It’s not hard to hear this fitting into Achtung Baby; it would have skewed the story slightly, but would still have fit in thematically, in a sort of “dancing while the world around you ends,” postapocalyptic mood. It is possibility, it is aspiration, it is joy incarnate. Don't worry. The lyrics are literally the Introduction to William Blake’s Songs of Experience. Still, very fun. Larry Mullen called this track “an incomplete idea.” Unsurprisingly, Bono is more generous, calling it “a post-9/11 song, but it is not an overtly political song.” There’s a definite feeling of unease, conveyed through the tension in a relationship, and, if nothing else, it’s a lovely, atmospheric meandering that kind of grows on you. On the other hand, the structure of the composition is larger than that: that monumental key change before the last verse, that slight downshift, and Bono’s voice just roaring. “Out of Control,” BoyTo be fair, “Out of Control” is the actual anthem of the album (as compared to the single, “I Will Follow). “Boomerang I,” B-side to “Pride (In the Name of Love)”I like the idea of U2 trying to be the Talking Heads, but not all of these experimentations needed to be recorded or released. Bono’s vocals are achingly bleak, and the Edge comes in with that delicate yet assertive piano line. “Electrical Storm,” The Best of 1990–2000 This song came out of sessions earmarked to generate bonus content for the upcoming greatest-hits records. “Miracle Drug,” How to Dismantle an Atomic BombThe one thing that stops this song from being great is the chorus: “Freedom has a scent / Like the top of a newborn baby’s head,” which is of course Bono’s favorite line in the song. “Zoo Station,” Achtung BabyThe sound of four men chopping down The Joshua Tree, the sound of the Berlin Wall coming down, the sound of a train coming out of a tunnel into the sunlight of another country — “Zoo Station” is all of those things. It is a tremendous thing to hear 80,000 people in a stadium singing along to it, but my favorite moment remains standing in the subzero cold watching the band sing the song on the steps of the Lincoln Memorial the day before Obama’s inauguration — not because of Obama, but because seeing that band sing that song in the place where Martin Luther King Jr. had stood was not a small thing. 126. 17. The fear Halston has been avoiding might have just caught up to him. 155. 139. It’s also a song about origins, and mothers, and the divine female — and sure, fine, good. (It was leaked on the internet, probably when a CD of rough mixes was stolen from a photo shoot in France.) “Luminous Times (Hold Onto Love),” B-side to “With or Without You” singleDominated by piano and percussion, it’s another one of the ecstatic odes to one’s beloved that was the undercurrent during the Joshua Tree studio sessions. 109. 91. It’s “Mona” meets “1969,” Larry and Adam locking in, with Edge’s trademark guitar glimmering down the center, Bono relishing playing the part of “a preacher stealing hearts at a traveling show” — a mix of ’80s televangelism, Colonel Tom Parker, Louisiana Hayride, and the Grande Ballroom. There will be irony, too. “40,” WarThe story behind the track’s genesis — the band’s studio time literally running out and being one track short, Bono saying “Let’s do a psalm” — is completely and totally outweighed by the beauty of the recorded performance: Edge standing in on bass, with chords that go straight to the heart, simple but powerful backing vocals, and Bono’s voice, not at its most magnificent, but definitely in his feelings. From concerts to music events and local … “Crumbs From Your Table,” How to Dismantle an Atomic BombPeople like to give Bono a really hard time for his political involvement, but his advocacy for AIDS patients in Africa is above reproach. “Song for Someone,” Songs of InnocenceAnother song for the young Alison Stewart, aka Ali Hewson. It’s a sweet little love song. 5. The now-infamous retro sunglasses were the key to Bono finding the voice, both lyrically and vocally, giving him a freedom to not be “Bono” and to reach out for a different dynamic and temperament, to not have to be so earnest and heroic, but rather to slip into another persona. 18. [21], Notable film portrayals of Nobel laureates, List of submissions to the 86th Academy Awards for Best Foreign Language Film, List of Polish submissions for the Academy Award for Best Foreign Language Film, "Director Andrzej Wajda begins shooting Lech Walesa film", "PRODUCTION: Wajda to Go into Production with Walesa", "Wajda starts shooting Lech Walesa biopic", "Walesa biopic 'very difficult' says Wajda", "Oscars: Poland Nominates Andrzej Wajda's 'Walesa' in Foreign-Language Category", "Andrzej Wajda film will shine new light on Lech Walesa", "Oscar-winning director starts film on Lech Walesa", "Robert Wieckiewicz to Play Lech Walesa in Andrzej Wajda-Directed Biopic", "Andrzej Wajda - Filming Begins on Lech Walesa Biopic", "Poland's anti-communist icon Walesa, at last the movie", "Civic Platform politician asked Amber Gold for money", "Walesa biopic will not have Amber Gold as investor", Akson Studio photo gallery from the film set of, https://en.wikipedia.org/w/index.php?title=Walesa:_Man_of_Hope&oldid=1001746191, Articles with unsourced statements from May 2014, Creative Commons Attribution-ShareAlike License, Iwona Bielska as Ilona, Wałęsa's neighbour, Marcel Głogowski as Bogdan Wałęsa (aged 8–10), Kamil Jaworski as Przemysław Wałęsa (aged 5–7), Ewa Konstancja Bułhak as Customs official, This page was last edited on 21 January 2021, at 03:24. “Cartoon World,” Boy (2008 deluxe edition)It’s U2’s version of a Ramones song, performed live in Dublin in 1980. “Secrets can make you sick,” Bono writes in the liner notes. 208. 95. [2] Consequently, the Polish people start to seek out ways to diminish Wałęsa's significance, until they finally accomplish their goal through uncovering actions from a past period. The fans who care will figure it out, and it won’t matter to the fans that don’t. But it’s simply not very memorable lyrically or instrumentally, Bono scatting about “touching you,” and the Edge trying to see how few notes he could play and, you know, still call it a song. [18] The re-enacted scenes were shot "on location in Gdańsk, including in the historic shipyard and its surroundings, as well as in Warsaw". His voice is full of deep heartache, and fairly reverberates with pain and regret. “One Tree Hill,” The Joshua TreeIt’s the most spiritual song on an album where there’s no shortage, and not surprisingly; it originated from real, deep, specific loss, not a vague swirl of influences (not to diminish those in any way). ‘Seeing Green’ Can’t Re-create Nicki Minaj’s. Sarajevo was also the city that U2 had made satellite contact with during Zoo TV. 40. “Cedarwood Road,” Songs of InnocenceBono grew up at 10 Cedarwood Road, and although he’s referenced his neighborhood plenty of times throughout U2’s history, this is the first time he brings us inside the house with teenage Bono. A lengthy book could be written about the disaster that was Pop and the subsequent tour, but this track, at least, is a good bit of fun. On the other hand, sometimes you write a song to watch a stadium of 80,000 people jump up and down. 136. When he discovered that it wasn’t, he wrote it down and played it later that day during sound check. “I wanted it to feel like hell on Earth, because from the demon seed comes the flower of fire,” Bono said. In the lyrics, Bono mixes Maori legend with Biblical imagery, and compares Carroll’s untimely death to the loss of Chilean folk singer Victor Jara, murdered by the Pinochet regime in 1973 — all in service of trying to make sense of the horrible loss. “Blow Your House Down” came into existence in the Rattle and Hum days, and there’s a fascinating outtake from the film showing Edge, Bono, and Jimmy Iovine working on the song while sitting on a beach on Long Island, Iovine enthusiastic about the song’s potential. “Mysterious Ways,” Achtung BabyThere is so much elation in “Mysterious Ways,” the guitar riff that sounds like nothing else, Adam Clayton’s bass line rumbling and swinging and holding the band down from spinning off into the firmament, and Larry Mullen, for all his fears of where he would fit into this “new” version of U2, slotting in perfectly. As a student, you surely have felt pressured in one way or another. 153. But if that’s true, you have also never stood in the middle of an arena or a stadium or an open field surrounded by jumping people caught up in the sheer elation of this song. Plus a “No ❤️️” from Amber Ruffin and a Ziwe-Fran showdown. “Slow Dancing,” B-side to “Stay (Faraway, So Close! “An invitation to hope” 139 Copy quote. 24. You can see glimpses of what he’s talking about in the lyrics, but otherwise, it’s convoluted and ham-fisted, and the vocal delivery lacks emotion. Never Hesitate to hold out your hand; never hesitate to accept the outstretched hand of another. 213. The moment when both Larry and Edge explode after the second chorus is priceless, and Bono’s vocals are far more believable now that he’s not trying to imitate a 70-year-old black sharecropper. It’s an interesting sonic experiment with Lykke Li on guest vocals, but oddly dispassionate. “11 O’Clock Tick Tock”U2’s second single, “11 O’Clock Tick Tock” demonstrates a band who were now trying to rein themselves in instead of running ahead at full speed for every second of every minute. “When Love Comes to Town,” Rattle and HumB. “FEZ — Being Born,” No Line on the HorizonThis is a tale of escape and, ultimately, freedom. When the band finished the record and went back over the outtakes to cull material for B-sides, they decided this track was too strong, so they put it aside. 170. There’s what feels like a story line about what it’s like to grow old in Los Angeles: “Everyone’s a star in our town / It’s just your light gets dimmer / If you have to stay.” But the choruses are in a completely different mode, echoing the overarching theme of the record: “There is no end to love,” which is balanced by “There is no end to grief.” The instrumentation is almost too bland; you can barely hear the guitar and bass. WAIE, however, was a release for Record Store Day; there were 5,000 pressed, and if you want one now, it will cost you upwards of $140. ... Lech Walesa. The criteria for doing so took into consideration the strength of the songwriting and the success of the final recorded result; extra credit can be given for a composition’s presence in concert and/or its live evolution over time. 44. “Two Hearts Beat As One,” WarAnother tour de force for Mr. Adam Clayton, the bass on this created the deepest, most unexpectedly danceable rhythm. He knows the answer, because of the 3:33 reference; on the cover of All That You Can’t Leave Behind, the clock reads J3:33, and Bono explained, “That’s Jeremiah 3:33. 121. Wajda stated at Kraków's Off Plus Camera Film Festival in April 2012 that he foresaw trouble following the film's release. It was the result of the news, of current events, of those trying to co-opt U2 into their movement — of being a visible symbol of “the Irish in America,” which Bono would reference onstage in 1987. But it’s the bass line that dominates (along with those achingly sparse piano notes), resulting from a sound check where Adam Clayton was trying to play “Fade to Grey” by Visage: “It’s kind of a bass part still searching for a melody,” Clayton said in 2006. In North Carolina, things go from bad to worse to absolute worst for Cora. It is otherwise flat and featureless, and nowhere near adjacent to its final form. “Iris (Hold Me Close),” Songs of InnocenceBono has written about his mother since the very early days of U2 — “I Will Follow” is directly about her death and its impact on him at the age of 14 — and by extension, Bono becoming Bono is directly a result of the impact of that loss on him. “Grace,” All That You Can’t Leave Behind“Hey, how about we end the record with another hymn, like we always do?”. “White As Snow,” No Line on the HorizonThe melody is ancient; Daniel Lanois was digging into 12th- and 15th-century hymns — as one does, if you’re Daniel Lanois — but when it came time for lyrics, Bono and the band were able to craft a story that could be modern or extremely old. [17] The contemporary footage was adapted by superimposing the face of Robert Więckiewicz on Wałęsa's real face. On record, it’s interesting rhythmically, but feels lugubrious and stiff. 41. He finally got his wish when he recorded it with Jools Holland in 2007. The single had that kernel of something else that the band themselves probably weren’t aware of, but they were able to hone and polish it from breathless clamor into this tale of darkness and light and the shadows in between. [11], Wajda stated that he considered the film the most difficult professional challenge of his filmmaking career thus far. “Tell them they’re being stupid cunts,” he joked to a journalist after playing him the song. “One” contains bone-deep sadness, dark melancholy, and immense regret. And then there’s the lead singer, who turns this into a hymn of adoration to women. “In a locust wind / Comes a rattle and hum” — and you can almost feel that desert wind coming out of the amplifier. It is about surrender, return, and acceptance. Swallo”They needed a B-side for “Fire.” “It was done in a mad panic,” the Edge notes. It is U2 inviting you to get on that train with them and run away. *THE GROUND RULES: This list consists of officially released U2 songs only. 16. Ten years later, a new uprising occurs and he becomes an unexpected and charismatic leader of Polish dockworkers.[9]. Live versions and remixes are treated as the same song and covered in that song’s entry if relevant. It’s another song about fathers and sons, but this time the father walks out and meets his son years later. “Stay (Faraway, So Close),” ZooropaThis song began its life as something Bono and Edge were working on for Frank Sinatra, and you can envision that in the lyrics of the first verse. It is one of the best opening songs on a debut album, ever. It’s not a bad song by any means, but there were stronger contenders that ended up as B-sides. Explore 336 Patriotism Quotes by authors including Thomas Jefferson, Napoleon Bonaparte, and John F. Kennedy at BrainyQuote. On the War tour, it was prefaced with the now-legendary “This is not a rebel song” from the tour’s first date in Belfast, where Bono also told the audience that if they didn’t like the song, the band would never play it again. But it sure seems like everyone involved in the song was having a good ol’ time here. 3. 7. Yet a huge variety of political parties unfolds and Poland is on the brink of becoming as ungovernable as the late Weimar Republic. They instinctively understood what punk rock was meant to be; the Edge talks about seeing the Jam on Top of The Pops and “realizing that actually not knowing how to play was not a problem.” It’s a delightful mix of the Jam and the Undertones, with a little bit of Keith Moon flourish on the drums. “Angels Too Tied to the Ground,” War (2008 deluxe edition)Outtake from the War sessions, but the reissue states that it was originally recorded in 1982, with additional nonspecific recording in 2008. Wałęsa's leadership role signified the beginning of a new movement that successfully overcame the communist regime of the period, and Wałęsa is pushed into representing the majority of Poland's population. It’s the morning after “Moment of Surrender,” our hero hanging onto the universe by his fingernails (to paraphrase Bono), when he starts to get messages from his phone. "[citation needed] Wajda also declared at a press conference that the Nobel laureate and former president of Poland had condoned the project. “One Step Closer,” How to Dismantle an Atomic BombAs you get older and start to lose relatives, and then parents, it tilts your perspective of life and how to live it in a way that you don’t appreciate until you’re there. Bono invokes John 14:2 — ”In my father’s house, there are many mansions” — but then says, “But I left by the back door / And I threw away the key.” It’s a quiet but intense song. “If God Will Send His Angels,” PopWait, was this supposed to be a dance record? 192. 2. 29. “Streets” is you at your best, wearing church clothes and standing up straight. 89. Fake it till you make it. 67. 164. 179. 175. “It was a case of two hours to go, let’s do it.” It sounds like that. A Hasidic legend tells us that the great Rabbi Baal-Shem-Tov, Master of the Good Name, also known as the Besht, undertook an urgent and perilous mission: to hasten the coming of the Messiah. The prodigal son returns home, but it’s not a happy ending. 104. 11. “If You Wear That Velvet Dress,” PopOne of the more successful numbers on Pop, it’s full of simple but interesting textures; but like most of the songs on the album, it occupies a middle ground that’s vague and tentative. I get it; it’s the jam that the “Beautiful Day” riff originated from. 177. The Sun City version absolutely has its moments (with Keith Richards hitting some very Keith Richards chords), but it is mostly a mess in a “Dylan shows up to Live Aid with Ron Wood and Keith and the three of them make damn fools of themselves” kind of way. 30. 196. And there was nothing quite like making your way out of the venue and hearing the refrain echoing off the lobby walls, down the streets, and into the subways. The band contributes a solidly constructed soundtrack that feels like the hustle and bustle of a big city, and the tension of one person trying to find or fight their way through. While Europe is reshaped, Poland remains stable and peaceful. Musically, it fakes you out in the intro; you think it’s going to be a blues song, then it switches into a composition that’s almost orchestral. 105. 200. The strength of the musical composition on “Scarlet” is the only thing that keeps the listener from thinking, “Great, another song with Bono yelping about rejoicing again.” The bass line holds the melody, interspersed with warm, round guitar and piano chords from the Edge, with Larry holding down a quasi-martial drumbeat. 132. It’s one of those songs with dozens of layers of meaning, and one of the particular ones that transformed once it was in front of U2 fans — specifically New Yorker U2 fans. “Hawkmoon 269” is six minutes of a fiery inferno. When they got no response, they recorded it themselves — only for Willie to ring them up the next time he was in Dublin. It has an engaging, expansive melody, but the lyrics just do not hold up to scrutiny, and the synthetic strings are cringeworthy. “Acrobat,” Achtung BabyIf you thought things were going to lighten up, think again. “God Part II,” Rattle and Hum“God Part II” is meant as a direct a response to the 1988 Albert Goldman bio of John Lennon, following his then-shocking Elvis biography in the early ’80s. Sorry, Edge. The concept revolved around a soldier in Afghanistan, but the lyrics could have come from one of those hymns. “Big Girls Are Best”This is so bad it’s embarrassing, an attempt to work something out in the studio that should have been erased by the tape op. The truth is that “Street Mission” is absolutely vital and important to the band’s history, but that doesn’t mean it is a very good song. One of the five songs recorded in five hours at Sun Studios, the Memphis Horns are the best part of the song, transforming it into countrified soul; Dylan is singing background vocals somewhere in the mix, and there’s allegedly a version with lead vocals that wasn’t used, so there was no conflict with the Traveling Wilburys. Hope Trust Good. He apologizes for it by saying, “It is the thought of everybody in a band who thinks he can change the world,” except that he wouldn’t have become Bono had Larry Mullen Jr. not thought the same way and put a note reading “Drummer seeks musicians to form band” on the bulletin board at Mount Temple Comprehensive. 124. 35. “I THREW A BRICK! (Watch Bono whisper it into the end of “All I Want Is You,” recorded for an upcoming BBC special.). There is no way that U2 knew what this song was going to be when they wrote it, or even when they recorded it — the story about Brian Eno being so sick of the song he almost erased the tape so they’d get on with it, is definitely a point in that opinion’s favor — but, like all the best U2 songs, it is what “Streets” became once it was performed in front of an audience that was its transfiguration and its transmogrification. 86. U2 would come roaring back at the turn of the millennium with All That You Can’t Leave Behind, just at the moment when no one would’ve blamed any of them for sitting back on their piles of money, pursuing “side projects,” and touring every couple of years behind their catalogue. “Out of Control” is direct and driving, no fancy percussion or tricks or echoes, every single member of the band playing at 11. 150. Bono would later say he didn’t think the band should perform the song anymore after that night; they would give it a brief rest, before bringing it back where it would act as an anchor in an emotional arc around their more overtly political songs, where it would act as a prayer for peace, or sometimes, just there as one of the band’s best songs. The loss of Bono’s father is all over HTDAAB, and here specifically. But live, this track is electric and cathartic, U2 building a sonic space that others would later try to duplicate but never succeed in doing. 217. 131. 214. It lifts your heart up, which is what a psalm is meant to do, even if you’re a nonbeliever. “A Day Without Me,” BoyWhen Boy came out, this was the track where you thought, “Hey, someone has been listening to Tom Verlaine.” That’s hardly a diss — it’s not like bands doing that were exactly thick on the ground — and the Edge’s ability to translate what he heard and make it his own is one of the hallmarks of U2. 138. Perfectly acceptable as a B-side. “Native Son,” Unreleased & RareProto-“Vertigo,” with different lyrics about jailed Native American activist Leonard Peltier. “With or Without You,” The Joshua TreeThis is the slick side of U2, their ability to write a massive worldwide hit and make it sound like nothing they’d ever done before, yet still sound only like U2. Then again, that is the entire story of Pop, depending on who you talk to: not enough time and not the right people. While it’s a stellar, close-to-perfect musical performance for the entire band, the MVP is Bono, who turns in an emotional tour de force from start to finish. “We’re one, but we’re not the same,” Bono sings, a deep truth, before moving on to, “We get to carry each other.” Both Bono and Edge point at the latter lyric being essential to the song in disparate ways: “It’s a reminder that we have no choice,” Bono said. 194. The breathless, conversational style is matched by an equally urgent melody behind it. 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