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News and Rumors / Re: Jacknife Lee in the studio with The Edge
« Last post by ian ryan on March 26, 2017, 11:51:57 PM »
Where The Streets Have No Name is so polished that it was nearly erased by the producer in a fit of frustration due to all the effort and reworking it was getting. If the story about Eno almost pressing the delete button is correct, Streets is literally polished to within an inch of its life. Achtung Baby needed three years of polishing and almost broke up the band due to how much polishing and revising the music was getting. U2 has always polished the hell out of their songs. I've never fully bought the "it's too polished" argument, because almost every U2 song besides 40 can be described as too polished. The amount of polishing that U2 has always done is what has driven their producers to madness and drink.
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The Band / Re: Bono's Sexiest Vocal Performance
« Last post by mofospacejunk on March 26, 2017, 11:09:25 PM »
Sleep like a Baby tonight.

Granted, his voice has dropped off considerably since the peak days of the 90s. But that's about as modern-day sexy as you can get.
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Tours / Re: Zoo TV Tour help!
« Last post by Johnny Feathers on March 26, 2017, 10:27:02 PM »
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Just watched it and he does indeed introduce himself as Rex Fox for Zoo News

I thought he gave a different name in each segment. Maybe not.


Sent from my iPad using Tapatalk
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1. Pop Muzik
2. Discotheque
3. No Line On The Horizon
4. Zooropa
5. Bullet The Blue Sky
6. Stay
7. If God Will Send His Angels
8. Miami
9. Please
10. Where The Streets Have No Name (In Popmart style, please!)

I bet you can all tell my favorite era of U2.

HTDAAB?
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General Music Discussion / Re: Concerts of 2017
« Last post by So Cruel on March 26, 2017, 09:32:08 PM »
Was in Vegas for 4 days so wife and I wanted to see a few shows. Saw Zoomanity (an R-rated Cirque show) one night and the next night saw Rod Stewart at Ceasers Palace.

Old Rod isn't our favourite artist, and I was hoping Elton John would have been doing his residency at Ceasers, but Rod is there this month so we decided to go. Ends up it was a good choice to do so. He's a good performer and still has a decent voice. The show was solid, we knew all the songs, and his band was great. He can still boot a soccer ball to the back of the hall. Not bad for a guy over 70.
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The Music / Re: Please
« Last post by Chip on March 26, 2017, 09:27:35 PM »
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Love is big, and love is tough. But love is not what you're thinking of.

A verse that will stick with me as long as I live. A heartbreaking and painful line.

The live versions on Popmart delivers a punch that stuns the crowd for a bit, that's healed by Streets. Does anyone know why in the climax of the song Bono would wail and cry out and move all over? It's a raw emotional moment, I'm just wondering if there's anything behind it.

I agree regarding the line you picked. It's one of the most devastating lines Bono (most likely, although Edge got songwriting credit as well) has written.

I think that the emotionalism Bono displayed was just a way to signal to the crowd that this song coneys serious pain. Sadly, the crowd around me at DC Popmart was not enamored with this song in the least; they weren't feeling the intensity of it. Rather, they were bored and talking during it. When Larry played the intro to SBS near the end (as he did during the early part of the tour), then a few people got excited, thinking the band was going to launch into SBS. They didn't understand that the whole point of that SBS insertion was for Bono to stop it with another emotional "please"; the message being conveyed was that this was not a time to engage "The real battle yet begun/To claim the victory Jesus won," but rather a time to "Get up off your knees now." So "Please" put few of us in DC through an emotional wringer, from what I could tell, but "Streets" naturally got everyone's attention back on the stage. This is just a long way of saying that you're right about the band's intent behind pairing "Please" and "Streets," but American audiences weren't necessarily feeling it (just as they didn't love the album).
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General Music Discussion / Re: the 5 songs rocking your world right now
« Last post by WookieeWarrior10 on March 26, 2017, 09:26:24 PM »
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Nae Slappin Paul Rose
See, it won't matter if this guy wins or not. He's still getting people to listen to the song.
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News and Rumors / Re: Jacknife Lee in the studio with The Edge
« Last post by So Cruel on March 26, 2017, 09:19:37 PM »
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Ryan Tedder helped produce The Miracle, Every Breaking Wave, Song For Someone, and Iris. I'm not sure what the problem is with his production on U2. Iris and Every Breaking Wave are my two favorite tracks on the album.

Song for Someone is in my mind the worst song U2 have ever released. Sounds like Michael Bolton meets Coldplay. The Miracle is weak. A decent riff by the Edge but a completely lack-lustre U2 song which lost all its punch. Iris is pretty unmemorable. Would never have found a place on a stronger album. Every Breaking Wave is a good song but is way to polished.

I hope Ryan Tedder is kept far away from SOE.
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News and Rumors / Re: U2 Record Store Day Release
« Last post by This Dave on March 26, 2017, 09:17:23 PM »
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Why are we discussing whether or not he can still sing the high notes on this song when you can clearly hear him shouting "Hanging on" at the very end of the clip?

Because studio magic does not necessarily mean live magic.
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News and Rumors / Re: Jacknife Lee in the studio with The Edge
« Last post by Chip on March 26, 2017, 09:06:03 PM »
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Ryan Tedder helped produce The Miracle, Every Breaking Wave, Song For Someone, and Iris. I'm not sure what the problem is with his production on U2. Iris and Every Breaking Wave are my two favorite tracks on the album.

My two cents on EBW would be that when stripped down and performed live it is clear what a heartbreaking and melancholy track it is ("Like every broken wave on the shore, this is as far as I can reach."). But on the album it is a pop song, all rainbows and unicorns.

The production betrays the tune beneath it, is what I'm saying. Played live it sounds like U2. On the album it sounds like U2 being Coldplay.

I think that's a fair criticism, as are the views of an tha and others with a similar opinion. Yet I still think the melancholy comes through strongly enough on the studio version, and while I love stripped-down EBW, I actually love the studio version as much or more. I really think that the band's best chance of a hit single for SOI was releasing the studio EBW. I wouldn't call it a guaranteed hit, but it had the best shot, and it should have been the first single. I also would have liked to see them play something approximating the studio version live and see how the crowd reacted; I think it would have been received favorably.

Having said that, EBW live was powerful and an excellent choice for an "October" predecessor (as in the Paris video). I also would be interested in hearing what EBW from the Danger Mouse sessions sounded like.
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