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  1. Originally posted by jasvan:Did we really think Edge wrote the riff to Summer of Love? It doesn’t even sound like him. It’s a sample the band even said it was something new for them to take a part from someone else.
    Producers get points towards songs for a reason. They usually help craft them for the better.
    Over thinking this and to doubt all the great songs u2 has written for us is ridiculous.
    Why would they release Baby Versions of AB if they were being secretive of the process? It shows how much the songs evolved ( Flood changing feel of So Cruel comes to mind) also the mess wild horses was before it got finished
    Lol - I think that's maybe why it bummed me out the most at first. I thought it was really refreshing to hear a guitar part from Edge that you wouldn't otherwise hear from him - to me it was a great example of him still having it in him to come up with something that surprises me - but obviously that wasn't the case.

    I don't think it's too much to ask for to spin a U2 album and expect 90% of what I'm hearing to come from the band whose name is on the front of the record, and whose name is the only one listed after "music and lyrics by:".

    Like I said, I get that they rely on producers to help them complete songs, bring them into focus, etc. We know for a fact that things like the synth loops in Bad and With or Without You were written by Eno, but those aren't the "core" of those songs, they're just added bits to add atmosphere. Edge mentioned before that Flood was the one who put the filter on the main riff to Until the End of the World as the song progressed, giving it that sort of underwater feel - but Edge came up with that riff (presumably), not flood. That song could exist without that effect, Bad could exist without that synth loop, and so on - that's my point.

    U2 completely taking the core of a song like Summer of Love, from the guitar part, chords, arrangement, to the lyrical hook - that doesn't sit right with me, sorry - not unless they're going to give songwriting credit to One Republic (like they did for Haim). I don't even care if One Republic don't want it, I as a fan want to know that this particular song was barely written by U2.

    And I don't understand what the Baby versions prove. They're just earlier versions of the same songs that they were probably still working on with Lanois, Flood and Eno, it's not as though those versions are confirmed to be the versions that the band had before they brought in the producers.

    Someone (Sergio I think) linked that passage from Paul McGuiness in U2byU2 about how there's always been a bit of a dispute between Eno and the band about songwriting credit, specifically that Eno at times has felt he deserved credit for the amount he's contributed to any given song. After this particular example, it makes me wonder if Eno has a point and that maybe the band weren't being entirely fair. Yes it's the producer's job to help the band complete the song, whatever that might entail. But Summer of Love? Nah. That's not a producer helping U2 complete a song of theirs, that's U2 taking a song that another artist wrote and calling it their own.

    I guess some people don't mind the idea that the four guys in U2 might not have written a particular part that they're (the listener) might be emotionally attached to. But me? It bums me out. It's the carpet being pulled from under me. "Man, I really love this guitar part that Edge wrote, how cool is that? After all this time, he can still surprise me" - "Edge didn't write that, and Bono didn't even write that hook" - "oh...".

    I guess my ultimate point is that after this, it'd be nice for the band to be more transparent on exactly what part their producers played for any given song - especially knowing that one of the producers on their best albums has fought to have his name on the songwriting credits before. Obviously that shows he thought he contributed enough to feel as though it warranted it. I'm not actually ASKING for that, and maybe I am overreacting, but I don't know - this one particular example just kinda threw me into a crux about this subject, I guess.
  2. Originally posted by RememberEveryMoment:They're not the Beatles in the sense that they can go into a recording studio for a week and have a new album ready. We already knew that. I sometimes think people underestimate how hard it is for U2 to write complete songs, which is why they rely so heavily on producers. I think that is also a reason there are not that many left overs usually, there is just no that much more material lying around. But the quality of songs they eventually finish is pretty high generally speaking.
    Well George Martin was responsible for a lot of The Beatles sound and was really a 5th member ,U2 could probably knock a lot more albums if they weren't touring so much, even when The Beatles were touring they weren't doing half the amount of shows that U2 do and plus Record companies dictate the release dates and prefer to stretch them out to allow for touring.
  3. Originally posted by RattleandHum1988:[..]
    Lol - I think that's maybe why it bummed me out the most at first. I thought it was really refreshing to hear a guitar part from Edge that you wouldn't otherwise hear from him - to me it was a great example of him still having it in him to come up with something that surprises me - but obviously that wasn't the case.

    I don't think it's too much to ask for to spin a U2 album and expect 90% of what I'm hearing to come from the band whose name is on the front of the record, and whose name is the only one listed after "music and lyrics by:".

    Like I said, I get that they rely on producers to help them complete songs, bring them into focus, etc. We know for a fact that things like the synth loops in Bad and With or Without You were written by Eno, but those aren't the "core" of those songs, they're just added bits to add atmosphere. Edge mentioned before that Flood was the one who put the filter on the main riff to Until the End of the World as the song progressed, giving it that sort of underwater feel - but Edge came up with that riff (presumably), not flood. That song could exist without that effect, Bad could exist without that synth loop, and so on - that's my point.

    U2 completely taking the core of a song like Summer of Love, from the guitar part, chords, arrangement, to the lyrical hook - that doesn't sit right with me, sorry - not unless they're going to give songwriting credit to One Republic (like they did for Haim). I don't even care if One Republic don't want it, I as a fan want to know that this particular song was barely written by U2.

    And I don't understand what the Baby versions prove. They're just earlier versions of the same songs that they were probably still working on with Lanois, Flood and Eno, it's not as though those versions are confirmed to be the versions that the band had before they brought in the producers.

    Someone (Sergio I think) linked that passage from Paul McGuiness in U2byU2 about how there's always been a bit of a dispute between Eno and the band about songwriting credit, specifically that Eno at times has felt he deserved credit for the amount he's contributed to any given song. After this particular example, it makes me wonder if Eno has a point and that maybe the band weren't being entirely fair. Yes it's the producer's job to help the band complete the song, whatever that might entail. But Summer of Love? Nah. That's not a producer helping U2 complete a song of theirs, that's U2 taking a song that another artist wrote and calling it their own.

    I guess some people don't mind the idea that the four guys in U2 might not have written a particular part that they're (the listener) might be emotionally attached to. But me? It bums me out. It's the carpet being pulled from under me. "Man, I really love this guitar part that Edge wrote, how cool is that? After all this time, he can still surprise me" - "Edge didn't write that, and Bono didn't even write that hook" - "oh...".

    I guess my ultimate point is that after this, it'd be nice for the band to be more transparent on exactly what part their producers played for any given song - especially knowing that one of the producers on their best albums has fought to have his name on the songwriting credits before. Obviously that shows he thought he contributed enough to feel as though it warranted it. I'm not actually ASKING for that, and maybe I am overreacting, but I don't know - this one particular example just kinda threw me into a crux about this subject, I guess.
    I get it. I was slightly bummed when I heard Lights of Home and that Edge didn’t write the riff.
    But he wrote “The Fly” and “Discotheque” so I’ll give him a pass at this point.
    FYI Bono wrote riff on Until The End of The World ?
    Eno wanted credit for Stuck because he helped a lot in that song musically. That’s fine and I don’t think anyone would care but the band and manager said early on you get credit as a producer and points on Album.
    And that’s what lead to No Line and Eno and Lanois getting more credit then ever before.
  4. I was bummed about Lights of Home as well.
  5. I love the riff 'ring out' feel. Reminds me of Beck's early acoustic work. Like below.
  7. Originally posted by jasvan:Did we really think Edge wrote the riff to Summer of Love? It doesn’t even sound like him. It’s a sample the band even said it was something new for them to take a part from someone else.
    Producers get points towards songs for a reason. They usually help craft them for the better.
    Over thinking this and to doubt all the great songs u2 has written for us is ridiculous.
    Why would they release Baby Versions of AB if they were being secretive of the process? It shows how much the songs evolved ( Flood changing feel of So Cruel comes to mind) also the mess wild horses was before it got finished
    Wild Horses baby is the best version the video version of temple bar mix comes 2nd close

    And yes I Hate to know Someone wrote SoL for them... it kinda sucks

    Now gonna play a cover of one of our producers band its called Summer Of Love in 2016 Maybe 2017 we had a great summer in Eze And I said to The Edge to we have write all our songs... And there came Ryan With his Beautiful boys And we could spend More time With our children... bla bla bla - the reworked Bono speech ;P
  8. Sorry for mistake!
  9. Originally posted by RattleandHum1988:
    I hate writing this as a U2 fan, but that Summer of Love thing left a bad taste in my mouth and it hasn't left me, sorry. U2 sampling someone or a producer writing a part for a skeleton song that's already in-place is one thing, but U2 literally taking music someone else wrote and calling it their own, I don't know. I'm not talking about it from a legal stance, even a moral one (obviously they were given permission), I'm just talking about it from an artistic standpoint. It sucks knowing that one of the better songs on that album wasn't even written by them. And yeah, that guitar part and the "west coast" hook pretty much make that song what it is, at least for me. As a musician who writes and records music (yes I realize I'm not U2) - I'd never do that, not even if I was allowed to, or whatever - my instant reaction would just be "Umm, but I didn't write that, I can't use that...".

    It would be like if we found out after all this time, Lanois was actually the one who came up with the chord progression for One, not Edge. Or Eno was the one who came up with the intro to Streets, but on a synth or something. That would break my fuckin' heart, man. It all makes them seem a lot less like a band and a lot more like a label-created committee who releases music for monetary gain or something.


    Amen!!!
    So so true ...
  10. Originally posted by RattleandHum1988:
    Lol - I think that's maybe why it bummed me out the most at first. I thought it was really refreshing to hear a guitar part from Edge that you wouldn't otherwise hear from him - to me it was a great example of him still having it in him to come up with something that surprises me - but obviously that wasn't the case.

    I guess some people don't mind the idea that the four guys in U2 might not have written a particular part that they're (the listener) might be emotionally attached to. But me? It bums me out. It's the carpet being pulled from under me. "Man, I really love this guitar part that Edge wrote, how cool is that? After all this time, he can still surprise me" - "Edge didn't write that, and Bono didn't even write that hook" - "oh...".



    +1
    It was a total disappointment for me - when I realised the story behind The Summer of Love ...
  11. +1 -because also I often have still the wrong picture in my head, that there are four band members in the studio. Bursting in creativity. Bono, as in some old photograph, on the floor unstoppable writing some of rock‘s finest lyrics. The band in a circle reinventing rock music. Again, as part of this is or was reality, this complete picture is wrong. It is just wishful thinking from a hardcore fan’s perspective. Why?

    From the early stages on, from the early records on, the producer‘s role has been at least a kind of 5th member. Take the old TJT documentary - while Bono has had a hard time remembering musical details, Danny knew EVERY detail. Prepared for the doku, yes, but take for example „Running To Stand Still“. It became that anthem with The Edge improvising on some piano chords - and Danny being awake, alert, to play the original guitar parts. Then Edge later overdubbed slide guitar improvising on this basis. Take „ One“, take ... Daniel Lanois is much more than a Controller. Much more than just inspiring. He IS a professional and versatile musician. Regarding his musical contribution he IS the 5th member of U2 for sure. U2 albums produced by him are also Lanois albums.

    Then: Take the keyboard and strings, the intros from TUF until TJT. Take ZOO intro- this is very much the art and handcraft of the ambience guru Brian Eno. Take the still brilliant low-fi, beat driven concept and sound monster POP - Howie B. made this happen.

    So, another borrowed/‚stolen’ riff in SOL? A disappointment. A delusion, yes. But reality and not that big of an issue, when you dare to think/talk about how important prerecorded parts and playback elements unfortunately have become more and more important in U2 so-called live concerts. Terry in the underworld? Dallas and the Edge orchestra under the stage - can you hear us? But in the end: This is how it is. No need to bash, but no need to hide either, I think.
  12. Originally posted by RattleandHum1988:[..]
    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.



    06:28
    Daniel Lanois is the fifth member of U2 - no doubt at all!
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