WAR (U2, 1983)
Artist: U2 (C)
Recording Dates: May 17 – Aug 20, 1982
Release Date: February 28, 1983. IRE
Record Label: Island
Producer: Steve Lillywhite
Rating: 10 (MUST HAVE)
Era: New Wave (1976-???)
Subgenre: New Wave (1976-1990)
Best Song: Sunday, Bloody Sunday
Tracklist: 1) Sunday, Bloody Sunday; 2) Seconds; 3) New Year’s Day; 4) Like A Song; 5) Drowning Man; 6) The Refugee; 7) Two Hearts Beats As One; 8) Red Light; 9) Surrender; 10) 40.
The boy is back… and he's furious! Ah, what a perfect cover. It perfectly captures the spirit of this fierce album. If on Boy the band sounds somewhat innocent and immature (which doesn't make the debut bad) and young Peter Rowen looked like a sweet child, here both the boy, who has grown up a bit, and the band, who are also quite mature, look furious, without any of the atmospheric, youthful, new wave, and pseudo-religious aura of the previous two albums. The album title says it all. While U2 isn't exactly known for concept albums, these early ones show a pattern or theme: Boy about adolescence and youthful angst; October with a much more religious aura, which fortunately they realized wasn't going to get them anywhere; and this third album, revolving around war, not so much the battle scenes themselves, but the fractures and wounds it leaves in people. Bono would say it looked like a portrait of a family devastated by war.
And indeed, in 1983, there were wars everywhere. The Cold War was at a tense point, perhaps the highest since the Cuban Missile Crisis; there was war in the Middle East, war in Africa, Poland was bleeding, Ireland was on the brink of civil war, Afghanistan was in full swing, and the Taliban were being trained by Uncle Sam to fight back against the Russians… So Bono and company decided to make a much more direct album, both musically and lyrically. The abstractions and more ambiguous metaphors of previous albums are eliminated, and here the message is much clearer and more precise. And effective, of course. Instead of preaching about the Bible and God Loves You and becoming a church choir with distortion pedals, they take a sharp turn with a message that hits you in the face and forces you to react. Who doesn't resonate with the rawness and feel indignation during “Sunday Bloody Sunday”? It's perhaps their best political song. Ehrr… it's perhaps the best song in their entire discography!!! That's why the album was an exact reflection of its time, opportunistic to a certain extent, but it managed to transcend and become a timeless piece that remains relevant, not only in its message, but also in its music.
The change is radical, and for this reason, War is considered U2's first minor masterpiece, second only to the sublime Joshua and Achtung. The sonic metamorphosis is also remarkable. The band sounds incredibly self-assured, more cohesive than on previous albums. This is the U2-esque sound we recognize everywhere. The sound is powerful and aggressive. Hard, more direct, and all the songs sound grand and majestic. U2 was then barely known in Ireland, parts of Scotland and England, and a few corners of Europe, but they were still just a band of aspiring young men. Here, they channel that political passion, shake off the lack of direction that plagued October, and create music that sounds like a truly great band. Of course, the album would launch them as "THE new sensation", dethroning Michael Jackson's Thriller from the top spot. With War, U2 would become the quintessential arena rock band, and within a couple of years they would share the headline spot at Live Aid with Queen, but the songs on the album already sounded more than perfect for performing in front of thousands in packed stadiums. The band was ready for that leap.
It still sounds like U2, of course, but there's a noticeable evolution. Many criticize War because there are practically no riffs. I don't think this is a bad thing at all. On the contrary. The band finally finds its balance. Bono is much more prominent than The Edge, who stops trying to be Hendrix and becomes, um ... The Edge. Hahaha! He'll never be a prodigy or a riff maker, although he has some very good lines in his discography, but from here on out he'll shine for the secondary arrangements, the textures, the guitar effects, the harmonic manipulation, and the way he rounds out the songs with his ingenuity and pedals, more than for memorable riffs or solos. On War, he sounds much crisper and more distorted, abandoning the heavily echoed and delayed effects of the previous two albums, while creating much more elaborate and effective atmospheres. Bono also takes a leap forward, not only lyrically. Vocally, he also sounds at his peak, commanding the spotlight, becoming and assuming the role of the new messiah of rock and of that new generation, a position left vacant after the deaths of Lennon and Marley. Yes, later he would become a pretentious, postmodern, and unbearable reverend, but at this point, he was exactly what that generation, lost in the confusing and disastrous 80s, needed. Larry Mullen Jr. also sounds phenomenal throughout the album, but he particularly shines on "Sunday Bloody Sunday". delivering what is perhaps the most memorable drum line in history, on "New Year's Day," on "40"... Adam Clayton remains, although he himself acknowledges being the weakest link in the band. What's surprising is how the rhythm section meshes, and Clayton and Mullen seem to be playing a completely different song than The Edge, but miraculously, everything fits together perfectly to create masterful tracks. And this will also be a defining characteristic of U2 from then on. They are aware of their limitations, but U2 becomes a devilishly astute group, squeezing every last drop of potential from their limited instrumental abilities to create magnificent songs.
They started recording the album in May of '82. It would be the last one produced by Steve Lillywhite, at least for a long time, but it's remarkable how he shook off the production clichés of the time and made an album with a much rockier sound. The sessions were interrupted because Bono married his beloved Alison, with whom he had four children and is still married today, and to whom he dedicated several songs. They went on their honeymoon to Jamaica, and the social situation on the island led him to write some sketches that would make up the album. "New Year's Day" was born in Jamaica, and curiously, it began as a love song and ended up being dedicated to the Solidarity movement in Poland. "Sunday Bloody Sunday" would be based on the infamous Bloody Sunday in Dublin, August 30 , 1972 (there's a great 2002 film of the same name). "Seconds" refers to the risk of nuclear proliferation, and so on. They don't really focus on a specific war or moment, but rather review global violence and call attention to that apathy or lack of reaction. Seeing so much violence on TV makes us lose the meaning of real death, and we can't distinguish fiction from reality. That's why this album remains so damn relevant!
The boy on the cover is indeed the same one from the cover of Boy, Peter Rowen, brother of a friend of Bono's (the very same friend who gave Paul Hewson the nickname Bono). The boy would also appear on the covers of Three and the Best Of albums. In fact, that photo was taken for the recording sessions wearing a military helmet, but they discarded it because they wanted to reflect war as an internal state.
The album opens with a bang. Mullen's drumming sounds colossal from the very first beats of "Sunday Bloody Sunday". An almost martial, furious beat, full of off-beats. A plaintive violin then enters, often mistaken for The Edge's strange pedal effects. No, here it's a violin that infuses the song with immense drama. Next comes the distorted guitar arpeggio. Throughout the track, The Edge explores various arrangements, without any clear dominant one. He seems to be going in a separate direction, almost contrary to his bandmates, but this makes the song sound magnificent. From the almost clean arpeggio at the beginning, then he adds a ton of distortion for the first chorus and doesn't let up for the following verses, culminating in a tremendous solo at 2:40, which isn't virtuosic, but is incredibly powerful and perfect, one of the most memorable. The song immediately drops in intensity, creating a sense of suspense, with the strings muting and blending seamlessly with the beat, mimicking the effect of machine gun fire. Then, the clean guitars and screeching violins return, and the band surges back at 3:45 for the final verse that kicks off the coda. Instrumentally, it's a masterpiece. Lyrics aside, the entire atmosphere exudes a raw rage, a sense of helplessness, drama, and fury. The power of this song is brutal and a testament to the band's genius. The music perfectly reflects the lyrics. The Edge began writing the song after a fight with his girlfriend, initially with different lyrics. He was depressed and angry. Bono liked the music and the raw emotion, but the lyrics evolved until they reached that dark chapter in recent Irish history: Bloody Sunday, August 30, 1972, when British police opened fire on unarmed Irish civilians. The intro leads into the first lines, already tattooed on the human subconscious: "I can't believe the news today, I can't close my eyes and make Item go away …”. Stop immediately Let's move on to the remarkable bridge : “How long, how long must we sing this song?” For the backing vocals, The Edge sings alongside Bono, stretching out the vocals and creating a two-part boomerang effect. The violin was added by chance. A violinist named Steve Wickham ran into The Edge at a truck stop, and upon recognizing him, jokingly asked if they needed a violin for their next album. The Edge replied, “Why not?” and Wickham joined the sessions, adding greater intensity and rounding out many of the album's songs, but this one in particular would be impossible to imagine without the violin. The tremendous drum line was also a serendipitous addition. Steve Lillywhite had asked Larry Mullen Jr. from the very beginning of the album sessions to use a click track. The Click Track , a metronome in headphones that some drummers use to keep better time, was a popular choice, but Larry refused. Around that time, he met Andy Newmark, drummer for Sly & The Family Stone, who told him about the advantages of the Click Track and convinced him to give it a try. The result was this masterpiece, which would have been impossible without the metronome keeping time for Larry. In short, everything came together to create one of U2's most perfect songs, always a contender for their best, an 80’s anthem that would catapult the Irish band to global stardom.
The album continues with “Seconds”, which has acool bassline and a more relaxed, light, and cheerful atmosphere. I’ve always thought it was one of the most underrated songs on this album. It starts with Mullen hitting the kick drum, then the beat kicks in, followed by a sizzling acoustic guitar riff and then a very funky bassline. Nothing elaborate, but it’s a good Clayton bassline. The Edge delivers electric bursts and rounds out the magic himself with a catchy melody and those ethereal hooks between the verses, taking the lead vocals. It’s amazing how similar their voices are; sometimes it sounds like Bono is doing overdubs when it’s actually The Edge. The lyrics are an allegory about how easily the world can blow up in a second with so many nuclear weapons and so many crazy puppets near the red button. It’s incredible how relevant it still is after almost 30 years! At the 2-minute mark, there’s a false ending with some TV-like voices in the background. I always fall for it because the pause is long, but they come back for a few final repetitions. The song is light, but has a great mood, and I really like that they didn't overdo it.
“New Year’s Day” is another colossal gem where everything works wonderfully. Again, the main riff doesn't come from the guitar, but from the bass. I identify a lot with Clayton since I'm not a particularly technical bassist; I'm not a fan of slapping or flashy tricks, but rather of doing things well with creativity and good lines, and Clayton is also very much in that style, more understated. This time, it's the bass that carries the whole song, and the piano, which provides simple arrangements, but serves as memorable hooks. The Edge does the piano arrangements, and immediately leaves the keyboard to jump on the guitar and create those formidable arrangements. There's no fixed guitar line; instead, he cranks up the distortion on everything and creates magnificent sonic waves, somewhat reminiscent of the EQ on October, with its heavy echo and delay. The guitar solo at 2:40 is very simple, more of a crisp riff, but it fits well, and The Edge immediately drops the guitar to return to the piano line and play a short, very nice solo, finishing it at 3:25, before picking up the guitar again for a more elaborate and climactic solo. The lyrics are magnificent. It began as a love song from Bono to Ali, and the first verse , if you separate it from the rest, is more romantic. But in the following verses, Bono adds more political content referring to the Solidarity movement in Poland, with which Lech Walesa would overthrow the government to establish one that was more supportive of the people, workers, peasants… Shortly after Walesa left power, he would win the Nobel Peace Prize. The lyrics are an allegory that change is possible. “The newspapers says , says , say It's true, it's true... And we can break through, Though torn in two, We can be one…” A great song, where that kind of duality is even more evident, in which the rhythm section seems to be playing one song and The Edge a completely different one, but together the result is explosive. One of U2's greatest gems.
Then there's "Like a Song", a very powerful track where the band sounds confident and creates an atmosphere where everything sounds "big." The Edge adds echo in just a few sections and uses power chords and a heavier sound throughout. Mullen makes several rhythm changes that shine and keep the song alive, with the drums really standing out on this track, particularly in the section where they sustain the song at 3:40. The lyrics are very good. Shortly after October, U2 faced a barrage of criticism for moving away from the punk movement, and with this track, they try to distance themselves even further from it: "Angry words won't stop the fight, Two wrongs won't make Item Right, A new heart is what I need ...". The music contrasts sharply with the message, as its rawness brings it closer to Punk Rock.
We continue with “Drowning Man”, featuring an acoustic foundation and meticulous attention to atmospheric construction, creating a more intimate and haunting sound. The Edge plays with electric guitar harmonics to produce exquisitely crystalline arrangements. Steve Wickham's violin reappears, adding beautiful embellishments. The lyrics revisit the religious character of October. While not drastically different, it's remarkable how Bono and The Edge maintain the tension, adding embellishments and keeping us captivated. Here, the growth from the previous album is evident; while maintaining the same more spiritual style in both lyrics and music, it sounds significantly more polished.
With “The Refugee” they slacken considerably, and in my opinion, it's the weakest point of the album. Mullen's drumming is remarkable, but the production makes it sound awful. It sounds like something from one of Duran Duran 's early albums. The vocal melody is very weak and forgettable, and those “Ohh WooHoooo’s" are also awful. The guitar is way too crunchy, and the track ends up being very monotonous and completely out of place with the mood of the rest of the album. It's even danceable! You can tell it's the only one not produced by Lillywhite, since Bill Whelan produced it. Strike one!
They return to form with “Two Hearts Beat As One”, where the bass steals the show with a catchy , funky line that makes the song one of Clayton's best. The track is incredibly powerful, with a driving drumbeat, that memorable bass line that makes you want to jump, a catchy vocal line sung by Bono with real feeling, and overall, a colossal feel that makes the song stand out. The lyrics aren't anything special, a love song, but not one of Bono's most notable. Even so, it's one of the album's highlights and another of the band's underrated tracks.
Then comes “Red Light”. The bass riff this time is Clayton’s, simpler, with a circular and elastic shape. The Edge makes his guitar screech brilliantly, leaving the nation to rely solely on the rhythm section for long stretches. Bono puts on a great vocal display, reaching soaring notes, and just when the tension is at its peak, they lower the intensity for those bridges with female backing vocals repeating “love, love, love "Looove …" Then comes a sax solo that tries to be very sexy at the 2-minute mark. They then play a funkier, more danceable bridge at 2:20 and return to the original structure. And well, that nocturnal, over-erotic atmosphere goes well with the lyrics that deal with prostitution. It's a kind of U2 version of Roxanne, although without the same splendid result as The Police's.
Next up is “Surrender”, where The Edge steals the show with his brilliant guitar work, proving once again that he doesn't need Zeppelin-style riffs to be a great guitarist. The song is very melodic, with an ethereal feel and a powerful presence. Again, it's that perfect combination: bass and drums create a driving beat, while The Edge is in another world, crafting soaring, echo-laden, sublime arrangements. At 2:30, there's something that isn't exactly a solo; instead, The Edge lingers, experimenting with sounds in a way that strongly reminds me of the middle section of “Whole Lotta Love”, but without the climactic effect. Haha. Good song, a bit repetitive towards the end, as it approaches 5:30, but overall very well done.
The album closes with "40", another quieter, more religious song, based on the number 40 and featuring another great bass line. But it's not Clayton! It's The Edge!!! Turns out this was the last song they recorded. On the last day of sessions, Adam had already left, but the rest of the band wanted to wrap up the song and the album, so The Edge recorded the bass. That's why it sounds so cool, hahaha. The Edge turned out to be just as good a bassist as Adam, just like in the Stones Richards is better than Wyman. It's a simple but beautiful, atmospheric song that gives a more hopeful ending to such a fierce album. Live, The Edge and Clayton often swap instruments, and they usually use it to close concerts before the encore, letting the audience sing along a cappella to the " how" for a few minutes. loooooong to sing this song …”, which is curiously almost the first line with which the album opens.
In short, a very good album, where U2 finally finds its way and its sound. And its political stance! Although subsequent albums would continue to evolve, this is essentially where the distinctive formula of U2's sound and lyrics, which they still use today, is found. War has two gigantic and iconic songs, another two or three well-crafted ones, a few that are average to good, and only one that could be considered filler. And despite retaining certain 80s characteristics, the production doesn't sound dated. It's a rock album, not new wave, which is why it remains so relevant and fresh, unlike other albums by other bands from the same year. It's no wonder that this was the album that catapulted them to the forefront. U2 is a before and after War. Before, they were a band of guys who played well for their time, barely known in their country and a few surrounding ones. After War, U2 would begin their ascent to become the most powerful and representative band of the 80s. This is the beginning of it all, the turning point, so it 's definitely worth listening to if you haven't heard it yet.
By Corvan
Dec/7/2011
