MrBrau1
ONE love, blood, life
Here are some of them. Culled from previous thoughts. Inspired by a new one. Here are few songs I like and why.
Acrobat : 3 piece with vocal. So simple. I think there's only 1 overdub: the guitar solo.
Everything about it is perfect. The siren riff. The constant pound of Larry and Adam.
Bono's hoarse yet passionate delivery. It's been my favorite since I first heard it in 1991.
The lyric is so mature. Life is a bitch, but you get wise. It's a complete flip from the
wide eyed naive that was so entrenched in U2's previous work.
Zooropa: The "Streets" of the 90's. I loved the long intro. Shash everywhere, the piano line.
It sounds evil. Then those neon-silk bits of light blast forth from Edge, and it's a whole new tune.
U2 using their new found groove, but Larry keeps it all grounded. Ad bit lyrics tempt over a slick
musical background, then BOOM…more light! It turns so frantic. Edge makes his guitar churn and
squawk like never before, and the band just pushes forward.
"It's cold outside, but brightly lit." The perfect lyric for a 20 yr old to hear. Completely fearless.
Gone: The “rock” song from Pop. Completely full throttle rhythm section. Edge in outer space with
that 747 sound, and the matching rhythm guitars. Lyrically it’s Acrobat’s sibling. The verses grooves,
until that 747 riff returns and propels the chorus. The beats during the bridge are the most realized
moment on Pop, Then Edge plays one of his best solos, matching Bono’s defiant vocal.
Then the song just turns into a frenzy. The crashes of cymbals go off like fireworks while Edge
rides up and down the fret board.
Crumbs From Your Table: Nice intro, especially the 12 string acoustic. If you listen close, you can hear
the click track. Then BAM! Edge seems to own this tune, riffing left and right, dirty and atmospheric,
but it’s Adam & Larry who provided the push and pull that move the tune. Bono’s double track vocal
really cuts through all the guitars while providing an ominous feel, and his lyrics are the most biting
and venomous of his career. And they top it all off by jamming out the ending, firing on all cylinders.
Kite: Synth keys play melody and counter melody, then that beautiful slide guitar riff as the band kick
in. It settles into a nice country groove, Again, a wise lyric and delivery, and it starts to open up in the
pre-chorus, as Edge’s distorted guitar notes slide up the fret board into the big payoff. Huge chorus.
Larry and Adam steady, Edge really going off and Bono in full voice. It all goes up another notch during the
bridge, as U2 come to an emotional peak bested only by Bad. The tune has a strange yet brilliant
arrangement: verse /chorus/bridge/chorus/verse. Perfect economy.
In A Little While: This tune. Oh lordy. This tune is ace. Steve Cropper intro. Lessons learned on Pop
lead to the perfect use of beats, until Larry takes over. Raspy vocal with the perfect subject matter.
Groovey as good sex, sweet as found money, with just the right mix of bitter. It just aches. The whole
tune just slides Left, Right, then back again. Soul is really hard for white bands to pull off, and U2 pull it off.
This ones getting played at my wedding.
Drowning Man: The vison of things to come from U2. Edge is insane. Electric guitar swells,
acoustic harmonics, and the martial beat of Larry and Adam. Bono really comes into his own
as a singer on this song. He's wide-open. Heart on sleeve.
And those child-vocals... "Take My Hand."
They were 22-23 when recording this tune? And they came up with something like that?
Hold Me, Thrill Me, Kiss Me, Kill Me: I love the guitar. Big, meaty power chords, especially the way Edge accents them.
This tune has them in abundance. I love the whammy bit. I love the chorus lead. I love the 12 string acoustic that drives
through the whole song. I love the whammy solo that weaves in at the end. Plus, Adam and Larry have gotten really good.
The feel is so dirty. U2 in full T.Rex groove, with a lyric right out of 2am in the big city. If U2 were a glam band in 1973,
this is what they'd have sounded like.
Bad I used to share a cassette copy of UF with my brother. It spent alot of time in our walkmen, and this tune is probably why.
That simple, rhythmic, pattern Edge plays is magic, I could listen to it for hours. Adam just glides around doing his root note
thing, and Larry just builds. He really goes nuts at the end, in a time before pro-tools time correction.
But Bono really makes this song. He paints such a vivid picture, and sings like he never had before, or since. They get so much
emotion and power out of 3 chords and really master dynamics on this tune. It starts so delicate, but it becomes a roar.
Tomorrow: The pipes at the beginning get me every time. One of the few times U2 sound Irish. The intro establishes that
ominous tone that's matched by the fear and grief in the lyrics. Then that good old acoustic starts strumming, electric chords
slash, Larry plays an odd beat, and the whole thing opens up. The wails. The celtic inspired slide guitar. It just pours out.
20 year olds made that. Amazing.
Red Hill Mining Town: Clean arpeggios, dirty chords announce the song. Larry and Adam
in pure economy mode, which leaves lots of room for Edge to drop icy chords, and Bono
to wail. BIG, BIG, BIG chorus. Nice high backing vocals from Edge, Eno, and Lanois. The
band really restrain themselves, and let Bono tell a tale with his words and voice, until the
final chorus when everythig is chugging along like a steam train on full throttle.
The Ground Beneath Her Feet: I downloaded this tune back in March 2000. Recorded it off my roomies laptop onto a minidisc,
and drove 20 minutes to my brother's place to play it for him.
It's that good to my ears.
The first 1/2: brushes on the drums, beautiful pedal steel guitar lines, lush keys. Lessons from Pop shine through on the perfectly
treated and timed beats. Acoustic guitar weaves in and out, as Bono builds to one of the biggest wails I've ever heard him sing.
Then the second 1/2: BAM! a whole new tune! Larry & Adam propel, Edge in full flight, and a rhythm electric guitar so unique that
it had to come from Bono. The melody of that vocal "my oh my" is perfect!
All Because Of You: U2 in full floorboard shaking mode. It starts in 5th gear, and never drops. Larry lays down that
Charlie Watts beat and Edge and Adam just drive like motherfuckers. It's Visceral. Bono's double track vocal and
the beat give the song a real 60's flavor, and I get 2 solos from Edge. The ambiguous lyric (God? Ali? Us?) makes it
all the more enjoyable.
In God's Country: The running acoustic intro, Edge's high pitch lead riff, Bono in fine voice. I love the imagery of the lyrics.
I feel like I'm in the American Southwest. Nice solo from Edge (how does he make his guitar sound like birds?)
Did anyone else notice Larry doesn't hit 1 cymbal in the tune? Just bass drum, snare drum, and floor tom. Weird in the good way.
Until The End Of The World: I used to fight with my brother about the intro. Was it a voice, or a guitar? I say it's a voice.
Anyhow, It's the perfect lead-in to those hand drums by Lanois. Larry and Adam are locked in, and that simple 1 chord riff
hits. It's a most even tempered U2 rock song, just riding that bass line that stretches your speakers, leading into each
signature riff. The vocal is understated, and I love the biblical reference in the lyric. Solo! Who doesn't love this solo? And
they end by jamming out with everyone showing off. A total powerhouse.
Hallelujah Here She Comes : Probably U2's 2nd most realised gospel experiment (next to ISHFWILF).
The joyous little ditty about death. Riding along on that acoustic strum and organ, it begs to be sung with.
Larry pounds the floor tom, and Edge plays some of the most restrained electric guitar under the whole thing.
The vocals bursts are great, reminding me very much of "Three Sunrises."
Stay (Faraway, So Close!) : The Velvet Underground strum, the "almost walking" bass and stately beat,
Bono's voice big and reverbed out and we're off into the perfect U2 ballad. Things get really interesting in
the prechorus, where Edge's guitar shimmers and Bono cranks up the "emo." Then we fly. Edges guitar
sounds like silk. He's playing distorted riffs right to the edge of decay, and pulling them back, and the
vocal soars. The heavens sing in the background (very reminiscent of Drowning Man), as the song
hits an emotional peak. We get the nice ending from Larry to coincide with the vocal imagery.
Out Of Control : Adam's low skill level on bass has long been a U2 sore point. Especially in the early days.
But listening to this tune, his basic playing makes the tune. Yes, Larry is on fire, and Edge mixes giant chords
with shimmery arpeggios, but Adam's simple playing just thunders through this tune and give it real guts and
pulls it back from "just a pop song" status. The song is better for it. Great teen angst, with wide eyed enthusiasm.
18 year old kids made that.
Original Of The Species Stately. Effortless. Graceful. OOTS is all of those things.
It's the song I've always wanted U2 to write. Edge plays some amazing "Harrisonesque"
guitar fills, Adam and Larry ground the whole thing, and Bono's just wails with a giant
smile. Cement the whole thing together with a 12 string acoustic, simple piano notes,
and really effective strings. Oh, and those lyrics. 18 year olds couldn't write them.
Cynics couldn't write them. There's a real joy and hope that just matches the music to
perfection.
Like A Song This is one sweaty tune. It just flat out rocks. Larry's playing is just so crisp,
and Edge make's the arpeggio an art form. The tune is fast (is this the fastest U2 song?).
Just when you think the tune's all about muscle and angst, those angel voices answer the call
out of "is there nothing left?" Beautiful.
Big Girls Are Best The funkiest of all U2 rock songs. It's a great speaker stretcher.
Edge's plays backup to Larry and Adam this time, and Adam and Larry just lay down
groove. I love the vocal play. And there's that complete "Beatles" melody in the
prechorus that just makes me smile. What are they singing in the background?
The whole song is just a good time.
Playboy Mansion This tune is all about being lazy. Lazy in the good way.
The beat and bassline just seem to lag, and it creates a wonderful effect.
Even Edge's lead sound a little distracted, as it just buzzes around this
groove core. Bono's delivery matches as well, you can even hear him lick
his lips at one point. A stoned gosphel tune. With lyrics stolen from the
Bible and the pages of celebrity magazines. Perfect Pop.
Ultraviolet (Light My Way) I love the intro vocal. Not just Bono, but the background stuff as well.
It sets an instant mood. Then... Bam! Larry. It runs on this chord riff played as only Edge could
play it, but there are these great keyboard flourishes that weave in and out, and an acoustic in there
as well. The interplay between the lead and background vocals makes the tune, I love it. Then we hit
the bridge...giant chords, congas, Bono wailing like a mad man. It all ends with that weird little synth fart
Yahweh (Alternate Mix) Harder drums and more electric guitars seperate this one from the album mix.
It surprisingly doesn't take away from the joy of the chorus. It still builds on an intricate guitar arpeggio
and drum beat. There's a great background vocal that leads into to chorus, it really gives an ethereal lift.
The chous is a wondeful prayer. I love the lyric and Bono's delivery. Slide guitar bridge, guitar flourishes,
then done. It's a more dignified cousin to "3 Sunrises." Oh Joy!
The Fly Distorto distorto distorto. Disjointed savage riffs and pounding beats. Whispered vocals with mystery
and malice. This tune puzzled me on first listen. I kept returning my fingers to the volume knob, and turning it
to the right. Then I felt the shake of Adam's bass and it all made sense. One of the greatest U2 songs ever.
One of the greatest running guitar solo's ever.
It's perfect.
Acrobat : 3 piece with vocal. So simple. I think there's only 1 overdub: the guitar solo.
Everything about it is perfect. The siren riff. The constant pound of Larry and Adam.
Bono's hoarse yet passionate delivery. It's been my favorite since I first heard it in 1991.
The lyric is so mature. Life is a bitch, but you get wise. It's a complete flip from the
wide eyed naive that was so entrenched in U2's previous work.
Zooropa: The "Streets" of the 90's. I loved the long intro. Shash everywhere, the piano line.
It sounds evil. Then those neon-silk bits of light blast forth from Edge, and it's a whole new tune.
U2 using their new found groove, but Larry keeps it all grounded. Ad bit lyrics tempt over a slick
musical background, then BOOM…more light! It turns so frantic. Edge makes his guitar churn and
squawk like never before, and the band just pushes forward.
"It's cold outside, but brightly lit." The perfect lyric for a 20 yr old to hear. Completely fearless.
Gone: The “rock” song from Pop. Completely full throttle rhythm section. Edge in outer space with
that 747 sound, and the matching rhythm guitars. Lyrically it’s Acrobat’s sibling. The verses grooves,
until that 747 riff returns and propels the chorus. The beats during the bridge are the most realized
moment on Pop, Then Edge plays one of his best solos, matching Bono’s defiant vocal.
Then the song just turns into a frenzy. The crashes of cymbals go off like fireworks while Edge
rides up and down the fret board.
Crumbs From Your Table: Nice intro, especially the 12 string acoustic. If you listen close, you can hear
the click track. Then BAM! Edge seems to own this tune, riffing left and right, dirty and atmospheric,
but it’s Adam & Larry who provided the push and pull that move the tune. Bono’s double track vocal
really cuts through all the guitars while providing an ominous feel, and his lyrics are the most biting
and venomous of his career. And they top it all off by jamming out the ending, firing on all cylinders.
Kite: Synth keys play melody and counter melody, then that beautiful slide guitar riff as the band kick
in. It settles into a nice country groove, Again, a wise lyric and delivery, and it starts to open up in the
pre-chorus, as Edge’s distorted guitar notes slide up the fret board into the big payoff. Huge chorus.
Larry and Adam steady, Edge really going off and Bono in full voice. It all goes up another notch during the
bridge, as U2 come to an emotional peak bested only by Bad. The tune has a strange yet brilliant
arrangement: verse /chorus/bridge/chorus/verse. Perfect economy.
In A Little While: This tune. Oh lordy. This tune is ace. Steve Cropper intro. Lessons learned on Pop
lead to the perfect use of beats, until Larry takes over. Raspy vocal with the perfect subject matter.
Groovey as good sex, sweet as found money, with just the right mix of bitter. It just aches. The whole
tune just slides Left, Right, then back again. Soul is really hard for white bands to pull off, and U2 pull it off.
This ones getting played at my wedding.
Drowning Man: The vison of things to come from U2. Edge is insane. Electric guitar swells,
acoustic harmonics, and the martial beat of Larry and Adam. Bono really comes into his own
as a singer on this song. He's wide-open. Heart on sleeve.
And those child-vocals... "Take My Hand."
They were 22-23 when recording this tune? And they came up with something like that?
Hold Me, Thrill Me, Kiss Me, Kill Me: I love the guitar. Big, meaty power chords, especially the way Edge accents them.
This tune has them in abundance. I love the whammy bit. I love the chorus lead. I love the 12 string acoustic that drives
through the whole song. I love the whammy solo that weaves in at the end. Plus, Adam and Larry have gotten really good.
The feel is so dirty. U2 in full T.Rex groove, with a lyric right out of 2am in the big city. If U2 were a glam band in 1973,
this is what they'd have sounded like.
Bad I used to share a cassette copy of UF with my brother. It spent alot of time in our walkmen, and this tune is probably why.
That simple, rhythmic, pattern Edge plays is magic, I could listen to it for hours. Adam just glides around doing his root note
thing, and Larry just builds. He really goes nuts at the end, in a time before pro-tools time correction.
But Bono really makes this song. He paints such a vivid picture, and sings like he never had before, or since. They get so much
emotion and power out of 3 chords and really master dynamics on this tune. It starts so delicate, but it becomes a roar.
Tomorrow: The pipes at the beginning get me every time. One of the few times U2 sound Irish. The intro establishes that
ominous tone that's matched by the fear and grief in the lyrics. Then that good old acoustic starts strumming, electric chords
slash, Larry plays an odd beat, and the whole thing opens up. The wails. The celtic inspired slide guitar. It just pours out.
20 year olds made that. Amazing.
Red Hill Mining Town: Clean arpeggios, dirty chords announce the song. Larry and Adam
in pure economy mode, which leaves lots of room for Edge to drop icy chords, and Bono
to wail. BIG, BIG, BIG chorus. Nice high backing vocals from Edge, Eno, and Lanois. The
band really restrain themselves, and let Bono tell a tale with his words and voice, until the
final chorus when everythig is chugging along like a steam train on full throttle.
The Ground Beneath Her Feet: I downloaded this tune back in March 2000. Recorded it off my roomies laptop onto a minidisc,
and drove 20 minutes to my brother's place to play it for him.
It's that good to my ears.
The first 1/2: brushes on the drums, beautiful pedal steel guitar lines, lush keys. Lessons from Pop shine through on the perfectly
treated and timed beats. Acoustic guitar weaves in and out, as Bono builds to one of the biggest wails I've ever heard him sing.
Then the second 1/2: BAM! a whole new tune! Larry & Adam propel, Edge in full flight, and a rhythm electric guitar so unique that
it had to come from Bono. The melody of that vocal "my oh my" is perfect!
All Because Of You: U2 in full floorboard shaking mode. It starts in 5th gear, and never drops. Larry lays down that
Charlie Watts beat and Edge and Adam just drive like motherfuckers. It's Visceral. Bono's double track vocal and
the beat give the song a real 60's flavor, and I get 2 solos from Edge. The ambiguous lyric (God? Ali? Us?) makes it
all the more enjoyable.
In God's Country: The running acoustic intro, Edge's high pitch lead riff, Bono in fine voice. I love the imagery of the lyrics.
I feel like I'm in the American Southwest. Nice solo from Edge (how does he make his guitar sound like birds?)
Did anyone else notice Larry doesn't hit 1 cymbal in the tune? Just bass drum, snare drum, and floor tom. Weird in the good way.
Until The End Of The World: I used to fight with my brother about the intro. Was it a voice, or a guitar? I say it's a voice.
Anyhow, It's the perfect lead-in to those hand drums by Lanois. Larry and Adam are locked in, and that simple 1 chord riff
hits. It's a most even tempered U2 rock song, just riding that bass line that stretches your speakers, leading into each
signature riff. The vocal is understated, and I love the biblical reference in the lyric. Solo! Who doesn't love this solo? And
they end by jamming out with everyone showing off. A total powerhouse.
Hallelujah Here She Comes : Probably U2's 2nd most realised gospel experiment (next to ISHFWILF).
The joyous little ditty about death. Riding along on that acoustic strum and organ, it begs to be sung with.
Larry pounds the floor tom, and Edge plays some of the most restrained electric guitar under the whole thing.
The vocals bursts are great, reminding me very much of "Three Sunrises."
Stay (Faraway, So Close!) : The Velvet Underground strum, the "almost walking" bass and stately beat,
Bono's voice big and reverbed out and we're off into the perfect U2 ballad. Things get really interesting in
the prechorus, where Edge's guitar shimmers and Bono cranks up the "emo." Then we fly. Edges guitar
sounds like silk. He's playing distorted riffs right to the edge of decay, and pulling them back, and the
vocal soars. The heavens sing in the background (very reminiscent of Drowning Man), as the song
hits an emotional peak. We get the nice ending from Larry to coincide with the vocal imagery.
Out Of Control : Adam's low skill level on bass has long been a U2 sore point. Especially in the early days.
But listening to this tune, his basic playing makes the tune. Yes, Larry is on fire, and Edge mixes giant chords
with shimmery arpeggios, but Adam's simple playing just thunders through this tune and give it real guts and
pulls it back from "just a pop song" status. The song is better for it. Great teen angst, with wide eyed enthusiasm.
18 year old kids made that.
Original Of The Species Stately. Effortless. Graceful. OOTS is all of those things.
It's the song I've always wanted U2 to write. Edge plays some amazing "Harrisonesque"
guitar fills, Adam and Larry ground the whole thing, and Bono's just wails with a giant
smile. Cement the whole thing together with a 12 string acoustic, simple piano notes,
and really effective strings. Oh, and those lyrics. 18 year olds couldn't write them.
Cynics couldn't write them. There's a real joy and hope that just matches the music to
perfection.
Like A Song This is one sweaty tune. It just flat out rocks. Larry's playing is just so crisp,
and Edge make's the arpeggio an art form. The tune is fast (is this the fastest U2 song?).
Just when you think the tune's all about muscle and angst, those angel voices answer the call
out of "is there nothing left?" Beautiful.
Big Girls Are Best The funkiest of all U2 rock songs. It's a great speaker stretcher.
Edge's plays backup to Larry and Adam this time, and Adam and Larry just lay down
groove. I love the vocal play. And there's that complete "Beatles" melody in the
prechorus that just makes me smile. What are they singing in the background?
The whole song is just a good time.
Playboy Mansion This tune is all about being lazy. Lazy in the good way.
The beat and bassline just seem to lag, and it creates a wonderful effect.
Even Edge's lead sound a little distracted, as it just buzzes around this
groove core. Bono's delivery matches as well, you can even hear him lick
his lips at one point. A stoned gosphel tune. With lyrics stolen from the
Bible and the pages of celebrity magazines. Perfect Pop.
Ultraviolet (Light My Way) I love the intro vocal. Not just Bono, but the background stuff as well.
It sets an instant mood. Then... Bam! Larry. It runs on this chord riff played as only Edge could
play it, but there are these great keyboard flourishes that weave in and out, and an acoustic in there
as well. The interplay between the lead and background vocals makes the tune, I love it. Then we hit
the bridge...giant chords, congas, Bono wailing like a mad man. It all ends with that weird little synth fart
Yahweh (Alternate Mix) Harder drums and more electric guitars seperate this one from the album mix.
It surprisingly doesn't take away from the joy of the chorus. It still builds on an intricate guitar arpeggio
and drum beat. There's a great background vocal that leads into to chorus, it really gives an ethereal lift.
The chous is a wondeful prayer. I love the lyric and Bono's delivery. Slide guitar bridge, guitar flourishes,
then done. It's a more dignified cousin to "3 Sunrises." Oh Joy!
The Fly Distorto distorto distorto. Disjointed savage riffs and pounding beats. Whispered vocals with mystery
and malice. This tune puzzled me on first listen. I kept returning my fingers to the volume knob, and turning it
to the right. Then I felt the shake of Adam's bass and it all made sense. One of the greatest U2 songs ever.
One of the greatest running guitar solo's ever.
It's perfect.
