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  1. At least they have all the versions. I am reading u2 by u2 now, it's great.
  2. Saw an ad for the album release on MTV this morning. Strangely quiet here....


  4. Absolutely, and it's very busy here, a lot of users online compared to normal days. Everyone's hitting F5, and when IT pops up, it will be crazy here.
  5. Originally posted by Remy:[..]

    Absolutely, and it's very busy here, a lot of users online compared to normal days. Everyone's hitting F5, and when IT pops up, it will be crazy here.


    Noticed that too (about it being busy).
    It was the same with the first time GOYB was played and 2 days ago when NLOTH 2 was on the net...

    Funny to see that people are coming as soon as there's something about to happen...
  6. 3005 messages contributed
    WOO!!! That's a ton of messages
  7. Another review from The Guardian:

    EDIT: The Observer

    Originally posted by [sThe Guardian[/s] The Observer]
    4/5

    First off, let's get a few things straight. U2's new African direction has not really materialised. In fact, it's pretty much confined to the sublime twitter of Moroccan birdsong at the start of Unknown Caller (at least Franz Ferdinand stuck with their Afrobeat adventure for a whole song). As for the inherently ridiculous idea of Bono writing songs "in character" (as if he wasn't already writing them in the character of Bono), well, that amounts to little more than the Iron John day trip of White as Snow, and Cedars of Lebanon's closing nod to the agit-prop genius of mid-period Human League.

    And if you've read about Edge's axe-heroes summit meeting with Jack White and Jimmy Page and are expecting a radical shift towards him playing more than one note in each song, there's no need to worry. The patron saint of it-ain't-broke-don't-fix-it has kept faith with the two basic moves that have sustained him throughout three full decades in U2's engine room - namely the chug-a-chugga-chug thing and the wobbly note thing.

    So why is it that once the clammy sea mist of all the things that No Line on the Horizon isn't has finally drifted away, the ocean-going leviathan that actually hoves into view is so much more impressive than any of the phantasms conjured up by two or three years of pre-release hoopla? Well, chiefly because this third album in what might fairly be called the "lap of honour" phase of U2's career - in which they have gleefully inscribed ever-increasing circles around the triumphalist spectacle of their own ongoing medal ceremony - offers a brutally effective summation of their achievements to date, and something entirely fresh and new at the same time.

    It starts out blustery and familiar, before gradually revealing an unexpected and almost lovable sense of vulnerability. A record whose three catchiest songs - the Abba-tinged, Kiss-worthy I'll Go Crazy If I Don't Go Crazy Tonight, the buzzily priapic Queens of the Stone Age tribute Get on Your Boots, and the glaringly self-referential Stand Up Comedy - are the work of four unapologetically middle-aged men. And a record whose finest moments - Bono seeing his own reflection in a cash machine on Moment of Surrender; the euphoric, computer-generated call-and-response of Unknown Caller; and the Kings Of Leon-vaporising 70s rock power-surge of Breathe - are as memorable as any U2 have ever created.

    Of all the four stages of U2's evolution, the last one, in which they have pulled out of the commercial swallow dive of their "ironic" phase into a seemingly endless Indian summer, has been by some distance the most interesting. While every wannabe world-beater from Arcade Fire to the Killers seems to have fixated on the brazen grandstanding of phase two (from War to Rattle and Hum), U2 are the only ones with the courage to remember that they moved backwards as well as forwards in that period, becoming not just the biggest band on the planet, but also for a while the most pompous and boring.

    The extent of Bono's achievements in charming cash out of actual world leaders now makes a dazzling humanist mockery of the impulse to take the piss out of him. And by channelling the messianic zeal of their original incarnation - as more spiritually inclined rivals to Echo and the Bunnymen for the affections of long mac-wearing early 80s sixth-formers - into actual good works, U2's fourth coming has set their music free to become the holy-owned subsidiary it always promised to be.

    • Download: Breathe; Moment of Surrender; Unknown Caller


  8. Well that was a bad review. I don't think edge's weakness is "one note per song". He can solo, and front a song like no one else.
  9. Originally posted by gwiz:[..]

    Well that was a bad review. I don't think edge's weakness is "one note per song". He can solo, and front a song like no one else.


    Agree, but it's a good thing if people who dislike the Edge are giving the album good reviews.
  10. Originally posted by gwiz:[..]

    Well that was a bad review. I don't think edge's weakness is "one note per song". He can solo, and front a song like no one else.


    From previous reviews, it actually sounds like Edge's fingerprints are all over this album.

    Which is a great thing BTW!

    I thought his presence on HTDAAB wasn't all that prominent.


  12. the clips of music they used are the best things i've heard so far....that clip where they first show them in NY. Is that Stand Up? if so my feelings for that song have drastically improved!
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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.