Posts tagged: U2

Buy War

With their third album War in early 1983, U2 fully arrived on the international music scene and has remained on the top echelon ever since. A commercial success for the band, the album topped the U.K. charts and reached #12 in the U.S. Further, it found the band forging their definitive sound for the first time under the guidance of producer Steve Lillywhite, who introduced the band some new recording techniques. Among these was the incorporation of a “click track” to keep perfect time, an idea that drummer Larry Mullen, Jr. was initially against. However, he did relent and the album ended up being a real showcase for Mullen.

The album got its title from the band’s perception of the world at the time, or as lead vocalist Bono put it; “War seemed to be the motif for 1982.” The title was also a concerted effort by the band to branch out into “heavier” theme, as they felt that critics had taken the music from their first two albums, Boy and October, lightly. Being an Irish band, U2 was in a unique position to address the troubles in Northern Ireland, and hit that head on with this album. Still, U2 was cognizant that such heavy themes could backfire with mainstream listeners, so they also worked hard to compose melodic and more direct tunes.

Lead guitarist The Edge uses far less delay and echo than previously and experiments with differing guitar textures throughout, adding to the overall sonic atmosphere of passion. As a counter-balance, bassist Adam Clayton provides the “glue” musically with simple, strong, and direct bass lines. With these carefully balanced dynamics, U2 found their formula for success throughout the rest of the decade.

War by U2
Released: February 28, 1983 (Island) Produced by: Steve Lillywhite Recorded: Windmill Lane Studios, Dublin, May 17–August 20, 1982
Side One	Side Two
Sunday, Bloody Sunday Seconds New Year’s Day Like a Song… Drowning Man	The Refugee Two Hearts Beat As One Red Light Surrender “40”
Band Musicians
Bono – Lead Vocals The Edge – Guitars, Piano, Vocals Adam Clayton – Bass Larry Mullen, Jr. – Drums

Although all songs on War are credited to the entire group, in reality certain tunes were largely composed by individuals. “Sunday, Bloody Sunday” was composed by The Edge, and has remained one of the most indelible tunes of the band’s career. From its opening martial drumbeat, featuring a heavy hat and beat by Mullen to the simple, raw guitar variations accompanied by some strategic violin by guest Steve Wickham, the song is a unique musical experience. Add the passionate vocals (including some great backing vocals by The Edge), which describe the Bloody Sunday events of 1972, and you have a rock and roll classic.

The other popular “hit” from the first side, “New Year’s Day”, was originally written by Bono as a love song to his new bride but later morphed into an ode to the Polish Solidarity movement. Clayton’s distinctive bass line drives the song while The Edge alternates between the signature piano line and several guitar textures, including an actual rock guitar lead. Overall, the song portrays a great atmosphere with the optimistic fantasy of unity and theme of starting over, and became the group’s first Top Ten single in England.

The rest of side one contains solid tracks which compliment each other nicely. “Seconds” contains another wild beat by Mullin above a strummed acoustic guitar. Although a little unfocused and a bit busy, the song is original and entertaining. “Like a Song…” sticks to the formula on the first side, although it does get pretty intense as it progresses. “Drowning Man” is acoustic and haunting – almost jazzy – with trance electric guitars above strummed acoustic and deeper sounding vocals by Bono.

The best pure pop song on album (and perhaps of any early-era U2) is “Two Hearts Beat as One”. While still just slightly unfocused and edgy, this tune is held together by the superior composition and pure performance by the whole band, especially Bono on vocals. A propulsive bass line by Clayton and a fantastic counter-melody by The Edge during the chorus push this song to the top level of any U2 classic. The song became a hit in several nations as well as a rare staple of the dance floor for U2. “The Refugee”, on its surface is a new wave motif, almost to the point of absurdity. Yet it is still oddly entertaining based mainly on the odd guitar textures by The Edge.

The album’s closing tracks include a couple featuring the background chorus from the group The Coconuts. “Red Light” is the closest to a pure rock song on this album, with Bono singing in more contemporary manner and more rock-oriented guitar riffing, a sound that U2 would morph towards in the future, starting with Achtung Baby in the early 1990s. “Surrender” is danceable, almost post-disco and could be a decent pop song in its own right with rapid verse lyrics and sustained chorus. The album concludes with “40”, which was written and recorded right at the end of the sessions, allegedly in less than an hour. With Clayton having already left the studio, The Edge plays both the electric and bass guitar, while Bono based the lyrics on Psalm 40 from the Bible.

U2 toured relentlessly in support of War, starting in December 1982 (prior to the album’s release) through most of 1983. The tour spawned a concert film Live at Red Rocks and an accompanying EP, Under a Blood Red Sky, which further increased the band’s exposure and live appeal.

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Part of Classic Rock Review’s celebration of 1983 albums.

Buy Achtung Baby

“The sound of four men chopping down The Joshua Tree.” This is how lead singer and lyricist Bono described the radical new approach that the established and successful band U2 took when putting together their 1991 album Achtung Baby. The album was produced following the group’s first extended break from touring and recording and it marked a distinct milestone in the evolution of U2’s sound.

This was the first full studio album since the blockbuster The Joshua Tree in 1987 and Bono felt that they were creatively unprepared for the phenomenal success of The Joshua Tree, which resulted in the critically panned soundtrack album Rattle and Hum in 1988. In October 1990, the group headed to Berlin to start work on this new album. On the eve of German reunification the band felt that recording there would be uplifting and inspiring. Instead, they found the vibe to be depressing (the studio was located in a former SS ballroom). Further, there was division growing within the band itself over the musical direction. Bono and lead guitarist The Edge were becoming influenced by recent fads such as the Madchester scene in England and the industrial rock movement in America. However, these dance-oriented beats and rhythms did not sit well with bassist Adam Clayton and drummer Larry Mullen, who felt their roles were being diminished within the band. The fact that Bono and The Edge were also writing the material in more isolation did not help matters.

The band was actually close to breaking up in Germany as ideas stagnated and disagreements escalated. But they were all brought back together by the nearly totally improvised “One”, where each member contributed on the spot to this excellent new composition. The band returned home to Dublin for Christmas 1990 where they all recommitted to a future with U2. The bulk of the rest of the album would be recorded in Dublin starting in February 1991.

Achtung Baby by U2
Released: November 19, 1991 (Island) Produced by: Daniel Lanois & Brian Eno Recorded: Hansa Ton Studios, Berlin, STS & Windmill Lane Studios, Dublin, October 1990 – September 1991
Track Listing	Band Musicians
Zoo Station Even Better Than the Real Thing One Until the End of the World Who’s Gonna Ride Your Wild Horses? So Cruel The Fly Mysterious Ways Tryin’ To Throw Your Arms Around the World Ultraviolet (Light My Way) Acrobat Love Is Blindness	Bono – Lead Vocals, Guitar The Edge – Guitar, Keyboards, Vocals Adam Clayton – Bass Larry Mullin, Jr. – Drums & Percussion

The album’s title, “Achtung Baby”, is German for “Attention, baby!” or “Watch out, baby!”, and it was adopted by sound engineer Joe O’Herlihy during recording in the early Berlin sessions. Later in the process, the band decided on this as the title over more “serious sounding” titles that they were considering. The album was co-produced by Daniel Lanois, who was hands-on from start to finish and Brian Eno, who would work on the project intensely for several days straight and then take three or four weeks off in order to be able to come back and listen with “fresh ears”.

Upon listening to the album, the first thing you’re struck by is the sound – steady, almost techno beats, processed vocals, and very judicious use of the band’s previous biggest asset, The Edge’s signature riffs. For this album, the inventive guitarist used many different techniques and processing, most with stellar success, some with less.

Some of the most inventive guitars appear on the songs “Zoo Station”, “Love Is Blindness”, and the first hit from the album “Mysterious Ways”, which introduced the pop world to the “new U2”. Other songs used various inovative techniques as well. “Even Better Than the Real Thing” starts with wild synths and then uses doubled up, octave vocals. “So Cruel” uses a simple piano riff with a modern dance beat. “The Fly” experiments with alternate personalities of Bono, each portrayed by distinctive vocals built by cadence and effect. While the music fluctuates between alternative and R&B. “Who’s Gonna Ride Your Wild Horses” starts as a piece of doomy, space age, psychedelia then morphs into a decent pop song that really hits a sweet note during the bridge with the high-pitched Bono vocals.

Other song highlights include the cleaver and inventive “Until the End of the World”, which portrays an imagined conversation between Jesus Christ and his betrayer, Judas Iscariot, while moving towards the traditional U2 sound musically. “Tryin’ to Throw Your Arms Around the World” contains a calm R&B beat with just enough musical decor to make it really moody under the somber vocals.

The true great from this album, on a level with anything U2 has done before or since is “One” . This is a gem that really deviates from much of the rest of the album. It starts with a traditionally strummed acoustic guitar coupled with a nice, overdubbed electric riff and then kicks in with perfect rhythm accompaniment. Calm vocals become more agitated as the verses proceed until we reach a climatic banshee scream at the close. Further, this is the song that really saved the album and possibly the band. As The Edge recalls;

“At the instant we were recording it, I got a very strong sense of its power. We were all playing together in the big recording room, a huge, eerie ballroom full of ghosts of the war, and everything fell into place. It was a reassuring moment, when everyone finally went, ‘oh great, this album has started.’ It’s the reason you’re in a band…”

As the release date drew near, rumors of U2’s new direction leaked out and certain critics and members of the press began to preemptively trash the new album on hearsay alone. On the eve of Achtung Baby’s release in November 1991, U2 was more unsure and less confident than they had been for any previous work. However, once the actual music was heard, the reception nearly all positive by critics and fans alike, with Achtung Baby topping most “album of the year” polls and winning a Grammy.

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Part of Classic Rock Review’s celebration of 1991 albums.