The past couple of days, I spent some time listening to the new U2 reissues of “Boy,” “October” and “War” - three tremendous albums in the U2 catalogue. This is where it all started for U2.
These new reissues are done in a first class manner containing deluxe packaging along with extensive liner notes and a full bonus disc of extra tracks. One of the best features is that the band’s guitarist, The Edge, contributes to the liner notes where he discusses the background of the bonus material.
The Edge may feel some ambivalence or embarrassment toward some of the band’s earlier work (particularly from the quickly assembled October album), but even with the flaws he claims it has, the music is superior to the band’s later experimental, and mature crap of “Zooropa” and “Pop.”
There is something special about the initial burst of creativity from a young, talented band. U2 basically locked themselves into a basement and composed and arranged an entire album of material in a very short period of time. There were arguments, elements of writer’s block to overcome, exhaustion from months of touring – but the youthful exuberance and drive to create music that they knew they had inside won out. The Edge even points out that the creativity was flowing to the point that a half-baked musical idea in the morning could turn into a completed song by the evening. That is particularly impressive when listening to the final product.
The same story has been told many times. It is amazing when one looks at all the incredible music produced by young bands with their backs against the wall; starving and struggling to stay afloat. Once they hit the big-time, it can take years to produce an album not nearly as impressive as a hastily produced album from their youth.
U2 isn’t the superstar stadium and arena act it is today because of mostly forgettable music found on “All That You Can’t Leave Behind” and “How To Dismantle An Atomic Bomb.” U2 secured its place in this elite level because of milestone albums like “The Joshua Tree” and “Achtung Baby,” however, the path and roots that led to the masterful sounds on those albums was laid by the band’s first few albums.
The unique sound that embodied the band’s work during this prolific period from 1980 thru 1984 was a combination of The Edge’s signature, reverberation guitar assault containing layers of sweeping, lush landscapes and the inspired production standards set by Steve Lillywhite, Daniel Lanois and Brian Eno.
There may be some fans of U2 that simply are not overly aware of the band’s work from the early 1980’s – in fact, some may have just been born during that era. The band had a lot more to offer during the 1980’s than what is currently found on “How To Dismantle An Atomic Bomb.” These U2 reissues along with last year’s reissue of “The Joshua Tree” (and the yet-to-be reissued “The Unforgettable Fire”) are must-have rock albums. These sounds are what launched U2 and gave the band a lasting musical identity.
These new reissues are done in a first class manner containing deluxe packaging along with extensive liner notes and a full bonus disc of extra tracks. One of the best features is that the band’s guitarist, The Edge, contributes to the liner notes where he discusses the background of the bonus material.
The Edge may feel some ambivalence or embarrassment toward some of the band’s earlier work (particularly from the quickly assembled October album), but even with the flaws he claims it has, the music is superior to the band’s later experimental, and mature crap of “Zooropa” and “Pop.”
There is something special about the initial burst of creativity from a young, talented band. U2 basically locked themselves into a basement and composed and arranged an entire album of material in a very short period of time. There were arguments, elements of writer’s block to overcome, exhaustion from months of touring – but the youthful exuberance and drive to create music that they knew they had inside won out. The Edge even points out that the creativity was flowing to the point that a half-baked musical idea in the morning could turn into a completed song by the evening. That is particularly impressive when listening to the final product.
The same story has been told many times. It is amazing when one looks at all the incredible music produced by young bands with their backs against the wall; starving and struggling to stay afloat. Once they hit the big-time, it can take years to produce an album not nearly as impressive as a hastily produced album from their youth.
U2 isn’t the superstar stadium and arena act it is today because of mostly forgettable music found on “All That You Can’t Leave Behind” and “How To Dismantle An Atomic Bomb.” U2 secured its place in this elite level because of milestone albums like “The Joshua Tree” and “Achtung Baby,” however, the path and roots that led to the masterful sounds on those albums was laid by the band’s first few albums.
The unique sound that embodied the band’s work during this prolific period from 1980 thru 1984 was a combination of The Edge’s signature, reverberation guitar assault containing layers of sweeping, lush landscapes and the inspired production standards set by Steve Lillywhite, Daniel Lanois and Brian Eno.
There may be some fans of U2 that simply are not overly aware of the band’s work from the early 1980’s – in fact, some may have just been born during that era. The band had a lot more to offer during the 1980’s than what is currently found on “How To Dismantle An Atomic Bomb.” These U2 reissues along with last year’s reissue of “The Joshua Tree” (and the yet-to-be reissued “The Unforgettable Fire”) are must-have rock albums. These sounds are what launched U2 and gave the band a lasting musical identity.
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