THE UNFORGETTABLE FIRE (U2, 1984)
Artist: U2 (C+)
Recording Dates: May 7 – Aug 5 1884
Release Date: October 1st, 1984. IRL
Record Label: Island
Producer: Brian Eno, Daniel Lanois
Rating: 8
Era: New Wave (1976-???)
Subgenre: New Wave (1976-1990)
Best Song: Bad
Tracklist: 1) A Sort Of Homecoming; 2) Pride (In the Name of Love); 3) Wire; 4) The Unforgettable Fire; 5) Promenade; 6) 4th Of July; 7) Bad; 8) Indian Summer Sky; 9) Elvis Presley And America; 10) MLK.
With War, U2 realized they could become a major band, a truly massive act, which is exactly what they became in the 1980s. Through the fierce gaze of the boy on the album cover, they finally broke the invisible barrier that the U.S. had imposed on Irish groups. They began selling records in stratospheric numbers, winning countless awards, and Bono was able to raise a white flag, a plea for peace, during their first large-scale stadium concerts in the United States. With War, U2 became the sensation of the moment; their rock was still direct, yet combative—even with the effects-laden guitar work of The Edge. At the same time, they realized that to become something truly monumental, they needed an even bigger sound.
The inevitable question, for both the band and their fans, following such a successful album (which, for many groups, would have been their peak, their definitive record) was: "What comes next?" The Irish band had already demonstrated an ability to evolve with every release, if not entirely reinvent themselves: from their raw, punk-influenced debut, to the spiritual turn taken on October, and finally to War, that small, fierce gem. They could no longer continue sounding like just another, albeit somewhat refined, post-punk group. They could no longer afford to stick with Steve Lilywhite’s production style, which lacked clarity and often left the rhythm section muddy, occasionally obscuring the guitar and vocals. If they wanted to keep growing, they had to take risks, leave their 1970's roots behind, and begin to define the sound that would come to characterize the rest of the 1980s.
That is what The Unforgettable Fire represents. The band parted ways with Steve Lilywhite, who, up to that point, had been the "fifth member" of U2 and the architect of their signature sound. (They would eventually return to him for No Line on the Horizon, when they needed to revisit their origins to avoid becoming stagnant.) In an interview from that period, just before they began recording this album, Bono remarked that, metaphorically speaking, U2 had dissolved and a new band had emerged. Consequently, they began searching through a long list of producers who could help them craft a fresh sound. One option was Rhett Davies, who had previously produced for Roxy Music. At the time, The Edge was deeply immersed in the ambient experimentation of Brian Eno. The band wondered: why seek out the man behind the genius when they could go straight to the genius himself? Eno had already played a pivotal role with Roxy Music, the sound of David Bowie’s "Berlin Trilogy", and Talking Heads—not to mention his own solo albums. Eno agreed to produce their next record, bringing along his go-to sound engineer, Daniel Lanois. Legend has it that during the very first session, the band played an early, embryonic version of "The Unforgettable Fire"; Eno walked out of the studio, claiming there was nothing he could do for them, and suggested Lanois take his place. Bono’s powers of persuasion eventually convinced him to return—on the condition that the band would follow his recommendations to achieve a softer, more "European" sound. Lanois’s involvement became so significant that he was credited as a co-producer; while Eno focused on the more unconventional material, Lanois took the lead on the more commercial tracks, such as "Pride".
The news of this producer left many stunned. Eno, a self-described "non-musician", employed unconventional techniques that were not to everyone’s taste. Known as the "father of ambient music", his style requires a very specific frame of mind to truly appreciate. The band recorded the album at Slane Castle, a setting that offered them the tranquility to work undisturbed and free from pressure, far removed from the media frenzy that had followed the release of *War*. The portable studio was set up in the castle’s medieval ballroom, a space with a high, domed ceiling designed to amplify sound, which contributes in part to the record’s massive resonance and its atmosphere, rich with echoes and reverb. The sessions were so relaxed that, according to legend, the band once recorded completely in the nude. This environment also helped them restore the sense of camaraderie that had begun to fray.
In a way, the U2-Eno pairing worked. That said, it isn’t as combative a record as War; in terms of the substance of the songs, I’d even consider it a slight step backward. At times, U2 seems to lose that fir e, that same intensity captured in the gaze of the band members on the cover of their previous album. But this is only fleeting; suddenly, they emerge with incendiary tracks like “Indian Summer Sky”, which could easily have fit onto their earlier records. On the other hand, the album contains at least two or three filler tracks, “4th of July", “Elvis Presley and America”, and “MLK”, where they attempt a more “ambient” sound, presumably to incorporate Eno’s influence, but it simply doesn’t work. I’m not sure how Eno’s own fans might view these tracks, but to me, they have a negative impact on the record.
However, U2 won in terms of form. Bono was at least right that if he hadn't risked a change, they would have been a typical 80's band. A good one, but there were good bands that stayed there and didn't even make it to the 90's. Brian Eno managed to give it his touch, limiting the rhythm section a little, adding more echo and freedom in effects to The Edge, shaking off that Punkish vestige that they still had, and inserting more echoes, synthesizers, vocal overdubs with “huuu’s” or “ehhhh’s” from Bono and The Edge. And textures, many textures. If in their first three albums the band was defined by emotions, from here on U2 is defined by the musical textures it is capable of making, and it seems that both bass, drums, and sometimes the voice, are subordinated to those sonic tapestries in charge of The Edge and his pedal box.
So, I don't think The Unforgettable Fire is the great album that everyone says it is. I like War better, but it's a personal question. It's not bad either, we must admit that it is a transitional album with some huge songs, but also with its blunders. What is undeniable is that without this change it would have been impossible for them to make a roll like “Bad”. Not only that, but it would have been impossible for them to finally assimilate the sound they were looking for to release Joshua, Achtung, Zooropa... that is, the albums considered Classics of the band, where they placed most of their anthems. Curiously, in all of them Eno would be in the production, and he would no longer appear in Pop with which the decline would begin. Coincidences?
The album opens with “A Sort Of Homecoming”, which from the first second, completely breaks with the band's previous sound with those quasi-African rhythms with which it starts and contrasts with the violent beat of “Bloody Sunday” from the previous album. Eno's hand and the change in sound are immediately visible. Gone is the noise, the abrasive guitars, the flashing drums and the separated bass lines. Instead of handling the instruments separately, all four (including the voice) work together to create dense atmospheres. The Edge's guitar serves as a backdrop, with lower volume and as a guide that gives unity to everything, and Clayton making a more linear bass, without being a pluck, but leaving creativity aside a little. The lyrics are somewhere between philosophical and spiritual, somewhat reminiscent of the October line, but based more on the poetry of Paul Celan. The melody is good, but a bit repetitive, and there is no clarity on when the chorus begins, or a bridge that sticks to you. At times it reaches intensity with Bono's record, but Eno's hand is noticeable in the sense that they are more focused on creating textures, which is not bad in itself, but rather that they use the same one for almost 5:30.
“Pride (In The Name of Love)” follows, the lead single from the album. We could say that it is the first hit with the band's classic sound, and at this point, where the fierce and political U2 and the textural influence of Eno come together in perfect balance, is where they sound best. The guitar resumes a leading role, although again creating a more solid backdrop, with a consistent and echo-filled guitar playing, with a synthesized and vibrant effect, but which gives intensity to the song, and which will become a hallmark of his. Then The Edge changes to a slow, reverb-laden arpeggio to resume that vibrant effect in the choruses, and make quick instrumental bridges, not exactly a solo. The melody is solid and catchy, particularly the choruses. Starostin is right that Bono is the only guy in the world who can shout “In the NAAAAAme OF LOOOooOOve” without looking like a complete idiot. Furthermore, he reaches the limit of his range in that tremendous scream. The lyrics, by the way, are dedicated to Martin Luther King, based on a then-recent phrase by Ronald Reagan in which he showed pride in the military power of the USA. Bono was not convinced by the lyrics, and would say that it was just a sketch of what he intended. Proof of this is in the last verse, in which he talks about the assassination of Luther King: “Early morning, April 4, Shot rings out in the Memphis sky.” The assassination took place around 6 PM, and live Bono usually changes the lyrics to “Early Evening.” Anyway, even though the choruses are cheesy, it is a song that would define U2's sound from then on and that would mark a trillion eighties bands. The more punctuated bass in the verses and becoming a little more complex in the instrumental bridge, the powerful melody, the bittersweet atmosphere created by The Edge, the choruses “oh Whooo HO - oh Whooo HO” in which Chrissie Hynde of the Pretenders participated and that would begin to be constant in the songs as background hooks, and an effective work by Mullen, especially in the rolls with which he drives the choruses. He is not a rocker, at least not in the sense that we knew U2 to be.
Next comes “The Unforgettable Fire”, the album’s title track. It’s another classic, a song where the band manages to blend and channel various styles and influences to further develop their signature sound—the one that would define them through the mid-90s. The synthesizers are prominent, at times even more significant than the guitar itself. The Edge takes a restrained approach, employing heavy echo, occasional pings, and slow, deliberate strums; it seems likely that he also played the keyboards, and in that regard, he truly shines with some of his arrangements. The track features a pleasant mid-tempo beat, with a bassline that is functional rather than inventive. Synthesizers, layered echoes, and guitars that pan across the stereo field build tension throughout the verses, while Bono sings with deep anguish and emotion—evoking, in an abstract way, the aftermath of the atomic bombings of Hiroshima and Nagasaki. The song is undeniably tense, possessing a magnificent atmosphere that finally releases in the chorus—a melodic, hopeful, and incredibly catchy refrain (“Walk on by, walk on through…”) designed to ignite stadiums. Bono packs this section with a multitude of vocal hooks—falsettos, whispers, shifts in intonation, and elongated syllables—all serving to sustain the dramatic atmosphere. It’s another standout track on the record.
Then there’s “Promenade”, an ambient piece, far more ambient, in fact, than the album’s opener. It is a very tranquil track, dominated by The Edge’s high-pitched arrangements, with a notably understated performance from the rhythm section. While the melody is lovely and Bono explores his full vocal range, the song ultimately remains forgettable. At times, they build the tension, making it seem as though it’s about to erupt into a powerful chorus, but that never happens; instead, the intensity drops back down, and the song fades away, leaving no real impression.
With “4th of July”, they repeat the formula, resulting in a completely forgettable instrumental track: Clayton repeats two or three notes, while The Edge seems to be testing out his pedalboard. There aren’t even any nice lyrics or a vocal hook to be found here. It’s as insipid as the date it alludes to—it’s not even really an outro for “Promenade” or an intro for “Bad.” I’m not sure if these abstractions mean anything to Eno fans; while they might be valid as elements within more structured songs, they don’t really work as standalone tracks. You’d think Clayton and The Edge were just noodling around, unaware that Eno was recording them… Wait!
Fortunately, what follows is “Bad”, the gem of the album, where they once again successfully merge their two styles. I wouldn’t say this song was designed for stadium crowds, though it is a fan favorite. In fact, it’s one of my own favorites. It’s not commercial, it doesn’t even have a chorus, nor does it feature any traditional hooks. The melody is unusual, with phrasing that’s nearly impossible to replicate. What makes this song magical? I’m not entirely sure. As it happens, The Edge was just toying with the opening riff; because it was so unconventional, almost ambient, Eno loved it and encouraged them to keep going. That’s why the structure is so peculiar. It’s essentially one long, massive crescendo that begins with that guitar arrangement, crystalline and pure, with an ethereal, almost aquatic quality—while Bono sings in a tone that feels intimate, yet intense. At the 0:50 mark, Adam joins in with a bassline that spans an entire octave, while Larry keeps time using the kick drum and a subtle touch of brushes. Tension. Bono plays with his phrasing as he delivers lyrics about heroin addiction—a reflection of the crisis in the early 80s that left a large number of heroin users in Dublin. It’s said to be specifically about a friend of Bono’s who died of an overdose, which perhaps explains why this is one of his most emotional performances; he is truly singing from the heart: “If I could throw myself, set your spirit free, I'd lead your heart away, see you break, break away, into the light, and to the day.” The bassline and rhythm grow increasingly complex, with Eno adding a synthesizer. At the 2:20 mark, there’s a bridge-like section where the guitar and Bono engage in a high-pitched, mirrored motiv, “Whoo HOOO, Who HOOO”, leading into what serves as a chorus, culminating in a fierce, explosive “WIDE AWAAAAAAAAAAAKE!” Adam continues to build on the bass, experimenting with the tones, as the slow-burning tension begins to mount once more. At some point, Larry switches from brushes to drumsticks, and by 4:40, just in time for the coda, a full-fledged beat kicks in. Here, Bono pours out his very soul, pushing his vocal range to the absolute limit, at times, it sounds as if he might just shatter. The song features some truly poignant lines, such as: “If I could, you know I would, If I could, I would, Let it go...” It’s a magnificent track, a masterclass in building tension and atmosphere, but, above all, it showcases one of Bono’s finest vocal performances, making it a firm fan favorite. It’s one of my personal favorites, too; it definitely belongs in my U2 Top 5…
In short, The Unforgettable Fire is a transitional record, one where the great partnership that would eventually propel U2 to become the biggest rock band of the 1980s (in commercial terms) was just beginning to take shape. It contains ambient-leaning tracks that the band may not have even realized were being recorded, or that would end up as final takes, though, ultimately, we can’t really blame them for the outcome; that’s simply the risk of working with Brian Eno. There are a few tracks that harken back to the intensity and punk-infused sound of their earlier records, while others represent a convergence of Eno and U2, resulting in the album’s true gems and establishing what would become the classic U2 sound. These are the benefits of working with someone like Brian Eno.
The album isn’t quite as brilliant as some critics claimed at the time, as a few of the tracks are rather weak. That said, the standout songs shine brightly enough, enough to establish U2 as one of the premier bands of the era for a couple of years (before they went on to become "the" band). It’s certainly not a disaster, either; a record touched by Eno can hardly be a disaster, it’s just a matter of finding the right mood. While we’ve grown accustomed to this particular U2 sound, the shift and sonic expansion they achieved on this album must have felt cataclysmic at the time. After all, they aren’t the first band to take a step back before a major leap forward, think of The Beatles’ Beatles for Sale or Led Zeppelin’s III, for instance. To borrow a thought from Bono: as a debut for this "new" U2, it’s not bad at all...
By Corvan
Feb/12/2014
