New Album Discussion 1 - Songs of..... - Unreasonable guitar album

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it's got much more of a bluesy vibe to it, vs. the normal face melting, in your face, shred of the Bullet solo.

it definetly had a haunting vibe to it... but, come on - it's bullet. melt mey face.

and not everything has to be exactly as it was on the album, or on the Joshua Tree or ZooTV tours.

for example...



they used a shortened transition during i/e, but it worked - and by the time it got to the middle of bono's rant and Edge kicked in... woo baby.

 
I really appreciated the I&E Tour where Bono barely talked about his causes. They just played music.
I don't mind him talking about it, necessarily. This has always been a political band and that's been something I've always loved about them. But around 2004 it got *so* heavy handed and over the top that it distracted from the show itself. I prefer either a nice quick Bono rant a la "fuck the revolution!" or something a bit more performance-oriented, such as the Gun Control rant during Bullet in 2001 or the Trump video into Exit with the "eenie meenie miney moe" chant.

Streets almost makes sense to be heavy handed with the Africa bit, since Ethiopia informed the lyric. But One is a breakup song. And, by the way, so is Ultraviolet - it's not the song of female empowerment that they repurposed it for on the JT2017 tour (unless the empowerment in this case is leaving her man).
 
The album version of LAPOE disappoints me because the solo/outro was so incredibly raw live. Edge seems too restraint on the album version
 
it's got much more of a bluesy vibe to it, vs. the normal face melting, in your face, shred of the Bullet solo.
Yeah it sounds like he's running through a tube screamer with the drive and tone rolled back and that's about it on the Vertigo versions. I also prefer a more gainy solo.

I also wish he'd bring back that Hendrix-y style solo, though. We haven't heard that since the Vertigo tour, have we? Since then, on I+E and the JT legs, it was the album version slide solo.
 
I was there, and you're right -- the first half of this was rip-roaring and perfect. And I still remember how good Electric Co was. I also remember enjoying the second half -- we got Bad and Wild Horses? If memory serves? I remember it being significantly better than DC1, but I had way better seats for DC2.

I remain an unapologetic lover/defender of OOTS. The song was there for me when I needed it. I agree that the orchestra hasn't aged well, but as a song it goes to that rare place beyond cringe and into joyful sincerity tinged with the bittersweet, and it also has the loosest, most joyful moment on the album, one where they seem to actually set aside the "job" of the album and sunlight bursts through with the seemingly improvised "sugar come on, show your soul ..." after all those doody-doodies.

bottom tier tracks on this album for me:

L&P -- not Bullet, wants to be; Bono with the "CoExist" gear on stage way more cringe than the sincerity of OOTS
ABOY -- it's fine but tries too hard
OSC -- I like the lyrics but musically inert; tries to be meditative but the problem is it "tries;" wants to be RTSS but isn't.
Crumbs -- trying to be "loose" but feels sloppy and a bit pointless; good lyrics though
Yahweh -- glorious background music, Bono can't find a chorus; maybe the disappointment comes from a 2004 internet rumor I remember that this was the best song they'd ever written

Sign me up to the Original of the Species fan club as well. I never saw it syrupy or cringe. Bono's delivery of the vocal is fantastic and heartfelt. I like how he just lets fly on 'You've been keeping your love under control' and how it bleeds into the last chorus. Lovely. That bridge into the final chorus really works for me. He's all over that song and it's fantastic. It's a Bono song. Bono going full Bono. I can hear why he said it was his favourite song of the album.
 
The Vertigo Tour had plenty of flaws. It was the nadir of Bono's speechifying. He did like 10 minutes of speeches cumulatively at most shows. The Love and Peace / Sunday / Bullet sections were interminable, if you look up boredom in the dictionary there's a video of Bono singing snippets of Hands that Built America and Johnny Comes Marching Home. It's definitely the worst Streets has ever been, and the performances of WOWY were often uninspiring with Bono sounding half asleep until he'd maybe inject a bit of life with the Joy Division snippet.

But the 18th of November 2006 was, and probably remains, the best night of my life. It was my first time seeing them, Dad had gotten us tickets, and U2 was pretty much my entire life at that point. We were up on level three at an awful stadium, so the sound wasn't amazing and the crowd was a bit flat (and the following night, which I begged Dad to allow me to attend to no avail, they played Until the End of the World, The First Time, Party Girl and Bad with Ruby Tuesday and 40 snippets) but for two and a half hours I transcended. I played air guitar and air drums standing in my seat belting out all the lyrics the entire show.

But the best part about our leg of that tour was what we got that no one else outside of the Pacific got: Kite. They closed with Kite, extended it out to eight minutes, and featured local Indigenous artist Tim Moriarty on didgeridoo. Not only was the performance utterly spellbinding — if you haven't heard it, track it down, there's an official release on the Window in the Skies single from Sydney — but it came about a month after my grandfather had passed away, and a year after my other grandfather had passed away. The latter was my first experience with grief, and Kite was there for me, and I read the lyrics of the song when we spread his ashes.
 
I don't mind him talking about it, necessarily. This has always been a political band and that's been something I've always loved about them. But around 2004 it got *so* heavy handed and over the top that it distracted from the show itself. I prefer either a nice quick Bono rant a la "fuck the revolution!" or something a bit more performance-oriented, such as the Gun Control rant during Bullet in 2001 or the Trump video into Exit with the "eenie meenie miney moe" chant.

Streets almost makes sense to be heavy handed with the Africa bit, since Ethiopia informed the lyric. But One is a breakup song. And, by the way, so is Ultraviolet - it's not the song of female empowerment that they repurposed it for on the JT2017 tour (unless the empowerment in this case is leaving her man).
I always thought Ultraviolet was partly about his mum / her spirit being a guiding force. "Your love was a lightbulb hanging over my bed". Could be anything really given how ambiguous it is.
 
The Vertigo Tour had plenty of flaws. It was the nadir of Bono's speechifying. He did like 10 minutes of speeches cumulatively at most shows. The Love and Peace / Sunday / Bullet sections were interminable, if you look up boredom in the dictionary there's a video of Bono singing snippets of Hands that Built America and Johnny Comes Marching Home. It's definitely the worst Streets has ever been, and the performances of WOWY were often uninspiring with Bono sounding half asleep until he'd maybe inject a bit of life with the Joy Division snippet.

But the 18th of November 2006 was, and probably remains, the best night of my life. It was my first time seeing them, Dad had gotten us tickets, and U2 was pretty much my entire life at that point. We were up on level three at an awful stadium, so the sound wasn't amazing and the crowd was a bit flat (and the following night, which I begged Dad to allow me to attend to no avail, they played Until the End of the World, The First Time, Party Girl and Bad with Ruby Tuesday and 40 snippets) but for two and a half hours I transcended. I played air guitar and air drums standing in my seat belting out all the lyrics the entire show.

But the best part about our leg of that tour was what we got that no one else outside of the Pacific got: Kite. They closed with Kite, extended it out to eight minutes, and featured local Indigenous artist Tim Moriarty on didgeridoo. Not only was the performance utterly spellbinding — if you haven't heard it, track it down, there's an official release on the Window in the Skies single from Sydney — but it came about a month after my grandfather had passed away, and a year after my other grandfather had passed away. The latter was my first experience with grief, and Kite was there for me, and I read the lyrics of the song when we spread his ashes.
There was a lot about our leg that was a b it disappointing in hindsight - it became a bit greatest hitsy, but MAN that version of Kite.

Annoyingly the official version is edited - this is my video of the same performance and a bit of Edge noodling from the middle is cut.
 
Not only was the performance utterly spellbinding — if you haven't heard it, track it down, there's an official release on the Window in the Skies single from Sydney
I remember this was a big deal around these forums when it happened. I never thought much of it until I was driving aimlessly a year or two again and it came on my Spotify shuffle.

It was absolutely gorgeous. Edge repeating the solo and the vocal-less chorus was sublime. Cate Blanchett got a hell of a performance dedicated to her.
 
My kingdom for a version of Didgeridoo Kite without a Cate Blanchet name drop.

Was it only played that way that night?
Looks like all of the Australian shows in November 2006 and then the first Auckland show got that version. Unfortunately, that was also the last time the song was played.

No word yet on if Cate Blanchett was at every show.
 
I always thought Ultraviolet was partly about his mum / her spirit being a guiding force. "Your love was a lightbulb hanging over my bed". Could be anything really given how ambiguous it is.
I always thought it was about how Ali's love saved him after his mother's death. The time Bono's talked about with "three angry men" living under the same roof, hence the "and I had opera in my head" line specifically referencing his father.
 
But the best part about our leg of that tour was what we got that no one else outside of the Pacific got: Kite. They closed with Kite, extended it out to eight minutes, and featured local Indigenous artist Tim Moriarty on didgeridoo. Not only was the performance utterly spellbinding — if you haven't heard it, track it down, there's an official release on the Window in the Skies single from Sydney — but it came about a month after my grandfather had passed away, and a year after my other grandfather had passed away. The latter was my first experience with grief, and Kite was there for me, and I read the lyrics of the song when we spread his ashes.

this might be my favorite U2 moment of the 21st century.

at least a Top 5.

glad it was so special for you.
 
It's top three for me, only shadowed by Bullet the Blue Sky / Running to Stand Still / Where the Streets Have No Name on the ZooTV Tour and Running to Stand Still / Hallelujah / Dirty Old Town at Point Depot.
 
Always prefer the blues type Bullet solo. Always refreshing to see him play on more than one string
 
One of my top Vertigo tour moments was seeing the return of a full blown electric Wild Horses for the first time since 1992. It was glorious.

Was also glad I got to one of the shows where Love and Peace opened.
 
Nothing compares to:


i wuz dayuh!

i actually was outback when Bono arrived and first spoke to that kid - who asked if his band could come on stage. was surreal to see them actually get pulled up later on in the night.

i feel that this was also the show that Paul McGuinness drunkenly offered to get me, Tony from UF and the two people we were with "into the heart" - only to give us the wrong wristbands.
 
U2 do have previous in describing songs as 'sci-fi' - Stateless was definitely referred to by Bono as such. It wasn't sci-fi 'folk' but something like sci-fi 'soul' or another genre, I can't quite remember though. That and a few songs on Zooropa are probably our best reference points (things like Wanderer and Stay are somewhat warped folk songs). What I get from the term 'sci-fi folk' is something similar, with more Irish folk leanings, rather than the traditional American style roots music they've explored.

Regardless of the sci-fi element, sticking to roots or traditional music should be the thing they pursue. They've excelled when dabbling in such timeless genres, and if anything, it keeps Bono in check from the sermonising over the top ostentatious radio 'rawk' of recent decades with knock of Led Zep riffs.

If they are going down the route of exploring the classic songbooks of yesteryear, then might as well get Lanois back on board too, given he was their biggest influence in pursuing more traditional music influences. Sonically he knows how to incorporate the weird and wonderful experimentations into something traditional and timeless sounding.

The key is restraint. Lower register Bono, more reflective and enigmatic. Moodier. Because the 'big music' has passed them by. They've not just exhausted the 'big music' but positively zombified it beyond any sense of humanity. Much of the generic nature of the Innocence and Experience albums was the lowest of the low, completing the absolute bastardisation of what 'big music' they used to excel at. All I can say is that much of Innocence and Experience sounds like a U2 tribute band. If they can bring back the restraint, atmosphere and subtlety of songs (that in fairness, some tracks from No Line had), with lyrical complexity, then they might create something worthwhile again.

Irish folk music is a good jump off point then, hopefully correcting the many wrongs of the last decade of studio recordings.

 
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