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  1. Originally posted by germcevoy[..]

    I wouldn't disagree with the full audio on one CD but would it fit? I doubt they'd do that anyway because it's easy enough to rip the audio yourself. Roll on with the DVD though. I'm gonna be so broke. 2 Versions of each of the 3 remasters then this possible Blood Red Sky release, then an iphone then the saving for next years tour begins. ARRGGHH


    haha you're not kidding about being broke soon!


  3. U2.com have been displaying those for a week or 2 now. Didn't realise they were the new covers. They do look a lot fresher though. Subtle yet improved (just like the audio hopefully). Love they Boy disc art
  4. from U2.COM


    ''Teeming with wide awake wonder...'
    Author and critic Paul Morley, who's followed U2 since their earliest shows in the UK, when he was a writer on the NME, has written the liner notes for the reformatted release of Boy which arrives next month. We got hold of an exclusive advance extract.


    ‘… everything they have gone on to do and be features the afterglow of Boy, an album teeming with wide awake wonder. U2 mixed something passionate, Irish and dashing, something a little starry eyed and roguish, with the austere, blazing British post-punk sound that had emerged in January 1978 once Johnny Rotten had formed Public Image Limited, Howard Devoto had formed Magazine and Warsaw had become Joy Division. U2 may have started out as a hearty mini showband gaily playing Peter Frampton, and then after punk covering the zonked pop maniacs Ramones, but The Edge got the hang of the guitarist he wanted to be by listening to the New York new wave sonic symbolists Television and the savagely articulate simplicity of early Siouxsie and the Banshees.

    By 1978, once punk inspired guitarists who couldn’t quite play or who could but didn’t want to repeat traditional and therefore reactionary, oppressive riffs and licks started to experiment with their tone and sound, a whole different way of playing the guitar emerged. It was less Keith Richards and Pete Townsend and more the Phil Manzanera and Robert Fripp who would play on records featuring and/or starring the sensual theorist Brian Eno as he channelled the Velvet Underground through an Anglosurrealistic fascination with chance, repetition and drone. It was the gaunt, primitive garage guitar of Lenny Kaye accompanying the divine, derelict New York visions of Patti Smith, it was the meticulous cryptic interference that made Can distant avant relations of the Velvets.

    The questing, abstract post punk guitarists - Keith Levene of Public Image Limited, Bernard Sumner of Joy Division, John McGeoch of Magazine and Siouxsie and the Banshees, Andy Gill of Gang of Four, Martin Bramah of the Blue Orchids, Alan Rankine of the Associates,Will Sergeant of Echo and the Bunnymen – patched together their idea of a new iconoclastic rock guitar playing by following the route laid down from Can to Television, from the Velvets to the Banshees, from the Eno Roxy to the Eno Bowie. This was the introspective but ebullient, alienated but driving, freedom seeking guitar that The Edge took into U2, and then all over Boy, and then, eventually, around the future of the world, a stinging, crystalline, scenic guitar that came from the blues via LaMonte Young, the Spiders from Mars, New York punk and Krautrock rather than Clapton, Jones and Page.

    Because of this guitar, and the way the producer of the Banshees and XTC, and now U2, Steve Lillywhite, put it top of the Boy bill, up above Larry’s dancing marching drums and Adam’s gripping, adamant bass, even above the grave, categorical arrival of Bono, when the album came out it fitted into the literate post punk scheme of things as defined by Magazine, Joy Division, Public Image, Monochrome Set, the Associates and Gang of Four. U2 may have identified with the armed and pseudo-dangerous Clash, the splenetic and distinctly rebel Irish Stiff Little Fingers, the spectacularly anxious and insidious Joy Division and the naïve, impressionable kid punk Skids, and temporarily muzzled in the background there were always the gospels according to Bruce, Bob and Van - but Boy was more than anything sonically and emotionally related to the swashbuckling, edge of reason extravagance of the Associates and their Affectionate Punch album.

    Just like the serenely magnificent Scottish Associates, and their lavish, unfettered singer Billy McKenzie, U2 had a soft spot for the epic, and a fondness for the ceremonial brilliance, the posing show business intelligence, of Bowie, and his addiction to fresh ideas, new methods and fresh new starts. There’s Bowie in Boy – the way certain sparkling, awestruck songs end with such melodramatic finality, the lurking, deadpan Man Who Sold The World bass, the lusty glam bam drums, the exultant soaring into the skies to make a point, or simply to make a moment, which is sometimes the point – and there’s always been Bowie in the way U2 try so much never to be the same thing twice, even if it means dressing up, wearing masks, changing their mind, veering off course, joining the circus, starting again, making enemies, breaking hearts, losing the plot, questioning themselves, and in the end having to do the same thing twice on the way to starting again.’
  5. Wow, the October-cover looks 10 times better! And War and Boy are very clear too. Awesome! Now I'm definitely gonna buy them!
  6. Originally posted by markp91Wow, the October-cover looks 10 times better! And War and Boy are very clear too. Awesome! Now I'm definitely gonna buy them!


    October cover is actually a bit respectable now. Love the artwork on the actual CDs too. Release them! Release them! Now! Now! Now!
  7. Originally posted by aussiemofo[..]

    October cover is actually a bit respectable now. Love the artwork on the actual CDs too. Release them! Release them! Now! Now! Now!


    Wow, not now! I still need money!
  8. from U2.com



    30.06.2008
    'Two wheels over the edge of the cliff...'
    In his sleeve notes for the forthcoming remastered release of October, Edge remembers a 'desperate struggle to communicate against the odds'.


    Next month, remastered releases of Boy, October and War, U2's first three studio albums, go on sale.

    Each release comes with bonus tracks, rare photography and new liner notes. This extract comes from Edge's notes recalling the period leading up to the release of October in September 1981.

    'Within the space of a year we had released our first studio album Boy, toured around the known world playing numerous small gigs and doing radio and press interviews and made it home to start work on the fabled “difficult second record”. We were spent and running a bit scared. The now famous missing lyrics, stolen from a dressing room in Portland, didn’t help our sense of foreboding. We knew we were less than totally secure at Island Records having had a modest hit with I Will Follow, and we knew that we had very few new songs of merit.

    We did what we always do at times of crisis; we went into a huddle and partly out of necessity and partly out of an instinct to return to familiar surroundings we went back to where we started, to Mount Temple School, to try and write some material in the weeks running up to the first studio session.

    In a small basement room, next to the boiler house of the old Victorian school building, we set up our gear and tried to craft a few musical ideas that we could later develop into songs. Many of the parts and basic arrangement ideas for the October album came together here. These rehearsals were difficult and tense and I remember many arguments.

    Although Steve Lillywhite had made it clear that he never worked with a band more than once we persuaded him to produce this album, so when we went into Windmill Studios we at least had a familiar face behind the mixing desk. Steve’s unfailing optimism and can-do attitude became a hugely important resource.

    It was obvious to everyone that we were driving with two wheels over the edge of the cliff, and it drew from us, and particularly Bono, a level of creativity that we had not seen before. Half-baked musical ideas that we started working on in the morning would be finished songs by the evening. Vocal melodies and sections of final lyric would be composed in real-time on the microphone. This was stream-of-consciousness songwriting.

    Listening back now, I am amazed at where we got to with this approach, but out of this experience we learned techniques of writing that we still use today. This creative fight for survival also became the overarching theme of the record. Faith versus fear, the desperate struggle to communicate against the odds....'
  9. Originally posted by kisho8from U2.com

    Half-baked musical ideas that we started working on in the morning would be finished songs by the evening.


    Many were still half-baked on the album. U2's only lemon IMO.
  10. Looks like some of the Australian stores are getting them in soon. JB HiFi is getting first orders in next week for the Australian fans.

    Can you believe I only finished listening to October a week ago? And I'd rate it as their fifth-best album in front of Achtung Baby.
  11. Originally posted by drewhigginsLooks like some of the Australian stores are getting them in soon. JB HiFi is getting first orders in next week for the Australian fans.


    All three in one hit? I'm there! But how do I tell the missus that there's suddenly $120 missing from our bank account....
  12. Originally posted by aussiemofo[..]

    All three in one hit? I'm there! But how do I tell the missus that there's suddenly $120 missing from our bank account....


    yeah, somehow it's a two edged sword.. I'm really looking forward to these releases (and of course, I'd want the deluxe versions like the good greedy fan I am), but I have no clue from where to get the money for all 3 releases

    if you had to chose and could only buy one deluxe version a month, which one would you get first? I think I'll go for 'boy' since I like that one the most from the 3... then 'war' and 'october' last.
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Contribute to the U2 community with uploading photos or by telling us which shows you have visited.
Contribute to the U2 community with uploading photos or by telling us which shows you have visited.
Contribute to the U2 community with uploading photos or by telling us which shows you have visited.