McGuinness Ends Speculation !

Bono / Canada / U2 / U2TOURFANS 2011If Paul McGuinness states its not over, well its not over. Paul last night in an interview with Belfast Telegraph flatly denied the reports that U2 was planning on going their separate ways. 35 years of great music, school boy friends and suggestions of ending all now are completely not true.

To fans Paul has been labeled as the fifth member of U2, he has guided the boys career from a local bar band to a global machine. When Paul was asked is this the end ? ” No, and I think I would have heard. Not at all. They are always working on the next record.”

Ok, so how did this rumor start ?  Bono gave an interview to Rolling Stone where he hinted that they may part company. “Its quite likely you might hear from us next year but it’s equally possible that you won’t. The band may have finally run its course.

Ether Paul or Bono have it right. In the end it will come down to the creative power of the band to choose to return. Lets face it 360 Tour was longer then anyone expected and the idea of taking a break may be just what they need to come back stronger and ready to take on another large tour. One thing is for sure. Right now its all about Actung Baby !

 

One Looking for Inspiration

One” is a song by Irish rock band U2. It is the third track from their 1991 album Achtung Baby, and it was released as the record’s third single in March 1992. It was recorded at three recording studios, Hansa Ton Studios, Elsinore, and Windmill Lane Studios. During the album’s recording, conflict arose between the band members over the direction of U2’s sound and the quality of their material. Tensions almost prompted the band to break up, until guitarist The Edge composed a chord progression that inspired the group to improvise the song, which was written as a ballad. The band worked on the mix for “One” throughout the remainder of the album’s sessions. The lyrics, written by lead singer Bono, describe fracturing interpersonal relationships, but they have been interpreted in other ways.

“One” was released as a benefit single, with proceeds going towards AIDS research. The song reached number seven on the UK Singles Chart and number ten on the Billboard Hot 100, and it topped the US Billboard Album Rock Tracks and Modern Rock Tracks charts. In promotion of the song, the band had several music videos filmed, although they were not pleased until the third video was created.

The song has since been acclaimed as one of the greatest songs of all time, and it is consistently featured in listener and critic polls. The song has been played by U2 at every one of their tour concerts since the song’s live debut in 1992, and it has appeared in many of the band’s concert films. In a live setting, “One” is often used by the band to promote human rights or social justice causes, and the song lends its namesake to Bono’s charitable organization, the ONE Campaign. In 2006, U2 re-recorded the song as part of a duet with contemporary R&B singer Mary J. Blige.

Looking for some new inspiration, the guys wrapped up their tour, spent several months at home and headed to Berlin in October 1990, flying into town the day Germany officially reunited.

The city was joyous. While the Wall between East and West Berlin was falling down, though, new barriers were being built between U2’s four members. Bono and the Edge wanted to explore new sounds, with hip-hop, Madchester and club music serving as good places to start. Adam Clayton, the only one with any real nightclub experience, told the others they didn’t know the first thing about dance music. Meanwhile, Mullen balked at the drum machines that producers Brian Eno and Daniel Lanois had pulled into the studio. Wasn’t he supposed to be the band’s percussionist?

With U2’s future in doubt, “One” literally brought the band back together. Working one evening at Hansa Studios – ground zero for David Bowie’s groundbreaking work with Eno in the 1970s – the Edge began composing a bridge for the song that later became “Ultraviolet (Light My Way).” He banged out some minor chords on piano, then came up with a major-key resolution. When he switched over to acoustic guitar and starting playing the sections back-to-back, a new song was born. The other bandmates joined in, with Bono improvising some lyrics inspired by a recent invitation from the Dalai Lama, who’d invited the group to attend a festival called Oneness. Within minutes, the framework for “One” was complete.

On an album filled with irony, sex and self-deprecation, “One” cuts through to the heart of a relationship. Each verse poses new questions – Is it getting better? Did I disappoint you? Have you come here for forgiveness? – without offering any answers in return. Keeping things deliberately vague, Bono lobs his inquiries into thin air, aiming them at his band, his spouse, the Edge’s estranged wife, or maybe even none of the above. The addressees don’t matter. “One” isn’t about love, after all; it’s about resignation.

“The song is a bit twisted,” Bono explained in Neil McCormick’s U2 By U2, “which is why I could never figure out why people want it at their weddings. I have certainly met a hundred people who’ve had it at their weddings. I tell them, ‘Are you mad? It’s about splitting up!’”

But U2 didn’t split up. They tied up some loose ends in Berlin, flew back to Dublin and finished Achtung Baby, which reinvented the band’s sound, image and audience. The God-fearing boys who’d appeared so earnest, so unapologetically self-righteous during the Rattle And Hum days had grown into clever, comfortable men who could laugh at their own success. Bono even began hamming it up onstage in leather jackets and oversized sunglasses, finally embracing the “rockstar” persona that his job afforded. The rest of the band followed suit.

Still, “One” is Achtung Baby’s most vulnerable moment, the human heart that beats between the glitzy, industrial gloss of “Even Better Than The Real Thing” and “Until The End Of The World.” Bono sings the lyrics in a half-broken voice, sounding worn out and dejected until the last 30 seconds, where he flips into a gorgeous falsetto. The Edge, who ended “With Or Without You” with a simple guitar pattern instead of a traditional solo, does the same thing here, chiming his way around Bono’s vocals with ringing, slightly delayed quarter notes. The two parts support one another, perhaps taking their cues from the song’s own words (“We’re one, but we’re not the same / We get to carry each other”).

It may have been cooked up in a frenzied half-hour of inspiration, but “One” has enjoyed a long shelf life. Every U2 concert since 1992 has featured the song. Johnny Cash covered it on 2000’s American III: Solitary Man, and Mary J. Blige scored a hit six years later with her own version, which turned the tune’s fragility into an anthem of unity. Recently, “One” has also been linked to Bono’s work as a social activist, even lending its name to the ONE Campaign.

People tend to attribute U2’s success to an ability to adapt, change and reinvent, often one step ahead of the mainstream. “One” was the group’s first major transformation, the song that blasted through a decade’s worth of self-serious rock and roll and signaled something different. Other transformations followed, including an eventual return to the anthems that kicked off U2’s career. But without “One,” there’d be no Achtung Baby … and without Achtung Baby, there’d be no U2.

U2 record three new albums with RedOne

They have no plans on releasing any of the amazing tracks any time soon. U2 stepped into the recording studio with producer RedOne for three new albums in the future. 

Bono and the boys wanting to take their music in a new direction have been working with RedOne and Bono said, “It seems to have worked.“

“We have recorded a load of new tracks,” he said. “We’ve done some amazing work with RedOne. It’s shocking. I just played the tracks to Michael Stipe and he was like, “What? It doesn’t even sound like U2.

Bass player Adam Clayton also seemed enthusiastic about the new material, as he has been surprised that the new material is so fresh and not in line with the band’s 2009 album, No Line on The Horizon.

So the only question now, when can we expect to see the release of these new songs? They would want to get them out soon before someone drops them illegally.

U2's Best 15 Songs ?

This months Slate magazine has a story U2 The Paradox, which takes a deeper look into the band and the history behind the band. One the interesting comments was the selection of the best 15 songs. Its seems to be a hit list with all of the songs making the charts. However we are sure that U2 has a deeper list to select from. The question, do you agree with the list or can you remove and add a few more songs that define U2 beyond a hit chart? Post your thoughts and comments on facebook or twitter.

The 15 Best U2 Songs

“With or Without You”

“One”

“I Still Haven’t Found What I’m Looking For”

“Pride (In the Name of Love)”

“Sunday Bloody Sunday”

“All I Want Is You”

“Lemon”

“Bad”

“Where the Streets Have No Name”

“I Will Follow”

“The Wanderer”

“New Year’s Day”

“Desire”

“Miss Sarajevo”

“Gloria”

Along Came a Baby

With a mouth full of Novocaine, I walked into Rose Records on Achtung Baby’s release day, close to mid-afternoon. One side of Jamie’s store was plastered in photos of U2 while the other was covered with a displaced Garth Brooks promo poster from an earlier fall release. The wall of U2 graphics was mind blowing. Square images, of highly stylized photographs, covered the space in a mosaic pattern, mimicking the new U2 album cover. The subject of each square, measuring roughly 15 inches by 15 inches, was like a small vignette. One had all four U2 members dressed in drag while another had a profile shot of Bono in black and white with a half-nude woman, standing behind him. I was overwhelmed in the transformation, as the creative team behind brand U2 had left behind their 80s ideals of decorating album covers, except for the October album, with a stark black and white image.

(The above is an excerpt from Eric Shivver’s memoir: I’m a Fan: How I married U2 into my life without going to the altar

I cannot believe it’s been twenty years since I sauntered into Rose Records to purchase Achtung Baby from my pal, Phyllis Jones. It seems as though a lifetime has passed by since that fateful day in 1991, but in others it hasn’t. I can still remember the weather. The overcast sky hung low. There was dampness in the air. All the trees had given up their leaves in preparation for winter. As for me, life was good albeit I was still working retail and I had issues with my career. Luckily, nothing disastrous in my life had happened. It would be a year and a half before my stepfather would pass away and Mom was quite a ways away from being diagnosed with Alzheimer’s. So, I can say I was in a good spot. More importantly, hope was in the air as a new U2 release was tucked under my arm as I left the record store.

By 1991, I had been a U2 fan for close to a decade, but I was leery about where the band was going. I think we all were. We didn’t know if the band of the 80s would put up the white flag of surrender and call it a day, much like their discussion, which is circumventing in the press as we speak. I was afraid of what would happen if there was no U2, but I had faith in the powers that be as the music world was changing as well. In just a few short weeks of U2’s most ambitious release to date, Hair Metal would be long gone and replaced by crafty lyrics of personal demonism in Nirvana’s Nevermind album, which already blanketed the radio waves. U2 was waiting in the wings with their new metamorphosis. It was given a name, Achtung Baby  .

The play of that harsh German word, Achtung, that we grandchildren of WWII knew well against the solemnest of things, a baby, was hard to wrap your head around. It was grabbing. It was provoking. We all wanted to tear into it. However, we did it with skepticism. U2’s first release from the album, The Fly, scared the shit out of older fans. They ran away, like a disappointed children not getting what they wanted, saying that this was the death of their beloved Sunday Bloody Sunday band. In spite of this, I got in the ring and took that Rose Records’ bag home, which sheathed my newly minted disc.

I threw my coat on my director’s chair and shoved the disc into my CD player.  I turned off all the lights and sunk into my futon. The stereo was arm’s length away from me, just in case I heard a tune and wanted to go back or hit fast forward to get to the end of the song. I can say in all honesty that I wasn’t converted the first time around, but I was close. I actually knew what to expect because I had heard their cover of Cole Porter’s Night and Day, from the Red Hot +Blue album. Therefore, I wasn’t completely overwhelmed. Well, slightly.

The Rose Records’ store in downtown Evanston, where I bought this classic disc, is long gone, but the memory of walking into that store that day still remains with me. Achtung Baby was a turning point for U2, but as I’ve pondered what is being released in the deluxe set these past few months, I’m a little underwhelmed. I was hoping for more content from those stolen studio tapes from Hansa. Maybe there wasn’t enough there.

Or as my pal close to Midnight Oil told me a few months back, “some of the stuff should have stayed on the cutting room floor and should never see the light of day.” I agree to some extent. However, Achtung Baby  and it’s accompanying tour, ZOO TV, revolutionized music and live performance. It’s sad that we fans couldn’t get one more nugget out of the band. If it were up to me, I would have added two more discs, which would include the whole concert from their live radio simulcast of their Royal Dublin Stadium show in 1993, but it’s not. I may have to wait another 30 years for the 50th anniversary box set, hoping there will be new material. I expect to still have my hearing at age 73.

Eric Shivvers is the author of I’m a Fan: How I married U2 into my life without going to the altar.

Happy Birthday Larry

Lawrence Joseph “Larry” Mullen, Jr. (born 31 October 1961) is an Irish musician best known as the drummer for the Irish rock band U2. He is the founder of U2, which he later described as “‘The Larry Mullen Band’ for about ten minutes, then Bono walked in and blew any chance I had of being in charge.” He has worked on numerous side projects during his career, including a collaboration with Michael Stipe and Mike Mills of R.E.M. to form Automatic Baby in 1993 and working with bandmate Adam Clayton on the re-recording of the theme to Mission: Impossible, in 1996. He and U2 have won many awards, including 22 Grammy award

U2360° Setlist

U2360°. 110 shows. 30 countries. 7 million fans.

The 360 Tour broke all the records and U2 subscribers are voting on tracks that will appear on “U22” a live double-CB and the ultimate setlist.

26 months of performances, which includes at least 22 tracks per night. So which night stands out ? Mexico? Brazil? Chicago ? Or London ? Fans are voting right now.


‘U22’ is a limited-edition release for U2.com subscribers. Coming Soon - Watch for more details.

Does U2 still have relevance?

Bono / Nick Walker 2011Bono answers the tough questions with tough answers. U2 are about to release their most expansive reissue project yet, for 1991’s Achtung Baby (Super Deluxe Edition – the album where they traded in earnest uplift for funk, noise, sex, irony and self-doubt. So how does this lavish look back square with the band’s old lyric “You glorify the past when the future dries up”?

Reissuing 1991’s Achtung Baby (Super Deluxe Edition) with a new companion documentary wasn’t an easy decision for a forward-looking band averse to rearview glances, says Edge, 50. “How big a deal do we make of an anniversary when we’re in the middle of what we’re doing now? We had a hard time figuring that out. We’re not a heritage act. We’re still very active. But this record was so pivotal that we felt it was OK to revisit it.”

“I’m not so sure the future hasn’t dried up,” says Bono, who’s been irritating his bandmates lately by publicly questioning U2’s relevance – despite the fact that they just finished the highest-grossing tour of all time. “The band are like, ‘Will you shut up about being irrelevant?’” he says. But Bono can’t help himself – even though U2 have been in and out of the studio with various producers recently, he raises the possibility that the band may have released its final album. “We’d be very pleased to end on No Line on the Horizon ,” he says, before acknowledging the unlikelihood of that scenario: “I doubt that.”

Bono concedes that revisiting the album where U2 punched themselves out of a tight corner – after 1988’s Rattle and Hum Movie and album helped convince some music fans they were hopelessly solemn and pompous – suggested a way forward. “Ironically, being forced to look back at this period reminds me of how we might re-emerge for the next phase,” says Bono. “And that doesn’t mean that you have to wear some mad welder’s goggles or dress up in women’s clothing. Reinvention is much deeper than that.”

Moving forward has never been easy for U2, as chronicled in the outtakes, B sides and early versions of Achtung songs unearthed for a new box set – and set forth in moving detail in From the Sky Down, a documentary about Achtung Baby’s genesis by It Might Get Loud director Davis Guggenheim. The movie, which opened the Toronto International Film Festival, makes it clear that trying to find a new sound led to what the Edge calls “a potentially career-ending series of difficulties.” In tracing the creation of “One,” the film also reveals that lyrics such as “We’re one, but we’re not the same” are as much about the band’s fraught brotherhood as anything else. “I thought [Achtung Baby] was a really supercool moment in a not always supercool life,” Bono says with a laugh, “and [Guggenheim] goes and makes an uncool film about us!”

Bono / Nick Walker 2011 Rattle and Hum, and the horn-section-and-B.B.-King-accompanied Lovetown Tour that followed, were U2’s rootsiest moment. But for a band whose actual roots were in late-Seventies post-punk, the cowboy hats and denim were starting to chafe. The Edge was listening to My Bloody Valentine,  Nine Inch Nails and Einstürzende Neubauten, while also noting the fusion of rock and dance coming out of Manchester, with groups like the Stone Roses. “I always remember the intense embarrassment when I happened to be in a club and a generous-spirited DJ would put on one of our tunes from the War album,” the Edge says. “It was so evident we had never been thinking about how it would go down in clubs. So we just wanted to stretch ourselves in the area of rhythm and backbeat and groove.”

The band recorded the bulk of the album in Berlin’s Hansa Studios , just as Germany was reunifying – and as co-producer Brian Eno wrote, aesthetic guidelines soon emerged: “Buzzwords on this record were trashy, throwaway, dark, sexy and industrial.” “We found it was more interesting to start from an extreme place,” says the Edge.

Hence the buzz-saw guitars that kick off the opening track, “Zoo Station ,” followed by a blast of Larry Mullen Jr.’s drums distorted almost beyond recognition. “Some of the extreme sounds weren’t achieved with sophisticated, outboard equipment, dialed in carefully,” says the Edge. Instead, they simply overloaded their vintage recording console. “It was literally, ‘What happens if you try to go to 11?’” says the guitarist.

Adam Clayton / Nick Walker 2011 For the band, rediscovering the wildly different lyrics and arrangements on the early “kindergarten” versions of the songs was revelatory – “Tryin’ to Throw Your Arms Around the World,” for instance, sounds like an Irish folk tune. “The first time the paint goes on the canvas is a very, very exciting moment,” says Bono. He was intrigued by a line in the early “Who’s Gonna Ride Your Wild Horses” that recasts its story as a “parasitic” love affair (“Your innocence I’ve experienced”), while the Edge is convinced the more restrained vocal melody on that version is superior to the released track.

One of the more intriguing outtakes, “Down All the Days,” has the same backing track as “Numb,” from U2’s 1993 follow-up, Zooropa, with Bono singing an entirely different song. “It’s this quite unhinged electronic backing track with a very traditional melody and lyrics,” says the Edge. “It almost worked.”

Meanwhile, U2’s future plans are not set. “It’s quite likely you might hear from us next year, but it’s equally possible that you won’t,” says the Edge. Adds Bono, “We have so many [new] songs, some of our best. But I’m putting some time aside to just go and get lost in the music. I want to take my young boys and my wife and just disappear with my iPod Nano and some books and an acoustic guitar.”

Read more about Bono’s interview in the new issue of Rolling Stone

Rumors contiue of the end of U2, over the next few days we will revisit some of the rumors and lay to rest some thoughts of the future that lay on the past.