VinylGuy wrote:Im a huge fan from their 90s album. Huge. Masterpieces...then i love How To Dismantle and No Line from their 2000 output. As for their classic 80s album i guess i love some songs but for some reason i dont listen to them that much.
I'm sort of similar in that the 90s work onwards resonates with me more. Though to be completely honest I got into them when ATYCLB was released. That and HTDAAB are important albums for me.
No Line is a weird one, some great songs, some rubbish, and I'm generally okay with Innocence/Experience stuff.
On a side note, I bought that LP for $3 at some NYC record store poking around. I checked my version and it has the edited Electric Co. and not the full version.
liebzz wrote:At Red Rocks or one of the other dates?
On a side note, I bought that LP for $3 at some NYC record store poking around. I checked my version and it has the edited Electric Co. and not the full version.
red rocks..i was a stupid high school kid...did you pick up you copy at bleecker bobs?
VinylGuy wrote:Stay (Faraway so close) might be their best song.
It most certainly is.
They try so hard to hide what a gem of a pop song it is on the studio version. Then the live versions just let it explode in pop glory.
Dirty Day always reminds me of being the bastard child of Acrobat and Tryin' To Throw Your Arms Around The World. What a beautiful bastard it is. The languid feel of TTTYAATW and the sonic soundscape of Acrobat.
Think I’m going to try being kind to everyone a chance.
Transitioning from War to this album is a subtle but huge step towards super rock stardom. Sunday Bloody Sunday and New Year’s Day are driven by a sense of urgency and fire while here, Pride is enormous in sound, though no less powerful. But what makes this album take the next step is the great interplay top to bottom between Clayton and Mullins. Bono also sounds amazing. The three of them cover a lot of territory and really expand the base of their sound. And while Edge is not a weak link per se, he’s basically repeating much of the same riff with different tempos or slightly altered arrangements which both provides a sense of continuity but if you focus on that, these disparate songs could somehow start to sound the same. It’s a fine line but U2 walks that tight rope to near perfection on this album.
This certainly feels like the natural progression from The Unforgettable Fire. Jumping out the gate with three U2 classic songs, the band clearly feels the pull to further explore the regions of that same guitar riff that is their bread and butter. Where the Streets Have No Names probably does it best, though Trip Through Your Wires later in the album might be the most interesting use of that signature on this album. For me, my favorite part of this album is when they break free of that riff to deliver some really great stuff. Bullet the Blue Sky, Running to Stand Still, Red Hill Ming Town, and Mother’s of the Disappeared are all very different songs that bring more to the U2 repertoire than I expected, and One Tree Hill wins as the most interesting song on the album. Sure, they took a solid riff and made themselves the biggest band in the world on this record, but I am finding more beauty in the moment they break free of that here. Certainly worth the hype.
