the tourist
Blue Crack Addict
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Pop 25th Anniversary Thread... What do you want?
- Thread starter ascender_RS
- Start date
The friendliest place on the web for anyone that follows U2.
If you have answers, please help by responding to the unanswered posts.
If you have answers, please help by responding to the unanswered posts.
OP
OP
ascender_RS
Refugee
Happy Birthday Pop!
A work of genius from the boys, it gave us one of their most interesting albums to date and a funky, rocking live show with maximum swagger from Miami & Bullet. An amazing opening with the boxing-match intro... Pop Muzik in to Mofo and a cohesive, exciting setlist which didn't take itself too seriously either. Which I guess was part of the spirit of the album where they mixed very different songs, themes and moods like Discotheque with Please & Wake Up Dead Man.
I'm genuinely gutted they seem determined to pretend this album never happened. Edge did seem to be thawing slightly about it when talking with Woody Harrelson which gave me hope we might see something, anything, even if it didn't land today.
Remember when U2 came out and said they didn't realise fans have been wanting to hear Acrobat played live for the last 30 years or so? This reminds me of that - surely they can't be that tone deaf and isolated from what their fans want?
A work of genius from the boys, it gave us one of their most interesting albums to date and a funky, rocking live show with maximum swagger from Miami & Bullet. An amazing opening with the boxing-match intro... Pop Muzik in to Mofo and a cohesive, exciting setlist which didn't take itself too seriously either. Which I guess was part of the spirit of the album where they mixed very different songs, themes and moods like Discotheque with Please & Wake Up Dead Man.
I'm genuinely gutted they seem determined to pretend this album never happened. Edge did seem to be thawing slightly about it when talking with Woody Harrelson which gave me hope we might see something, anything, even if it didn't land today.
Remember when U2 came out and said they didn't realise fans have been wanting to hear Acrobat played live for the last 30 years or so? This reminds me of that - surely they can't be that tone deaf and isolated from what their fans want?
pacemaker
Refugee
I was 13 when I bought Pop on a family vacation to Key West at the end of March that year. I was going to get the Discotheque single, but the album was only a few dollars more so my brother lent me some money.
A few months later my older cousin and his wife took me to Popmart in Philadelphia, and that night changed my life forever.
This album means so much to me. I maybe might like Zooropa better most of the time, but Pop will always be my favorite album of all time. Certainly the most important.
I also love the art direction of the era. Maybe I'm alone in thinking this, but I'm really impressed how well such a bold, very-late-90s subdued neon motifs have aged so well. IMHO.
Like I've said in the lead up to today, I don't expect them to honor or acknowledge Pop... but as a modern narcissistic fan I really fucking wish they would.
A few months later my older cousin and his wife took me to Popmart in Philadelphia, and that night changed my life forever.
This album means so much to me. I maybe might like Zooropa better most of the time, but Pop will always be my favorite album of all time. Certainly the most important.
I also love the art direction of the era. Maybe I'm alone in thinking this, but I'm really impressed how well such a bold, very-late-90s subdued neon motifs have aged so well. IMHO.
Like I've said in the lead up to today, I don't expect them to honor or acknowledge Pop... but as a modern narcissistic fan I really fucking wish they would.
Pop was the first U2 album I bought on release day. I was 16 - junior in high school.
I'm now 41 and still a junior in high school. Fucking Sequential Math 3 man.
I'm now 41 and still a junior in high school. Fucking Sequential Math 3 man.
Yes, they certainly can. And are. Except maybe for Adam, who is the only one who comes across in interviews as A) aware of what types of songs hardcore fans want to hear live and B) willing to deliver them.
Hey hey! I was also 13 years old at the time of release, but sadly I was late to the party and didn't really start getting into music deeply until 2001. All I knew of it at the time was my sister was really into U2 and said a few things about them sounding sooo different now. She'd play it in the car a lot and I remember being drawn into the intensity of Mofo and the sheer weirdness of Miami. I remember once wanting to stay in the car until Bono exploded on that song.
I could go on gushing about the album and how it became my favorite of all time, as well; but I mostly just share the sentiment of your last line
Irvine511
Blue Crack Supplier
I’m so old I remember inhaling every pre-release hit of info on WIRE. In retrospect, I really appreciate all the “trip-hop/techno” talk because I went out an actually BOUGHT CDs (back when people did that) of bands like Proddigy, Portishead, Undereorld, Chejical Brothers, etc. Really turned me on to the UK music scene in general.
I actually got the album early, a rip from someone who worked at the college radio station. I loved it … but I also remembered the feeling that we were getting something that was a distinct step down in overall quality from AB. There was no “One” on the album, as hard as God/Angels was trying. The beats were cool and fascinating, and like most U2 sings, got better and more interesting with time. There was a lot to take in, and it seemed to deliver on its promise to search for soul in the neon, and it felt intellectually very big, if not quite fully thought-through (which was probably why they stumbled so much out of the gate).
But I knew this one wasn’t going to be as beloved as JT or AB. And it wasn’t.
I actually got the album early, a rip from someone who worked at the college radio station. I loved it … but I also remembered the feeling that we were getting something that was a distinct step down in overall quality from AB. There was no “One” on the album, as hard as God/Angels was trying. The beats were cool and fascinating, and like most U2 sings, got better and more interesting with time. There was a lot to take in, and it seemed to deliver on its promise to search for soul in the neon, and it felt intellectually very big, if not quite fully thought-through (which was probably why they stumbled so much out of the gate).
But I knew this one wasn’t going to be as beloved as JT or AB. And it wasn’t.
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david
ONE love, blood, life
POP’s release makes me think about the mid to late 90s time of the internet and how I’d sit online and look for U2 info whole discovering web pages made by fans. Now I’m old and stare at my phone all day and really just come here for my U2 fix.
Really great times when Pop came out. Can remember being really excited hearing the album for the first time.
Still can't believe we got a lousy ATYCLB 20 anniversary deluxe box and completely denied pop anninersaries. Bring on the Pop deluxe box with exclusive content.
Still can't believe we got a lousy ATYCLB 20 anniversary deluxe box and completely denied pop anninersaries. Bring on the Pop deluxe box with exclusive content.
MrPryck2U
ONE love, blood, life
Wow, Pop turns 25. Holy fuck! Forever, albums used to be released on Tuesdays. The record store that I frequent used to sell them on the DL the Friday before they were released. I bought Pop and recorded it onto tape and listened to it over and over long before Tuesday. I felt so cool. 
Listening to it on tape meant no skipping songs. Eventually, each remix or B-Side would be added to the tape. I always used 90 min TDK SA tapes. They always sounded the best. I still listen to CD's, but no more tapes. 
Obviously, the long running discussion of Pop was people "getting" U2's take on consumerism and pop culture in the 90's. No need to rehash that. I'll always remember fondly when Pop was born.
Listening to it on tape meant no skipping songs. Eventually, each remix or B-Side would be added to the tape. I always used 90 min TDK SA tapes. They always sounded the best. I still listen to CD's, but no more tapes. Obviously, the long running discussion of Pop was people "getting" U2's take on consumerism and pop culture in the 90's. No need to rehash that. I'll always remember fondly when Pop was born.
Pop was the first album I purchased on release day. I was 16 and made my parents take me to the Barnes & Nobles in Commack to pick it up.
I knew U2 and liked some of their songs, but didn't really consider myself a fan until Hold Me Thrill Me Kiss Me Kill Me came out (thus the name). I actually bought that Batman soundtrack because I liked Kiss From A Rose - not for U2.
This was a time where I was starting to rebel and listen to things that annoyed my parents. So the safer stuff (looking at you, Billy Joel... hey, i grew up on Long Island, cut me some slack) and shifted to Dookie, What's The Story (Morning Glory), and Vitalogy. U2 hadn't really made a big impact until that Batman soundtrack - which hit me like a ton of bricks.
I started digging back. I burned (I may have stolen) a copy of Achtung Baby from a friend, then moved on to Rattle & Hum and Zooropa, ironically. Finally grabbed the "gold" CD of Joshua Tree.
And then came Pop. I think I went through three copies of that CD in the first year because they got so scratched up from overplay. I was obsessed, and it took me from "hey I think I like these guys" to whatever the hell you call what we all are now. It was loud, sexy, and filled with all sorts of sounds I didn't think a guitar could make. It has incredible lyrics. I still think it's Bono's strongest album, lyrically speaking.
I fucking stayed home on a Friday night to watch the start of opening night in Vegas on ABC (and that horrible Dennis Hopper narrated documentary).
My sister was supposed to arrange tickets to PopMart at Giants Stadium. She did... for herself and her friends, leaving me stuck and tagging along with my parents to a Mets Expos game at Shea instead. I've never forgotten.
I still remember staying up till like 2 am watching the PopMart Mexico gig on Showtime. On a school night, nonetheless.
I was so happy they still played Gone when I finally got to see them live for the first time at MSG on Elevation. And while I don't see what came next as the end of U2's creative period (as many do) and thoroughly enjoyed the next two albums (and enough parts of the following three to keep me interested), it's absolutely criminal how they've abandoned this album.
I knew U2 and liked some of their songs, but didn't really consider myself a fan until Hold Me Thrill Me Kiss Me Kill Me came out (thus the name). I actually bought that Batman soundtrack because I liked Kiss From A Rose - not for U2.
This was a time where I was starting to rebel and listen to things that annoyed my parents. So the safer stuff (looking at you, Billy Joel... hey, i grew up on Long Island, cut me some slack) and shifted to Dookie, What's The Story (Morning Glory), and Vitalogy. U2 hadn't really made a big impact until that Batman soundtrack - which hit me like a ton of bricks.
I started digging back. I burned (I may have stolen) a copy of Achtung Baby from a friend, then moved on to Rattle & Hum and Zooropa, ironically. Finally grabbed the "gold" CD of Joshua Tree.
And then came Pop. I think I went through three copies of that CD in the first year because they got so scratched up from overplay. I was obsessed, and it took me from "hey I think I like these guys" to whatever the hell you call what we all are now. It was loud, sexy, and filled with all sorts of sounds I didn't think a guitar could make. It has incredible lyrics. I still think it's Bono's strongest album, lyrically speaking.
I fucking stayed home on a Friday night to watch the start of opening night in Vegas on ABC (and that horrible Dennis Hopper narrated documentary).
My sister was supposed to arrange tickets to PopMart at Giants Stadium. She did... for herself and her friends, leaving me stuck and tagging along with my parents to a Mets Expos game at Shea instead. I've never forgotten.
I still remember staying up till like 2 am watching the PopMart Mexico gig on Showtime. On a school night, nonetheless.
I was so happy they still played Gone when I finally got to see them live for the first time at MSG on Elevation. And while I don't see what came next as the end of U2's creative period (as many do) and thoroughly enjoyed the next two albums (and enough parts of the following three to keep me interested), it's absolutely criminal how they've abandoned this album.
The Panther
Refugee
For me, Pop will forever be one of those "less-than-the-sum-of-its-parts" albums. There are certainly enough strong individual tunes on it that it had enough meat to be a great record. To my tastes, the tunes that are (or are potentially) great are:
Discothèque
Do You Feel Loved (even though about 1/2 of it is a blatant rip-off)
If God Will Send His Angels
Staring At The Sun
Gone
The Playboy Mansion
If You Wear That Velvet Dress
Please
Falling somewhere in the "quite-good-but-not-great" territory would be:
Last Night On Earth
Wake Up Dead Man
North And South of the River (which of course didn't make the album)
So, anyway, I hear about 8 great songs and 3 quite good ones, which should easily make up a 10 or 11-track album of material that ranks up there with the great U2 albums. (And, occasionally, if I'm in the right mood, it does.) However...
This was the first in what will seemingly be an endless line of U2 albums that are WAAAAAY over-calculated, largely as a result of too much time/money spent in the studio. When they started with 1 producer and there ends up being 5 or whatever, it's usually not a good sign.
Even though most of the songs are good, even the best of them (like 'Please') clearly weren't as good as they could have been. (I can't even listen to the album version of 'Please' anymore.) This is the first U2 album where the songs sound like they were not well captured in the studio (despite all the time they had).
There is no doubt in my mind that if U2 had worked up the Pop songs, live, for a couple of weeks, and then went into the studio and laid them all down in a couple of days, mostly live, and then later added in the requisite overdubs and whatnot (preferably with Flood at the helm), that they would have captured the energy they were trying to and made a terrific record. But when you spent two years going over and over the songs with 5 producers, you just suck all the life out of them.
It's interesting to contrast Pop with Zooropa. While the former was an EP that grew into a loose album (and is all the better for its looseness), the latter was a major-album-project that grew into an albatross. The Zooropa songs, as a whole, are not as strong as the Pop songs, but Zooropa is (to me) clearly the better album. The '93 record sounds like they captured exactly what they wanted, while the '97 album sounds like they failed to get what they wanted from over-laboring it.
Sadly, U2 did NOT learn from this lesson, and they have over-calculated every record since.
Discothèque
Do You Feel Loved (even though about 1/2 of it is a blatant rip-off)
If God Will Send His Angels
Staring At The Sun
Gone
The Playboy Mansion
If You Wear That Velvet Dress
Please
Falling somewhere in the "quite-good-but-not-great" territory would be:
Last Night On Earth
Wake Up Dead Man
North And South of the River (which of course didn't make the album)
So, anyway, I hear about 8 great songs and 3 quite good ones, which should easily make up a 10 or 11-track album of material that ranks up there with the great U2 albums. (And, occasionally, if I'm in the right mood, it does.) However...
This was the first in what will seemingly be an endless line of U2 albums that are WAAAAAY over-calculated, largely as a result of too much time/money spent in the studio. When they started with 1 producer and there ends up being 5 or whatever, it's usually not a good sign.
Even though most of the songs are good, even the best of them (like 'Please') clearly weren't as good as they could have been. (I can't even listen to the album version of 'Please' anymore.) This is the first U2 album where the songs sound like they were not well captured in the studio (despite all the time they had).
There is no doubt in my mind that if U2 had worked up the Pop songs, live, for a couple of weeks, and then went into the studio and laid them all down in a couple of days, mostly live, and then later added in the requisite overdubs and whatnot (preferably with Flood at the helm), that they would have captured the energy they were trying to and made a terrific record. But when you spent two years going over and over the songs with 5 producers, you just suck all the life out of them.
It's interesting to contrast Pop with Zooropa. While the former was an EP that grew into a loose album (and is all the better for its looseness), the latter was a major-album-project that grew into an albatross. The Zooropa songs, as a whole, are not as strong as the Pop songs, but Zooropa is (to me) clearly the better album. The '93 record sounds like they captured exactly what they wanted, while the '97 album sounds like they failed to get what they wanted from over-laboring it.
Sadly, U2 did NOT learn from this lesson, and they have over-calculated every record since.
phanan
Blue Crack Addict
I worked at Circuit City when Pop came out - I was in the audio department. Got there for my morning shift, promptly bought a copy, and popped it into the CD player in the sound room and had it on repeat all day.
Good times.
Good times.
MrPryck2U
ONE love, blood, life
From what I've been told (by the voices in my head) is that because Pop's release date was delayed for several months, for shits and giggles, they might as well delay the 25th anniversary box set until August or September of 2022. This set promises to include the version of Pop that U2 really meant to release. You know, the version where U2 perfectly balances rock n roll and mid 90's electronica.
OP
OP
ascender_RS
Refugee
Loving all of the stories of what Pop means to you.
Time to shelve the thread until 2027?
Time to shelve the thread until 2027?
MrPryck2U
ONE love, blood, life
I recently found a reworked version of Pop on a CD I made 8 years ago. I omitted Miami and Playboy Mansion.
The Panther
Refugee
I'm definitely in the minority in absolutely loving "The Playboy Mansion". I think it's like a quintessential U2 lyric, metaphorically making the gates of the playboy mansion akin to the gates of heaven, while at song's end the narrator seemingly makes it through and the whole song becomes a beautiful hymn. (One of the more stirring moments in the U2 canon, that.)
The wah-wah guitar, which we rarely hear from Edge, is nicely done. The melody is strong.
But... everybody hates it.
The wah-wah guitar, which we rarely hear from Edge, is nicely done. The melody is strong.
But... everybody hates it.
MrPryck2U
ONE love, blood, life
I can't say that I hate PM or Miami, but I preferred the B-Sides over them. I'd rather listen to Two Shots of Happy, North and South, Holy Joe, or Pop Muzik.
pacemaker
Refugee
I guess since Pop was my introduction to U2, PM and Miami have never seemed out of place to me. Jarring, for sure.
However both tracks - Playboy Mansion, especially - are integral to the album.
Miami is kinda of a “book jacket” blurb summary of the album. The segue between PM and Velvet Dress is, IMHO, the bright, grungy chaos of Pop condensed into a few seconds of cross fade.
However both tracks - Playboy Mansion, especially - are integral to the album.
Miami is kinda of a “book jacket” blurb summary of the album. The segue between PM and Velvet Dress is, IMHO, the bright, grungy chaos of Pop condensed into a few seconds of cross fade.
lazarus
Blue Crack Supplier
The trip-hop beat of Playboy Mansion slaps, and the outro vox by Edge are great. It’s always been in my top half of songs on the album.
Most of the criticism of Miami seems to be directed at Bono’s vocal and I suppose the basic tourist imagery of the lyrics, but I think its trash vibe fits the titular city and the album in general, there are a couple of legitimately great lines, and from a musical perspective the track is fierce, Edge really going hard on this one with some sick atmospherics and a lacerating solo.
Most of the criticism of Miami seems to be directed at Bono’s vocal and I suppose the basic tourist imagery of the lyrics, but I think its trash vibe fits the titular city and the album in general, there are a couple of legitimately great lines, and from a musical perspective the track is fierce, Edge really going hard on this one with some sick atmospherics and a lacerating solo.
zoopop
Rock n' Roll Doggie
I heard a little of it (SATS, LNOE, GONE) but on U2 X Radio, they had a track by track interview with Adam Clayton about POP. Some interseting comments/commentary from Adam. He stated he wishes they can play SATS full band again live.
Looking forward to the rest. After hearing Edge w/ Woody Harrleson and Adam now I think its a real possiblity we'll hear some live songs from POP next tour. They seem to think POP was a little ahead of its time.
Looking forward to the rest. After hearing Edge w/ Woody Harrleson and Adam now I think its a real possiblity we'll hear some live songs from POP next tour. They seem to think POP was a little ahead of its time.
MrPryck2U
ONE love, blood, life
I have a high regard for Velvet Dress and that transition from PM to Velvet is definitely cool. And I agree, Miami and PM are integral to the vibe/theme of Pop. But, I've "endured" those songs long enough. Time for retirement.
pacemaker
Refugee
I have a high regard for Velvet Dress and that transition from PM to Velvet is definitely cool. And I agree, Miami and PM are integral to the vibe/theme of Pop. But, I've "endured" those songs long enough. Time for retirement.
Totally get it. This is how I feel about, and treat, Pride when I listen to TUF. I have had quite enough of that song.
the tourist
Blue Crack Addict
- Joined
- Dec 25, 2003
- Messages
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I’ve had enough of live versions of Pride, but the album version is one of the best things they’ve ever done and I’d never want to not hear it.
womanfish
Rock n' Roll Doggie ALL ACCESS
Yep, that is a fact.
As for Miami, I always dug it, but after seeing it live. DAMN, it went up a whole other level, and made me appreciate much more.
PM, was probably in my bottom 3 but has edged up as I've gotten older.
And like people have said, it is a key part of the album.
Overall, POP is the U2 album I listen to the most. I absolutely love it, hovers in my top 3-4 U2 albums, and so when I say a certain song is in the "bottom" three, it really doesn't mean much, because I love them all.
The song I always have been and am still the softest on is If God Will Send. Good song, I do really like it, but still probably my least favorite of the album.
OP
OP
ascender_RS
Refugee
I really like the bit that goes...
'Totally messed up in everybody's life
Closer than ever to everybody's wife'
Its definitely b-side fodder but its not without some merit. I can see how it fits-in with the overall theme of the album.
pacemaker
Refugee
IGWSHA is probably also my least favorite from Pop, however “… turns INTO THE neeewwwssss” - that melody and delivery - amidst everything else about Pop that I was just fucking INTO - made me a fan. Even at 13, I knew those lyrics were goofy. But that shit made me want to SING.
Then a few months later I got OK Computer and had the same reaction to “… a GLOOOOOOoooooorious daayyyeeeyyyaayyy…” from Lucky.
Unfortunately, I can’t carry a tune. Fortunately, I learned how to play guitar.
Also, was my decision to go to The University of Miami for college based partially on my love for U2? Ugh… possibly. I transferred after a year. That place was terrible.
Then a few months later I got OK Computer and had the same reaction to “… a GLOOOOOOoooooorious daayyyeeeyyyaayyy…” from Lucky.
Unfortunately, I can’t carry a tune. Fortunately, I learned how to play guitar.
Also, was my decision to go to The University of Miami for college based partially on my love for U2? Ugh… possibly. I transferred after a year. That place was terrible.
watch_more_tv
The Fly
- Joined
- Oct 17, 2000
- Messages
- 32
One question I've had and have never found it - was Holy Joe ever released as a song or was it only released as mixes?
Miami is terrific and never gets skipped over when it comes up for play - especially the Allen Ginsberg version
Miami is terrific and never gets skipped over when it comes up for play - especially the Allen Ginsberg version
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