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  1. I was bummed about Lights of Home as well.
  2. I love the riff 'ring out' feel. Reminds me of Beck's early acoustic work. Like below.
  4. 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
  5. Sorry for mistake!
  6. 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 ...
  7. 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 ...
  8. +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.
  9. 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!
  10. Yeh Summer of Love was lifted from this intro wasn't it?

  11. This is really interesting. Brilliant actually!

    I just knew Hendrix was the inspiration for the One riff. Specifically I'd say Little Wing!
  12. Yeah that's crazy, although I guess it's like how so many of Adam's awesome bass lines were later confirmed to be written by Edge

    I listened to Achtung Baby yesterday in full, I hadn't in a long time. I obviously don't need to tell you guys this, but it's fucking insane just how good that album is. Every song could be a single, every song has some of Bono's best lyrics, Edge's best guitar parts, Larry's most interesting drumming, Adam's catchiest basslines, and so on. Making Zooropa right after made complete sense because you can just hear on that album how much creative juice they had built up and ready to use. And the album just keeps on giving, man. You get to TTTYAATW and you're like "alright it's starting to peter out now" but nah, the last three songs on the album are just total chaos and pure musical bliss. It's sad how much Achtung Baby gets overshadowed by the Joshua Tree to pretty much anyone outside the U2 fandom, because it really is a masterpiece.

    And that's not even taking into consideration how the whole project was a masterclass in reinvention. It's a 10/10 album on its own, but when you understand the context, the band before that album, all of it - it becomes a 100/10 album. I wish I was old enough at that time to have been around for it, to get completely mind-fucked by it. I love hearing stories of those U2 fans who were.
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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.
U2start is run by fans for fans. Help us reduce personal costs. Consider to make a donation to support us.