ferball415
Acrobat
It is definitely the watershed of their career for a lot of us, and conveniently because it came out at the turn of the century, it enables one to refer to "20th c./21st c. U2" knowing that ATYCLB is the fulcrum there.
New Album Discussion 1 - Songs of..... - Unreasonable guitar album
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It is definitely the watershed of their career for a lot of us, and conveniently because it came out at the turn of the century, it enables one to refer to "20th c./21st c. U2" knowing that ATYCLB is the fulcrum there.
Also the point at which Bono stopped singing lower register. I like it, but an ironic fun song that Elevation could have been with a lower register vocal takes on new levels of silliness without it, which is the version we got. And maybe a bit too silly. Certainly the song that sticks out like a sore thumb compared to the relative tasteful restraint shown on that album.
ferball415
Acrobat
PookaMacP
War Child
My sense from reading the Pitchfork review was that the 'easy' comment was more directed at the 'Songs Of' albums.
Having said that, I agree with seeing All That You Can't Leave Behind as a beginning. NLOTH apart, everything that followed was far more direct in terms of its songwriting and sentiment. That's not always a bad thing, but it did lead to a blunting of their experimental spirit.
PookaMacP
War Child
I agree. You can see the scars of the Pop experience clearly here: they were afraid of leaving an album 'unfinished', but also afraid of more complex materials not resonating with their audience.
Then, when NLOTH also 'flopped' they mis-read the causes. Instead of seeing its problems as the result of over-tinkering (as they should have), they became obsessed with 'perfecting' everything. Hence, the break with Danger Mouse, the talk of 'fixing' lyrics on Songs of Surrender, etc, etc.
I would also add another ingredient to the mix: While I very much appreciate the role that Steve Lillywhite played up to Achtung Baby, the continued second-guessing he represents thereafter has not always been for the better.
That's the hilarious thing about it.
That middle three is the template for a lot of embarrassing tripe on Innocence and Experience, and pretty much the basis for their career thereon - no coincidence that their popularity and sales have tanked in the years since. Instead of reflecting on such generic chart baiting crap, they doubled down and continued to humiliate themselves. That goofy meme comes to mind....
The John Tree
War Child
It was a good read, but I have one major argument:
"“Gone” and “Miami” were both staples of the expensive, overstuffed Popmart tour, and both are rife with modern-sounding production elements that testify to U2’s commitment to experimentation. But they also reveal the limitations of the band’s magpie approach to production, and, smack in the middle of an hour-long album, they can’t help but feel like a mid-record slump."
Look, say what you want about Miami, but Gone?! Gone's a top 3 song on the album!
I totally agree with this. I remember at the time the marketing seemed to be 'the old U2 is back!' I kept scratching my head wondering what the hell they were talking about. ATYCLB is really the beginning of what I call the 'third phase' of the band's career. It's not like the 80s material. It's not like the 90s material. ATYCLB and everything that come after it all share common sonic qualities. Of course, they all have their quirks: HTDAAB had an emphasis on a garage-y sound, NLOTH tried to be a more ethereal HTDAAB. Even SoI and SoE trace their sonic lineage back to ATYCLB more than anything else.
The John Tree
War Child
I also agree with this. I personally love ATYCLB. Its simplicity is one of its charms. Not only are the songs well written, but there's a certain emotional tenderness to it that resonates in the music. It sounds vulnerable in Bono's simple but potent lyrics, it sounds vulnerable in his fragile and cracked vocal delivery, and it sounds vulnerable in the instrumentation which I can only describe as 'warm.' That's why it works so well. It sounded real - a guy who was on top of the world for the last decade who'd just met with essentially his first true critical failure in Pop and PopMart, and with a mortality scare to boot.
I think everything after ATYCLB suffered from chasing the same success but the difference being that nothing on Bomb (short of SYCMIOYO), NLOTH, or the Songs albums ever sounded quite as authentic as ATYCLB did. There are moments on the Songs records where I'm like 'I get it, I'm supposed to feel the emotional weight of this song. Big themes about death and dying." But it just never hit me as hard as on ATYCLB, where Bono simply singing "I'm a man. I'm not a child. A man who sees the shadow behind your eyes," could just tear me apart inside.
I originally was an ATYCLB trasher; which is ironic because it's when I "came online" as a hardcore fan; but I immediately latched onto everything before it and especially the 90s stuff. ATYCLB signified the end of the fun, edgy, weird, cool-looking U2...the rock band U2, in my eyes. I felt like it was the last punchline of the whole Pop joke that the album that would follow would be so saturated in nothing but attempts at pop-hits.
I've come around on the album and basically agree with most of what's been said here. It's just as much an attempt to create a new sounding U2 as anything else they did up to that point and they achieved it. Unfortunately, they got too comfortable with it being a later-stage success and have been chasing it more or less for at least the 17 years that came after. I can almost hear them about to hit the "publish record" button for NLOTH and someone saying "Stop!! What about All That You Can't Leave Behind?!". Another ironic title, too, as they can't seem to leave that whole chart-topping or bust attitude behind.
I've come around on the album and basically agree with most of what's been said here. It's just as much an attempt to create a new sounding U2 as anything else they did up to that point and they achieved it. Unfortunately, they got too comfortable with it being a later-stage success and have been chasing it more or less for at least the 17 years that came after. I can almost hear them about to hit the "publish record" button for NLOTH and someone saying "Stop!! What about All That You Can't Leave Behind?!". Another ironic title, too, as they can't seem to leave that whole chart-topping or bust attitude behind.
PookaMacP
War Child
Oh, yeah. I agree. That's a nonsense take. I know I'm in a minority, but I've loved Miami since the moment I first heard it. It's throwaway but that crunchy guitar is one ofy favourite things on Pop.
I think U2 somewhat miss the point of All That You Can't Leave Behind's success, to the detriment of their latter albums that obviously try to match its quality and sentiments. Much of ATYCLB's success comes from the hit singles, but its lasting legacy derives as much from the more subtle and restrained songs from track six onwards. It has rather muted production that on closer listening shimmers and Bono is neither melodramatic or cliched. There's a sincerity to those songs, and the introspective production and performance demonstrates wiser middle age reflections. It's an album of genuine depth of soul and spirit. So given its subject matters, Songs of Innocence should have similarly been 'sensitive' 'reflective' and 'intimate'. But its melodramatic choruses, bland production, and literal, uninspired autobiographical lyrics strip it of depth and reflection, leaving it sounding crass.
Production is key also, Beautiful Day is a multitextured masterpiece and hearing them re-record it with Get Out Your Own Way is akin to a child recreating the Mona Lisa with crayons. Not only is the latter a terrible song, production wise it's a cheap and bland arrangement typical modern day lightweight pop singles. Basically everything Beautiful Day isn't.
The Innocence and Experience eras demonstrates U2's drift towards hollow style over the substance of All That You Can’t Leave Behind.
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Miami has always been near the top of the pile for me. I love the dark, mysterious, freakish world that it paints. I imagine slowly cruising down the street, people-watching and thinking "Where the hell are we?! Can we go home now?"
When that guitar kicks in after "Here comes the car chase"...that's the good stuff.
PookaMacP
War Child
Edge sure doesn't make 'em like he used to. Added bonus is the shift from the looped drum sample to Larry's real drums that comes straight after the guitar bit.
monkeyskin
Refugee
Good read from Pitchfork. Like most here, I don't agree with all of it but the lack of snark was welcome.
Regarding ATYCLB, the marketing and narrative at the time wasn't so much 'U2 go back to 80s' following the first Best Of, rather they ditched the 90s irony, weirdness and especially the DJ. They were back to wearing their hearts on their sleeves and earnest, and if the anger of the early 80s music was gone it was easy to reembrace them as the band that made The Joshua Tree 13 years before.
Someone above mentioned how this album coming out in 2000 makes it such a good demarcation line between 'old' and 'new' U2. 1) I remember when first getting into them in 1999 the line was 80s vs 90s U2; 2) I hate how 'new' U2 is a longer period than 'old', but with only 5 albums of original material vs 10 (if we include Passengers).
Regarding ATYCLB, the marketing and narrative at the time wasn't so much 'U2 go back to 80s' following the first Best Of, rather they ditched the 90s irony, weirdness and especially the DJ. They were back to wearing their hearts on their sleeves and earnest, and if the anger of the early 80s music was gone it was easy to reembrace them as the band that made The Joshua Tree 13 years before.
Someone above mentioned how this album coming out in 2000 makes it such a good demarcation line between 'old' and 'new' U2. 1) I remember when first getting into them in 1999 the line was 80s vs 90s U2; 2) I hate how 'new' U2 is a longer period than 'old', but with only 5 albums of original material vs 10 (if we include Passengers).
The guitar and drums…and bass
And live it was a monster.
Obviously they’re old men now but i felt Pop rocked the hardest of any era. Once they found their groove on PopMart it was a heck of a rock show.
ZooTV of course has plenty of moments too, but PopMart was a heavyweight fight
ferball415
Acrobat
Yup--this is I think the single hardest I've ever seen them go:
Edit: Oh I misread it as "Mofo"--point stands.
Scorpionac
War Child
I think Pop would have really benefited from the band learning to play the songs live and then recording them again for the album. They ran out of time to do this, of course. For example, the guitar riff in the chorus of Mofo in the video above is immense, but it's not there on the album version.
Something I personally notice about Pop is how unpleasant and cynical a lot of the lyrics are, more than any other U2 album. Songs like If God Will Send His Angels and Staring at the Sun are not exactly fun to sing along to. I know that it was part of the intended irony of it, for a bitter album to be wrapped in a shiny package, but it feels a bit forced, sort of like how the American roots music of Rattle and Hum felt forced. ATYCLB by contrast is a sugar bomb of positivity and earnestness. I like Pop, but I don't listen to it very often.
Something I personally notice about Pop is how unpleasant and cynical a lot of the lyrics are, more than any other U2 album. Songs like If God Will Send His Angels and Staring at the Sun are not exactly fun to sing along to. I know that it was part of the intended irony of it, for a bitter album to be wrapped in a shiny package, but it feels a bit forced, sort of like how the American roots music of Rattle and Hum felt forced. ATYCLB by contrast is a sugar bomb of positivity and earnestness. I like Pop, but I don't listen to it very often.
Kite mixes the direct with the evocative to be effective, it (and the writer) is not concerned with being clever despite the closing lines being a bit cringey.
The John Tree
War Child
It might sound positive, but I think a more accurate adjective would be "resilient." If anything, it's more an album about dealing with tough times.
- The narrator of Beautiful Day is actually having a terrible day. The sky has fallen in their life, and it's about the freedom that comes from hitting rock bottom.
- The narrator of Stuck In A Moment is addressing a friend who has committed suicide.
- The narrator of Walk On is saying goodbye to a loved one.
- The narrator of Kite is ruminating on mortality and aging.
- Peace On Earth is a weary plea in the wake of a terrorist attack.
- When I Look At The World is from the perspective of a cynic, trying to understand how someone can be positive about the state of things.
- The character in New York is someone who abandons their domestic responsibilities to escape to the city.
- Even Grace is about rising above pain, shame, blame, stains, and various other -ains to make beauty out of the ugly things.
So a good 3/4 of the album is actually spent on darker subject matter at its core - it's just about getting through it.
Agreed there 100%
All That You Can't Leave Behind is just as dark as Pop, lyrically.
It's almost Springsteen like (Dancing in the Dark, Born In The USA, Hungry Heart, etc. - in that they mask the dark, depressing lyric with uplifting music.
All That You Can't Leave Behind is just as dark as Pop, lyrically.
It's almost Springsteen like (Dancing in the Dark, Born In The USA, Hungry Heart, etc. - in that they mask the dark, depressing lyric with uplifting music.
zoopop
Rock n' Roll Doggie
Enjoyed the article. Completely wrong about Gone though. That is a great song and I think the album version is better than the 'Best Of' version. As Beal stated, once Popmart found its groove it was a beast live. I always loved that setlist. I know they took away Miami but that part of the show was a show stopper. Miami/Bullet/Please/Streets.
When ATYCLB/Beautiful Day were released I remember so many people saying, finally there back to basics, etc. It was a much needed change in U2 mythos and it was a fitting album for that era. Music needed a U2 'soulful' album. And to me it's the last U2 album that really had that U2 emotional pull from Bono or the melody. Songs like Walk On & Kite tug at the heart.
I know they try with the 'Song' albums but they just feel bland in production & pull. Songs of Innocence doesn't have that U2 moment at all. They try w/ 'Song For Someone' but it comes across so forced. Closes thing to that U2 magic is 'Little Things' but its buried so deep in the album I don't think no one is listening anymore.
When ATYCLB/Beautiful Day were released I remember so many people saying, finally there back to basics, etc. It was a much needed change in U2 mythos and it was a fitting album for that era. Music needed a U2 'soulful' album. And to me it's the last U2 album that really had that U2 emotional pull from Bono or the melody. Songs like Walk On & Kite tug at the heart.
I know they try with the 'Song' albums but they just feel bland in production & pull. Songs of Innocence doesn't have that U2 moment at all. They try w/ 'Song For Someone' but it comes across so forced. Closes thing to that U2 magic is 'Little Things' but its buried so deep in the album I don't think no one is listening anymore.
lazarus
Blue Crack Supplier
Oh look, another ATYCLB wankfest. Great. 
Anyway, Pop is amazing. Each song is a world unto itself, the last album where that was truly the case. And I don't find its ironic packaging or promotion to be incongruous with its crisis of faith thematics, at all. The way Bono is able to navigate the shifting tones between his usual open conviction and the more playful hedonism he's depicting is masterful.
Anyway, Pop is amazing. Each song is a world unto itself, the last album where that was truly the case. And I don't find its ironic packaging or promotion to be incongruous with its crisis of faith thematics, at all. The way Bono is able to navigate the shifting tones between his usual open conviction and the more playful hedonism he's depicting is masterful.
Achtung Ya'll
War Child
Yeah to add to this (which I agree with) is that ATYCLB makes so much sense as a cathartic reaction to the bombast of the 90s. At first I didn't like it. Pop was my first "new" album to get when I became a U2 fan and I loved AB/Zooropa. So to then get ATYCLB I was like "what the hell is this?"
But especially as I've gotten to their age when they wrote it... it just makes sense. But it makes the most sense when you put it as a reaction to Pop. Not their perceived failure and need to go back to "classic" U2. But just like Bono finally emerging from the "Nighttown" he talks about in Until The End of the World (the book) and going to take a nap on the couch.
Achtung Ya'll
War Child
Oh look, another ATYCLB wankfest. Great.
Anyway, Pop is amazing. Each song is a world unto itself, the last album where that was truly the case. And I don't find its ironic packaging or promotion to be incongruous with its crisis of faith thematics, at all. The way Bono is able to navigate the shifting tones between his usual open conviction and the more playful hedonism he's depicting is masterful.
Pop also has maybe some of the best (the best overall?) lyric writing of Bono's entire career.
The John Tree
War Child
The whole 90s era was his peak for lyrics, but if I had to narrow it down to one album, I'd have a pretty strong argument to make for Zooropa.
super fly guy
New Yorker
lazarus
Blue Crack Supplier
Zooropa and Pop are both very strong. Lemon isn't only near (or at) the top of their tracks for me, it's one of Bono's finest lyrics, about memory vs record, and just straight-up poetry about the commodity of seeing: "Man melts the sand so he can see the world outside", "he turns his money into light to look for her", etc.
And one album later there's another song that uses the death of Iris as a jumping-off point for something much deeper in Mofo, where you get "looking for a sound that's gonna drown out the world/looking for the father of my two little girls", which is as personal and vulnerable a couplet as he's ever come up with, followed by further soul-searching along those lines in Gone, maybe the greatest self-reflection I've seen on the ambition of becoming a rock star and wondering if the ends justified the means in terms of identity once you get to the top of the mountain.
And one final reference to Iris in Wake Up Dead Man, with:
Jesus
were you just around the corner
did you think to try and warn her
were you working on something new
if there's an order
in all of this disorder
is it like a tape recorder
can we rewind it just once more?
This basically closes the loop on Lemon, which looks at grief through the lens of technology and how we can replay the images of what we're lost, and here Bono is pleading a series of questions to the figure he prays to, now wanting to go beyond technology, using metaphysical means to reverse time so he can see his mother again. It's heartbreaking stuff, coming from a 35-36 year-old man who's a parent himself.
The John Tree
War Child
Wild Honey, like In A Little While, is a love song to Ali. I love both songs, so I'm glad they're on there. Even on the closest thing they have to a concept album - Songs of Innocence - Ali gets a love song. That said, In A Little While and Wild Honey are both two of my favorites from the album, so I'm glad they're there.What about Wild Honey?
The John Tree
War Child
"You change your name, but that's okay - it's necessary. And what you leave behind, you don't miss anyway."
"You're taking steps that make you feel dizzy, then you learn to like the way it feels. You hurt yourself, you hurt your lover. Then you discover what you thought was freedom is just greed."
One of the most honest and poignant lyrics he's ever written. That final "Goodbye, and it's emotional. Goodnight. I'm not coming down," is absolutely staggering when read through the lens of a man accepting that he's irreversibly changed.
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