really good way. And, of course, when you think about it Acthung Baby and Joshua Tree weren't too bad either! (I just don't like All That You Can't Leave Behind so I'll ignore it, and the credit Eno said he didn't get for it.
angelordevil
Rock n' Roll Doggie VIP PASS
KUEFC09U2 said:
This is my favourite part. Bring on the left-field.
Actually a pretty interesting read. Looks like Rubin is toast at this point. It's really something that Eno is so heavily involved, after the ATYCLB songwriting credit issues. He really seemed a bit sour about that. The "physical distance" mention at the end is great, as well.
LEFT FIELD. Sounds a bit more encouraging than "Edge is on fire!!"
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Morgoth321
Acrobat
I don't have my copy of 'U2 by U2' with me right now, but remember reading something in it about how there was tension between U2 and Brian Eno over credits in the mid-90s, as Eno has always been keen to become a more integral player in the songwriting process. However U2 (or perhaps Paul McGuinness) restricted him to the status of producer rather than allowing him to be credited as a true co-writer. The one time Eno was a full collaborator, the result was the Passengers album (deliberately not credited to U2, and in order to remain diplomatic, I'd suggest that it's not their best album.) If any of this Fez material ever makes it onto an album, I wonder if there will be any Lanois / Eno co-writes that make the final cut?
(As an aside, it seems to me that U2 are as reluctant to share songwriting credits as Joey Tribbiani is to share food. Here's a question that someone knowledgeable like Axver should be able to answer quicker than I could - cover versions aside, are there any 'official' U2 songs written / co-written by others? By 'official' I mean on any albums or singles released under the U2 name, but not on soundtracks etc.)
More generally, I'd agree with whoever suggested that a new U2 album is nowhere near completion, and that it won't appear until Autumn 2008 at the earliest. Whatever euphemisms and vague statements the band choose to deploy, it's pretty obvious that they're currently experimenting with a range of styles and ideas, and I'd be surprised if there's much in the way of complete material at this stage. Indeed, without meaning to sound negative, I'd say that the band are searching for a new direction right now (which I think is a good thing, btw), and aren't even close to coming up with anything they'd consider releaseable. Their choice is therefore to allow themselves to be processed by Rick Rubin, or to indulge themselves organically with the more familiar Eno and Lanois.
PookaMacP
War Child
Morgoth321 said:
Eno got a co-writing credit for Luminous Times I think, Salman Rushdie did the lyrics for The Ground Beneath Her Feet (albeit Bono probably saw it from the manuscripts of the book of the same name - which is excellent - first), and Bob Dylan got a co-writing credit for Love Rescue Me.
greety
Rock n' Roll Doggie Band-aid
You've probably all seen this (I haven't read through the whole thread) 
http://forum.interference.com/a179063.html
http://forum.interference.com/a179063.html
rihannsu
Refugee
Morgoth321 said:
It had nothing to do with reluctance to share songwriting credit. Eno and Lanois as producers had always contributed to the songwriting in various ways. According to McGuiness their deal as producers covered this in the case of the percentage points they get. If they had been credited as songwriters in addition to producers they would have conceivably been making more money than the band. A situation that any manager worth his salt would prevent. I think the problem came up because after having worked as equals on Passengers, Eno assumed things would be different on ATYCLB, but I doubt he negotiated that. Eno stated that he was surprised when the album came out that he did not get songwriting credit. To me that indicates that he was not discussing this with the band, but had made assumptions about it. Obviously they are working differently this time in that there is no indication that Eno and Lanois will be producing, thus eliminating the possibility of them making more than the band.
Dana
Morgoth321
Acrobat
Cool, thanks for the clarification, Dana. My memory ain't so hot sometimes!
silvrlvr
Refugee
The response on Spiderman is interesting.
At the same time, Bono and you are writing for another project?
"We’re also working with a writer, Glen Berger, and producers from the world of Broadway."
Glen Berger is an off-Broadway playwright, whose play "Underneath the Lintel" was a cult hit in 2001. He's also written for TV, including the PBS children's show "Arthur." He's a member of New Playwrights, and he definitely is not in the mainstream of the Broadway musical world.
"For us, like Julie, we’re kind of intrigued by the possibility that if we can find an interesting angle on Spiderman then it could have a far greater audience than if we got together with her to work on an opera which would risk being confined to the art house world."
Opera is one of the directions her work was taking. She's done opera in New York (The Magic Flute) as well as L.A. (Grendel) and clearly, they must have talked about it but decided they'd try for something more commercial, like The Lion King.
"We don’t want to do something that is the usual musical fayre (fare) of Broadway, and we do want to break new ground, but we also want to make something that people can relate to, that has the chance of being popular on a mass scale."
That explains why he and Bono went to see Spring Awakening, which manages to fulfill both those ideas.
From reading this, I think it's going to take a while for Spiderman to come to life on stage. They have a relative newcomer as a playwright, and unspecified Broadway folks on board, too.
Who knows, maybe they worked on the album and then worked on the show to see what they wanted to focus on next. Except for one little squib in the Chicago paper a few weeks back, there's been nothing, and Broadway is like high school when it comes to rumors. So they've managed to keep a remarkable lid on the Spiderman project.
At the same time, Bono and you are writing for another project?
"We’re also working with a writer, Glen Berger, and producers from the world of Broadway."
Glen Berger is an off-Broadway playwright, whose play "Underneath the Lintel" was a cult hit in 2001. He's also written for TV, including the PBS children's show "Arthur." He's a member of New Playwrights, and he definitely is not in the mainstream of the Broadway musical world.
"For us, like Julie, we’re kind of intrigued by the possibility that if we can find an interesting angle on Spiderman then it could have a far greater audience than if we got together with her to work on an opera which would risk being confined to the art house world."
Opera is one of the directions her work was taking. She's done opera in New York (The Magic Flute) as well as L.A. (Grendel) and clearly, they must have talked about it but decided they'd try for something more commercial, like The Lion King.
"We don’t want to do something that is the usual musical fayre (fare) of Broadway, and we do want to break new ground, but we also want to make something that people can relate to, that has the chance of being popular on a mass scale."
That explains why he and Bono went to see Spring Awakening, which manages to fulfill both those ideas.
From reading this, I think it's going to take a while for Spiderman to come to life on stage. They have a relative newcomer as a playwright, and unspecified Broadway folks on board, too.
Who knows, maybe they worked on the album and then worked on the show to see what they wanted to focus on next. Except for one little squib in the Chicago paper a few weeks back, there's been nothing, and Broadway is like high school when it comes to rumors. So they've managed to keep a remarkable lid on the Spiderman project.
rihannsu
Refugee
silvrlvr said:
It has already been said that Spiderman might be another two years in development. It has also been rumored to have a ginormous budget, like one of the biggest ever.
Dana
The_Edge89
Rock n' Roll Doggie Band-aid
U2.com are now letting non-subscribers read their Fez report it seems:
http://www.u2.com/highlights/?hid=417&PHPSESSID=f48bfb32e685f7795fec74c56e0b5e31
Does this mean that they're over?
I was expecting at least one more from either Lanois or Bono.
Let's hope u2.com hasn't forgotten about these reports quite yet.
http://www.u2.com/highlights/?hid=417&PHPSESSID=f48bfb32e685f7795fec74c56e0b5e31
Does this mean that they're over?
I was expecting at least one more from either Lanois or Bono.
Let's hope u2.com hasn't forgotten about these reports quite yet.
BANZAI
War Child
- Joined
- Dec 8, 2004
- Messages
- 575
The_Edge89 said:U2.com are now letting non-subscribers read their Fez report it seems:
http://www.u2.com/highlights/?hid=417&PHPSESSID=f48bfb32e685f7795fec74c56e0b5e31
Does this mean that they're over?
I was expecting at least one more from either Lanois or Bono.
Let's hope u2.com hasn't forgotten about these reports quite yet.
I think it's the end of the Fez reports, but it could also mean they wanna start with reports about the recording sessions this month.
burningedge101
The Fly
- Joined
- Jan 12, 2003
- Messages
- 191
Songwriting seam
I can search and find all the fez articles on U2.com except the final one "songwriting Seam" with the Edge. Why is that? I read it when it first came out on U2.com and I re-read it here. I just wonder why it is no longer available on U2.com, but all the other Fez updates are. Strange.
I can search and find all the fez articles on U2.com except the final one "songwriting Seam" with the Edge. Why is that? I read it when it first came out on U2.com and I re-read it here. I just wonder why it is no longer available on U2.com, but all the other Fez updates are. Strange.
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