Jacknife Lee will be in the studio

The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
KUEFC09U2 said:
seriously, if/when, they release something, the same things going to happen, people will bitch and moan that they didnt like the songs, that there not happy with the mix bla bla,

i mean look at it, people are already bitching and moaning and nothing has even been decided or made official yet :|
Totally true...!
It will happen even if the next album comes out in 2015...
 
Aygo said:

Totally true...!
It will happen even if the next album comes out in 2015...
it would happen if it came out tomorrow, next week, or even never came out at all, then we would get the "why the hell didnt they release such n such"
 
KUEFC09U2 said:
it would happen if it came out tomorrow, next week, or even never came out at all, then we would get the "why the hell didnt they release such n such"

why did U2 release HTDAAB:( :(
 
silvrlvr said:
During the next four months...
1) U2 by U2 comes out, and U2 is signed up to do chat shows and other interviews.
2. Some rehearsing for the last leg of the Vertigo tour.
3. The last leg of the Vertigo Tour.
4. The Christmas holidays.

Does all that leave time to do a full-length album that is a worthy successor for ATYCLB and HTDAAB?



Yes, it does. Especially, if it was half to three-quarters done months ago!

There is no reason to be so pessimistic!
 
BrainL pointed this out in the News story about Lee in the studio, but the Big Life Management profile that mentioned Lee and U2 in the studio in September has been changed. It now says:

"In September Garret will begin work on the new Editorsalbum."

Interesting.
 
Niceman said:
You really judge them on just the last two albums taking 3-4 years? In the 1990s they put out an album every other year.
which albums did I miss in the 90s????

because even if I would call Passengers a U2 album then it wouldn't even be close to an album every other year

and when you reckon Zooropa was released in 1993 then it really seems very weird to me to act like U2's output has just started to decrease in the noughties


much like Bono's voice the decrease of U2's output already started in the 90s
 
the worst phase was POPMart when he didn't even have a voice at all during some of the concerts

but even a deaf man would be able to notice the decline from R&H to Achtung
 
Yes, it's true that his best era was during Lovetown (and JT too...), but during ZooTv his voice still was pretty clean in comparison to the future...
Popmart against Elevation? Elevation was worse, for sure... He might have had a few shows almost without voice, but there are other ones where his voice sounds very natural.
In the Elevation bootlegs you can hear the constant scratch of his voice and the difficult effort to sing some songs...
Fortunately it seems that on the last tour things got much better... :drool:
 
Salome said:
the worst phase was POPMart when he didn't even have a voice at all during some of the concerts

but even a deaf man would be able to notice the decline from R&H to Achtung

The decrease in his voice did start back then (post R&H), but I thought he compensated well. I mean, his voice changed and he changed with it, rather than trying to hang onto something that wasn't there anymore. I couldn't imagine him attempting any of those Achtung or Zooropa songs in any 'other' voice. The songs pretty much demand the delivery he gave. I think some Pop songs suffer a bit, eg he pushed himself beyond his new limitations on Gone often (but good Lord occasionaly he nailed it). Obviously something else was up at that time though, he had the surgery soon after that tour. Also since then he's learned to sing 'properly', from his chest and not his throat. I think that's had mixed results. Obviously he's got a far larger voice again, able to hit and sustain notes he could only dream of on Popmart, but with that I think has brought a bit too much bravado or something. He just comes across sometimes on some songs like he's making a lot of noise just because he can again, forgotten something I think he learned in the 90s or earlier, that a whisper can be far more powerful than a scream.

In summary, I think he lost strength at the end of the 80's, but did a good job of replacing it with substance through much of the 90s, save the Popmart tour where clearly he'd completely f*cked it beyond his natural decline. Now in the 00s I think he's found a way to bring his strength back, but substance is often suffering because of it. Overall though, the quality is diminishing and has been for some time. This doesn't bother me either, I don't need Bono hitting the big notes to feel like it's Bono. In the quiet of Stateless is as amazing a vocal performance as he's ever given, and in the belting of Miracle Drug is as poor a performance as he's ever given.
 
I agree. I actually like the way he used his voice on ZooTV (especially The Fly and Mysterious Ways) better than LoveTown.

But not by much.
 
I like it when he's working it to the benefit of the song (One, or In A Little While) but not when he's trying to push out a ballser of a note and he can't do it and it just turns to scratched up poo.
 
Earnie Shavers said:
I like it when he's working it to the benefit of the song (One, or In A Little While) but not when he's trying to push out a ballser of a note and he can't do it and it just turns to scratched up poo.

Perfect example: With or Without You.
 
dsmith2904 said:
BrainL pointed this out in the News story about Lee in the studio, but the Big Life Management profile that mentioned Lee and U2 in the studio in September has been changed. It now says:

"In September Garret will begin work on the new Editorsalbum."

Interesting.

Well, that certainly gives more weight to the pessimistic view of things.
 
Salome said:
which albums did I miss in the 90s????


I dunno...

1991 Achtung Baby
1993 Zooropa
1995 Passengers
1997 POP
1999 Million Dollar Hotel & Best-of 80s

Then 2000 ALL That You Can't Leave Behind.

YEAH, we then had a big gap until the Bomb (2004) But it doesn't look to me like this is how long they usually take....
 
The Problem with Jacknife Lee is that with any work he has done recently, my first impressions are "Oh that is such a Jacknife Lee signature in that song" when I should be thinking "Oh that is such a good Snow Patrol track" or "Oh that is such a good U2 track". While he has excellent production skills, his work seems to credit him more than the band.

Anyway, on that note U2 should get in Rich Costey who works with Muse.
 
trabantland said:
The Problem with Jacknife Lee is that with any work he has done recently, my first impressions are "Oh that is such a Jacknife Lee signature in that song" when I should be thinking "Oh that is such a good Snow Patrol track" or "Oh that is such a good U2 track". While he has excellent production skills, his work seems to credit him more than the band.

Anyway, on that note U2 should get in Rich Costey who works with Muse.
I don't find Jacknife Lee that bad, We don't know the exact envolvement "quantity" in production with the band in the last album.
And it doesn't mean that all the songs gonna start all the same with invariable production.

People (mainly here) have to understand that a producer is synonym of a type of production. Look at William Orbit, for example, he never sounds the same with the artists he works with...

And then... have you ever thought that the band can be credited in the production as Edge was in Zooropa?
 
Aygo said:


It had its worse phase during the Elevation/ATYCLB era, but it had getting better these days...

I'll take the scratchy voice of Elevation over "I'm on helium" Popmart voice any day. He only dreamed of pulling off Kite or Slane's AIWIY-Streets transition back then.

:shrug: Maybe they're just going with Rubin now? September session is still on, so no worries here.
 
Niceman said:


I dunno...

1991 Achtung Baby
1993 Zooropa
1995 Passengers
1997 POP
1999 Million Dollar Hotel & Best-of 80s

Then 2000 ALL That You Can't Leave Behind.

YEAH, we then had a big gap until the Bomb (2004) But it doesn't look to me like this is how long they usually take....

Passengers and Million Dollar Hotel are not U2 albums. Best Of is obviously not new material. I think most are referring to albums that are an official U2 release of only new U2.
 
Well the MDH Soundtrack had some U2 songs, some with the MDH band, some with just Bono, and I think one with Larry.

Passengers however is new music with the entire band + Brian Eno in an even more active role. I say it should be considered part of the canon.
 
LemonMacPhisto said:
Well the MDH Soundtrack had some U2 songs, some with the MDH band, some with just Bono, and I think one with Larry.

Passengers however is new music with the entire band + Brian Eno in an even more active role. I say it should be considered part of the canon.

I disagree, if it was a U2 album it would have said U2 on it. A new U2 album to me is a complete album of nothing but new U2 songs, typically followed by a tour to support it. To say Million Dollar Hotel or Passengers meets any of that criteria is just false. :shrug: You can disagree and thats fine. But in the context of what we are discussing here (U2's next full new release) I think what I'm saying applies and I wouldnt consider those other releases as examples. :shrug:
 
Blue Room said:


I disagree, if it was a U2 album it would have said U2 on it. A new U2 album to me is a complete album of nothing but new U2 songs, typically followed by a tour to support it. To say Million Dollar Hotel or Passengers meets any of that criteria is just false. :shrug: You can disagree and thats fine. But in the context of what we are discussing here (U2's next full new release) I think what I'm saying applies and I wouldnt consider those other releases as examples. :shrug:

Oh well agree to disagree. ;)

criticanchormanli7.jpg


off-topic //

With the '90s releases, I regard them all of some sort of flow of conciousness. I'm going to reference 2 posts by Earnie Shavers made in another thread since it is better than anything I can say:

A lot of Achtung Baby, to state the obvious, isn't just about being on the receiving end of heartbreak, but dishing it out. The temptation, the action, the reaction, to be the betrayer, not just the betrayed. "You know the sun can sometimes be eclipsed by the moon, you know I don't see you when she walks in the room". Mysterious Ways, Even Better than the Real Thing, Tryin' to Throw your Arms... Temptation, sex, betrayal. Mostly temptation though, and I think that spun itself into reality through the Zoo tour. Maybe not in some awful way, but certainly in that some of the band members were happy to let themselves go, dance very close to whatever line they previously would have stayed far away from. I think that's definitely the place where Zooropa, and the above lyric, is coming from. If you haven't read "U2 At the End of the World" you should. I don't think it's the hangover though. I think Achtung is all the dark thoughts leading through to about 2am. Then they say "f*ck it", pop the red pill and shoot off into Zooropa where they soak it up and don't really give it second thought. When they wake up, two days later, they're confused and angry and guilty and bitter - coming down - and you get Pop.

about Passengers:

Musically, definitely. I know it's not a 'U2' album, but if you don't have Passengers sitting on the shelf between Zooropa and Pop, you're missing a key part of the story. The jump from Zooropa to Pop needs Passengers in the middle. Achtung Baby is pretty much a straight up guitar record, but one where on large chunks the U2 rhythm section has found it's hips. The album isn't experimental at all in a larger sense, not one bit, just Edge mucking around with sound effects and the rhythm section bringing something you can snap your fingers to. Zooropa is entirely driven by the rhythm section. There's not a song on there - save for The First Time - that isn't entirely bass and drum driven, and on this album they are starting to muck around heavily with electronica in a new way and all through the music as well. Then comes Passengers and the electronica has taken over and while it's not U2's exclusive album, they're the only participants to whom it's new stuff. Certainly isn't for Eno.

So it's kind of like a passing of the baton of ideas and influences. Achtung Baby is a guitar album, but they find rhythm along the way. Zooropa is a rhythm album, but they find electronica along the way. Passengers is an electronica album. Then comes Pop, which is a straight guitar album driven by a rhythm section and bottom end that has heavily been beefed up by electronica. Culmination of those last three. Throw Achtung, Zooropa & Passengers into a blender and what you get is a dense drink called Pop.

Thematically Passengers is all over the shop, and I think they were just looking for a creative avenue that was as diverse as the music they had inside them. When what you are mucking around with is beeps and buzzing, loose samples and big spacious ideas, it's harder to narrow it into a 'tune' or really just a narrow thought than it is with a cool guitar riff you stumbled on at 2am. Using the idea of soundtracks, actually creating scenes and ideas and building the music for them, was a fantastic idea. I don't think it says much in the thematic story of Achtung to Pop, but it says a lot about where they were creatively, dare I say it: at their peak.

Yeahhh, I'm completely coldplaying these quotes but they are cool.

// off-topic

About the new release in '07, I take it with a grain of salt really. But when Bono's Hyperbole Machine starts rolling, I guess that means something in the next year or two right?
 
Blue Room said:


Passengers and Million Dollar Hotel are not U2 albums. Best Of is obviously not new material. I think most are referring to albums that are an official U2 release of only new U2.

"file under U2"

Also, 2 of the tracks made the best-of. Miss Sarajevo on the first disc and Your Blue Room on the second. It's hard to not call it a U2 album really....
 
Back
Top Bottom