U2

Boy
October
War
Under A Blood Red Sky
The Unforgettable Fire
Wide Awake In America
The Joshua Tree
Rattle and Hum
Achtung Baby
Zooropa
Pop
The Best Of 1980-1990/The B-Sides
All That You Can’t Leave Behind
How To Dismantle An Atomic Bomb
No Line On The Horizon


Boy (Island ‘79) Rating: B+
The first ultra-serious salvo from a band that thought big and sported a big sound, Boy was the work of a young, ambitious band who already had a fully developed and self-assured sound. The album begins with an instant classic in "I Will Follow," a real toe tapper notable for it's great "in your eyes" midsection. "Twilight" is also excellent despite Bono's slightly rushed and uncertain vocals, as the song has an intense chorus and its ending is classic Edge (clearly the standout performer on the album, and one of my all time favorite guitarists). The band then gets moody on the outstanding "An Cat Dubh," which features another prime Edge performance and a big (wordless) Irish chorus, which is fitting given that this is the band's most Irish sounding album. The rest of the album doesn't quite maintain that impressive pace, but "Out Of Control" features a good Edge-led groove, "Stories For Boys" is a moody rocker with an evocative chorus, "A Day Without Me" has a bright upbeat melody and a wide-eyed wonder that's at odds with its dark subject matter (suicide), and "The Electric Co." is another early standout that you can sing along to. Granted, "I Will Follow" is probably the album's only truly classic U2 track, and even the aforementioned other highlights are "growers" rather than instant standouts, while the rest of the album is even less memorable than that. For example, "Into The Heart' is simple and pretty but comes and goes, and "The Ocean" is a short, moody instrumental that's looking for a song. "Shadows and Tall Trees" is a pretty good ballad but hardly a standout, and "Another Time, Another Place" gets really good but only after a prolonged slow start. So yes, the album has its flaws, other ones being Bono's tendency to over-sing and Adam Clayton's still developing bass skills. Still others may point to "overly Christian" lyrics, but at least the band rocks throughout, something that can’t be said for many of their more refined later releases, and the sheer passion and sincerity that goes into these performances always wins me over. U2 would go on to record several of my all time favorite albums, but Boy is unlike any of their later efforts, and it's well worth returning to since it captures well the band’s innocent climb towards rock immortality.

October (Island ’81) Rating: B-
This is the forgotten U2 album, following in the same sonic vein as Boy but with less memorable songs, as the bands suffers somewhat through the dreaded sophomore slump. The old adage ("you have your whole life to make your first album and sixth months to make your second") definitely holds true for October, and the fact that Bono lost a briefcase containing notes for potential lyrics only added to the rushed atmosphere and overall uncertainty of the album. All things considered, October isn't half bad, as the band still has an inviting sound and offers up plenty of passionate conviction and raw energy. Though most of the album hurtles forward in a breathless rush, lacking the diversity of later efforts, there are also mellower meditations, most notably the elegiac, piano-led title track. Whereas Boy was the band's most "Irish" album, this is their mostly overtly religious album, as Bono raises Christian concerns throughout, often in over-emoting fashion. Fortunately, their brand of Christianity is one of inclusion and inward looking introspection ("I can't change the world but I can change the world in me"), making it easy to embrace (or at least tolerate) the heavy-handed lyrics while focusing on the music. That said, “Gloria” is really the only song here to have achieved anything close to classic status (and this tame version was subsequently blown away by the live version on Under A Blood Red Sky), though the surprisingly low-key "I Fall Down," the heartfelt rocker “Rejoice,” and the atmospheric “Scarlet” (one of many early songs featuring chanted vocals) are other fine songs. Still, the overall end result is inconsistent, and the lack of forward progress definitely marks October as a disappointment. Fortunately, bigger and better things were soon to follow.

War (Island ‘83) Rating: A-
Fulfilling the promise that Boy and October had only hinted at, War is where U2 started to prove that they were something special. Less centered on Christian themes and introducing a passionate mix of love and politics, this is U2’s hardest rocking collection, and it's still one of their best. The militant “Sunday Bloody Sunday” starts things off with a brilliant anti-violence diatribe whose intense, questioning lyrics (“how long must we sing this song?”) are helped along by the band’s big, roaring attack and the inventive flourish of an electric violin. “Seconds” is an overlooked gem of a song sung by the Edge (sounding uncannily like Bono!) warning against nuclear warfare, while “New Years Day” (the band’s biggest hit to date) features a gorgeous keyboard melody, a great guitar solo from the Edge, and an inspired vocal by Bono. In short, it all came together on this song, which remains one of the bands best, unlike “Like A Song…,” whose driving drum beats and ringing riffs fail to find a memorable melody. Much better is “Drowning Man,” which is very memorable, in part because of the atmospheric, echoey production, but also because of Bono’s great vocal. The martial rhythms and fist pumping chants of “Refugee” makes for another idiosyncratic winner, while the hard charging “Two Hearts Beat As One” rushes along on the Edge’s edgy (sorry, but there really is no better word) guitar playing, the band’s propulsive rhythm section, and Bono’s vocals, which gasp excitedly as the song surges forward to its fantastic finish. Despite some melodic vocal lines, “Red Light” is one of the album’s weaker tunes, and “Surrender,” despite its atmospheric strengths, also fails to leave a lasting impression. Fortunately, the same can’t be said for “40” (named after Psalm 40), a simple, soulful sing along ballad that went on to close every U2 concert throughout the rest of the ‘80s. Likewise, this elegiac hymn closes out this album in fine fashion, as it foreshadows the mellower, more reflective tone that the band’s next two studio releases would concentrate on. To summarize, this last album of the Steve Lillywhite era (this would be his last full production for the band, though he would participate on later albums in a reduced role) was a big step up in class for the band. Bono in particular demands notice as a premiere rock voice on this fiery epic, which still stands as one of U2’s most heartfelt and passionate triumphs.

Under A Blood Red Sky (Island ‘83) Rating: A-
An essential live set that's all but bursting with energy, Under A Blood Red Sky showcases U2 the arena rock band. All of the eight songs on this short album are performed with plenty of passion and flair, and some are definite improvements on the originals, such as “Gloria” and “I Will Follow,” which are definitive. In addition, the two previously unavailable songs, “11 O’Clock Tick Tock” and “Party Girl,” are impressive additions to the bands catalog, the former showing off the band’s underrated rhythm section, the later showing a rare lighter side to the band. Due to the enviable sophistication of the band’s later studio albums, it is often forgotten (even by the band themselves, as demonstrated by their disappointingly bloated Zoo TV and PopMart tours) that U2 were originally first and foremost a great live band, a point proven by their show stealing performances at the “Live Aid” and “Amnesty International” benefit concerts. Under A Blood Red Sky is a highly enjoyable, raw rock n' roll record that captured an earnest U2 in their live prime when they were widely considered the best live band on the planet. Bono in particular gives an impassioned, charismatic vocal performance, making it easy to see why superstardom soon followed, and U2 would never rock this hard again.

The Unforgettable Fire (Island ‘84) Rating: A+
With the subtraction of Steve Lillywhite and the addition of producers Brian Eno and Daniel Lanois, U2 moved in a new direction by exploring a more lushly layered and evocative sound. Far removed from their punk rock influenced earlier records, The Unforgettable Fire is a much more mature, adult oriented album. The band sounds relaxed and assured throughout as they explore such serious topics as drug abuse ("Wired," "Bad") and the horrors of nuclear warfare (the title track), while also taking the time to pay tribute to a couple of deceased American icons, Martin Luther King ("Pride," "MLK") and Elvis Presley (“Elvis Presley and America"). "A Sort Of Homecoming" immediately showcases the "new" U2 with a memorably atmospheric melody and a passionate performance, while "Pride" became the band's biggest hit to date on the back of great ringing guitar riffs and touching (if inaccurate) lyrics about the enduring legacy of a true American hero. Elsewhere, "Wired" and "Indian Summer Sky" are propulsive tracks with an exotic Eastern flavor, and it is overlooked album tracks such as these that make this album so special (and yes, I'm aware that almost nobody else thinks this album is as great as I do). "The Unforgettable Fire" is another terrific album track, led by its lush Eno-ized keyboard melody and Bono's fabulous falsetto vocals, while "Promenade" is perhaps the single biggest reason why I love this album (and band) so much. Often dismissed as a forgettable album track, this short song has a simple, uncomplicated melody, but it's what they do with that melody that counts! Simply put, Bono's gorgeous vocal is simply beyond compare, always managing to get the ol' tear ducts to well up simply by virtue of its stunning perfection. Truth is, for all the criticism this guy gets for his big ego (though, with a truckload of humanitarian awards to his credit, I think much of it is misplaced), very few of the band's contemporaries had a singer in this guy's league. Anyway, "4th of July" is a short, mysterious instrumental that works as little more than a mood enhancing filler, but "Bad" is another indisputable high point that would become a much played radio and concert favorite (for the definitive version of the song, read the next review). “Elvis Presley and America” is another song that's often dismissed, but I enjoy this one as well, despite (because of?) Bono's largely improvised and often mumbled monologue. Fact is, this epic song has a nice groove; I dig the drum patterns and the overall atmosphere, and the song builds to a powerful climax before "MLK" ends the album on a gorgeously laid-back note, similar to how "40" had ended the previous album. Now that I've gone into a song-by-song analysis, I'd like to add that this entrancing album should be listened to in its entirety, for it is the album's surreal, spiritual overall quality that most attracts me to it. Of course, the sound is first rate (as it is on any Eno or Lanois production), as are the performances, from the seasoned rhythm section of Adam Clayton and Larry Mullen Jr. to the Edge’s distinct, echoey guitar signature and onto Bono’s confident, charismatic vocals. Long story short: this is a desert island disc that I've cherished for many years, and though it's rarely mentioned as a classic album, or even among the band's very best albums, there aren't too many albums that I'd rather listen to on a regular basis.

Wide Awake In America (Island ‘85) Rating: B+
The main reason to get this 20-minute EP is for the awesome 8-minute live version of “Bad,” which easily trumps its excellent studio counterpart by adding a stirring improvisational ending along with a propulsive rock drive that’s missing from the original. The other live track, “A Sort Of Homecoming,” is also quite good, as U2 again prove themselves capable of recreating even their most evocative studio creations on stage. As for the two new songs, I always find myself singing along to the pretty, hymn-like chants of “Three Sunrises,” and the atmospheric “Love Comes Tumbling” also has U2's trademark sound and is extremely listenable, though nothing makes it stand out like the band's best work. Though rather skimpy at a mere four songs long, this enjoyable EP is worth any big U2 fan’s time and money.

The Joshua Tree (Island ‘87) Rating: A+
After a three year layoff, expectations for this album were enormous, but The Joshua Tree met, and perhaps even exceeded, all expectations. The album has a broad, cinematic sweep and is a subdued, subtly beautiful album by a band that had reached full artistic maturity. The album begins with the three successful singles that helped make U2 the biggest band in the world. “Where The Streets Have No Name” starts with a mellow keyboard melody reminiscent of "MLK," but the song soon surges into one of their most exciting rockers, with prime performances all around. “I Still Haven’t Found What I’m Looking For” continues with a highly spiritual, gospel-tinged pop ballad that contains an attractive melody and reflective lyrics that are both personal and universal (and therein lies part of this album's appeal). Likewise, “With Or Without You” contains lyrics that we can all relate to (i.e. "can't live with 'em, can't live without 'em"), accompanied by a beautiful melody and a wonderfully restrained performance from Bono, who puts in his most varied and accomplished vocal performance to date. "Bullet The Blue Sky" is another well-known song, this one about American intervention in Central America, as politics inevitably re-enter the picture. Fortunately, this is a powerful, hard rocking political statement on which the Edge seemingly channels the ghost of Hendrix, transporting uneasy listeners directly to that war torn land. Another familiar U2 theme reappears on "Running To Stand Still," an anti-drug (specifically anti-heroin) song that is all the more effective for it's sparse acoustic arrangement and Bono's reserved, respectful vocal. As on The Unforgettable Fire, some of my favorite songs here are actually lesser known album tracks, one of which is the (again) politically charged, socially conscious “Red Hill Mining Town,” which is especially notable for its soaring, dramatic ending. Continuing, "In Gods Country" returns U2 to familiar territory with an old style rocker that sounds relaxed and confident, while "Trip Through Your Wires" delivers a lighter, harmonica-led sing along. Another personal favorite then commences with "One Tree Hill," a touching tribute to a deceased friend (the line "I'll see you again when the stars fall from the sky" gets me every time) that, appropriately enough, has a spiritual, hymn-like quality that is ultimately life affirming. Finally, the album winds down with "Exit," an intense, tightly wound rocker on which U2's darker side is revealed, and "Mothers Of The Disappeared," which takes up another noble cause and provides an atmospheric, low-key ending to the album. Actually, the song is the album's least memorable, but that's partially because of the company it keeps, as this is one of those rare albums where almost every single song is special. In short, the word "timeless" was coined to describe albums such as this, as The Joshua Tree expertly combines passionate, intelligent lyrics (with a nice mix of "important" political statements, some of which aimed pointed daggers at America, along with a more personal approach) with adventurous arrangements (again partially credit Eno and Lanois, who have produced most of the band's very best albums) and confident performances. The album cleaned up at all the major awards ceremonies, too, marking a rare case when commerce and artistic merit were in mutual agreement.

Rattle and Hum (Island ‘89) Rating: B+
After three superlative studio albums in a row, a letdown was inevitable. Still, though this long album (a soundtrack companion to their film of the same name) was a patchwork affair that contained several live songs and nine new studio songs, Rattle and Hum successfully reminded us that U2 was once a bare bones rock band. Hiring American producer Jimmy Iovine to strip away most of the moody studio embellishments of recent albums, this was U2 at their simplest and most straightforward in many a moon. That said, there was more than a hint of truth when the band's detractors claimed that they had become self-important and America-obsessed. After all, who were U2 to cover The Beatles and Bob Dylan, let alone latch onto the likes of B.B. King to boost their own credibility? Truth is, the two covers are unnecessary, but B.B. King benefited from their fine collaboration ("When Love Comes To Town") far more than U2, and Rattle and Hum contains its fair share of top-flight songs. Granted, the live versions ("I Still Haven't Found What I'm Looking For," "Pride (In The Name Of Love)," "Bullet The Blue Sky") don't add to the band's legacy any, solid though they all are in their own completely varying ways, and the overly repetitive, Bo Diddley-ized "Desire" isn't one of the band's stronger singles. Better are the two tracks that bookend it, as "Van Diemen's Land" is a spare, hymn-like song effectively sung by the Edge, and "Hawkmoon 269" is a richly powerful epic that seemingly echoes the album's main theme: "I need your love." "Silver And Gold" was an easy to criticize track, with preachy lyrics condemning Reagan-era policies about South Africa and an "OK Edge, play the blues" intro into a solo that's decidedly un-bluesy. Of course, it's still a damn good solo, and the song itself isn't half bad, either, despite Bono being on his high horse. The brassy pop of "Angel Of Harlem" (another hit single) was far more enjoyable, however, for though U2 were clearly appropriating American musical forms, they were doing so with a crafty resolve and a fan's enthusiasm. "Love Rescue Me," a country-ish ballad co-written with Bob Dylan (they obviously had his seal of approval), actually sounds like Springsteen, and though I could do without the rock star complaining, I can appreciate the band's soulful performance. This time exhorting "I believe in love," "God Part II" can be seen as both a tribute to John Lennon and a danceable prelude to Achtung Baby, but it is "Heartland" and "All I Want Is You" that sound the most like "classic" U2 and which are arguably the album's standout songs (along with "Hawkmoon 269"). Cutting through all the b.s. that often seems to follow this band around, these songs again demonstrate that, first and foremost, U2 are simply one of the best sounding band's ever. The former song is led by an especially gorgeous falsetto vocal from Bono, while the latter builds beautifully, led by the Edge's ringing, escalating riffs and Bono's powerful vocals, which end the album on a majestic high. Unfortunately, for all the album's considerable strengths, it could've used a lot less ego and a little more originality, but for better or worse this album exemplifies why people both love and loathe U2. The oversized egos, courageous chance taking (this album was far removed from its predecessor), preachy political sermonizing, and highly personal pledges of love and faith are all ostentatiously on display, and though not all of it works, it's still refreshing to hear the band sound so raw and unencumbered. Alas, the album isn't all that it could've been with better planning and editing, but it's also much better than you've probably been led to believe.

Achtung Baby (Island ‘91) Rating: A+
After Rattle and Hum and its attendant tour, U2 were faced with substantial criticism for the first time in ages. As a result, the band retrenched, rethought their sound, and came back with this surprising masterpiece. The jagged, angular rhythms of “Zoo Station” and “The Fly” were completely unlike anything the band had ever attempted before, as the Edge wielded strange noises from his harsh, primitive sounding guitar, while Bono whispered mysteriously behind jackhammer rhythms. Elsewhere, though the Edge lends some great guitar licks to "Even Better Than The Real Thing," the song provided further evidence of the band's newfound reliance on dance rhythms, as did “Mysterious Ways,” an effervescent dance club smash that was both exhilaratingly experimental and extremely accessible. "Until The End Of The World" is notable for its great riffs, galloping groove, and religious lyrics that are wide open to interpretation, while "Who's Gonna Ride Your Wild Horses" is another confident performance, particularly on its soaring chorus. "So Cruel" is another winner featuring a lone piano and another spare, danceable beat, and though lush keyboards kick in later it's Bono's r&b-based vocal that really steals the show. “Trying To Throw Your Arms Around The World” seems like a lighter, slighter variation of that song musically, but it's still an enjoyable, if minor track, as is "Acrobat," an unjustly overlooked track that's notable for it's tightly coiled intensity. Major album tracks include “Ultra Violet (Light My Way),” on which the Edge's always-awesome guitar tone reaches a radiant peak, and "Love Is Blindness," a despairing blues dirge that ends the album on a down note (but most memorably so). Yet the album's piece de resistance is obviously "One," a wonderful ballad that's arguably U2's best song ever (indeed, I'd go so far as to say it's one of the best songs ever, period). The melody is flawless enough, but it's the lyrics, which are again personal and universal, and Bono's powerful delivery of them - his voice is just rough enough - that makes the song so moving even after the 500th listen. Whereas Rattle and Hum was overly political and not a little overblown, Achtung Baby is far more playful, as the band seems to be having fun again as they revel in their own reinvention. Of course, it isn't all fun and games, not by a long shot, as the album is arguably their darkest and most cynical to date, and the band's irony-laden lyrics are matched to an edgy sound that's smart, sophisticated, and decidedly modern. Yet even though the band embraces a danceable industrial edge throughout the album, time has shown Achtung Baby to be more of a piece with the rest of their discography than initially thought. A major difference is that Bono’s vocals are mixed further back and are more restrained, while the rhythm section gives these songs an agitated edge. Still, most of the songs here sport the trademarks of classic U2: layers of atmospheric guitar, a stellar rhythmic thrust, and Bono’s beautiful voice, which takes more chances (deep baritone, falsetto crooning, electronic enhancements) than ever without once screaming for attention. The production is perfect, too (Lanois and Eno again), letting the album’s wide range of emotions and extensive musical experimentation shine through while keeping a terrific, somewhat transformed band front and center.

Zooropa (Island ‘93) Rating: B+
After the successful image makeover of Achtung Baby, U2 came back with the equally adventurous Zooropa, which Bono correctly called "a surreal pop album." And though this album is often considered a disappointment and its attendant Zoo TV tour was an ambitious failure, I find Zooropa to be another fascinating piece of work, though it is a notch below their very best stuff. The colorful album cover art aptly foreshadows the album’s futuristic mood, as it's filled with all sorts of ambient atmospherics, as well as an occasional industrial clatter. A new producer is on board (Flood, who had previously worked with Nine Inch Nails and Depeche Mode) but Brian Eno still plays a major role (Edge also co-produces), and the band tries (and succeeds) to stay current, even sampling to reproduce the desired techno-derived atmospherics. The title track starts the album off on an ambitious note, as it's really three songs in one. The first two minutes of the song features a boring buildup, but the Edge (with help from Eno) then kicks in with an inconceivably gorgeous guitar tone, and the rhythm picks up at the 4-minute mark to take the song to its satisfying conclusion. "Babyface" contains a relaxed, tinkly melody and an effectively multi-tracked vocal, but after that enjoyable if insubstantial tune, the band then veers off in another direction entirely, as "Numb" is highlighted by a harsh, repeating riff and an Edge rap (!!!), though Bono also weighs in with some background falsettos. Many fans were unimpressed, but I really like the song, especially since it shows off a rare sense of humor, as does "Lemon," an overly long but pretty fabulous Prince pastiche that's led by Bono's sweeping falsetto vocals. "Stay (Faraway, So Close!)" delivers more surreal pop with a relaxed melody (arguably the album's best) along with a soulful, pleading chorus, but "Daddy’s Gonna Pay For Your Crashed Car" kicks off the album's less impressive second half with a weak effort, an industrial dance number that skimps on the songwriting. That said, the song is a good example of the album's cynical, somewhat decadent nature, while "Some Days Are Better Than Others" provides an example of the band's lazy, list-derived lyrics, this time accompanied by a better (bass led) melody along with the Edge's enjoyably experimental guitar hijinks. After several decidedly "produced" songs, "The First Time" delivers a relatively sparse and direct piano/synthesizer-led ballad, with Bono again breaking out his lovely falsetto singing voice as the melody escalates to a fine finish. "Dirty Day" continues with more surging dynamics, falsetto vocals, and shady atmospherics, as the album in general is often more about mood than memorable songs. Fortunately, there are several of those (memorable songs) as well, and the band knows how to set a mood. Anyway, the album ends on a shocking note with a Johnny Cash cameo, but despite being a bit out of place the Man In Black acquits himself quite well on lead vocals. So does U2 throughout most of Zooropa, for even though the (rushed?) songwriting is somewhat patchy and they've given up all pretense of being a straight ahead rock band, on most of Zooropa U2 remain sonic scientists of the first rank. Note: 1995 brought the "Hold Me, Thrill Me, Kiss Me, Kill Me" single, by far the best thing about the Batman Forever movie.

Pop (Island ‘97) Rating: B
U2 are too talented and experienced to make a bad album, but few fans would deny that Pop was something of a disappointment, especially coming after a four year layoff. The band themselves would later admit as much, suggesting that the album was rushed due to tour commitments; the band obviously misjudged how much time was needed for the recording process. In any event, this was supposed to be their “electronica” album, and though it is their most groove-based and danceable album yet, at least it wasn’t quite that. However, this was the third straight album on which they mined a mysterious, futuristic vein, with diminishing returns each time out. Maybe they missed Eno, and perhaps it’s time to get back to the basics of being an actual rock band, but it seemed to me that U2 were desperately trying to stay contemporary and were therefore following trends instead of setting them. Don’t get me wrong, there are some strong songs (“Do You Feel Loved,” “If God Will Send His Angels,” “Last Night On Earth,” “Gone,” and "Please," for starters) on which they inject some soul into their techno-ized pop, and they still have a great sound. However, the essence of that sound is too often buried under torrents of samples and drum loops. Simply put, there’s too much in the way of sonic window dressing and not enough in the way of memorable melodies. As such, the album sounds forced, as if U2 wasn’t quite sure what they wanted to achieve this time out. For example, you get an electronic dance tune here (“Discotheque,” the albums first single, has grown on me but isn't quite top-shelf U2) and a moody dance ballad there (“Staring At The Sun,” the album’s other solid but not quite inspired single), while murky, pulsating dance grooves (“Mojo,” the album's most electronica-like song, and a good one at that) and dirge-like religious tracts (“Wake Up Dead Man,” which has a riveting intensity) also appear, with little tying them all together. Granted, my expectations for these guys are off the charts, and I like the album a little more each time I listen to it (and there’s so much going on here that repeat listens are required), which is an encouraging sign. Really, I can only point out one truly bad song ("Miami," which is awful), but Pop is probably the band’s least accomplished outing since October, making me wonder how much gas is left in the tank of this once peerless pop machine. Note: The resulting PopMart tour was even more disappointing than the Zoo TV tour, ironic song deliveries and ludicrous stage props having clearly run their course.

The Best Of 1980-1990/The B-Sides (Island ’98) Rating: A-
In my opinion U2 are the best rock band of the '80s and '90s in terms of continuous artistic achievement and growth, as well as in the way they’ve pioneered their own unique yet always-evolving sound. I own all of their albums, as do many of their fans, since U2 have always been consummate album artists whose individual albums were meticulously produced and sequenced. Therefore, I was actually disappointed to see this seemingly unnecessary album hit the racks, especially since some of U2’s best songs are lesser-known album tracks. Then again, their hits are generally really great, and at least the band had the good sense to stop before Achtung Baby, on which the band veered off in another direction altogether, plus the compiler has attempted to arrange these songs as an actual album, forsaking chronological sequencing. Usually I’m against this when it comes to compilations, but on this collection the maneuver works well in capturing an enticing overall flow. Plus, “Sweetest Thing [The Single Mix]” is a fine little remake of an earlier song that captures the playful pop side of the band, and which is hopefully a harbinger of what will soon be a return to the band’s earthier ‘80s roots. Initial pressings of the album came with a “limited edition” second disc that contained many of the band’s B-sides, along with other songs not previously available on any of U2’s albums proper. This 15-track cd is comprised of solid but inessential songs (“Luminous Times (Hold on to Love),” “Silver and Gold”) that fans will appreciate and non-fans will fast forward, three unnecessary covers (“Dancing Barefoot,” “Everlasting Love,” “Unchained Melody”) that I personally fast forward, several mood pieces (“Love Comes Tumbling,” “Bass Trap,” “Walk To The Water,” “Endless Deep”) that are pleasant enough but obviously not A-side material, and several gems (“The Three Sunrises,” “Spanish Eyes,” “Sweetest Thing,” “Hallelujah Here She Comes,” “A Room at the Heartbreak Hotel,” and “Trash, Trampoline and the Party Girl”) that are the primary reason to own this collection. Of course, “The Three Sunrises” and “Love Comes Tumbling” are available on Wide Awake In America, “The Sweetest Thing” had already appeared on disc one (the differences between the two versions are fairly negligible), a live version of “Silver and Gold” can be found on Rattle And Hum, and “Trash, Trampoline and the Party Girl” is much better done on Under A Blood Red Sky (where it is titled simply “Party Girl”). Still, for hardcore fans these two discs are well worth owning; for one thing, it’s fun trying to figure out which album session these songs came from (for example, “Spanish Eyes” is an outtake from The Joshua Tree). Alas, it’s a shame that fans have to pay for songs that they already own in order to obtain The B-Sides, and that more pressings of this disc weren’t made available. If Island and U2 wanted to do right by the band’s fans they would’ve released these two discs as separate albums, with enough pressings to go around.

All That You Can’t Leave Behind (Island ‘00) Rating: A-
With Pop it had become apparent that the band’s pre-occupation with sonic experimentation and ironic presentation over heartfelt, accessible songs had run its course. “It’s about the songs now” says Bono, and with the aid of master mood manipulators Brian Eno and Daniel Lanois, who have produced most of the band’s very best work, the band has come through with a mostly mellow but by and large beautiful album. The "classic U2" sound is back, and though All That You Can’t Leave Behind doesn’t scale quite as high as grandiose earlier classics like The Unforgettable Fire or The Joshua Tree, this is partly due to the band’s more modest intentions. Still, songs such as “Beautiful Day” (the band's most easy to embrace single since "One") and the Grammy-winning “Walk On” soar on undeniable choruses, while “When I Look At The World” surges on the strength of the excellent rhythm section of bassist Adam Clayton and drummer Larry Mullen Jr. Bono sings “I’m just trying to find a decent melody,” and he finds them throughout, whether on the simple strengths of “Stuck In A Moment You Can’t Get Out Of” (one of several songs here that gained an added resonance post-9/11) and “In A Little While” (where Bono proves he can still make magic with mere "ooh"s; on a side note, I believe that Joey Ramone, who was always a man of impeccable taste, requested to hear this song on his deathbed), or the sweetly singable “Wild Honey” (on which the band's Irish roots are again readily apparent). Only “Elevation,” on which the band briefly returns to the dance clubs, does U2 stray from the game plan (I like the single version better), and “Peace On Earth,” about a 1998 terrorist bombing in Ireland, had me near tears the first time I heard it (unforgettable lyric: “their lives are bigger than any big idea.”). Elsewhere Bono sings “I’m not afraid to live, I’m not afraid to die,” and indeed the band’s second greatest virtue is their lack of fear; they’ll risk sounding cheesy if it feels right and wear their hearts on their sleeves if the cause is just. Of course, their best asset remains their impeccable chemistry, as above all else U2 still has a great sound. That sound is predictably anchored by the Edge’s rich guitar textures and Bono’s stellar singing, which is generally at its most restrained, though he can still let loose when it counts (witness "Kite," a big ballad). His vocals also have an appealingly rough edge throughout, and it perfectly complements a passionate and warmly inviting batch of intimate songs. Granted, there aren’t too many classic U2 singles to be found here, and the album trails off towards the end; "New York" expertly evokes the Big Apple lyrically but is unremarkable musically, and "Grace" is a pretty but boring piano ballad. However, with All That You Can’t Leave Behind, which works extremely well as an elegant whole, U2 bounced back in a big way.

How To Dismantle An Atomic Bomb (Island ‘04) Rating: B+
Pretty amazing when you think that early U2 contemporaries like The Police and The Clash broke up in 1984 (well, The Clash should've broken up in 1984), yet here we are in 2005 and U2 are not only still around, but they still have their original lineup and are still making music that matters. Something of a continuation of the consistent quality of All That You Can’t Leave Behind but not benefiting from the post-Pop “back to basics” relief or post-9/11 resonance that made that album hit home with many listeners, How To Dismantle an Atomic Bomb is simply another really good U2 album, though it arguably doesn’t do anything that the band hasn’t already done before. Still, U2 has earned some more of the same at this point, especially when the band’s mix of love, politics, and religion along with their shimmering music remains so potent. The album’s recording sessions were difficult, with many producers pitching in, but you’d never know it given how sparkling the album sounds, and even the lesser songs like “Crumbs From Your Table” (memorable line: "where you live should not decide, whether you live or whether you die") and “Yahweh” still soar at times. “Love and Peace or Else,” a clunky, sometimes downright annoying (mostly due to Bono’s hammy vocals; the riffs are good) attempt at an anthem, is the album’s only serious misfire, though as per all their albums this one starts much stronger than it finishes. Still, though not much happens on “One Step Closer,” it happens (or doesn’t) rather pleasantly, and “Original Of The Species” is top-notch U2. Aside from the aforementioned “Love and Peace or Else,” side one is fantastic. Like everyone else I’m sick of “Vertigo” from those ubiquitous iPod commercials, but it’s still a mighty fine first single, being both air guitar worthy and danceable. The second single, “All Because Of You,” also nods to an Achtung Baby-like danceability but is a little too simplistic, though I suppose it’s just rocking enough and is ultimately fun if somewhat fluffy. Still, “Miracle Drug,” “Sometimes You Can’t Make It On Your Own,” and “City Of Blinding Lights” are much better, with that classic Edge guitar chime, evocative atmospherics, and even a fabulous falsetto vocal from Bono on “Sometimes You Can’t Make It On Your Own,” a moving tribute to dear old dad. Elsewhere, Bono is puzzled by the mysteries of the opposite sex on “Man and a Woman,” but though U2 may not have the answers they’re looking for, it’s always been the quest that matters most with them, and though some of this album has a U2-by-numbers feel, they sound self-assured and confident throughout. At times lushly romantic, other times fairly rocking for a bunch of old geezers, above all else How To Dismantle an Atomic Bomb is a triumph of craft, as these wily old veterans know what they’re doing and are able to get the sounds they seek (with or without Eno/Lanois). Sure, Bono may be a bigmouth who turns people off, but name me another quality band from 1979 who can compete with these guys now.

No Line On The Horizon (Interscope ‘09) Rating: B
After a spectacular 3-D concert film, U2 3D, was released in 2008, U2 came back after an even longer layoff than usual with No Line On The Horizon, another worldwide #1 album. This time out the buzz quickly faded, however, and reviews were mostly lukewarm aside from a typically absurd 5 star review in Rolling Stone (which recently awarded a similar grade to the also under-performing new Springsteen album). Produced by Eno and Lanois, who also contribute songwriting, the album does get off to a strong start with the title track, a moody, intense, and propulsive rocker, while "Magnificent" sports the classic U2 sound and is a near-classic effort. The 7+-minute "Moment Of Surrender" is overly labored and somewhat cheesy but is salvaged by its spiritual ambiance and the Edge's soulful guitar solo. Actually, Edge solos spice up several tracks here, including "Unknown Caller," another album highlight also notable for its lovely guitar chime and "oh oh oh" harmonies, which recall the band's early work. "I'll Go Crazy If I Don't Go Crazy Tonight" has a good melody, albeit one that overly recalls “City Of Blinding Lights,” but the song is undone by cringe-worthy lyrics like "the right to be ridiculous is something I hold dear." You don't say, Bono, you don't say. Even worse is the awful "Get On Your Boots," a questionable choice as the albums first single, to put it mildly, and the big generic riffs and forced funk of "Stand Up Comedy" also don't work, as this album sags badly in its mid-section. The rest of the album is solid but rarely inspired: "Fez – Being Born" is aurally pleasurable without being particularly memorable, "White as Snow" and "Cedars Of Lebanon" are effectively atmospheric ballads that are also a bit boring, and "Breathe" has a big hooky sound and is quite good even if it's a bit U2-by-numbers. On the whole, this album is more experimental than their last two straightforward but winning efforts, and in fact it's the band's most overtly "atmospheric" album since The Unforgettable Fire, or at least Zooropa. However, No Line On The Horizon falls short of both earlier works simply because it lacks truly great songs and contains some obvious filler. Perhaps Bono is too busy trying to win a Nobel Peace Prize as the world's spokesman to put in the necessary effort to make U2 great again, or maybe it's unrealistic to expect such a thing at this point, 30 years after Boy (think of U2 as the Stones in 1994 or so). However, solid though the majority of this album is, there's no getting around the fact that Coldplay is out U2-ing U2 right now.

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