Author Topic: 1 month into of Songs Of Innocence, what has happened to the album for you?  (Read 7654 times)

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Offline mdmomof7

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Initially, it was the back half of the album that I was really digging.

Now, California and The Miracle have had a resurgence of sorts. Towards the top of my list for this album

Boy, is Songs Of Innocence is awesome or what? Lots of staying power with this record.

This is my current take too. These songs are incredible and as we hear them played live they grow and grow just like they did on the album!

How FANtastic is this? Too much, really!!

i see from your avatar that they are the latest cover boys for Rolling Stone!  8)

Yes they are! I'm hoping to find it in the store today or tomorrow. Nice pic. Huh?! :)

Offline Albono

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Initially, it was the back half of the album that I was really digging.

Now, California and The Miracle have had a resurgence of sorts. Towards the top of my list for this album

Boy, is Songs Of Innocence is awesome or what? Lots of staying power with this record.

This is my current take too. These songs are incredible and as we hear them played live they grow and grow just like they did on the album!

How FANtastic is this? Too much, really!!

i see from your avatar that they are the latest cover boys for Rolling Stone!  8)

Yes they are! I'm hoping to find it in the store today or tomorrow. Nice pic. Huh?! :)

Very nice indeed! :-)

Offline Candysroom

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I love Miracle in either version and all the non-acoustic sessions tracks from disc 2. Can't get the alternate SLABT out of my head at all today.

Offline DB

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After one month, I'm tired of it. I think it's Bono's voice. It's a good voice-it's just that I'm sick of it on EVERY song. I have Sirius XM and I have the luxury of a different voice on every song. I'd rather listen to The Spectrum.

Offline Midnight is Where the Day Begins

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Initially, it was the back half of the album that I was really digging.

Now, California and The Miracle have had a resurgence of sorts. Towards the top of my list for this album

Boy, is Songs Of Innocence is awesome or what? Lots of staying power with this record.

Agreed, and surprisingly that's exactly what happened with me.

It's strange really, overall I feel like I listened to songs on NLOTH more at this point, yet with SOI I think I listened to it as a full album more, but the songs less. But I'm still finding things in SOI, which is awesome.  :)

Offline jdoyle

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I have struggled with this album, yet still listening. The various performances on TV shows have given me new insight into the songs, as well as the deluxe version with the acoustic alternatives. I think the production is letting these songs down. It's dull, uninteresting and does not showcases these songs. They should have either produced an unplugged album or one with all the sonic layers and textures that we expect. ( I would prefer this) What we get is something in between which is very boring. There are great songs here. Here is my current feelings. Try me again in another month.

The Miracle: Don't like it. Bland melody and seems written with giant stadiums in mind.
Every Breaking Wave: I like the live performances. Production is weak. Good song in there. Piano is very Adele ( on the unplugged version)
California: Yeah like. Seems bright and fresh. Play loud.
Song For Someone: Bit soppy. I liked the performance on Graham Norton. Bit Maroon 5 on the album. Nice but not amazing.
Iris: One of my favourites. Brooding and emotional.
Volcano: Probably my favourite. I dont know why people rate this low. This has serious balls and cool factor. Wish the rest of the album was a ballsy as this.
Raised By Wolves: This is powerful. Like it alot. More ballsy like "Volcano"
Cedarwood Road: Sort of Meh. Ok
SLABT: Really like this. Great song.
TIYCRM: Not great. One of the weakest songs.
The Troubles: Dont like the female vocal refrain. The Version on the deluxe edition is much better. Great melody. One that should be stripped back.

BTW I Love Lucifier's Hands ( Classic B-Side) and The Crystal Ballroom. "Crystal" should be a single.

It is amazing what people think of these songs. All very different opinions.

Offline soloyan

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After a month, I think this is U2's most addictive record. I still have to go back to it on a daily basis. I don't think it has happened to me before, and I'm 40... I'm blown away by this.

Edgedisciple

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After the first traumatizing listenings I gave up on it for a week. I hated it. Usually with music the situation doesn't change much for me when the first impact it's not so good, but when I picked it up again unexpectedly four or five songs have grown on me. However, the only ones I really love are Iris and The Troubles. Others that I really like are The Miracle (the live version is way better without that awful fuzzy guitar tone), EBW and Song for Someone. I still don't consider it a great record by any means: apart from my negative opinions about the musical direction and Edge's playing that I won't repeat again, I have to say that the mixing is really awful: Bono and those cheesy synthetizers in front and the band buried beneath them. I don't hate it anymore, I consider it an ok record, but for me it's still one of the worst they've ever done.
« Last Edit: October 23, 2014, 05:05:13 AM by Edgedisciple »

Offline U2alwaysforever

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So edge disciple, did you like the acoustic sessions?

Edgedisciple

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So edge disciple, did you like the acoustic sessions?
I'm not a big fan of stripped down acoustic versions of any artist generally. I liked them but I prefer the full band versions a thousand times.

Offline PopMofo97

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I'm totally obsessed with this album. I can not get him out of the player. :)

Offline dougie

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I find myself singing little snippets and become surprised I am singing 'that' song. They all have touched my soul at sometime since the Apple release. Falling in love with the lyrics, new sounds from Edge and Bono's voice. EBW is great accoustic from the CD release. I am not crazy for The Troubles alternate version- like the women's chorus and  the lyrics more in the original.

The more I listen to the album, the more I want to go see them live. Darn, their plan for world domination is working! At least in my little world.

PookaMacP

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I don't get U2 tagged as dad-rock. That's kind of lazy and narrow-minded.

And really, if we must do this, they're mom-rock. I don't imagine they'd have patience for macho crap.

I agree that the 'Dad Rock' tag can be used in a way that is lazy and narrow-minded, and that it can be a substitute for 'macho crap' in conversation but I don't agree that it is true in this case. My comment that Volcano, Cedarwood, etc, sound 'dad rock' is to make that term quite derogatory, and comes from the feeling that I get from those songs of 50-something-year-old men posturing in a way that ill befits their own intelligence. In essence, I think we agree: it's when they allow their more mature and sensitive side to show on this album that the songs have more emotion and more depth.

And before anyone accuses me of being ageist, I'm not saying that they should necessarily act their age and become all MOR the innovative sounds on Raised By Wolves or The Troubles or Sleep Like A Baby or, indeed, This Is Where, could have been written by a band of any age, but it's their reflectiveness and their lyrical depth (both born of years of experience) that make them pack such a punch.

I'm sorry but I really don't perceive Volcano, Cedarwood etc to be down in the same ditch with dumb beasts like Elevation or Love & Peace, let alone the Pro-Tools-Frankenstein-monsters of Vertigo & Boots. There's nothing wrong with riff-rocking out over 50 either, and while there's posturing in both these tunes, it's there for a reason: frightened boys do that, which is one of the album's themes.

The lyrics aren't dumb, the themes are clear and the relatively acrobatic Volcano chorus melody in particular is something we haven't heard. If anything I identify Cedarwood with glammier stuff like HMTMKMKM. It struts and poses musically, sure, but the boyish observations in the lyrics are a nice counterpoint--just as any posturing 12-year-old would tell you if they realized their own silliness.

"Dad-rock" would be pure posturing, with nothing behind it, like some of the worse latter-day Stones stuff. That's so obviously not the case here which is why I used the word "lazy." In my mind, Vertigo and Boots and Elevation etc have that emptiness in bucket loads, but that's probably my own hangup and always has been. It won't stop the band from playing them live.

Furthermore, self-conscious maturity for its own sake is death in rock & roll. There's no bigger killjoy than some serious old bore up onstage stubbornly keeping himself above all the goofy contradictions inherent to his position.

So yes, while we do agree that our guys can be facepalm-dumb at times, I really don't see how that's the case with Volcano & Cedarwood. I also take Jeff Tweedy's attitude here: "well yeah, I'm a dad, and I still like to rock! What on earth is wrong with that?"

I think our conversation has hit on one of the most interesting things about Songs of Innocence: the diverse reactions that it has generated. It's such a genre-spanning record that it has something for everyone to like and dislike.

Our disagreement here is primarily over taste. There's nothing wrong with people rocking out after 50 at all, but the kind of rocking out that I hear on here is not my cup of tea at any age (and reminds me of the kind of primary colours posturing that I'm not fond of). The funny thing is that I'm ok with Elevation and Vertigo (we'll agree on Love and Peace - dreadful), but not overly keen on some of the directness of their early records. I came to U2 through Pop and I think that very much shapes how I hear their music (ie I like their dense, layered, synth-heavy stuff the most). Personal taste is the long and the short of it.

Which brings me to the other point. I agree that self-conscious maturity for its own sake can be a nightmare, but it's the more reflective stuff that speaks to me on here. And that stuff, I think, comes from a place that can only be reached from a place of mature reflection. As you say yourself, there is a looking back reflexivity here that shines through the whole record and makes it lyrically quite strong overall (bar what I see as several strange hiccups that I don't think we'd agree on if I named them!)

As for Jeff Tweedy, great quote and I very much admire his approach to touring with his son, though the last time I saw Wilco they did so much noodling, extended soloing, and breaking a song apart, that it bored me to tears and made my ears hurt (literally, for two days!) There's probably something in there that speaks to the different way that we're approaching the record.

The upshot: diversity is the spice of life, etc, and U2 have done one hell of a job to make a record that we can all relate to on all of these different levels.

Offline rhmn

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Overall an albun that a month in is still growing on me, an albun that as a fan I am proud of and an album that the ban should be very proud of - an album that distills beautifully what U2 were, what they are and an album that points positively to where they are going next.... Bravo, gents... Bravo

This review closely mirrors my own thoughts with the exception of TIWYCRMN. I love that song without reservation. Adding it near the end of the album, along with The Troubles, is sheer genius because it just makes me to want to start over again from the start.

My opinion is exact replica  of yours. The Best album since  POP.

howyousawtheworld

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I think Songs of Innocence is as strong an effort U2 have produced since Zooropa (a shockingly overlooked piece of excellence in my opinion!)  I've relished this album over and over again. Absent from the lyrics are the preening bizarreness which has infiltrated U2s last few albums and in their place lyrics of observation, reflectiveness and memory. The first half of the album I have found to be infectiously catchy many of which have been shown in their most pure and beautiful form with astounding performances on tv such as Jools Holland and Graham Norton's shows . The lyrical force Bono has displayed has really hit home on this album. But like many on here, it's the second half of the album which really cements it for me ESPECIALLY the last three songs which is as good a conclusion to an album U2 have ever done.