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U2TOURFANS March Madness Giveaway !

You claim to be a U2 fan, you say you have been to every U2 tour possible and you feel that you are the #1 U2 fan in the world. If you are not than skip this promotion because it is the U2 documentary DVD “From The Sky Down” give away for the real fans.

U2 are an Irish rock band from Dublin. Formed in 1976, the group consists of Bono (vocals and guitar), The Edge (guitar, keyboards and vocals), Adam Clayton (bass guitar), and Larry Mullen, Jr. (drums and percussion). U2’s early sound was rooted in post-punk but eventually grew to incorporate influences from many genres of popular music. Throughout the group’s musical pursuits, they have maintained a sound built on melodic instrumentals, highlighted by The Edge’s textural guitar playing and Bono’s expressive vocals. Their lyrics, often embellished with spiritual imagery, focus on personal themes and sociopolitical concerns.

Win your very own copy of “From the Sky Down”. Tell us in 500 words the impact of U2 on rock music.  Do you think U2 is the face of modern Christian music? How did U2’s music affect your life?  

U2 wrote songs about things that were important and resonated with their audience, now it’s your chance to write your own story on U2.

The details – March 1st  thru March 14th we will publish one story per day that we have voted and consider to be a finalist. The story publish will have the facebook voting option setup allowing U2 fans around the world to vote on the story.  On March 14th we will publish the top 5 stories and allow you to vote on them. You the fan will select the winner! Runners up will be entered into a runner up promotion and recieve a CD of their choice.

All entries must be submitted by February 29th - U2STORY@u2tourfans.com  


Disclaimer: All submissions become the property of U2TOURFANS and will not be returned. The Editor-in-Chief has the final approval on all submission prior to publishing. Fans will vote on the submissions via facebook voting. Stories published will include the by line of the writer and must be orginal work. No cash will be exchanged for prizes.  All prizes are shipped direct to the winner.

"we should just f*** off"

BRIAN BOYD

Achtung Baby’ was the making of U2. As the album is rereleased after 20 years, alongside a film about the band, Bono and Edge recall the turmoil that surrounded the recording and talk about their future

IT’S WHEN THREE glasses are raised to toast “12-step programmes” that you realise perhaps one too many cocktails has been taken. It’s a bar in Toronto and the caipirinhas were Bono’s idea, with Edge not slow to get his round in. “If we don’t come up with a very good reason to make a new album, we should just f*** off,” says Bono. “Why does anyone need a new U2 album?”

For the first time in their 35-year career the notoriously “faster, stronger, higher” band have put the brakes on and taken a long look in the rear-view mirror. A new film about the band, From the Sky Down , documents how their huge success in the 1980s provoked a bout of self-loathing and almost broke up the band as they struggled to stay true to their vision of a band forged in the white heat of Dublin’s punk/new wave movement.

To mark the 20th-anniversary rerelease of their key Achtung Baby album, U2 had a rush of blood to the head. They decided to open their archives and cede editorial control to the Oscar-winning director Davis Guggenheim to make a film ostensibly about the troubled gestation period of Achtung Baby . The result was something very different.

“Watching From the Sky Down the first time made for painful viewing. I hated it,” says Bono. “U2 never look back. It’s never been what this band is about. Edge will tell you that when we put together our best-of collections he forced me – actually had to physically force me – to listen to them before they went out. I’ve never been interested in what we have done. I’m interested only in what we’re about to do. But I think there comes a time when it actually becomes dysfunctional not to look into the past, and for the Achtung Baby album we made an exception.

“The film is not about us per se. It’s about how bands function – or, in this case, don’t function. But when I saw it first I just saw these four people talking intensely about their music, and, really, does the world need that at this time? Davis didn’t tell us he was going into our past to put a context on what really happened to the band after the success of The Joshua Tree and how bad things were in Berlin when we started to make Achtung Baby . He didn’t tell us because we wouldn’t have agreed. Now that I’ve seen it a few times I realise it is actually about the creative process. Let’s face it, the era of rock music is going to end soon, and if you are interested in rock music and rock bands you’ll be interested in their internal dynamics: what makes a rock band tick, the tribal aspect, the idea of the clan. The irony for me now is that we made Achtung Baby to set fire to our earnestness and now here’s this very earnest film about the making of the album.

“We held back nothing from Davis. We opened up our archives to him and he really had carte blanche. The first time I saw it I was going, ‘Oh no, no, no,’ and I went to him and made a few suggestions as to the changes I wanted. There was no battle of wills. He just didn’t even get into a discussion with me. He didn’t change anything. But I was looking at it, going, ‘Why is this film talking about Cedarwood Road [where he grew up], the Baggot Inn and my grandmother? I thought we were making a film about the Achtung Baby album. What is going on here?’ ”

What is going on in the film is a look at how a band who shared musical DNA with Throbbing Gristle and Cabaret Voltaire ended up sitting at music’s high table alongside Elton John and Dire Straits – but without the AOR table manners. A generation before Nirvana dragged alt-rock into the musical and media mainstream, this punk-theatric band ended up on the cover of Time magazine, in April 1987, as “Rock’s Hottest Ticket” and selling out arenas around the world.

Disgusted with the idea of being rock idols and disillusioned by their stadium-rock billing, they were at breaking point. “We were carrying Catholic guilt around – the sin of success,” says Bono. “We had emerged from playing with The [Virgin] Prunes and hanging around the Project Arts Centre getting mime lessons from Mannix Flynn. And the context here is that the musical scene we came from had this very Maoist music press. There were certain canon laws: thou shalt not go platinum; thou shalt not play in a stadium or an arena; thou shalt not go to America; thou shalt not be careerist. If you even thought about those things you had committed a sin.”

DESPERATE NOT TO turn into a cigarette-lighter-in-the-air stadium-rock band, U2 boarded the last flight to East Berlin just before Germany reunified, in 1990. It was one of the harshest Berlin winters, their recording studio, Hansa, was a former SS ballroom, their hotel was rubbish and they had no songs. “On a scale of one to 10 we were at a nine for breaking up,” says Bono.

For Edge, U2 were over the moment they walked into Hansa – or, at least, Rattle and Hum U2 were over. “It would have been insanity for us to have stayed in Rattle and Hum mode; that was a wonderful, great little aside, but it was never who we really were,” says the guitarist. “Who we really are is all about the future and innovation. We were getting a bit purist and a bit ‘disciplist’ about roots music, but we needed to become disciples of what is coming next. I arrived in Berlin with drum machines and loops, telling everyone what was happening in Manchester,” he says, referring to the Hacienda nightclub and to The Stone Roses and Happy Mondays, among other bands. “I was also big into industrial music, but the producer of the album, Danny Lanois, was going, ‘Okay, this all sounds interesting, but show us where it’s going musically.’ And I couldn’t.”

Things deteriorated rapidly. As Bono has it, while outside they were tearing down the Berlin Wall, U2 were building their own wall inside Hansa. On one side were the so-called traditionalists: Adam, Larry and Lanois; on the other, Bono and Edge were throwing club- culture and dance-rhythm shapes. Bono had always felt aggrieved that whenever a club DJ would play a U2 song, it would empty the dance floor. He wanted to make U2’s music sexy.

“To Danny Lanois, from his perspective, we were kindred spirits to his love of roots music,” says Edge. “He loved the organic feel to our music, the material that was on The Unforgettable Fire and The Joshua Tree . But no one knew how to make the bits of new material we had into U2 songs. The first two weeks were a nightmare. Everything we tried would just nosedive. It got to the stage where we lost trust in each other … and there was a clear dilemma.

“There were options: one was to see whether U2 could absorb new material and make it their own, or whether U2 as a band were inflexible and couldn’t stretch. The other option was to throw out all the material, start again and … extend the line-up or bring in other musicians.”

With the band having to take some very hard decisions about continuing to flail around in the studio or just cancelling everything, a deus ex machina arrived in the shape of the discarded second bridge from a song called Sick Puppy (later renamed Mysterious Ways ). That bridge was shaped into the intro for a new song, One . “As soon as One came into that room it stabilised everything,” says Bono. “Everyone just sort of surrendered after we had that. By surrendering, we got over the hump.”

With a song to anchor the album, they returned to Dublin for Christmas and finished off the album in a rented house in Dalkey, in south Co Dublin.

Released in 1991, and hailed as a triumphant reinvention, Achtung Baby sold more than 20 million copies. It remains their most important album, and the resulting tour, Zoo TV, changed how live rock music would be presented and experienced.

It’s dark outside in Toronto now, and an interview that began in sunshine has gone way over time. There’s just one more thing. It may well be an act of lese-majesty, but here goes: one possible interpretation of the film, Bono, is that, without Edge, you’d still be in the Baggot Inn. “Sure,” he says, nodding.

“That’s a lovely thing to say,” says Edge. “But I don’t think that’s true. It’s symbiotic. I wouldn’t be able to do what I do without Bono, and I think that’s reciprocal. He makes me great. I help him to be great.”

Before they descend into you’re-my-best-friend territory, we slip away. Bono is saying, “Being in U2 is like being in the priesthood. There’s only one way out. And that’s in a coffin.”

Anaheim Take me Higher

Memphis Mullen: The U2 360 show in Anaheim had the best energy so far of the five shows I’ve seen in the US on this leg. The audience was really into it. It was the same set list as the previous US shows this leg.

I spent the day in my hotel room conserving my energy for tonight’s show. I left for Angels Stadium at 2pm. I got a little lost walking to the stadium - I went the wrong way twice. I got to the stadium shortly after 2:30, even though the stadium is just a few blocks from my hotel. I was tired and sweaty, as June Gloom brought the humidity today. I think I got a little overheated and dehydrated because I had a terrible migraine the rest of the day and throughout the show.

Arriving at the stadium, I noticed 2 GA lines on opposite sides of the stadium. I walked around to where I thought the band would drive in and found most of my friends already there waiting. Of course we were all in the wrong place, so we moved around to the right place about a half hour later. U2 arrived around 4pm, not in their usual black towncars, but all in one white van. No one stopped, but Larry did smile as he drove by - I like to think it was because he saw my Larry Mullen Band shirt. This was the first time Bono has not stopped in the US this leg.

We got in the GA line and listened to the soundcheck, which included both The Fly and Ultra Violet but neither were played in tonight’s show. We entered the stadium just after 5pm, got our stamps to re-enter the inner circle and then went up to the stands to sit and relax in the shade. Anaheim Stadium is a beautiful baseball park. Lenny Kravitz and his band arrived to the stage in golf carts. They played from 7:30 to about 8:15 and the same set list as the previous four shows I’ve seen.

After Lenny’s performance, I went back to wait for U2 to walk in. The venue security tried to get us to leave, but Rocco told them we were allowed to stay there to wait for the band. U2 walked to the stage just after 9pm and Larry once again smiled and waved at me as he entered.

The inner circle was very crowded, probably because of all the VIPs. I stayed behind the stage for the entire show, which is fine because that’s the best view of Larry anyway. Bono’s band introductions were great. He thanked Larry for everything that U2 was, saying they would be nothing without him. Bono also brought Paul McGuinness on stage for the first time ever. Yesterday was Paul’s birthday, so we sang Happy Birthday to him.

During With or Without You, I went back to wait for U2 to leave. I stood in the same place I did in Seattle, hoping that Larry would once again grace me with a handshake. He didn’t, but he did smile and wave at me. So a smile and wave from Larry on the way into the show and on the way out of the show isn’t too shabby.

Tomorrow there is another U2 360 show at Angels Stadium in Anaheim. This is the only time in the US that U2 are playing two back to back shows in the same city, so hopefully they will change up the set list a bit. Unfortunately, I won’t be able to blog about it tomorrow night or post videos or pics. I have to get right to sleep in preparation for my 3000 mile cross country drive to make it to the Baltimore U2 360 show on Wednesday. Please send good thoughts my way :)
 

Want to work for U2 ?

Organizers of a U2 concert in Moncton this summer are on the hunt for hundreds of temporary workers needed to erect a massive stage, grandstands and lighting and sound systems at Magnetic Hill.

Pascal Dube of Stage Crew Inc. of Moncton is looking for riggers, forklift drivers, truck loaders, stage hands and general labourers.

It will be a huge job that will begin about a week before the concert.

The U2 stage, a huge metal claw with four legs and giant video screens that stands about 50 metres tall, will likely be the biggest yet erected at the outdoor venue.

As a contractor to the touring company, Dube will be responsible for working with U2’s road crew to make sure everything is set up and ready to go when the band arrives.

He can’t say exactly how many people he will need but said the AC/DC show in Moncton in 2009 required more than 200 people — and the U2 show is expected to be bigger with up to 100,000 spectators.

“We have people coming from all over New Brunswick, P.E.I. and Nova Scotia to work at the show. And they don’t come just for the work because they have other jobs — they gotta love doing it,” Dube said.

“In this job you get to meet people from all over the world and get to be part of putting this big show together. It’s all about the music.”

The July 30 show will be the final North American date of the U2 360 Tour. The opening act is Montreal’s Arcade Fire, which received a best album Grammy last weekend for The Suburbs.

Besides all the riggers and stagehands, the U2 concert is expected to provide many other short-term jobs in security, food service, beverage service, traffic control and the box office.

Shane Porter, the City of Moncton’s supervisor of special events, said extra security will also be recruited while traffic control in and out of the site will be handled by the RCMP.



U2's Bono named Dubliner

Irish rock singer Bono has just been nominated Dubliner of the Year. The U2 singer, no stranger to awards, claimed he was blindsided but delighted by the title and said being named Dubliner of the Year was the perfect way to wrap up a banner year for the Irish band.

Dublin is a state of mind and a place. What’s being a Dub? I don’t know, but I am one and proud of it through and through. The messy head, all the earnest conversation, our spunkiness and punkiness, our sense of fun, the self-deprecating over-confidence.

“We are so many contradictions. Dubliner of the Year crowns a great year for me and the band, not everyone’s experience I know. I’m feeling very blessed and grateful, and deep down in my gut, I know this city has what it takes to be a world-beater once again. It already is, in my head.”

Paul Trainer the Editor of The Dubliner, the publication behind the award,  told the press that Bono was the natural winner for the 2010 title.

“Bono has inspired many of the articles we have published over the last ten years. Wherever he goes, he takes a bit of Dublin with him and in the last year he has taken our city to every corner of the earth. He is a Dubliner who makes us proud to be The Dubliner,” he said.

Fellow Dubliner Danny O’Donoghue from rising new Irish band The Script praised his hero as a success story which should be celebrated.

“Bono has got what most musicians search for all there life, heart. His belief changes others. He made it possible for Dubliners to dream, to think ‘what if?’ His belief and drive as a Dubliner got him to where he is today and we all need to be reminded that we drink the same water. So I congratulate Bono and say well done, keep flying the flag for Dublin and Ireland,” he said.



U2 By the Numbers

The tour, with a daily running cost of $850,000, arrived on six 747 jets to be assembled by a crew of 130.

“You compare a tour by the number of trucks they use,” production manager Jake Berry said. “The Rolling Stones ran 46 trucks. We are running 55. This is the biggest.”

The centrepiece of U2-360 is a so-called claw, an imposing bug-like structure that houses 200 tonnes of light, sound and video magic.

U2-360 stage designer Willie Williams said: “The breakthrough was to make it so big that it becomes part of the stadium. But, in a funny way, it’s invisible because the performance area is not connected to the structure.”

Indeed, the stadium of fans surrounding the claw and stage become part of the show, too.

“It’s a cross between a rock show and a sporting event because you can see the other people,” Williams says.

U2 redefined stadium rock with their ZooTV and PopMart tours. But U2 bassist Adam Clayton says U2-360 is revolutionary. “We know it’s a game changer,” he said. “These football stadiums can be quite imposing for music. But this has a different atmosphere. There is humour to it, almost something ridiculous about it. “You think ‘How is this going to work?”’

In terms of box office receipts, U2-360 is working incredibly well.

It took $123 million to be the highest grossing tour of 2009.

A back injury flattened the band’s lead singer, Bono, and tour profits, for most of this year.

U2-360 resumed in August with sellout dates across Europe. US dates are scheduled next year.

U2’s manager, Paul McGuinness, confirmed the $850,000 daily running cost of U2-360. “That’s the overhead cost of being out here whether we play or not,” McGuinness said. “It’s important we play regularly. There is a discipline involved.

“Even though we’re spending a lot of money, we’re making a lot of money.”

McGuinness knows U2-360 is a new model for stadium rock. “We’ve always done landmark productions, or so we think,” he said. “Being able to play in the round, in stadiums, is the holy grail.”

Put simply, in the round means up to 30,000 more seats, which equals lower ticket prices.

“I can assure you the costs of putting this show on are the highest in history,” McGuinness said.

“But the audience looks at the show and can see what we spent the money on.

“They see an incredible spectacle.”

Clayton agreed: “There is a financial risk when you do something that hasn’t been done before. It’s a bit like inventing the wheel.

“We’ve now proved you can do a show by hanging light and sound off a structure. But to build that structure is a very high price. You have to make sure your tour is doing all right.” Clearly, U2 are astute businessmen.

But McGuinness said the numbers must never get in the way of creativity.

“The reason for being good in business is so you can do what you like creatively,” McGuinness said.

“By and large, we have succeeded. There aren’t too many instances of the business getting the better of the creative process.”

Berry said U2-360 took the creativity of stadium rock to an end game – purely because of cost. “It’s like the Beijing Olympics,” he said.

U2: 'We're still in the driving seat'

Scott Kara talks to U2’s Adam Clayton about how the band has evolved and why the game’s not over yet. This story published in the New Zeland Press - 

Bono describes him as “wildly and mentally endowed” with the “sartorial swagger of the Brat Pack”. He’s the Clark Gable - think Rhett Butler in Gone With The Wind - of the biggest band in the world.

Well, that’s what Bono reckons anyway. To us mere mortals, however, Adam Clayton is simply U2’s laid-back, cruisy and ever-so-stylish bass player.

Following a friendly reminder from his assistant, he calls me 25 minutes late from New York on Sunday morning (New Zealand time).

“Hi Scott. It’s Adam,” he says cheerily. He asks what the weather’s like.

It’s glum but it’ll be beautiful for their two Auckland shows (the first of which is tonight), I tell him.

“It better be or we won’t come,” he chuckles.

There’s some small talk about rugby, since the All Blacks have just played Ireland.

“Is it appropriate to ask who won?” he asks politely.

The All Blacks, but it was a typically determined Irish effort.

“It’s a bit too brutish for me. I’m more of a cricket fan,” he offers. It’s perhaps not surprising he likes the gentlemen’s game, considering he and bandmate The Edge were both born in England rather than being of pure-bred Irish stock like drummer Larry Mullen jnr and Bono.

“Actually, I don’t particularly like the cricket, I like the clothes,” he laughs.

So it turns out Bono’s sartorial observation is right.

Clayton, the man, is also friendly, forthcoming, and understated. The thing is, he’s almost pathologically modest.

“What comes across on stage is a pretty honest depiction of the way I see things,” he says. “I think people understand I don’t take all of this too seriously. It [being in U2] is something you get up and do every day and life carries on, regardless.

“But it’s an amazing thing to have grown up with your mates for 30 years,” he says, before reverting back to the most absurd understatement, “and to have made more than a good living out of it.”

Not that the 50-year-old is dismissive of what U2 have become since forming in Dublin in 1976 when 14-year-old Mullen put out a call on the school noticeboard for musicians to join a new band.

Back then, Clayton “was an unhappy teenager and music was the thing that always calmed me”. He admired The Who’s bass player John Entwistle, was into punk, and about to discover the funky delights of black music and rhythm and blues (“when bass gets funky, that’s when I get interested”).

These days, even though he’s rolling in it and feeling quite relaxed, he still has the same hunger and passion for music.

“There is some essential truth within music. You know, when you see a great band or a great singer you’re dealing with something irrefutable. And I’ve always followed that and still consider music in that way, and try to get to that moment where people reveal something that’s more powerful than feeling it.

“I think what is interesting,” he continues, “is that rock ‘n’ roll was kind of invented as a teenage art form, and in some ways people diss whether or not you can continue to be relevant as you get older. I would say my experience, and the band’s experience, is that age has nothing to do with it - it’s about the quality of your ideas and how you execute them. I think we’re still very much in the driving seat now.”

That “good living”, as Clayton describes it, comes from having sold more than 150 million records, being one of the biggest touring bands around and having, in Bono, music’s ultimate statesman and crusader.

“He’s crazy, charismatic, and intelligent. It’s a specific job being a frontman and a lead singer and I think we’ve got one of the best.”

Even in an age of plummeting record sales, with the 360° tour, in support of latest album No Line On The Horizon, U2 could just be bigger than ever.

The band have embarked on some large-scale tours in their time, including 1992’s Zoo TV in support of Achtung Baby and the elaborate PopMart tour of the late 90s, but they don’t get bigger and more technically ambitious than the 360-degree staging and audience configuration of the current stadium tour.

With its giant, claw-like centrepiece and the cylindrical video screen, it is immense and revolutionary. “It’s probably our first stadium tour where we’ve had to learn how to make it work,” says Clayton.

While the set list for the tour includes all the band’s big songs, like Where The Streets Have No Name, Pride (In The Name Of Love), and Vertigo, Clayton says they are also playing a few new songs, as well as some surprises like The Unforgettable Fire, the title track off their beautifully ambitious, yet underrated, 1984 album, which was a highlight of the 360 Live At The Pasadena Bowl DVD released earlier this year.

“The shows are kind of interesting because not only is the band playing really well - we’re really settling in nicely now - but we’re now being brave enough to add in some new songs along the way. It’s a bit of a first and, I have to say, it’s a bit risky to be playing new songs to a stadium full of people. But it seems to go across pretty well.”

Brave? Risky? You’re in U2, man.

“Well, that’s true. But there are things that you don’t do and one of them is, when you’re playing shows to very large amounts of people, you don’t give them anything that means their attention will wander. You’ve got to have all the bells and whistles or they’ll go and get a hot dog. You can do it in a club or an arena because you can lose them for a song and you can pick them back up again, but in these bigger settings it is risky.”

These new songs, he says, could be the start of a new, fresh period for U2. Clayton believes U2’s albums can be grouped into cycles. So 1980’s raw, impassioned debut Boy, 1981 follow-up October, and the anthemic and revolutionary War from 1982 were formative records.

Clayton describes as “a convulsion of adolescence” in the notes of the 20th anniversary collectors’ edition of The Joshua Tree. The next three albums - the The Unforgettable Fire, the mega-selling Joshua Tree (1987) and, arguably the band’s best album, Achtung Baby (1991) - were where U2 found their true identity.

“When I think of [those three records] I see one of our great creative runs as a band, a series of albums which represent the ‘core values’ of U2,” he says.

After Achtung Baby - “industrial, underground and noisy” - they got even more experimental, dancey and electronic in focus on Zooropa (1993) and Pop (1997).

The latter, believes Clayton, started out being more mainstream but was taken over by the influence of the British dance music scene, which comes through on lead single Discotheque. It’s arguably the band’s weakest album - yet given its shot at doing something different, it’s hardly a dud.

The band’s next phase signalled the start of the current era, a return to a more classic and traditional U2 sound.

“We really wanted to bring it back to being a band again. We stripped it back down to reveal what a good band we had and that really was All That You Can’t Leave Behind. We decided consciously to go back indoors and play indoor concerts because at an indoor concert you don’t need to have as much production value and you can pretty much be on stage and do it with the music alone.

“That cycle continued through How To Dismantle An Atomic Bomb and on No Line On The Horizon, which although it sounded like a band that had grown, we were still very much working in that stripped-down format, and it’s probably the end of another cycle.”

The band are working on new material at present and the next album will be different again.

“It is quite a fresh area for U2 to be working in. I don’t think it’s going to sound like familiar U2 territory at all. The creative process is always exhilarating and fun, because you can go as far as you like.”

And that’s all he’s saying about the new songs until they play them live - so pick your moment when you go and get that hotdog.

By Scott Kara

U2 FAQ Celebrates "Boy"

 

Bono / U2TOURFANS Thirty years after the release of U2’s landmark debut album Boy and its enduring single “I Will Follow” a new book titled U2 FAQ: Anything You?d Ever Want to Know About the Biggest Band in the World?And More is set for a November 2010 release from Backbeat Books. Written by award-winning music journalist John D. Luerssen, the 450+ page tome explores the 35-year history of the revered Irish band.

The latest in Backbeats acclaimed FAQ series (Fab Four FAQ, Fab Four FAQ 2.0, Pink Floyd FAQ), U2 FAQ follows Bono, The Edge, Adam Clayton, and Larry Mullen Jr.

From their start at Dublin’s Mount Temple School in the fall of 1976 up to their recent re-emergence following Bonos debilitating back injury earlier this year. U2 FAQ boasts rare artifacts and photos culled from fans and collectors worldwide plus an insightful and heartfelt introduction by John Thomas Griffith, the one-time frontman for Red Rockers, an opening act on U2’s 1985 Unforgettable Fire trek.

U2 FAQ explores the creation of Boy, now celebrating its 30th anniversary, in full detail and includes: The March 1978 development and live debut of “Shadows and Tall Trees”; The 1979 EP Three U2 made for CBS Ireland; Signing To Chris Blackwells Island Records; How the suicide of Joy Divisions Ian Curtis impacted the course of the album; A trial run with Siouxsie & the Banshees producer Steve Lillywhite recording “A Day Without Me”; U2’s September 1980 “Mondays at The Marquee” London shows in advance of Boy; The early support of Boston DJ Carter Alan; Controversy over the Boy sleeve that led to its alteration for sale in the U.S. market; Breaking bottles and banging bicycle spokes on “I Will Follow”; “Twilight” earns U2 a strong gay following; Why manager Paul McGuinness thought Stories for Boys was about masturbation; and why the NME called the band really quite awful at the same time Melody Maker praised them for playing truly great rock music which inspires the heart.

What makes U2 FAQ different from the other books written about the band, is thataside from all of the information it gathersit explores the bands vulnerabilities, Luerssen says. I think that with U2’s enormous popularity, its easy to forget that Bono, The Edge, Larry, and Adam are human beings like the rest of us. And I explore that in chapters like Broken Nose to the Floor: Public Debacles, Dangers, and Embarrassments, and Dont Talk Out of TimeTrue U2 Stories.

From 10 Bands Who Have Opened for U2 (including the BoDeans, Kings of Leon, and Pearl Jam) and U2’s odd taste in cover songs. to the story behind Allen Ginsbergs appearance on U2’s 1997 television special and why U2 abandoned their plan to record an album with legendary producer Rick Rubin after laying down two tracks with him, U2 FAQ is stuffed with information for casual fans and die-hards alike.



 

U2's Spectacular Night in Athens

Crowded with thousands of spectators greeted the Olympic Stadium of U2, who 13 years after its appearance in Greece, landed in Athens for a single concert.


Umpteen people came from numerous places to Athens to watch the unique concert of the irish band U2! Everything was spetacular from the stage, which in fact was part of a spacecraft, to Bono’s magnifiscent coat with red led lights! The concert took place yesterday, at the Greek Olympic stadium with thousands of fans.

At 19:20 p.m Avin Geffen, came on stage to prepare the audience. An hour later, the band Snow Patrol followed and their singer said he was excited for being in Greece.

At 21:58 p.m the legendary rock band appeared on stage, and Bono together with the others caused delirium to the thousands of fans. Bono sang numerous great hits such as “Magnificent” and “in the name of love” , ‘passenger’ . The singer was really obliging with his fans and he roused enthusiasm to the whole stadium by saying to his Greek audience that ” I fully understand the difficult situation of the country due to the fiscal crisis, but i am convinced that Greece will be once more the winner!”

At 23:42, Bono said ” Goodnight Athens” . However, a few minutes later, he came again on stage singing ” With or Without you” wearing, a coat with red led lights! At 23:56 p.m Bono said goodbye and thanked Greece for its cordiality and hospitality, being really fluent in Greek.  However, the thousands of fans did not leave the stadium and kept on singing their great hits!

U2, gave a spectacular concert, which was full of energy, joy and of course… rock!

Bono in Pain, Adam Farts, Flying School Bus, Not the Best Show

The “crown” presented on Monday evening, the best band in the world live in the Ernst-Happel-Stadion. U2 enthusiasts with a spectacular show of the “360 °-Tour” and the largest round stage, the stages of this world have seen so far, some 70,000 fans.


 We knew that sooner or later we had to have one show that may not be consider the best of the group. This may go down as one of them. Bono is very talkative, suggestions that the pain meds may be the cause of it. Sure that could be possible. The techincal issues after a long sound check may be in question. The issues left long breaks between songs, great for the recording of the show, not so great for the audience. The Edge seemed to have most of the issues.

Traveling family on this show. three women and six children flew in on the private 360 AIR jet of course a police escore and a tight security detail. This show was considered to be a “runner” band came in, band played, band flew out. Adam flew in solo as reported.

Bono with wife Ali and sons Elijah and John. The Edge with children Ava and Ezra and wife Morleigh Steinberg. Larry is accompanied by time girlfriend Ann Acheson and the sons of Levi and Sian.

At the Vienna program includes the concert and a short sound check a platinum award and an exclusive backstage dinner. At midnight, we then jetting back home.

We are a family band: John is here, Elijah, Ava, Ezra, Levi, Sian. “In his address to the mega hit I Still Have not Found What I’m Looking For is Bono (50) on Monday in Vienna Stadium are very personal.  Bono made it a point to say that the family was in attendance.

After the show, the band flew home to Nice, and its on to Athens.

 

U2's Two Day Party in Horsens

 

U2 Rocked Horsens for Two Days, the largest stage in the world arrived nearly two weeks ago as fans watched in amazement, dreaming of the show they would soon see. Tickets sold out, camping gear spotted around the stadium, fans positioning themselves around the non ticket holder areas to catch the massive screen.

The middle aged Irishman sounded like they should have been shoulder to shoulder in a sweaty summer club, maybe CBGB’s (reference to our friend Hilly) however tonight Horsens turn to experience U2 in a 360 view was.  

The boys climbed the stage in a remarkably leisurely pace here as dusk turned into his most dark blue hue. But from the first chord in new instrumentals Return of the Stingray Guitar and its jumpy synth theme was solid beats and loud, and announced that tonight’s first peak could come as soon it should be. And it did: It’s a Beautiful Day song Bono to the riveting beat, and the answer came promptly in the form of ecstatic reunion joy that stretched all the way down to audience numbering 35,000 in the rear end of the arena.

The Edges familiar riff on guitar for New Year’s Day reminded us that U2 has three decades old, while Bono edge on the outer circle was all skepticism to shame that the very question back injury is a hindrance. He pulled hard on the body at a pace that drove the song even faster than the original, and grooved, dirty Get On Your Boots beats gave a further upward thanks to a metallic, treble  that perhaps vibrated inappropriate under-grandstand roofs, but turn easily reached all corners of the arena.

It was frankly hard, sharp rock, and although the pace was choked a bit down in the beautiful pop Magnificent with Bono high clear song, it was not until tonight’s sixth number, Mysterious Ways, that there was something that reminded just a little on air and cracks in the sound barrier (while sensual female bodies writhing in front frontman’s face on the big screen to the sexy groove). Just to party and rock the machine threw yet another dunk gasoline on the fire with Elevation: Bono is out on the edge with big gestures - and the audience responded!

At the time of the concert was so looked deeply into U2’s history books, but actually, the four be commended for serving a very contemporary program. Half of the concert a total of 23 songs were from the last decade, and perhaps it is also why an estimated 25 percent of the audience this evening was not even born when the group came up - and many of them do not know when U2 had its absolute artistic zenith in the final 80 / start-’90s.

U2 will continue to blaze the world with this tour and fans await the release of something new. Something different as U2 continues to define rock as music that you feel in your soul and you can’t feel it if your sitting on your ass !

 

Summer Heats up with U2

You do not know what a real concert experience is until you have seen U2 live, or so fans of the Irish rock quartet say.

U2’s concert U2360° Live from the Rose Bowl Stadium in California, United States last October is an example of how the band from Dublin, Ireland always pulls out the stops to give fans a memorable time.

The stage design featured a large four-legged steel structure that holds the speaker system and cylindrical video screen, and hovers above the performance area. Dubbed “the Claw”, the platform is surrounded by a circular ramp, which connects to the stage by means of rotating bridges.

“Bono is nothing if not a committed showman, which is half the fun of seeing U2 live,” the Daily’s Dusty Somers said of Bono’s stage presence in a review. “Being outfitted in a laser suit and swinging from an illuminated microphone is the kind of stuff he probably lives for, and with that superbly talented band behind him, it’s the kind of stuff that makes enduring the often impersonal nature of a stadium show worth it.” 

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Sorry we had to throw the last question in. We are working on a totally new app and really wanted to know if you had it loaded to your Iphone. - 

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