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  1. I think the difference is that Summer of Love existed as a piece of music before even being brought to U2. It wasn't a riff that someone came up with during a U2 session, in trying to make a U2 song better (which is sort of what a producer is there for) - it was a part they came up with during a One Republic session, that Ryan Tedder brought to U2.

    But yeah, I'm pretty sure that one studio scene in From The Sky Down basically confirms that Lanois came up with that main guitar part for One (although, he didn't come up with the basic music - the chord structure, etc.), U2 did that themselves.
  2. Originally posted by RattleandHum1988:[..]
    I think the difference is that Summer of Love existed as a piece of music before even being brought to U2. It wasn't a riff that someone came up with during a U2 session, in trying to make a U2 song better (which is sort of what a producer is there for) - it was a part they came up with during a One Republic session, that Ryan Tedder brought to U2.

    But yeah, I'm pretty sure that one studio scene in From The Sky Down basically confirms that Lanois came up with that main guitar part for One (although, he didn't come up with the basic music - the chord structure, etc.), U2 did that themselves.
    I missed the story behind that one!
  3. Which one?!

    Here's the Summer of Love stuff (scroll all the way down and the proceeding pages is the discussion at the time): https://u2start.com/topic/11199/168/12/

    I can't find the scene from From the Sky Down I'm referring to online - but it's when they're back in Dublin in the studio and there's a quick scene of Lanois, Eno and Flood jamming to a One backing track, and Lanois is playing that guitar part - and then in the proceeding scene when the band are listening back, Edge says something about Lanois' guitar part - making me think he wrote it, not Edge.

    EDIT: Found it, skip to 1:06:30 and keep watching
  4. The Summer Of Love/West Coast (One Republic Demo) doesn’t bother me TOO much as long as it was going to be thrown away by One Republic. It would kind of be a bummer if U2 heard it and asked if they could use it rather than Ryan Tedder basically being like “here’s a demo we were gonna go with, use it if you want.”

    It’s a cool little guitar part and the bridge (I’ve been thinking about the west coast) is straight from one republic, but the rest is U2. If Ryan Tedder didn’t bring that idea in, then it would’ve been a 12 song album. But like I said, it’d be pretty lame if U2 straight up asked for the riff/bridge and took that from One Republic.
  5. The guitar is buried in One you can't really hear it that well it's the Keyboard that dominates the song which Eno was playing, however on the alternative version the guitar is very much to the front.
  7. Originally posted by RattleandHum1988:[..]
    I think the difference is that Summer of Love existed as a piece of music before even being brought to U2. It wasn't a riff that someone came up with during a U2 session, in trying to make a U2 song better (which is sort of what a producer is there for) - it was a part they came up with during a One Republic session, that Ryan Tedder brought to U2.

    But yeah, I'm pretty sure that one studio scene in From The Sky Down basically confirms that Lanois came up with that main guitar part for One (although, he didn't come up with the basic music - the chord structure, etc.), U2 did that themselves.


    Most people not associated with the production of music think it is the artists who have the largest fingerprint on the track. But it's actually the producer. See Kraftwerk 'Showroom Dummies'.
  8. I say bring it on! I have always been OK with One Republic, never a huge fan, but can't deny Tedder's singing, writing, and production talent. I recently have seen him on the show Songland and respect him even more.
  9. I just want the band to be brave with their sound just like they did with AB and don’t follow mainstream music trends. Go all out like it’s their last album.
  10. Originally posted by CrashCaderz:I just want the band to be brave with their sound just like they did with AB and don’t follow mainstream music trends. Go all out like it’s their last album.
    Which is probably the case
  11. If it's songs like Summer Of Dull and American Empty Soul for a new album, it'll just be another U2 album. After all, surely they'll ask themselves some hard questions ... who needs a new U2 album. The only songs I can see Tedder has contributed in some way to that seem to be decent are The Lights Of Home, Every Breaking Wave, Iris and Landlady (but I wonder just how much input he really had into these).

    Instead, get that Andy Barlow character in - surely U2 can see this. He seemed to bring out the best in what they've left to give. Imagine an album of Book Of Your Heart and The Little Thing ... -esque songs. You'd have a beautiful piece of work to hopefully go out on. If SoE was their last album (thankfully not), it's not a great album to go out on (how many songs on it are honestly any good - I can count six I think are worth something) - you'd be better going out on SoI (where 10 out of 11 songs are worthwhile).
  12. Originally posted by drewhiggins:If it's songs like Summer Of Dull and American Empty Soul for a new album, it'll just be another U2 album. After all, surely they'll ask themselves some hard questions ... who needs a new U2 album. The only songs I can see Tedder has contributed in some way to that seem to be decent are The Lights Of Home, Every Breaking Wave, Iris and Landlady (but I wonder just how much input he really had into these).

    Instead, get that Andy Barlow character in - surely U2 can see this. He seemed to bring out the best in what they've left to give. Imagine an album of Book Of Your Heart and The Little Thing ... -esque songs. You'd have a beautiful piece of work to hopefully go out on. If SoE was their last album (thankfully not), it's not a great album to go out on (how many songs on it are honestly any good - I can count six I think are worth something) - you'd be better going out on SoI (where 10 out of 11 songs are worthwhile).
    The producers didn't write the songs there is only so much you can do to a song to make it better ,U2 had 9 producers on SOE which shows how insecure they were about the songs 1 guy spends months working on the songs oh that doesn't work let's get someone else oh that won't get on the radio let's get someone else in and so on ,they must be the most frustrating band to work with most bands would love the chance to work with Chris Thomas,Rick Rubin or Danger Mouse but each of them were shafted as the band weren't happy with the results.
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U2start is run by fans for fans. Help us reduce personal costs. Consider to make a donation to support us.
U2start is run by fans for fans. Help us reduce personal costs. Consider to make a donation to support us.