Like almost everyone who breathes oxygen, I love the music of U2. And like so many who pledged their allegiance to the epic works during the days of Joshua Tree and Achtung Baby and who lived through the American reactions of Zooropa & Pop (which were brilliantly misunderstood albums not only ahead of their time but in a different dimension. Some call it Europe but I’m not sure it’s that easily identifiable), you always have a bit of anxiety whenever a new U2 album drops.
I understand why many people despise Bono and his band. They’re so big that they are “The Man” and we all know it’s cool to hate the man. I will still never forget the argument I had with someone who told me that if I wanted to listen to real rock’n roll, I needed to listen to Aerosmith. We all know that Steven Tyler has a life-size poster of Bono above his bed and we all know the best thing about Aerosmith is Liv Tyler. It’s ok, there will always be people who hate God too. Anyway, while it is not the Achtung Baby reinvention we were promised, No Line on the Horizon is still fantastic.
Of course so much has been written already, but here are some of the posts I’ve appreciated.
Don Miller’s post was really insightful. (What else would you expect from Don?). I don’t know how to summarize it without creating a long post so you can just read it.
From a NY Times article:
“How do you puncture pop consciousness with a tune anymore?” Bono said later over a pint of Guinness in the restaurant of the venerable hotel Claridge’s. “That’s actually your first job as a songwriter.”
A conversation with Bono is a free-associative adventure. Between thoughts about the album he dispensed fascinating digressions, casual but carefully placed on and off the record. He gave a full-voiced demonstration of Italian opera vowels and Frank Sinatra style — heads swiveled nearby — and mused on cathedral architecture; he described encounters with presidential candidates and plans for his future columns on the Op-Ed page of The New York Times. He spoke fondly about his band mates as characters he’s still trying to figure out, about songs as bursts of serendipity and about what he wants in a performance: “spastic elastic energy.” more.”