redpillbox
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This is a textbook post-Pop U2 interview...
"In the case of "You're the Best Thing About Me," we were really excited about the mix we had six weeks ago. Then we started talking about how we were going to play it live and I went back to some early demos and found this one that had done at a point when we were experimenting with different arrangement ideas. It was an experiment we hadn't pursued and I thought, "This would be a good approach if we play it live," which we did on the Jimmy Fallon show. It's a fleshed-out approach with some new guitars.
Then Bono came into the studio to listen to it and was like, "OK, something is happening here. It's a better song now. I can't explain why, but I'm feeling something off this." So we kind of went off in a panic with us working furiously with two days to go before we had to turn the single in and get it to everybody for their consideration. We ended up agreeing that the simplicity, the rawness of it offers a counterbalance to the lyric and melody, which is very classic. It's a love song and it kind of takes it in a more convincing way. Somehow the song seems better - and it was totally last minute."
Almost exactly what I was trying to describe with my last post within this quote and throughout that article.
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I've spent way too much time considering the question of why I find U2 so infuriating at times (or lately)...and I say this as a big, big fan...I've tried to distill it down to one thing or another, but it really feels like the combination of many factors...
1) I have clarified in my own mind is that I feel like the album "Pop" really broke them. Up to that point they had really developed a "here we are, we do what we want, and get on board or don't it's all the same to us, but we answer to our own inner-muse" attitude. This resulted in some really exciting music, even in their "failures" (after "Pop" there was no more sex anywhere to be found in their music) -- You can draw a straight line from the fall-out from that album, critical and fan-reaction, to everything that came after. More specifically, they now maintain a debilitating...
2) ...self-consciousness and second-guessing of themselves. This has led them to pull back on album releases, change producers, always chase a younger audience and basically make decisions that on the face of it, appear like they care way too much about what everyone thinks of them. This could also be that they've been mega-rich for decades, so they've simply been isolated and lost touch, but the end result are many songs that sound "over-cooked," methodically stripped of anything resembling spontaneity, all "polished stones" to use a Bono lyric and no rough edges. What I find most frustrating here is that I firmly believe they still have it, they just can't get out of their own way (or heads). When they released the "Complete U2" on iTunes, you saw this borne out in some of the unreleased and early versions of album songs that they included..."Native Son" was much more visceral and exciting to me than "Vertigo" which ended up neutering that...(I think they sometimes pull back songs like "Native Son" because they have vocal moments that would be impossible for Bono to duplicate live)..."Xanax and Wine" was much more interesting to me musically and lyrically than "Fast Cars"....Daniel Lanois was quoted around the time of "All That You Can't Leave Behind" as saying something like "you should have heard the earlier version of 'Walk On'..."...in interviews about new albums you always hear some comment about a song like, "it started out like X..." and I always think "that that sounds much more interesting then what you ended up with." In the case of "You're The Best Thing..." I read it started out like a Motown-inspired song...and the "Soul-mix" they released sounds much better to me that this album version which apparently they didn't finish mixing until late-August....I could go on and on here...
3) The lyrics...long song-titles and lyrics that are written like T-shirt aphorisms. All the "big ideas" and "kneels" and other pet phrases Bono uses and sneaks into lyrics at any opportunity grate on me. I could pull these out, but I'm losing steam and I still have one more point...
4) Bono's voice...it's gotten much thinner and "yelp-y"...he favors the long-e vowel sounds...that stray towards sharp and piercing (like a Bob Dylan harmonica solo when you're listening with headphones). Basically, he's still trying to sing and project like he did in his 20s and I would love it if the band evolved into a band that embraced their age as a real advantage they have (both in substance and style) instead of constantly chasing "relevance" or "radio", made albums for their own sake instead of always considering what will translate live, evolved Bono's singing style, and basically made music again for themselves and said, "f#$% it, we don't have anything to prove anymore." I mean really...what's the point of any of it, if they aren't exciting themselves...to Winston's point above which is right on the money for me...
Anyway, that's my take. It's very difficult to be a discerning fan of theirs.
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Only one of mine not already mentioned...Portugal. The Man...how this band isn't bigger is beyond me. Silly band-name and bad cover-art?
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This may have been discussed elsewhere, but I found this a fascinating snap-shot at the current ticket situation/dilemma:
https://motherboard.vice.com/en_us/article/the-man-who-broke-ticketmaster
It also answers the question about why I've found myself striking out so often lately on tickets.
A couple of interesting takeaways from this article go to points made in this thread: 1) Scalpers specifically target the artists that set the lowest prices (or rather have the largest difference between face-value and market-value). 2) There's another critical (conspiracy-type) question about whether artists (or even Ticketmaster itself) bypass the primary market altogether, holding back tickets and selling directly to resellers (and thereby avoiding back-lash), that goes largely un-commented upon. When you have the primary and secondary markets running through the very same site, this becomes very dicey. 3) No one really has the answer here.
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Annoying? Really? I don't get you people.
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Sorry, I'm just a casual listener who happens to like a couple of albums while those two albums you mention, from what I know, are considered doctrinal by diehard fans.
I must confess that I'm a bit perplexed by the "who the heck is U2?" campaign started by teenagers on "social networks". It's hard to believe given that at various points in the past decade, and in the 90s, U2 have been omnipresent and have been considered by everyone "the biggest band on the planet". And yet it's another clear sign that the band is becoming more and more irrelevant and their future legacy is compromised as they fall into the collective oblivion.
For some reason this reminded me of this: https://twitter.com/WhoIsBonnieBear - and I had a good chuckle.
In today's world, with the shifting landscape of the music business, I just don't think you'll see another band the size of U2. It's impossible for a band to get that big. With old models and non-digital music-delivery systems dying and the explosion of choice/methods of consumption, it's impossible for someone to command the attention in a way that transcends their genre. Even the biggest bands will be big in their niché, but probably largely unknown outside. Like someone mentioned, hip-hop fans aren't going to hear U2 because they'll just not be exposed to it. In the '80s, there was basically MTV and radio. You could explode by hitting on one or both. Think of what it would take to do the same thing now and multiple that by just how much more content is out there to wade through.
Sharon Osbourne has had some thoughts on U2's latest move.
U2 is absolutely not above criticism. They are huge targets and a lot of time (not always) they bring it on themselves and deserve it, but it drives me crazy when people mis-frame arguments because they are either 1) Too intellectually lazy to parse truth from fiction or, 2) Don't really care, but express hyperbolic opinions just to be sensationalistic and controversial in order to shine a light on themselves for a few seconds. Bono was the first person to say this wasn't a free album, they were paid and they disagreed with the whole notion of "free music." There are certainly valid arguments to be laid at U2's feet here, but I don't here them coming from Sharon.
Agreed, but I still find it hard to believe, this irrelevancy. This has always been the "one-size-fits-all" band...
Just out of curiosity, how do you define "one-size-fits-all" band? Not trying to stoke an argument, just curious.
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There already are perfectly clean versions of "Venus Stop the Train" out there, you know...on the YHF demos, which also features many deconstructed and alternate takes of songs.
Yes, yes, I realize this, but given the fact that it's never "officially" appeared in any capacity (unlike "Cars Can't Escape" for instance) and the Bennett release, I would like an official Wilco version for the sole reason that it might be incorporated into the live set at some point. If memory serves, it was requested and nixed at a Living Room Show...just thinking this might change if it comes out officially.
I am impressed that you've been able to avoid suspension with such a profane avatar.
Profane?
If it's good enough for Vonnegut, it should pass the bar at VC! Ha! -
"Box set of rarities", separate form "best-of" is how they explained it, which is a good sign. I'm excited/afraid of disappointment. Part of the burden of being a super-fan (dork?), is that we tend to unearth so many things already. I have a playlist of 18 songs on my ipod that are just B-sides, deluxe edition EP material, alternate versions. Pretty much the 'Australian EP' from YHF, the Wilco book stuff from AGIB, the soundtrack and bonus stuff from SBS and the bonus EP stuff from the deluxe edition of TWL. There are a few soundtracks and randoms sprinkled in there.
All of this stuff could be rightfully slapped on a disc because it makes a very good hour and a half of music. People should hear it. Many of the VC'ers already have it, so we can't help but hope for all of those hundreds of other tracks one of the Wilco guys mentions in an interview. I'm sure plenty of them are incomplete jams, but you have to figure there are still at least a dozen (or more) structured songs worth hearing that haven't ever left the Loft.
Ah, here's hoping that the box includes a version of "Venus..." if only so that it may be entered into the live (probably Jeff solo) songbook. Guessing that might be asking for too much though...what with the song history.
Speaking of asking for too much, I love it when these rarities boxes include alternative studio takes on songs and not just the b-sides. With a band like Wilco, who love to deconstruct songs and radically change them around, I think that could lead to some really interesting results. Not so much a fan of when live versions of album tracks are included in rarities sets, but that's neither here nor there. Echoing what everyone else is saying that this is an unexpected surprise with no downside for anyone.
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So not to be too literal or anything, but why are we calling this a solo record and not another side-project? Is there any evidence other than the mention on Pitchfork, which wasn't sourced? Not that it matters, just curious. One of the band members (interview quoted earlier) kept referring to the project/band as TWEEDY ("Extra special thanks to Jeff Tweedy, the band TWEEDY...") and the poster for the shows and wilcoworld uses the name TWEEDY (again all caps). With Spencer on the drums and other musicians on stage (as opposed to most "Jeff Tweedy" shows)...So if this is a new "band" than can we assume the record will bear the TWEEDY name and not be considered a solo record? Clearly, I'm over-thinking this...
Again, not that it really matters and I've always been confused about why certain records are considered "solo records" and others are side-projects, etc., when the principle songwriter is the same in both instances. Maybe that's a conversation for another time.
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This band is pretty damn good. A complete surprise to me. I caught their set at Coachella having not heard a note and was blown away. Did my due diligence and dug into their back catalogue and couldn't believe how long they'd been around for (4-5 albums) and that they've had such a consistent output. It's a mystery to me why they haven't blown up. Their choruses just won't quit...melodic/catchy.
Their new album "Evil Friends" is coming out on Tuesday. Produced by Danger Mouse, of course. -
http://www.wtfpod.com/podcast/episodes/episode_392_-_john_fogerty
Hour-long interview. A bit more in-depth regarding a possible reunion toward the end. Sounds like he's peaceful about it (where he hasn't been in the past), but that it won't happen regardless.
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I almost quit reading it because it was getting too freaky. I've come to terms with the situation so its all good.
It gets freakier, let me tell you...wait until you get to "the first colony"...whoa.
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Re-listening to the audiobook of Justin Cronin's "The Passage" which is hauntingly read by Scott Brick...in preparation for this:
Can't wait.
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In the past few years, I discovered a whole new world of board games out there, mostly German: Power Grid, Puerto Rico, Agricola.
Oh man...'Settlers' was a gateway drug into the world of board games for me...not to offend because I still love it, but it seems like a quaint game these days in comparison to some others.
If you love Power Grid, Puerto Rico, and Agricola I would HIGHLY recommend El Grande. Love it. The perfect mix of strategy, skill, a bit of luck and a psychological component that will require you to guess your opponents' intentions at certain points...mind f#@!.
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White Bicycles was a good but ultimately unsatisfying book. Not sure why.
I have been listening to !Q84. Anyone else read this? I am enjoying it.
LouieB
I'm currently reading 1Q84 and have read all of Murakami's English translations--I'm about half way through and loving it. If you're interested in recommendations I'd say check out "Wind-Up Bird Chronicle" or "Norwegian Wood." Interesting story, in Japan prior to "Norwegian Wood" Murakami was consistently ripped by the literary establishment there for his reliance on 'magical realism' and his western pop-culture references. So he wrote "Norwegian Wood" as a "Ok, you want a more traditional narrative structure, try this..." and it exploded him into a nationwide sensation. He hasn't really returned to that form since. He's a unique dude.
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Ah well...was hoping against hope that they would've included the Tweedy vocal performance of "Birds & Ships" that was played briefly in the doc, but alas...
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'Stros to join the AL West. The one thing my M's had going for them, was they only had 3 other teams in their division. Damn. Edit: Although, it now appears that they'll add an additional Wild Card team to each league, so...hope springs eternal.
http://espn.go.com/mlb/story/_/id/7246443/houston-astros-sale-approved-mlb
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I bought the 10 disc whatever-version for $115 from Amazon. I had talked myself into thinking it was crazy. I then talked myself into it. Decided because it was my favorite album of all time, it was worth the price tag. I'm happy with it. Having sat with it for a few days, the value in it for me is the following:
1) The Documentary DVD
2) The B-sides and Bonus Cuts
3) The Alternative Takes Disc
4) The book (and I'm not usually a fan of these--who needs more pensive band photos?) is great. Great photo prints, alternative shots from the album cover collage, and facsimile photos of some hand-written lyrics and studio-tape covers (I always geek out about stuff like this). First person accounts from the major players (learned that Lanois actually played the guitar part that starts 'One')
5) I had never upgraded my VHS copy of the Sydney show...
So for a couple DVDs and 2-3 cds of brand-new material and throw in some great art prints and a book with stellar production value (they clearly took their time with it)...to me that's worth $115 given how important this album is to me. But, I can understand that it wouldn't be for everyone.
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These were the stolen demos, right? Very early rough sound sketches. I've only heard one of them so far and it sounds like the bootleg stuff.
Not at all, which is great. These are versions that bridge the gap from the Hansa bootleg and the final versions. They are nothing that I've heard before. Most have very similar song shapes and musical backing tracks with alternate vocal melodies and different lyrics. Most of the lyrics are 80% there, verses switched, different choruses, etc. For instance, "One" is changed into a mostly acoustic number without the famous guitar figure out front. Probably not something that'll go into heavy rotation, but really, really cool to see how the songs evolved.
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I'm finding the "Kintergarten" version of the Achtung Baby songs very interesting. "Zoo Station" with no vocal processing. Completely changes the feel of the song and the lyric is pretty different, thought most of the backing tracks sound the same.
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I like Bono, but he is full of shit (PR) sometimes. There's a reason they were once called The Hype. It's almost as if he sits down and comes up with "talking points" for between-album interviews and hammers them again and again. Off the top of my head, "The Edge is on fire", "Music from Venus", the relevence talk, the biggest band in the world talk, come to mind and ANY time he throws down a timeframe. I think the rehashing of the Achtung Baby story has made a really easy promo link to these statements. His way of building a buzz. At least I hope I'm right.
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He's a former owner of the Rangers and a former president of this country and he goes to a ton of games during the season. What's the problem?
There's no problem. I know he was a part-owner. Regardless of your political bent, I think you have to admit that he was and remains a pretty polarizing figure, so I'm curious how a die-hard Rangers fan who didn't care for GWB reconciles those two feelings. But, if people would rather not discuss it...
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Big League Stew has the story of the fan who caught Freese's homer:
http://sports.yahoo....urn=mlb-wp25597
I like his friend sporting the Cubs t-shirt.
I think I would've asked for either the front or back of Freese's shredded jersey. The HOF could take the other half, whatever.
Question:
Trying to figure out a way to ask this without ruffling any feathers but I don't know if I can, so I'm just going to fire away. I'm curious how the Rangers fans on the board feel about every-other crowd shot in Arlington being of GWB? I'm curious how that feels to a fan of the Rangers, who's not a fan of the man? Seriously.
Jeff Tweedy on WTF with Marc Maron
in Just A Fan
Posted
I caught this in the WTF intro too and it's exciting news. I've also tweeted at Marc to get Tweedy on there. As a big fan of both guys, I would just caution about getting your hopes up too high. I've found, personally, that the interviews of his that I connect with the most are the ones with guests that I know very little about. The guests that I know quite a bit about have left me a little underwhelmed just because he can sometimes skim through the biography which is interesting if you don't have the knowledge already, but less so if you've say, read a book or two about the subject. I could be wrong. I would guess he'll likely hit the substance abuse topic, as he likes to go there and has a shared history...I would be surprised though if he was able to delve too deep into Uncle Tupelo break-up, etc. as Marc doesn't typically push guests on controversial topics or areas where they are clearly uncomfortable.
His interview with Lucinda was a personal favorite.