6 or 7 Ready, No Title and U2 Heads Home


After show comments with Rolling Stone’s David Fricke gives us a chance to peek into the dressing room of U2 for an interview with the boys, The Edge followed up his comments that they album has been delayed due working on Ordinary Love.  

Edge stated, "We really want the songs to be right. That's the only reason why we're not on tour – because we're so good at starting, not so good at finishing. That's always the way it's been."

We noticed the comments about having 30 or so songs in various states and really, that seems to be able right for the boys. They seem to start very strong and work to scale down to the finished product.

The process takes time. Its not as easy as one word think. Edge did give way to the fact that they do have six or seven mixed and ready to go. We should expect something like 9 or 12 songs total in this new digital world.  Edge also provided some insights to the creative process.

When asked about the title of the next project simply stated "Not yet. We have a few."

The band left New York headed back to Dublin to keep working on finishing the album.

Irrelevantvant U2 in 2012

Thinking about the article in Rolling Stone referencing U2 and Bono’s comments of irrelevance. The boys have been working on 3 album projects. Bono made reference to having a need to having U2 music played on radio. RS threw some cold water on that idea.

RS:” We hope they realize that radio is unlikely to put any song they ever write into heavy rotation: instead, they should just focus on making another great record, and then hit the road on an arena tour that drops some of the old warhorse in favor of great songs from the past. We fear their primary focus is competing with Lady Gaga on radio. Its a fight they’re going to lose.”

U2 music will be played on radio and other sources. Commercial radio may not be the right venue for U2; however consider SIRUSXM as a perfect new home for the boys. Bruce Springsteen has made a go for it and it has worked out well for both. The Police had a channel and the list goes on. Online music venues have worked well for bands that have a strong fan base and look to continue to supporting good music. U2 has a strong marketing machine and management team unlike other bands. Record labels have lost some of their power as band gain back the control of the direction of their music, so expect to see U2 take hold of the reins as they guide their fans thru the next 20 years.  

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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.

The Edge and Adam Chat with RS

Dre: The tour season for U2 will come to an end in an interview posted on Rolling Stone The Edge and Adam talked about the next tour and gave some ideas of what it could be like. Also within the interview we learned about the 2011 ablum.

Brian Hiatt from RS had a chance to catch up with Adam and The Edge at the Denver show. Here is some of that coversation.

Adam was asked there are a number of No Line On he Horizon songs not on the setlist so the show does feel like a NLOTH show at this point, Adam said yea its unfortunate, we would like to be playing more from the album, we did get good reviews however the fans did not catch on, think of it this way the single did not work so fans did not have a road into the album. We would have to agree however since we know a deeper U2 lies within we gave the album second and third chance.

The tour was to be over by now. The timing of the tour was nothing we could do. What happened to Bono was fairly serious and at the time he could not have gone on. He needed to be operated on now. That gave us a chance to work on material. However we have not had a chance to go back and work on a completed set. Pretty much why we will not have a record this year.

Photos from First show -

The Edge talked abit about the next tour and said that we could expect something different, the interview did go on about spiderman which seems to be a sore subject for Bono and The Edge not a project that will go down as perfect, more like it was a labor of love. Well thats alot of love.

Read more of the interview within the Rolling Stone online -

U2 Scores Rolling Stones top album/song 2009

Rolling Stone put out their best of 2009 and U2 score the tops on both Album and Song of the year (“Moment of Surrender).

Aiming for rock glory, Bono, Edge, Adam Clayton and Larry Mullen Jr. explore dark places (“Moment of Surrender”), find modern twists on their classic anthems (“Magnificent”) and uncover blindinglight soul (“Breathe”). The result was an album with a sense of drama that no one could match all year — more proof that a band that isn’t busy being born is busy dying.

In “No Line on the Horizon,” it is the combination of garage-organ drone, fat guitar distortion and Mullen’s parade-ground drumming, the last so sharp and hard all the way through that it’s difficult to tell how much is him and how much is looping (that is a compliment). The Edge takes one of his few extended guitar solos at the end of “Unknown Caller,” a straightforward, elegiac break with a worn, notched edge to his treble tone. “White as Snow” is mostly alpine quiet — guitar, keyboard, Bono and harmonies, like the Doors’ “The Crystal Ship” crossed with an Appalachian ballad. “Cedars of Lebanon” ends the album much as “The Wanderer” did on Zooropa, a triumph of bare minimums (this time it’s Bono going in circles, through wreckage, instead of Johnny Cash, who sang “The Wanderer”) with limpid guitar and electronics suggesting a Jimi Hendrix love song, had he lived into the digital age.

 “I was born to sing for you/I didn’t have a choice but to lift you up,” Bono declares early on this album, in a song called “Magnificent.” He does it in an oddly low register, a heated hush just above the shimmer of the Edge’s guitar and the iron-horse roll of bassist Adam Clayton and drummer Larry Mullen Jr. Bono is soon up in thin air with those familiar rodeo yells, on his way to the chorus, which ends with him just singing the word “magnificent,” repeating it with relish, stretching the syllables.

But he does it not in self-congratulation, more like wonder and respect, as if in middle age, on his band’s 11th studio album, he still can’t believe his gift — and luck. Bono knows he was born with a good weapon for making the right kind of trouble: the clean gleam and rocket’s arc of that voice. “It was one dull morning/I woke the world with bawling,” he boasted in “Out of Control,” written by Bono on his 18th birthday and issued on U2’s Irish debut EP.


U2 Best Album 2009 Rolling Stone Poll

U2’s No Line On The Horizon tops Rolling Stone’s Best Albums of 2009 poll 

U2’s latest album No Line On The Horizon has emerged as the topper in Rolling Stone magazine’s Best Albums of 2009 poll.

The release is U2’s 12th music album, and has beaten Bruce Springsteen’s Working on a Dream, Wolfgang Amadeus Phoenix by Phoenix and Jay-Z’s The Blueprint 3, reports Contactmusic.

Meanwhile, U2 have also scored the Best Song of 2009 honour with Moment of Surrender.

The song beat Empire State of Mind by Jay-Z and Alicia Keys and Bruce Springsteen’s Outlaw Pete among the editors’ picks.

Mick Jagger and Bono Sing together

U2 star The Edge got to play one of the most distinctive electric guitar riffs in history this weekend when the band covered a Rolling Stones classic.

The Irish rockers were appearing at the second night of this year’s Rock and RGetty Images 2009 oll Hall of Fame event in New York when they were joined by Stones frontman Mick Jagger to perform Gimme Shelter.

Jagger stuck around for another song to duet with Bono on U2’s Stuck in a Moment You Can’t Get Out Of.

This was one of several collaborations to take place at the gig, as Aretha Franklin and Lenny Kravitz joined forces on Think, while Metallica played with ex-Kinks frontman Ray Davies on You Really Got Me and All Day and All of the Night.

Metallica also performed Black Sabbath’s classic Paranoid with Ozzy Osbourne, as well as Iron Man.

The first night of the Rock and Roll Hall of Fame also saw a number of artists joining forces, with Stevie Wonder for example performing with acts such as Jeff Beck and Smokey Robinson.

In addition, music fans were treated to the sight of Art Garfunkel and Paul Simon taking to the stage together to play Bridge Over Troubled Water.


U2 Live From Outer Space

The numbers associated with the U2360° Tour are staggering: a 170-ton stage rightfully dubbed “the spaceship,” 200 trucks carting it around, 250 speakers, nearly 400 employees and $750,000 a day in overhead. But the band’s stadium show is more than a fantastic spectacle — it’s the biggest rock tour of all time, and Rolling Stone is onstage and backstage with U2’s Bono, the Edge, Adam Clayton and Larry Mullen Jr. as they make history in our new issue, on stands today.

Explore three decades of U2 in photos.

Photograph by Sam Jones; Digital imaging and logo treatment by SplashlightSales for U2’s latest album, No Line on the Horizon, may not match their biggest blockbusters, but the foursome are out to “engage and try and do something different,” as Edge puts it, as well as prove their new material can stand up next to the classics. “I walk out and sing ‘Breathe’ every night to a lot of people who don’t know it,” Bono tells RS‘ Brian Hiatt of the No Line show opener in our cover story. “I’m a performer — I’m not going to hang on to a song that doesn’t communicate and add up to something. They’re great songs live, and I think it’s a great album.” But three-fourths of U2 (save the Edge) think “Get On Your Boots” was the wrong pick for a first single.

Look back at U2’s essential LPs in our album guide.

Read the full story in our new issue to go behind the scenes as U2 prep for their opening-night show in Chicago, tweaking “Your Blue Room” from the band’s 1995 collaboration with Brian Eno; and join them in Croatia as the Edge generates new effects presets on the fly and the band reflects on the significance of performing in the once war-torn nation for the first time since 1997.

Climb aboard “the spaceship” and flip through photos of U2’s massive stage show.

As Rolling Stone tags along in a private jet en route to Chicago, Bono also meditates on what it means to be a rock star in 2009, praising Jay-Z as “a pioneer” who’s interested in a “porous culture, where there’s much more crosstown traffic.” He adds, “In this age of celebrity and pop stardom, maybe it’s a sensible thing to question the values of being a pop star. Radiohead, Pearl Jam, a lot of people, who maybe had more sense than us, rejected it. But the thing that’s suffered from that stance was that precious, pure thing, what they used to call the 45.”