I don't think it really is possible to put your personal tastes aside when reviewing music, which may be where we fundamentally disagree. No matter what you write or how "objective" you try to be (and is there even objectivity in music?), your tastes and biases are going to seep through. If you think a song is rubbish, your perspective isn't going to really change whether you base it on personal enjoyment or some more objective criteria relating to its structure or content, since your personal enjoyment (or lack thereof) is based directly on those criteria.
True. Your biases will slip into anything you write, be it a political, artistic, literary or advice piece that is supposedly neutral.
What I maybe should have said is that anyone without an ax to grind, be it for or against U2, would be able to give a well played set like the career progression a thumbs up even if they make clear that certain songs don't do it for them.
I especially don't like this idea of judging how well a song works (not saying you do this, but I see the media and some people here doing it) by how "into it" the crowd are on the basis of sing-alongs and clapping the rhythm. Of course more people are going to sing and clap along with ISHFWILF than Exit. Exit isn't a song you can really sing or clap along to. That doesn't mean it resonates less or isn't as successful. Just look at The Electric Co. taking stadium crowds by storm.
Well put! I have always considered myself to be a pretty keen observer, so I have been able to pick up on the fact that stadiums greatly enjoyed performances of Exit and Electric Co.
In fact, if you download the 12/20/87 bootleg from JT Tempe, as Exit starts, you can clearly hear some guy say "this song fucking rules, man!"
That has always stuck in my mind.
Well, yes, no doubt re: taking OTH and UF. As for COBL and BD, I just don't know. Long-term members of the forum will remember that I loved COBL on its release, but now it just doesn't make me feel much any more, and BD I'm pretty unmoved by. I don't dislike either, but I wouldn't miss them if they were never played again.
Same here. I wouldn't mind them missing some shows, but I am a realist and I know that 2 of U2's better known and critically acclaimed songs of the past decade will most likely get played every night going forward.
I am with you, though, if they tossed out BD for IGC some night, I would be ecstatic and not miss BD!
Fair enough, and I take the point. I don't think it would look too much like a decline if all you're there for is to hear some sufficiently catchy songs with strong hooks. I do feel there would be a noticeable deterioration in depth, though. If you hit people with a bunch of songs like NYD, Bad, Streets, and such, then follow it up with COBL and Vertigo ... do you see what I'm getting at?
Yes, I see what you are getting it regarding depth.
U2 definitely reached a high point of literal, cliche lyricism on HTDAAB.
You and I can agree to disagree on whether recent work can satisfy someone looking for more than a catchy song with a strong hook.
COBL may not have the depth of ASOH or Bad, but the lyrics are very well written and have a lot of meaning, I think.
Vertigo to its credit does not try to be any more than a fun song with a catchy hook, but as we know, the theme of temptation, etc at least gives it more meaning than some would suggest.
I think this is why us super fans have a difference of opinion with critics on songs like COBL and Vertigo. We actually listen to songs like ASOH, NYD and Bad on a daily basis and have something to compare those songs to.
I think the critics are considering COBL/Vertigo in the general music or U2 by numbers context, where they stack up pretty well.
So I think it comes down to: blue crack super fans generally know and appreciate most the incredible depth of U2's songwriting in the past, but just because this depth is not as present as it once was does not mean the songs are any less in most people's eyes, critics included. Again, this is why I don't think it will be a problem in Glastonbury.
As much as I love both tracks and am all for U2 remaining relevant and promoting new material, I would like someone to shoot me in the head if they ever hear me make the claim that COBL stacks up to Bad or NYD or One Tree Hill.
sucks really
show off
