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  1. Originally posted by thefly07:[..]

    have you heard of Neil McCormick before? I'd say he's hella reliable....i don't remember him comparing Crumbs to One, but we all say things we shouldn't


    He is a good friend, so he would never say it sucks.


  2. Hey, the other DJ who posted the review of GOYB, said they were the same thing, perhaps a different mix, but largely identical.

    Given that, I think I can make sweeping statements on the song (while not being able to analyse it in detail).

    Just because you don't want to listen to them, doesn't mean they're useless and have nothing to do with the final album.

    With regards to going off topic, I'm not i'm sticking to album discussion, and supporting my points from the Clips, much like you would use excerpts from the Q article to support a statement.
  3. Just for the fun of it: Dan in Uncut



    Daniel Lanois:

    We started on it maybe a year and a half ago. [Brian] Eno and I went in from the initial chapters of the process. We've done work in France, Morocco, New York and London, a bit in Dublin.

    Changing locations always gives youa good two-week fresh sprint, and a lot comes out of that. It makes for a nice change of scenery. We tried to deliver in June to release in November, and we missed that because things weren't finished. We were tired, so we took a week off.

    There have been sonically inventive pivotal moments through U2's career. Achtung Baby was one. Not to draw a comparison to Achtung Baby, but I think the shift in sonics here is just as great. We have an appetite for innovation, and when you have Eno in the room you can't help but get new ideas thrown your way. So this project very early on had some quite dynamic sonic shifts that I'm proud of - there's something very different about this record, right up the spine.

    We decided we wouldn't have acoustic drums early on, because we wanted Larry [Mullen] to be in our inner circle rather than in a booth. By having him play electronic drums, it allowed us to be physically close together while still having powerful, unusual drum sounds. They were only meant to be sketches, but some we fell in love with, so we decided not to replace them.

    The beginning of this record was a free-for-all. We wanted to see what was happening in people's hearts and what would come out of jam sessions. So the first two, the french and Moroccan chapters, were very spontaneous. About a third of the way in, The Edge came in with some works he had started on his home studio, and some of those are part of this record.

    [Lyrically] I think Bono is looking at the world through the eyes of a lot of travel, and compassion, and being the humanitarian that he is, and he's definitely embracing his own personal philiosophies on this record.

    The Edge has come up with some great riffs, but they're very different. He has a few great bottom riffs, as I call them. If we could use a historical reference for bottom riffs, the [Rick James'] "Superfreak" would be one of them.

    They've always had a good ear for anything special, but they're more advanced musicians than they were. Bono's singing is better than ever. He's a great, barrel chested Irish tenor. We're lucky to have him. Melody is important. If I cn use one of Bono's current terms, the top line melodies are celebrated. They're the ones you can hear across the street.

    I'm hearing things on this record I've never heard from them, or from anybody else. More power to them for still having the appetite to reinvent rock'n'roll. And the president of the company is singing like a bird.



    and :




  4. I think he'd be honest with them....have you read his book Killing Bono? recommended, though it's not really about U2 per se
  5. Originally posted by vanquish:[..]

    Hey, the other DJ who posted the review of GOYB, said they were the same thing, perhaps a different mix, but largely identical.

    Given that, I think I can make sweeping statements on the song (while not being able to analyse it in detail).

    Just because you don't want to listen to them, doesn't mean they're useless and have nothing to do with the final album.

    With regards to going off topic, I'm not i'm sticking to album discussion, and supporting my points from the Clips, much like you would use excerpts from the Q article to support a statement.


    I did listen to them
  7. What's a bottom riff? A bassy guitar solo?

    And that solo in the video is staggering.


  8. Sorry,did did you think clip 3 sounded like something from Zooropa?

    And are there any similar videos up on youtube? are any of the NLOTH 'ads' on the right side of the page the real thing?
  9. Omg that clip... sounds awesome but WTF?! Does he has a leak? or what? He says februari... so I think it's a Dutchman.... WTF!@
  10. Originally posted by dieder:Omg that clip... sounds awesome but WTF?! Does he has a leak? or what? He says februari... so I think it's a Dutchman.... WTF!@


    Methinks, that guitar sounds like only the Edge can, and the timing is correct as well, so it's probably not bogus.
  11. Originally posted by vanquish:[..]

    Methinks, that guitar sounds like only the Edge can, and the timing is correct as well, so it's probably not bogus.


    Yeah indeed. It very sounds like Edge.... Epic riff.
  12. Originally posted by vanquish:[..]

    Methinks, that guitar sounds like only the Edge can, and the timing is correct as well, so it's probably not bogus.


    Compare it to Beach Clip 1.
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.
Contribute to the U2 community with uploading photos or by telling us which shows you have visited.