Author Topic: 5 star review  (Read 10824 times)

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joegtheog

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Re: 5 star review
« Reply #60 on: February 16, 2009, 05:38:18 PM »
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yes but Q has always loved U2 so NME is a harder reviewer to get a good word out of

right, so that makes Kerrangs review even more important does it? Its a pretty general, sweeping statement really, but if the nme review is more important to you then fair enough, I think that seeing as Q have only given 5 stars to JT & AB before its a pretty good reason to be a bit more excited, I predict an 8 from nme, & 4 stars in Mojo - what d'ya reckon?

How about Rolling Stone? I was floored when they gave Bruce's record 5 stars, simply because I didn't think it warranted it (Queen of the Supermarket is a dreadful song, as just one example).  So on some sort of logic, if they give 5 starts to NLOTH, what does it all mean?  i think we can drive ourselves crazy thinking about it. Bring on the album!!!

Offline Bads316

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Re: 5 star review
« Reply #61 on: February 16, 2009, 05:42:48 PM »
yeah but One didnt get lavish praise for a good while, the one thing a classic needs to become a classic is time, and I mean years.

Offline silkenskies

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Re: 5 star review
« Reply #62 on: February 16, 2009, 05:43:15 PM »
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yes but Q has always loved U2 so NME is a harder reviewer to get a good word out of

right, so that makes Kerrangs review even more important does it? Its a pretty general, sweeping statement really, but if the nme review is more important to you then fair enough, I think that seeing as Q have only given 5 stars to JT & AB before its a pretty good reason to be a bit more excited, I predict an 8 from nme, & 4 stars in Mojo - what d'ya reckon?

How about Rolling Stone? I was floored when they gave Bruce's record 5 stars, simply because I didn't think it warranted it (Queen of the Supermarket is a dreadful song, as just one example).  So on some sort of logic, if they give 5 starts to NLOTH, what does it all mean?  i think we can drive ourselves crazy thinking about it. Bring on the album!!!

Bruce could make an album of Milli Vanilli covers and RS would give it five stars. Same with the White Stripes.
Although I do love RS  ;D I reckon it will give NLOTH 4-4.5 stars

Offline silkenskies

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Re: 5 star review
« Reply #63 on: February 16, 2009, 05:46:20 PM »
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I want someone to accurately tell me in their review if Magnificent and Moment of Surrender are classics or wantabees.

Because that is the crutch of the issue.

There seems to be two camps for reviewers:-

1)   think the back end of NLOTH is far superior to the start.
2)   Think that M and MOS are up with One, Streets etc.

Which is correct?


I'd be worried if there was a consensus about the album among the reviewers; which half is better, Magnificent and MOS are awesome/suck, etc.

That's the great thing about their records, your least favorite stretch of songs is someone else's favorite.

Offline Bads316

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Re: 5 star review
« Reply #64 on: February 16, 2009, 05:46:59 PM »
problem is - giving Bruce 5 stars you paint yourself into a corner because it then has to equal his best work to justify it, which it didnt!

shockdocta22

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Re: 5 star review
« Reply #65 on: February 16, 2009, 05:50:02 PM »
his Working on a Dream was not that good so that makes the problem worse

Offline Bads316

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Re: 5 star review
« Reply #66 on: February 16, 2009, 05:53:26 PM »
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his Working on a Dream was not that good so that makes the problem worse

hey it was made on the road & is a nice rowdy closing chapter to what he started with the rising - nothing special, he had an itch & scratched it.

Offline Bono in Bonolands

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Re: 5 star review
« Reply #67 on: February 16, 2009, 06:00:45 PM »
It is hard to read what other people think as usually if some tells me they don’t like something, I low ball my expectations and generally like it. But when people flaunt something and say how wonderful it is, I usually am disappointed. So I am trying to think very neutral about NLOTH.

shockdocta22

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Re: 5 star review
« Reply #68 on: February 16, 2009, 06:02:33 PM »
must be hard

Revolver7

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Re: 5 star review
« Reply #69 on: February 16, 2009, 07:52:15 PM »
Zooropa, Pop, All That You Can't Leave Behind, and Bomb all got 4 stars from Rolling Stone...I don't think No Line on the Horizon will get less than that...

Hopefully, if it really is a masterpiece, it'll get 4.5 or 5 stars

Offline Bono in Bonolands

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Re: 5 star review
« Reply #70 on: February 16, 2009, 08:07:09 PM »
Rolling Stone love U2. All the way back to the start as per the attached article. Even when u2 weren’t commercially successful in the United States, Rolling Stone consistently rated them band of the year just on their live performances alone. So Rolling Stone deserve a lot of kudos for plugging U2 when it wasn’t fashionable to do so.

Interesting words from Bono at the end which ring even louder now some 28 years later.

"It is my ambition to travel to America and give it what I consider it wants and needs."

AMAZING!

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U2: Here Comes the "Next Big Thing"
Future looks bright for Irish rockers
JAMES HENKEPosted Feb 19, 1981


Here I am, an American writer, dining with an Irish band in a Greek restaurant in the heart of England. Strange? Well, so is the scene that's unfolding in front of me. A few feet away, two musicians are seated on a platform. One is playing bouzouki, a stringed instrument similar to a mandolin, while the other, a heavy-set fellow in black suit and dark glasses who looks remarkably like the Godfather, is hammering away at a small electric keyboard with built-in rhythm machine. In front of them, approving patrons toss plate after ceramic plate to the floor, where they shatter at the feet of U2's Bono Vox, who is demonstrating that a rock singer from Ireland can be quite a lively dancer.
Though this seems like some sort of international celebration, it's only another preshow dinner for U2. The band, which has been touring Britain nonstop since the release of its debut album, Boy, in mid-October, has garnered more than the usual amount of attention -- thanks in part to an overzealous English music press. Since early last year, the media have been touting U2 -- vocalist Vox, drummer Larry Mullen, guitarist "the Edge" and bassist Adam Clayton -- as the Next Big Thing. If all the publicity weren't enough, Island Records President Chris Blackwell proclaimed the group the label's most important signing since King Crimson.

In concert, the loquacious Vox tries to play down all the hype -- he regularly tells audiences to "forget all that stuff you may have read and make up your own minds" -- but privately he concurs with the press. "I don't mean to sound arrogant," he tells me after the dancing has died down, "but even at this stage, I do feel that we are meant to be one of the great groups. There's a certain spark, a certain chemistry, that was special about the Stones, the Who and the Beatles, and I think it's also special about U2."

A mighty boast, to be sure. But Boy, scheduled for a late-January U.S. release, does indicate that U2 is a band to be reckoned with. Their highly original sound can perhaps be best described as pop music with brains. It's accessible and melodic, combining the dreamy, atmospheric qualities of a band like Television, with a hard-rock edge not unlike the Who's. In particular, Edge's guitar playing and Bono's singing stand out; the lyrical guitar lines slice through every song, while the vocals are rugged, urgent and heartfelt.

The title Boy is appropriate and significant: not only are the band members young -- Bono and Adam are twenty, Larry and Edge nineteen -- but the bulk of their songs deal with the dreams and frustrations of childhood. "We're playing to an audience in Britain that ranges in age from seventeen to twenty-five," Bono explains. "There is massive unemployment, and there is real disillusionment. U2's music is about getting up and doing something about it."

But wasn't that also the aim of punk? "The idea of punk at first was, 'Look, you're an individual, express yourself how you want, do what you want to do,'" Bono says. "But that's not the way it came out in the end. The Sex Pistols were a con, a box of tricks sold by Malcolm McLaren. Kids were sold the imagery of violence, which turned into the reality of violence, and it's that negative side that I worry about. People like Bruce Springsteen carry hope. Like the Who -- 'Won't Get Fooled Again.' I mean, there is a song of endurance, and that's the attitude of great bands. We want our audience to think about their actions and where they are going, to realize the pressures that are on them, but at the same time, not to give up."

Part of U2's attitude comes from the fact that they are, as Bono puts it, "appreciative of our background." The group formed in 1978 at an experimental school in Dublin. "It was multidenominational," he explains, "which, in terms of Dublin and Ireland, is quite unique. It was also coeducational, which was unusual too. We were given freedom, and when you're given freedom, you don't rebel by getting drunk."

That message comes across again when the group headlines a show at London's Marquee club a few days later. After a rousing forty-five minute set, the band returns to the stage for an encore. But before launching into another song, Bono makes a short speech about the little boy pictured on the British version of U2's LP. "Some people have been asking about the boy on the cover of the album," he says. "Well, he happens to be a kid who lives across the street from me. We put him on the cover 'cause he's a pretty smart kid. And sometimes I wonder what his future will be like -- and I wonder about ours."

At this point, U2's future looks bright. The band has managed to deal level-headedly with its sudden popularity in the U.K. In addition, they've shunned traditional rock and roll pitfalls as booze and drugs. Finally, the band is willing to work. A three-month U.S. trek will begin in March, and Bono is, as usual, confident about the band's chances in the States. "Right now, the word is 'go!' for U2," he says. "It is my ambition to travel to America and give it what I consider it wants and needs."

[From Issue 337 — February 19, 1981]

joegtheog

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Re: 5 star review
« Reply #71 on: February 16, 2009, 08:10:21 PM »
I love the Rolling Stone Files book I have that collected all their articles about U2.  They did lay into them a little (along with everyone else) for Rattle and Hum, however. This article below is beyond prescient. And I love how he is referred to as "Bono Vox".

Offline jjcruiser

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Re: 5 star review
« Reply #72 on: February 16, 2009, 08:26:37 PM »
Great find and post.  Funny to read in retrospect.

Offline Bono in Bonolands

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Re: 5 star review
« Reply #73 on: February 16, 2009, 09:02:13 PM »
Interestingly Rolling Stone cheated with Rattle and Hum. They originally gave it 3 and a half stars but later revised the review to give it 4 stars.

Just going to show how stupid the review process is. I mean, how can you really assess an album on your first listen??? Time changes your ambivalence to things and you find yourself to paraphrase Bono – “In the Sound!”

Interestingly the reviewer mentions only very, very, fleetingly the songs, Desire and All I Want Is You. The two absolute classic tracks off the Album. Proving my point.

“The album ably demonstrates U2's force but devotes too little attention to the band's vision.”

The boys had a vision alright!!!


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Rattle and Hum is an expression of U2's urge to have it both ways. A sprawling double album that incorporates live tracks, cover versions, collaborations, snippets of other people's music and a passage from a taped interview, the record is an obvious effort to clear the conceptual decks and lower expectations following the multiplatinum success of The Joshua Tree.
But ambition has always been U2's gift and curse, and the band clearly doesn't feel fully comfortable with its sights lowered. Consequently, if amid the rather studied chaos here, you feel moved to draw comparisons with masterpieces of excess like the Beatles' White Album or the Rolling Stones' Exile on Main Street, you can be sure that Bono, the Edge, Adam Clayton and Larry Mullen Jr. won't mind a bit.
This record doesn't quite ascend to those heights, but U2 does win half the prize. In its inclusiveness and rollicking energy, Rattle and Hum caps the story of U2's rise from Dublin obscurity to international superstardom on a raucous, celebratory note. At the same time, it closes off none of the options the band might want to pursue for its next big move – and, possibly, the album even opens a few doors.
Despite Bono's insistence in the blistering "God Part II" that "I don't believe in the 60's in the golden age of pop/You glorify the past when the future dries up," Rattle and Hum is in large part a paean to the tradition of Sixties artists that U2 reveres. "God Part II" itself is Bono's personal extension of "God," the dramatic track on Plastic Ono Band in which John Lennon shed the Sixties, his identity as a Beatle and all the idols he had worshiped. Bono's update includes a pointed attack on Albert Goldman, whose book The Lives of John Lennon paints a bitter, unflattering portrait of the ex-Beatle: "I don't believe in Goldman his type like a curse/Instant karma's gonna get him if I don't get him first."
Rattle and Hum evokes the Beatles right off the bat when it opens with a corrosive live version of "Helter Skelter," a song that originally appeared on the White Album. "This song Charles Manson stole from the Beatles; we're stealin' it back," Bono announces portentously before U2 tears into the tune.
Bob Dylan sings on one track (the meandering ballad "Love Rescue Me," which Dylan also co-wrote) and plays organ on another ("Hawkmoon 269"). He is further acknowledged when U2 ignites a live rendition of "All Along the Watchtower." Jimi Hendrix, the third member of U2's Sixties trinity, is resurrected when the version of "The Star-Spangled Banner" he performed at Woodstock introduces U2's searing live take on "Bullet the Blue Sky."
U2 certainly holds its own while flirting with the greats, but Rattle and Hum is most enjoyable when the band relaxes and allows itself to stretch without self-consciously reaching for the stars. The New Voices of Freedom choir joins the band onstage in New York for an electrifying gospel-style rendition of "I Still Haven't Found What I'm Looking For" that finds new depths in a song that was gripping the first time around.
Guitarist B.B. King teams up with U2 at Sun Studio, in Memphis, and together they tear up "When Love Comes to Town," a rousing blues rocker about the redemptive power of love. While in Memphis, U2 also brought in the Memphis Horns to help out with a soulful tribute to Billie Holiday titled "Angel of Harlem."
U2 flexes its rock & roll muscle on the Bo Diddley-inspired single "Desire," the fierce "Hawkmoon 269" and a raucous live rendition of the anti-apartheid "Silver and Gold," which first appeared in a studio version on the Sun City protest album organized by Little Steven Van Zandt. A tough live performance of "Pride (In the Name of Love)," U2's anthem in honor of Martin Luther King Jr., captures the group's onstage might at its inspirational peak.
But the quieter songs on Rattle and Hum provide the record with introspective moments made all the more effective by the generally boisterous context of the album. The Edge turns in a fine lead vocal and accompanies himself on electric guitar and keyboards on the hymnlike "Van Diemen's Land," about an Irish nationalist poet who was exiled to Australia. "Heartland," on which Brian Eno plays keyboards, summons up a dreamscape reminiscent of the drifting, poetic songs on The Unforgettable Fire. And Rattle and Hum eases to a close with the ballad "All I Want Is You," a stirring statement of unsatisfied desire that features an eloquent string arrangement by Van Dyke Parks.
As its title suggests, Rattle and Hum is meant to be dynamic, rather than strictly coherent. It's intended to dramatize U2 in motion and transition and to exult in the barrage of influences the band had just begun to admit on The Joshua Tree. Recorded almost entirely in the United States, the album also carries forward U2's near obsession with the brave new world of America.
But for all its excitement, Rattle and Hum seems a tad calculated in its supposed spontaneity. The album is, after all, a soundtrack. Rather than a documentary, it's merely a document of events that often were staged and arranged for the express purpose of being filmed and recorded. The album ably demonstrates U2's force but devotes too little attention to the band's vision.
That vision, of course, has evolved impressively over the years – beginning with the dark adolescent wonder of Boy and moving through the mystical enclosure of October, the fury and poignance of War, the surreal imagery of The Unforgettable Fire and the resonant expansiveness of The Joshua Tree. Rattle and Hum is the sound of four men who still haven't found what they're looking for – and whose restlessness assures that they will be looking further still.

Anthony DeCurtis (posted Nov 17, 1988)


Offline TheFlyingLemon

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Re: 5 star review
« Reply #74 on: February 17, 2009, 01:42:31 AM »
If its getting 5 stars then thats great.  :)