The Cavern
Rock & Words
U2
“Broken bottles under children's feet
Bodies strewn across the dead end street
But I won't heed the battle call
It puts my back up
Puts my back up against the wall”
"C+"
Main Decade: 80's, 90’s
Main Eras:
Punk (1976-1980)
New Wave (1976-???)
Key Members:
Bonus, Vocalist
The Edge, Guitar
Larry Mullen Jr., Drums
Adam Clayton, Bass
Key Songs:
With or Woithout You, One, Sunday Bloody Sunday, Bad, Pride (In the Name of Love, New Year's Day, Bullet The Blue Sky, I Will Follow, I Still Haven't Found What I'm Looking For, Where the Streets Have No Name, The Unforgettable Fire, Desire, All I Want Is You, Miss Sarajevo, Lemon, Rejoice, Tomorrow, Hold Me Thrill Me Kiss Me Kill Me, Staring at the Sun, Numb, Magnificent, Mysterious Ways, Who's Gonna Ride Your Wild Horses, Seconds, Twilight, red Hill Mining Town
The truth is that U2 is one of the last bands that truly deserve the title of giant. Not only are they indisputably the best band of the 80s, but even in the 90s they managed to weather the transition and collapse of New Wave quite successfully, transforming themselves into a band with a more contemporary and alternative-leaning sound. Towards the end of the decade, they continued their sonic experimentation, adding electronic touches to their music, an element that didn't sit well with everyone (myself included), but which, in retrospect, is a valid concern for staying ahead of the curve and continuing to innovate. In the new millennium, they became preachy dinosaurs who took every opportunity to teach us how to disarm bombs, call for world peace, and play every benefit concert that came their way, and so on.
But the truth is that U2 is one of the last bands Colossal bands that left an indelible mark on history and should still be considered generational touchstones. Yes, their best days are behind them, but the level they maintained at least until '93 was impressive, with albums full of quality, never repeating themselves, always staying one step ahead of all the other new wave bands, and setting the standard to follow. Many bands would fall by the wayside. Few survived the transition from the '80s to the '90s. And few have been so consistent with their message. Let's be honest, even though Bono can sometimes be almost unbearable with his rockstar preacher attitude, he's one of the few who does it sincerely. He doesn't use his fame to cause scandals, but to try to make the world a better place. It hasn't amounted to much, but at least they try! AND THAT'S WHAT ROCK IS ALL ABOUT! At least the original kind.
I'm far from a die-hard U2 fan, but I respect them more every day and enjoy their music more. I find them a somewhat limited band, in the sense that there aren't any true virtuosos, but they are, in turn, a very clever band. Led musically by The Edge, they pull out an impressive arsenal of tricks to make the songs shine and explode. The Edge isn't a virtuoso by any stretch of the imagination, he's no true magician like Hendrix, but he's incredibly intelligent and knows how to use his pedalboard like a master illusionist. He's a creator of effects and atmospheres like no other, and U2's success is largely due to him. Guided by him, the group makes songs that are pop gems, full of hooks, figures, and details that captivate us. And so we have a host of immortal classics that could fill several albums, but it's amazing how even today there are teenagers for whom "With or Without You," "One," or "Sunday, Bloody Sunday" are their go-to songs. Mullen and Clayton form a powerful rhythm section, not exactly virtuosic, but they provide the perfect framework for The Edge to flesh out the songs. And Bono is the icing on the cake, with a very distinctive timbre that has also become the band's trademark. He reaches (or used to reach) incredibly high notes and has an energy and charisma that are simply unheard of on stage anymore. U2 could be the last true old-school rock band, just as Achtung Baby was the last great album of true rock.
U2 was formed in Dublin in 1976 after a very young Larry Mullen Jr., just 14 years old, placed an ad in a school newspaper looking for musicians for a band. Seven boys responded to the call. According to Larry himself, “the group was The Larry Mullen Band for about 10 minutes, then Bono came along and ruined any chance I had of being in charge.” That first lineup already included Larry Mullen Jr. on drums, Adam Clayton on bass, Paul Hewson on vocals, and Dave Evans on guitar, along with other young guys who didn't last long and gradually dropped out, leaving the four who are still with us today. This is one of U2's main strengths. I don't know if they're the only band on the planet that lasted from 1976 to 2009, no less than 33 years and counting, without any lineup changes or major rifts among its members. This is a band that has been built on the teamwork of its four members, even though Bono and The Edge are the ones who get all the attention. Oh, and as I was saying, this first group was called “Feedback,” and their repertoire consisted of post-punk and classic rock covers. They later changed their name to "The Hype," and then, in 1978, a friend of Clayton's suggested six different names, from which they chose U2 because it was the most ambiguous, the least pigeonholing, and also because it sounded "least awful."
In 1978, U2 won a competition and took home 500 pounds and the opportunity to record a demo at Keystone Studios in Dublin. This gave them their first opportunity, recording the material that was most successful in their live performances. The EP "U2:3" was released, containing the songs "Out of Control," "Stories of Boys," and "Boy/Girl." The mini-album was released only in Ireland in mid-1979 and is now an extremely rare gem, worth its weight in gold.
Despite the relative success of "Three," their contract with CBS fell through, but they instead gave their first live performances in England in December 1979. They didn't achieve much success with either critics or the public, but it did catch the attention of Island Records, who offered them a contract that they would eventually sign in early 1980. After a change of producer (Martin Hannet), they entered Windmill Lane Studios in Dublin under the direction of Steve Lillywhite, who would be fundamental to the band's sound. With 40 original songs in their repertoire, they gradually eliminated them until only the best remained. Even so, they weren't satisfied and composed some more in the studio, such as "The Ocean" and "An Cat Dubh." Many lyrics were also finished or modified at the last minute, which is partly why the album feels somewhat directionless.
The result was tremendous at the time. Four Irish lads making incendiary songs, which suddenly resonated with the gay rights movement, then suddenly sounded like religious pronouncements and echoed within the Christian movement (even the Pope would later invite them to the Vatican, an invitation they declined), or about teenage rage and the Lennon-esque feeling of abandonment after losing one's mother in youth.
The sheer number of influences on this album is astonishing. However, they can't be accused of plagiarism, but rather of creating an impressive blend of styles that would have been unimaginable without "Boy." To begin with, The Edge's Gibson Explorer playing is heavily influenced by David Gilmour in songs like "Run Like Hell," laden with echoes, distortion, power chords, and fiery arpeggios, striving more for mathematical perfection than emotive improvisation. The melodies are reminiscent of David Bowie in the late 70s. And let's not forget New Wave. U2 would be pigeonholed within this genre for much of the 80s because their sound owed a great deal to bands like The Police and Talking Heads, especially in terms of final arrangements, echoes, guitar equalization, and pedal effects. And finally, Punk. From the Sex Pistols to Patti Smith, influences are subtly present in the lyrics, the anger, the political messages, and some of the harmonies and simple strumming patterns on this album. Thus, Boy can be seen as an excellent summary of the second half of the 70s and a prelude to what was to come in the new decade. Rock died in 1980, and this could be one of its funeral dirges, a requiem for a dying era and a lullaby for a new one, characterized by recycling, mainstream appeal (U2's political messages were never as dangerous as those of the bands of the '60s and '70s), mega-concerts, and the MTV era.
With October 1981, they shifted towards a rock sound with more religious undertones. From then on, Bono would always retain a touch of the rock preacher about him. The album isn't bad, but it doesn't seem to possess the same power as Boy. Even so, U2 began to gain more and more followers and fans.
War in '83 would be their first gem. While not a perfect album, it already showcased the band's maturity, with a more defined, refined, and aggressive sound—hard-hitting without being violent—and leaving behind the religious influences that hadn't worked on October. "Sunday Bloody Sunday" would be the single that catapulted them to superstardom, bringing both the album and the band to the forefront. The tour took them to the United States, where they recorded their first live album, Under the Red Blood Sky, which contains some of the tour's greatest moments.
In '84, they released Unforgettable Fire, a somewhat more abstract album, exploring Brian Eno-esque soundscapes and marking another shift in direction. People were expecting a War II, and in some ways, it was a disappointment. The album was made to be played in stadiums and arenas, and it was the step U2 took, leaving theaters and clubs behind to take the next leap. By this time, they were already at the pinnacle of 80s artists, alongside Depeche Mode, Duran Duran, and INXS. In '85, they would headline Live Aid, performing as stars at the legendary Wembley Stadium. They were at their peak. They were kings of the world and could do whatever they wanted.
During this period, they delved a little deeper into folk roots and Irish traditions. Bono went to Nicaragua, and they became involved with Amnesty International. The band was becoming increasingly political. The Joshua Tree is full of all these influences, and perhaps that's why it's such a perfect, balanced, and significant album of the harsh 80s, yet still so relevant today. The Joshua Tree would be the band's unsurpassed peak, featuring classics like "With or Without You" and "I Still Haven't Found What I'm Looking For."
Achtung Baby from '91 cemented their status as a colossal band, and it was a release of almost the same quality as its predecessor. Added to this was the fact that it was a new decade, and the band didn't sound stuck in the '80s, but rather current, modern, powerful, mature, and simultaneously revitalized. U2 didn't seem to falter like the vast majority of '80s bands that faded away. The album may not have had as many timeless classics, but songs like "Who's Gonna Ride Your Wild Horses" and "One" stand out. "One" isn't a love song, but rather about Bono's father and the harsh upbringing he endured, even though many idiots dedicate it to their girlfriends or dance to it at their weddings.
With Zooropa, they began to sound experimental again, subtly incorporating electronic elements. It remains a good album that kept them at the forefront of the rock elite amidst the grunge explosion, a sound radically different from the Irish band's. After a hiatus during which they worked on various projects, including Passengers, where they recorded the sublime "Miss Sarajevo" with Pavarotti, the group surprised everyone again in 1997 with Pop. The album lives up to its name. I think I've come to appreciate it more over time, but here the experimentation with electronic effects is more evident, and U2 seems to be losing its essence. The bling and effects are still there, but the group seems to be losing its spark, and there's more and more filler.
The downward trend was confirmed with their subsequent albums, released in the new millennium. All That You Can't Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004) were complacent albums, featuring weak and uncreative songs that the mainstream, the Grammys, and MTV glorified as if they were truly great. The band sounded creatively exhausted, focusing more on preaching peace, lamenting the 9/11 attacks, and staying in the spotlight than on making real rock. By this point, their concerts were monumental, Rolling Stones-style, and like those legends, they seemed to be becoming dinosaurs, followed more for their past achievements than for their current struggles.
No Line on the Horizon (2009) would help them somewhat redeem that image. While not a groundbreaking comeback or a perfect 10, it does return to at least a decent level, showing the band taking risks again with their sound and maintaining a respectable level of creativity.
It would be impossible to expect them to stay at the same level for 30 years, and believe it or not, that's exactly what the band is achieving. I understand the ups and downs, and I understand that they released a couple of almost unforgivable pieces of garbage, but overall they're a very good band. You might not be a huge fan, but you inevitably develop a liking for them, and their songs are so catchy you end up singing along.
U2 is the last true rock band still around, without betraying themselves, without internal conflicts, without scandals, remaining consistent with their lyrics, and in a way, serving as an example for new generations. Ladies and gentlemen, the unforgettable fire of U2!!!
By Corvan
Jul/26/2011
