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{{Listen|filename=Fly sample.ogg|title="The Fly" (1991)|description=Sample of "The Fly" &ndash; chosen as the first single from ''[[Achtung Baby]]'' (1991) because its hip-hop beats, distorted vocals and hard industrial edge sounded nothing like U2.<ref>Flanagan (1995), page 30; Graham (2004), page 49; {{cite book| last = Stokes| first = Niall| title = Into The Heart: The Story Behind Every U2 Song| publisher = HarperCollins''Publishers''| date = 1996| location = Australia| pages = pages 102| id = ISBN 0-7322-6036-1}}</ref>|format=[[Ogg]]}}{{sample box end}}
{{Listen|filename=Fly sample.ogg|title="The Fly" (1991)|description=Sample of "The Fly" &ndash; chosen as the first single from ''[[Achtung Baby]]'' (1991) because its hip-hop beats, distorted vocals and hard industrial edge sounded nothing like U2.<ref>Flanagan (1995), page 30; Graham (2004), page 49; {{cite book| last = Stokes| first = Niall| title = Into The Heart: The Story Behind Every U2 Song| publisher = HarperCollins''Publishers''| date = 1996| location = Australia| pages = pages 102| id = ISBN 0-7322-6036-1}}</ref>|format=[[Ogg]]}}{{sample box end}}


The [[Zoo TV Tour]] of 1992-1993 was a [[multimedia]] event, and showcased an extravagant but intentionally bewildering array of hundreds of video screens, upside-down flying [[Trabant]] cars, mock transmission towers, [[satellite television|satellite TV]] links, [[subliminal message|subliminal text messages]], and over-the-top stage characters such as "The Fly", "Mirror-Ball Man" and "(Mister) MacPhisto" played by Bono. The extravagant shows are intentionally in contrast to the austere staging of previous U2 tours, and mock the excesses of rock and roll by appearing to embrace these very excesses. The shows were, in part, U2's way to represent the pervasive nature of cable television and its blurring of news, entertainment, and home shopping.<ref>de la Parra (1994), pages 139-141; Flanagan (1995), pages 12,13, 58-61; Stokes (1996), pages 110-111</ref> Live prank phone calls to [[George H. W. Bush|President Bush]] caused controversy, as did satellite uplinks to war-torn [[Sarajevo]].<ref>de la Parra (2003), pages 153, 166</ref>
The [[Zoo TV Tour]] of 1992-1993 was a [[multimedia]] event, and showcased an extravagant but intentionally bewildering array of hundreds of video screens, upside-down flying [[Trabant]] cars, mock transmission towers, [[satellite television|satellite TV]] links, [[subliminal message|subliminal text messages]], and over-the-top stage characters such as "The Fly", "Mirror-Ball Man" and "(Mister) MacPhisto" played by Bono. The extravagant shows are intentionally in contrast to the austere staging of previous U2 tours, and mock the excesses of rock and roll by appearing to embrace these very excesses. The shows were, in part, U2's way to represent the pervasive nature of cable television and its blurring of news, entertainment, and home shopping.<ref>de la Parra (1994), pages 139-141; Flanagan (1995), pages 12,13, 58-61; Stokes (1996), pages 110-111</ref> Live prank phone calls to [[George H. W. Bush|President Bush]] and the [[United Nations]] caused controversy, as did satellite uplinks to war-torn [[Sarajevo]].<ref>de la Parra (2003), pages 153, 166</ref>


[[Image:Zoo stage.jpg|thumb|right|The [[Zoo TV Tour|Zoo TV stage]]]]
[[Image:Zoo stage.jpg|thumb|right|The [[Zoo TV Tour|Zoo TV stage]]]]

Revision as of 16:10, 7 August 2007

This article is about the Irish rock band. For other uses, see U2 (disambiguation).
U2

U2 (IPA: /ju.tu/) are a rock band from Dublin, Ireland. The band consists of Bono (vocals and guitar), The Edge (guitar, keyboards, and backing vocals), Adam Clayton (bass guitar), and Larry Mullen Jr. (drums and percussion). U2 have been one of the most popular acts in the world since the mid-1980s. The band has sold upwards of 170 million albums worldwide,[1] and they have won 22 Grammy Awards, more than any other rock artist.[2]

U2 formed in 1976 when the members were teenagers with limited musical proficiency. By the mid-1980s, however, the band had become a top international act, noted for its anthemic sound, Bono's impassioned vocals, and The Edge's textural guitar playing. Their success as a live act was greater than as a record-selling act until the success of their 1987 album, The Joshua Tree, brought them mega-stardom.[3] Their alternative rock/dance-infused 1991 album Achtung Baby and the accompanying Zoo TV Tour were part of a significant reinvention for the band; it was a response to their own sense of musical stagnation, the dance and alternative music revolutions, and criticism of their image. This experimentation continued for the rest of the 1990s.

In the early years of the 21st century, U2 have pursued a more traditional sound while maintaining influences from their previous musical explorations. They continue to enjoy the highest level of commercial and critical success. The band is active in human rights, international development, and social justice causes, such as Amnesty International, Make Poverty History, the ONE Campaign, Live Aid, Live 8, Bono's DATA (Debt, AIDS, Trade in Africa) campaign, and Music Rising.

History

Formation (1976–1979)

File:U2-teenagers.jpg
U2, as teenagers in 1980: (l to r) Clayton, Mullen, Bono, Edge

U2 formed in Dublin, Ireland on 25 September 1976.[4] Larry Mullen Jr., then fourteen, posted a notice on his secondary school notice board (Mount Temple Comprehensive School) seeking musicians for a new band. Seven teenage boys attended the initial practice in Mullen's kitchen. Known for about a day as "The Larry Mullen Band," the group featured Mullen on drums, Adam Clayton on bass guitar, Paul Hewson (Bono) on lead vocals, Dave Evans (The Edge) and his brother Dick Evans on guitar, as well as Ivan McCormick and Peter Martin, two other friends of Mullen.[5] Soon after, the group settled on the name "Feedback", because it was one of the few technical terms they knew.[6] Martin did not return after the first practice, and McCormick left the group within a few weeks.

We couldn't believe it. I was completely shocked. We weren't of an age to go out partying as such but I don't think anyone slept that night....Really, it was just a great affirmation to win that competition, even though I've no idea how good we were or what the competition was really like. But to win at that point was incredibly important for morale and everyone's belief in the whole project.

—The Edge on winning the CBS competition[7]

In March 1977, the band changed its name to "The Hype".[8] Dick Evans, who was older and by this time at college, was becoming the odd man out as the rest of the band was leaning towards the idea of a four-piece; he was 'phased out' in March 1978. During a farewell concert in the Presbyterian Church Hall in Howth, which featured The Hype playing covers, Dick ceremoniously walked offstage. The remaining four band members completed the concert playing original material as "U2".[9] The origin of the name "U2" is unclear; on a list of six names provided by the Dublin punk rock guru Steve Averill,[10] "U2" was chosen for its ambiguity and open-ended interpretations, and because it was the name that the members of the band disagreed with the least.[11]


On Saint Patrick's Day in 1978, U2 won a talent show in Limerick, Ireland. The prize consisted of £500 and funding to record a demo, which was an important milestone and affirmation for the fledgling band.[9] The band recorded their first demo tape at Keystone Studios, in Harcourt Street, Dublin, in April 1978.[12] In May, Paul McGuinness, who had earlier been introduced to the band by Hot Press journalist Bill Graham, agreed to be U2's manager.[13] U2's first release, an Ireland-only EP entitled Three, was released in September 1979, and was the band's first Irish chart success.[14] In December 1979, U2 performed in London for their first shows outside Ireland, although they failed to get much attention from audiences or critics.[15] In February 1980, their second single "Another Day" was released on the CBS label, but again only for the Irish market.[16]

Boy, October, and War (1980–1983)

Island Records signed U2 in March 1980, and "11 O'Clock Tick Tock" became the band's first internationally released single that May.[17] The band's debut album, the Steve Lillywhite-produced Boy, followed in October, and was praised as one of the better debuts in rock history.[18] Although Bono's lyrics were unfocused and seemingly improvised, common themes appeared that described the hopes and frustrations of adolescence,[19] such as fear over sex, identity confusion, death, and uncontrollable mood swings.[20] The album included the band's first hit single, "I Will Follow". Boy's release was followed by U2's first tour of continental Europe and the United States.[21] Despite being unpolished, these early live performances demonstrated U2's potential, as critics noted that Bono was a "charismatic" and "passionate" showman.[22] The band's second album, October, was released in 1981 and contained overtly spiritual themes; Bono, The Edge, and Mullen had joined a Christian group in Dublin called the 'Shalom Fellowship', which led them to question the relationship between the Christian faith and the rock and roll lifestyle.[23]

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"Sunday Bloody Sunday" (1983)
From the album War.
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Resolving the doubts of the October period, U2 released War in 1983.[24] A record where the band "turned pacifism itself into a crusade,"[25] War's sincerity and "rugged" guitar was intentionally at odds with the "cooler" synth-pop of the time.[26] The album included "Sunday Bloody Sunday," where Bono had lyrically tried to contrast the events of Bloody Sunday with Easter Sunday.[27] Rolling Stone magazine wrote that the song showed the band was capable of deep and meaningful songwriting.[28] War was U2's first album to feature the photography of Anton Corbijn, who remains U2 principal photographer and has had a major influence on their vision and public image.[29] U2's first commercial success, War debuted at #1 in the United Kingdom, and its first single, "New Year's Day", was the band's first overseas hit.[30]

On the subsequent War Tour, the band performed to sold-out concerts in mainland Europe and the U.S. The image of Bono waving a white flag during performances of "Sunday Bloody Sunday" became a familiar sight.[31] U2 recorded the Under a Blood Red Sky live album on this tour and a live video was released, both of which received extensive play on the radio and MTV, helping expand the band's audience.[32] Their generally unfavourable record deal with Island Records was coming to an end, and in 1984 U2 signed an unusually lucrative extension. Forgoing a larger initial payment, they instead negotiated the return of their copyrights (such that they owned the rights to their own songs), an increase in their royalty rate, and a general improvement in terms.[33]

The Unforgettable Fire and Live Aid (1984–1985)

We knew the world was ready to receive the heirs to The Who. All we had to do was to keep doing what we were doing and we would become the biggest band since Led Zeppelin, without a doubt. But something just didn't feel right. We felt we had more dimension than just the next big anything, we had something unique to offer. The innovation was what would suffer if we went down the standard rock route. We were looking for another feeling.

—Bono on The Unforgettable Fire's new direction.[34]

The Unforgettable Fire was released in 1984. Ambient and abstract, it was at the time the band’s most marked change in direction.[35] The band feared that following the overt rock of the War album and tour, they were in danger of becoming another "shrill", "sloganeering arena-rock band".[36] Thus, rather than become another formula band, experimentation was sought;[37] as Adam Clayton recalls, "We were looking for something that was a bit more serious, more arty."[38] The Edge admired the ambient and 'weird works' of Brian Eno, who along with his engineer Daniel Lanois, eventually agreed to produce the record.[39]

The Unforgettable Fire has a rich and orchestrated sound. Under Lanois' direction, Larry's drumming became looser, funkier, and more subtle, and Adam's bass became more subliminal, such that the rhythm section no longer intruded, but flowed in support of the songs.[40] Complementing the sonic atmospherics, the album's lyrics are open to many interpretations, providing what the band called a "very visual feel".[35] Bono's recent immersion in fiction, philosophy and poetry, made him realise that his songwriting mission—about which he had always been reluctant—was a poetic one. Due to a tight recording schedule, however, Bono felt songs like "Bad" and "Pride (In the Name of Love)" were incomplete "sketches".[41] "Pride (In the Name of Love)", about Martin Luther King, was the album's first single and became the band's biggest hit at that point, being their first to enter the U.S. top 40.[42]

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"The Unforgettable Fire" (1984)
Sample of "The Unforgettable Fire" from the album The Unforgettable Fire (1984). Typical of the album, the song has a rich, symphonic sound built from ambient guitar and driving rhythm; a lyrical "sketch".[43]
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Much of the Unforgettable Fire Tour, moves into indoor arenas as U2's wins their long battle to build their audience.[44] Translating the complex textures of the new studio-recorded tracks, such as "The Unforgettable Fire" and "Bad", to live performance was problematic.[35] One solution was programmed sequencers, which the band had previously been reluctant to use, but are now used for the majority of U2 songs in performance.[35] Songs criticised as being "unfinished", "fuzzy" and "unfocused" on the album, made more sense on stage.[45]

File:Live Aid - U2.jpg
U2's performance at Live Aid was a turning point in their career.

U2 participated in the Live Aid concert for Ethiopian famine relief at Wembley Stadium in July 1985.[46] A career turning point, U2's performance was considered one of the show's most memorable.[47] During the song "Bad", Bono leapt down off the stage to embrace and dance with a fan, showing a television audience of millions the personal connection that Bono could make with audiences.[48] In 1985, Rolling Stone magazine called U2 the "Band of the 80s," saying that "for a growing number of rock-and-roll fans, U2 have become the band that matters most, maybe even the only band that matters."[49]

The Joshua Tree and Rattle and Hum (1986–1989)

Friendships with Bob Dylan, Van Morrison and Keith Richards encouraged the band to look back to the roots of rock music and focused Bono on his skills as a song and lyric writer.[50] Realising "that U2 had no tradition, we were from outer space", the band explored American blues, country and gospel music.[51] The band wanted to build on The Unforgettable Fire's atmospherics, but instead of its out-of-focus tracks, they sought a harder-hitting sound within the strict discipline of conventional song structures.[52]

U2 interrupted their 1986 album sessions to serve as a headline act on Amnesty International's A Conspiracy of Hope Tour; but rather than be a distraction, the tour added extra intensity and power to their new music.[53] In his 1986 travels to San Salvador and Nicaragua, Bono saw first hand the distress of peasants bullied in internal conflicts subject to American political intervention, later a central influence on the album. The album juxtaposes antipathy towards America against the band's deep fascination with the country, its open spaces, freedom, and what it stood for.[54] The band wanted music with a sense of location, a 'cinematic' quality; the album's music and lyrics draw on imagery created by American writers the band had been reading.[55]

The wild beauty, cultural richness, spiritual vacancy and ferocious violence of America are explored to compelling effect in virtually every aspect of The Joshua Tree—in the title and the cover art, the blues and country borrowings evident in the music...Indeed, Bono says that "dismantling the mythology of America" is an important part of The Joshua Tree's artistic objective.

—Rolling Stone[56]

Named The Joshua Tree as a "tribute" to, rather than a "metaphor" for America,[57] the album was released in March 1987. It became the fastest selling album in British chart history, and was number one for nine weeks in the United States.[58] It won U2 their first two Grammy Awards[59] and its first two singles, the 'rock & roll bolero' "With or Without You"[60] and the rhythmic gospel "I Still Haven't Found What I'm Looking For", quickly went to #1 in the U.S. U2 became the fourth rock band to be featured on the cover of Time magazine[61] who declared U2 "Rock's Hottest Ticket".[62] The album brought U2 to a new level of mega-stardom and is often cited as one of rock's greatest.[63] The Joshua Tree Tour sold out arenas and stadiums around the world, the first time the band had consistently played stadiums.[64]

The documentary Rattle and Hum featured footage recorded from The Joshua Tree Tour shows, and the accompanying double album of the same name included nine studio tracks and six live U2 performances. Released in record stores and cinemas in October 1988, the album and film were intended as a tribute to American music.[65] The film included tracks recorded at Sun Studios in Memphis, and tracks performed with Bob Dylan and B.B. King. Despite a positive reception from fans, Rattle and Hum received mixed-to-negative reviews from both film and music critics.[66] With a sense of musical stagnation, Bono announced at an end-of-decade concert that the weary U2 had come to the end of an era and had to "...go away and just dream it all up again".[67]

Achtung Baby, Zoo TV, and Zooropa (1990–1993)

Buzzwords on this record were trashy, throwaway, dark, sexy, and industrial (all good) and earnest, polite, sweet, righteous, rockist and linear (all bad). It was good if a song took you on a journey or made you think your hifi was broken, bad if it reminded you of recording studios or U2...Berlin became a conceptual backdrop for the record. The Berlin of the Thirties—decadent, sexual and dark—resonating against the Berlin of the Nineties—reborn, chaotic and optimistic...

—Brian Eno on the recording of Achtung Baby[68]

In November 1991, U2 released Achtung Baby. Hurt by criticism of Rattle and Hum, the band made a calculated change in musical and thematic direction, their most audacious since The Unforgettable Fire.[69] Sonically, Achtung Baby incorporated both dance, industrial, and alternative music influences of the time; the band referred to the album as the sound of "four men chopping down the Joshua Tree".[70] Thematically, it was a more inward-looking and personal record; it was darker, yet at times more flippant, than the band's previous work. Commercially and critically, it has been one of the band's most successful albums and a crucial part of the band's early 1990's reinvention.[71] Like The Joshua Tree, it is often cited as one of rock's greatest.[72]

The band initially worked on Achtung Baby in East Berlin, seeking inspiration and renewal on the eve of German reunification. Daniel Lanois produced the album with assistance from Brian Eno.[73] In the Berlin sessions, conflict arose within the band over the quality of material and musical direction. While Adam and Larry preferred a sound similar to U2's previous work, Bono and The Edge were inspired by alternative and European dance music and advocated a change. Weeks of slow progress, arguments, and tension subsided when the band rallied around a chord progression The Edge had written, creating the song "One".[74] Template:Sound sample box align left

"The Fly" (1991)
Sample of "The Fly" – chosen as the first single from Achtung Baby (1991) because its hip-hop beats, distorted vocals and hard industrial edge sounded nothing like U2.[75]
Problems playing this file? See media help.

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The Zoo TV Tour of 1992-1993 was a multimedia event, and showcased an extravagant but intentionally bewildering array of hundreds of video screens, upside-down flying Trabant cars, mock transmission towers, satellite TV links, subliminal text messages, and over-the-top stage characters such as "The Fly", "Mirror-Ball Man" and "(Mister) MacPhisto" played by Bono. The extravagant shows are intentionally in contrast to the austere staging of previous U2 tours, and mock the excesses of rock and roll by appearing to embrace these very excesses. The shows were, in part, U2's way to represent the pervasive nature of cable television and its blurring of news, entertainment, and home shopping.[76] Live prank phone calls to President Bush and the United Nations caused controversy, as did satellite uplinks to war-torn Sarajevo.[77]

File:Zoo stage.jpg
The Zoo TV stage

Quickly recorded and released during a break in the Zoo TV tour in mid 1993, the Zooropa album continued many of the themes from Achtung Baby and the Zoo TV tour. Initially intended as an EP, the band was able to expand Zooropa into a full-fledged LP. It was an even greater departure from the style of their earlier recordings, incorporating techno influences and other electronic effects.[78] Most of the songs were played at least once during the 1993 leg of the tour, which extended through Europe, Australia, New Zealand and Japan; half the album's tracks becoming fixtures in the set.[79]

Passengers, Pop, and Popmart (1995–1998)

It's not enough to write a great lyric; it’s not enough to have a good idea or a great hook, lots of things have to come together and then you have to have the ability to discipline and screen. We should give this album to a re-mixer, go back to what was originally intended, so that 'Mofo' is on top of the stickiest groove with a proper plastic attack, 'Do You Feel Loved' is done as a liquid base line hook that carries the intimacies whispered on top of it, 'If God Will Send His Angels' should be diamonds and pearls.

—Bono on Pop[80]

In 1995, U2 released an experimental album called Original Soundtracks 1. Brian Eno, producer of three previous U2 albums, contributed as a full partner, including writing and performing. For this reason, and due to the record's highly experimental nature, the band chose to release it under the moniker "Passengers" rather than "U2", in order to distinguish it from their conventional albums. Commercially, it was relatively unnoticed by U2 standards, and it received generally poor reviews. However, the single "Miss Sarajevo" featuring Luciano Pavarotti, and which Bono cites as one his favourite U2 songs,[81] was a hit.

File:U2-LiveInReggioEmilia-19970920-BonoEdge.jpg
The giant screen from the Popmart Tour stage

On 1997's Pop, U2 continued experimenting; tape loops, programming, rhythm sequencing, and sampling provided much of the album with heavy, funky dance rhythms.[82] Released in March, the album debuted at #1 in 35 countries, and drew mainly positive reviews,[83] including from Rolling Stone who stated that U2 had "defied the odds and made some of the greatest music of their lives."[84] Others however, particularly American fans, felt that the album was a major disappointment, and it was commercially disappointing by U2 standards.[citation needed] The band was hurried into completing the album in time for the impending pre-booked tour, and Bono admitted that the album "didn't communicate the way it was intended to".[85]

The subsequent tour, Popmart, commenced in April 1997, and continued the Zoo TV theme of decadence. The set included a 100-foot tall golden yellow arch, a large 150-foot long video screen, and a 40-foot tall mirrorball lemon. Like Zoo TV, it featured advertising influences and was intended to send a sarcastic message to those accusing U2 of commercialism. U2's "big shtick" failed, however, to satisfy many who were seemingly confused by the band's new kitsch image and elaborate sets.[86] The late delivery of Pop meant rehearsal time was severely reduced, and performances in early shows suffered.[87] A highlight of the tour was a concert in Sarajevo where U2 was the first major group to perform following the Bosnian war.[88] Larry Mullen described the concert as "an experience I will never forget for the rest of my life, and if I had to spend 20 years in the band just to play that show, and have done that, I think it would have been worthwhile."[89]

"Reapplying for the best band in the world" (2000-present)

All That You Can't Leave Behind is easy to relate to, full of solid songs that appeal to a wide audience with its clear notions of family, friendship, love, death, and re-birth. More Lanois than Eno on first impression, the sounds on this album come from a band that has digested the music it started to consume while making Rattle and Hum. This time they are neither imitating or paying tribute. This time it's soul music, not music about soul.

—Caroline van oosten de Boer[90]

Following the comparatively poor reception of their previous album Pop, U2 declared on a number of occasions that they were "re-applying for...The best band in the world".[91] Since 2000, the band has pursued a more traditional sound, while maintaining influences from their previous musical explorations.[92] All That You Can't Leave Behind was released in October 2000 and reunited the band with producers Brian Eno and Daniel Lanois. The album was considered by many of those not won over by the band's 1990s experimentation as a return to the grace;[93] Rolling Stone called it U2's "third masterpiece" alongside The Joshua Tree and Achtung Baby.[94] The album debuted at #1 in 22 countries[95] and its world-wide hit single, "Beautiful Day" earned three of six Grammy Awards associated with the album. The album's other singles, "Walk On", "Elevation", and "Stuck in a Moment You Can't Get Out Of" also won Grammy Awards.

File:U2 Super Bowl.jpg
U2 performs at Super Bowl XXXVI Halftime Show, 3 February 2002

The Elevation Tour saw the band performing in a scaled-down setting, returning to arenas after nearly a decade of stadium productions, with a heart-shaped stage and ramp permitting greater proximity to the audience. Following the September 11, 2001 attacks, the new album gained added resonance. In October, U2 performed a series of sold-out shows at Madison Square Garden in New York City.[citation needed] In later interviews, Bono and the Edge would call these New York City shows among their most memorable and emotional performances.[citation needed] In early 2002, U2 performed during halftime of Super Bowl XXXVI.[96]

The band's next studio album, How to Dismantle an Atomic Bomb was released on 22 November 2004. Sonically, the band was looking for a harder-hitting rock than the previous All That You Can't Leave Behind, and thematically, Bono describes that "A lot of the songs are paeans to naiveté, a rejection of knowingness."[97] The first single "Vertigo" was featured on a widely-aired television commercial for the Apple iPod in conjunction with the release of a special edition U2 iPod and an iTunes U2 box set. The album debuted at #1 in 32 countries; first week sales in the US doubled that of the previous album and set a record for the band.[98] Claiming it as a contender as one of U2's three best albums, Bono said, "There are no weak songs. But as an album, the whole isn't greater than the sum of its parts, and it fucking annoys me."[99] Using a similar setup and stage design as the previous tour, the Vertigo Tour featured a setlist that varied more across dates than any U2 tour since the Lovetown Tour, and included songs not played since the early 1980s. Much like the Elevation Tour, the Vertigo Tour was a large commercial success.[100] The album and its singles won Grammy Awards in all eight categories they were nominated in. In 2005, Bruce Springsteen inducted U2 into the Rock and Roll Hall of Fame.[101] Template:Sound sample box align right

"Vertigo" (2004)
From the album How to Dismantle an Atomic Bomb.
Problems playing this file? See media help.

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Musical style

Since their inception, U2 have developed and maintained a distinctly recognisable sound, with emphasis on melodic instrumentals and expressive, larger-than-life vocals.[102] This approach is rooted partly in the early influence of record producer Steve Lillywhite at a time when the band was not known for its musical proficiency.[103] The Edge has consistently used a rhythmic echo and a signature delay[104] to craft his guitar work, coupled with an Irish-influenced drone played against his syncopated melodies,[105] that ultimately yields a well-defined ambient and atmospheric sound. Bono has nurtured his falsetto operatic voice[106] and has exhibited a notable lyrical bent towards social, political, and personal subject matter while maintaining a grandiose scale in his songwriting. In addition, the Edge has described U2 as a fundamentally live band.[105]

File:U2crokepark05.jpg
U2 performing in their hometown of Dublin, Ireland in 2005

Despite these broad consistencies, with each album U2 have introduced new elements into their musical repertoire. U2's early sound was influenced by bands such as Television and Joy Division, and have been described as containing a "sense of exhilaration" that resulted from The Edge's "radiant chords" and Bono's "ardent vocals".[107] Beginning from their post-punk roots and minimalistic and uncomplicated instrumentals heard on Boy as well as their second album October, their sound evolved through War into one more versatile and aggressive, with aspects of rock anthem, funk, and dance rhythms.[108] The two albums were labelled "muscular and assertive" by Rolling Stone,[36] influenced in large part by Lillywhite's producing. The Unforgettable Fire, which began with the Edge playing more keyboards than guitars, as well as follow-up The Joshua Tree had Brian Eno and Daniel Lanois at the production helm, and with their influence, both albums achieved a "diverse texture".[36] The songs from The Joshua Tree and Rattle and Hum placed more emphasis on Lanois-inspired rhythm as they mixed in distinct and varied styles of America-derived gospel and blues that stemmed from the band's burgeoning fascination with America's people and places. In the 1990s, U2 reinvented themselves, as they began using synthesizers, distortion, and electronic beats derived from alternative music, dance music and even hip-hop, in both Achtung Baby[109] and Pop.[110] The 2000s had U2 returning to more of a stripped-down sound with less use of synthesizers and effects, and a more traditional rhythm.

Lyrics and themes

Social and political commentary, often embellished with Christian religious and spiritual imagery,[111] are a major aspect of U2's lyrical content. Songs like "Sunday Bloody Sunday" and "Mothers of the Disappeared" are based on real-life events and they find their emotional impact from the compelling reality of those situations. Furthermore, Bono's personal conflicts and turmoil related to family are showcased in songs like "Mofo", "Tomorrow" and "Kite". An emotional yearning or pleading is another frequent conveyance,[102] in tracks such as "Yahweh"[112] and "Please". More generally, the investigation of loss and anguish coupled with hopefulness and resiliency, central in The Joshua Tree,[36] has motivated much of U2's songwriting and music. Some of this lyrical ideation has been amplified by Bono's personal experiences during his youth in Ireland, as well as his campaigning and activism later in his life. U2 has used tours such as the Zoo TV to caricature social trends such as media overload.[110]

Influences

The band cites The Doors, The Who,[113] The Clash,[114] The Ramones,[115] The Beatles[116] as their main influences. Artists such as Joy Division/New Order[117] and Siouxsie & the Banshees[118] also inspired the band. Other musicians and bands such as Coldplay,[119] The Killers,[119] and Angels and Airwaves[120] have in turn been influenced by the work of U2. Cover versions of U2 songs have been made by performers such as Mary J. Blige, Johnny Cash, The Chimes, Joe Cocker, Pearl Jam, James Blunt, Pet Shop Boys, Radiohead, Keane, The Bravery, and The Smashing Pumpkins. U2 has also enjoyed reciprocal influential relationships with artists including Bruce Springsteen, Bob Dylan, Elvis Costello, R.E.M., and Anton Corbijn.

Campaigning and activism

Bono with President Luís Inácio Lula da Silva of Brazil

U2 have long been interested in social and political issues inside and outside the scope of their music. Since the early 1980s, the members of U2, both as a band and individually, have collaborated with other musicians, artists, celebrities, and politicians to address issues concerning poverty, disease, and social injustice.

In 1984, Bono and Adam Clayton participated in Band Aid to raise money for Ethiopian famine relief. The initiative produced the hit charity single "Do They Know It's Christmas?" and would be the first among several collaborations between U2 and Geldof. In July 1985, U2 played Live Aid, a follow-up to Band Aid's efforts. Bono and his wife Ali, invited by World Vision, later visited Ethiopia, where Bono witnessed the famine first hand. Bono would later say this laid the groundwork for his Africa campaigning and some of his songwriting.[121]

In 1986 U2 participated in both the A Conspiracy of Hope Tour in support of Amnesty International, and in Self Aid for unemployment in Ireland. The same year, Bono and Ali Hewson also visited Nicaragua and El Salvador on the invitation of the Sanctuary movement and saw the effects of the El Salvador Civil War first hand. These 1986 events greatly influenced The Joshua Tree album being recorded at the time.

In 1992, the band participated in the "Stop Sellafield" concert with Greenpeace during their Zoo TV tour.[122] Events in Sarajevo during the Bosnian war inspired the song "Miss Sarajevo", which premiered at a September 1995 Pavarotti and Friends show at which Bono and the Edge performed at War Child.[123] A promise in 1993 saw them play Sarajevo as part of 1997's Popmart Tour.[124] In 1998 they performed in Belfast days prior to the vote on the Good Friday Agreement, bringing Irish political leaders David Trimble and John Hume on stage to promote the agreement.[125] Later that year, all proceeds from the release of "The Sweetest Thing" single went towards supporting the Chernobyl Children's Project.

In 2001, the band dedicated "Walk On" to Burma's pro-democracy leader Aung San Suu Kyi.[126] In late 2003, Bono and the Edge participated in the South Africa HIV/AIDS awareness 46664 series of concerts hosted by Nelson Mandela. The band played 2005's Live 8 concert in London and the band and manager Paul McGuinness were awarded Amnesty International's Ambassador of Conscience Award for their work in promoting human rights.[127]

Since 2000, Bono has done a significant amount of solo campaigning; he was involved in the Jubilee 2000 campaign with Geldof, Muhammad Ali, and others with the aim of cancelling third world debt during the Great Jubilee. In January 2002, Bono, along with activists from Jubilee 2000 founded a multinational NGO called DATA, with the aim of improving the social, political, and financial state of Africa. He continued his campaigns for debt and HIV/AIDS relief into June 2002 by making high-profile visits to Africa.[128] Product Red, a 2006 for-product brand seeking to raise money for the Global Fund, was also founded, in part, by Bono. The ONE Campaign, the US counterpart of Make Poverty History, has been shaped by his efforts and vision. Bono has also teamed up with Yahoo! to promote the ONE Campaign, which Yahoo! has helped to re-develop.

In late 2005 following Hurricane Katrina and Hurricane Rita, The Edge helped introduce Music Rising, an initiative to raise funds for musicians who lost their instruments in the storm-ravaged Gulf Coast.[129] In 2006, U2 collaborated with pop punk band Green Day to record a cover version of the song "The Saints Are Coming" by The Skids to benefit Music Rising.[130]

Other projects

The members of U2 have undertaken a number of side projects, sometimes in collaboration with some of their bandmates. In 1985, Bono recorded the song "In a Lifetime" with the Irish band Clannad and The Edge recorded a solo soundtrack album for the film Captive in 1986.[131] Bono and The Edge wrote the song "She's A Mystery To Me" for Roy Orbison, featured on his 1989 album Mystery Girl.[132] Together with The Edge, Bono wrote the song "Goldeneye" for the 1995 James Bond film GoldenEye, which was performed by Tina Turner.[133] Adam Clayton and Larry Mullen Jr. did a rework of the title track of the movie Mission: Impossible in 1996.[134] Bono has loaned his voice to "Joy" on Mick Jagger's 2001 album Goddess in the Doorway.[135]

Aside from musical collaborations, U2 have worked with authors, including American author William S. Burroughs, who had a guest appearance in their video of "Last Night on Earth" shortly before he died.[136] His poem "A Thanksgiving Prayer" was used as video footage during the band's Zoo TV Tour. Other collaborators included William Gibson and Allen Ginsberg.[137] In early 2000, with the release of the film The Million Dollar Hotel, the band recorded two songs for its soundtrack, including "The Ground Beneath Her Feet," co-written by Salman Rushdie and motivated by his book of the same name.[138]

Discography

Main article: U2 discography
Studio albums
Compilation and live albums

Awards

Main article: List of U2's Awards

References

General

  • Chatterton, Mark (2001). U2: The Complete Encyclopedia. Firefly Publishing. ISBN 0-946719-41-1
  • Flanagan, Bill (1995). U2 at the End of the World. Delacorte Press. ISBN 0-385-31154-0
  • Graham, Bill (2004). U2: The Complete Guide to their Music. London: Omnibus Press. ISBN 0-7119-9886-8. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • McCormick, Neil (ed), (2006). U2 by U2. HarperCollins Publishers. ISBN 0-00-719668-7
  • de la Parra, Pimm Jal (1994). U2 Live: A Concert Documentary. Omnibus Press. ISBN 0-7119-3666-8
  • de la Parra, Pimm Jal (2003). U2 Live: A Concert Documentary. Omnibus Press. ISBN 0-7119-9198-7
  • Stokes, Niall (1996). Into The Heart: The Stories Behind Every U2 Song. Harper Collins Publishers. ISBN 0-7322-6036-1.
  • Wall, Mick, (2005). Bono. Andre Deutsch Publishers. ISBN 0233001593 (Promotional edition published by Paperview UK in association with the Irish Independent)

Notes

  1. ^ Vallely, Paul. "Bono: The Missionary". The Independent, May 2006. Retrieved October 15 2006.
  2. ^ GRAMMY Winners List grammy.com. Retrieved October 15 2006.
  3. ^ Paul McGuiness (1998). Classic Albums: The Joshua Tree (Television documentary). Rajon Vision.
  4. ^ McCormick (2006), page 27
  5. ^ Chatterton (2001), page 130
  6. ^ McCormick (2006), page 30
  7. ^ McCormick (2006), pages 46-47
  8. ^ de la Parra (2003), page 6
  9. ^ a b McCormick (2006), pages 46-48
  10. ^ Better known as Steve Rapid of The Radiators From Space
  11. ^ McCormick (2006), page 44
  12. ^ Wall, Mick, (2005). Bono. Andre Deutsch Publishers. ISBN 0233001593 (Promotional edition published by Paperview UK is association with the Irish Independent), pages 45
  13. ^ McCormick (2006), pages 53-56
  14. ^ de la Parra (1994), page 8
  15. ^ de la Parra (1994), page 10
  16. ^ Stokes (1996), page 142; McCormick (2006), page 88
  17. ^ Stokes (1996), page 142
  18. ^ Lynch, Declan. Boy. Hot Press, October 1980. Retrieved 15 October, 2006; Boy New Music Express review U2.com. Retrieved 15 October 2006; Boy Billboard review U2.com. Retrieved 15 October 2006; Boy The Washington Post review U2.com. Retrieved October 15 2006.
  19. ^ Boy Rolling Stone Review Rollingstone.com. Retrieved October 16 2006
  20. ^ The Meaning of U2 Lyrics (U2MoL). Retrieved 3 November 2006.
  21. ^ de la Parra (2003), pages 16,17
  22. ^ Voice of Influential U2 Frontman bbc.co.uk. Retrieved 15 December 2006.
  23. ^ Flanagan (1995), pages 46-48
  24. ^ Stokes (1996), page 36
  25. ^ Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984. Penguin, 2005. p. 367. ISBN 0-14-303672-6
  26. ^ Graham (2004), page 14
  27. ^ McCormick (2006), p135.
  28. ^ Rolling Stone wrote that the ability to use a range of powerful images, taking a song initially about sectarian anger, and turn it into a call for Christians to unite and claim victory over death and evil, showed that the band was capable of deep and meaningful songwriting. Rolling Stone War review JD Considine. Retrieved 15 October 2006.
  29. ^ McCormick (2006), page 127
  30. ^ "New Year's Day" reached #10 on the UK charts, and received extensive radio coverage in the US, almost breaking that country's Top 50. (McCormick (2006), page 139; Songfacts: New Year's Day by U2 Songfacts.com. Retrieved 31 October 2006.
  31. ^ Block, Adam. "Bono Bites Back." MotherJones.com. 1 May 1989. Retrieved July 22 2007 <http://www.motherjones.com/arts/books/1989/05/bono.html>.
  32. ^ Net Music Countdown:U2. netmusiccountdown.com. Retrieved November 6 2006.
  33. ^ Connelly, Christopher (14 March 1984). "Keeping the Faith". Rolling Stone. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  34. ^ McCormick (2006), page 147
  35. ^ a b c d Parra, Pimm Jal de la U2 Live: A Concert Documentary, pages 52-55, 1996, Harper Collins Publishers, ISBN 0-7322-6036-1
  36. ^ a b c d Pond, Steve (9 April 1987). "The Joshua Tree Album Review". Rolling Stone. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  37. ^ Graham (2004), page 21
  38. ^ McCormick (2006), page 147
  39. ^ Island Records boss, Chris Blackwell, initially tried to discourage them from their choice of producers, believing that just when the band were about to achieve the highest levels of success, Eno would "bury them under a layer of avant-garde nonsense". (McCormick (2006), page 151)
  40. ^ Stokes, Niall (1996). Into The Heart: The Story Behind Every U2 Song. Australia: HarperCollinsPublishers. pp. pages 50-51. ISBN 0-7322-6036-1. {{cite book}}: |pages= has extra text (help); Italic or bold markup not allowed in: |publisher= (help)
  41. ^ McCormick (2006), page 151
  42. ^ Graham, (2004), page 23, 24
  43. ^ Stokes, Niall (1996). Into The Heart: The Story Behind Every U2 Song. Australia: HarperCollinsPublishers. pp. pages 55. ISBN 0-7322-6036-1. {{cite book}}: |pages= has extra text (help); Italic or bold markup not allowed in: |publisher= (help)
  44. ^ de la Parra (1994), page 62-63
  45. ^ Rolling Stone, for example, critical of the album version of "Bad", described its live performance as a 'show stopper'. Henke, James (18 July 1985). "''Wide Awake in America'' Album Review". Rolling Stone. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  46. ^ Live Aid: A Look Back At A Concert That Actually Changed The World MTV.com. Retrieved 31 October 2006.
  47. ^ McCormick (2006), page 164
  48. ^ de la Parra (2003), pages 72-73
  49. ^ U2, the Only Band that Mattered in the '80s? about.com. Retrieved January 31 2007
  50. ^ McCormick (2006), page 179
  51. ^ Bono in McCormick (2006), pages 169, 177
  52. ^ DeCurtis, Anthony (27 March 1987). "U2 Releases The Joshua Tree". Rolling Stone. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help) cited in Gardner, Elysa (ed) (1994), U2: The Rolling Stone Files, London: Sidgwick & Jackson, ISBN 0-283-06239-8 {{citation}}: |first= has generic name (help)
  53. ^ McCormick (2006), page 174
  54. ^ McCormick (2006), page 186
  55. ^ Graham (2004), pages 27-30
  56. ^ DeCurtis, Anthony (7 May 1987). "Truths and Consequences". Rolling Stone. {{cite journal}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  57. ^ McCormick (2006), page 186
  58. ^ Classic Albums: The Joshua Tree (Television Documentary). Eagle Rock Entertainment. 1998.; McCormick (2006), page 186
  59. ^ Grammy Award for Album of the Year and a Grammy for the Best Rock Performance By a Duo or Group With Vocal.GRAMMY Winners List grammy.com. Retrieved December 4 2006.
  60. ^ Pond, Steve (9 April 1987). "The Joshua Tree Album Review". Rolling Stone. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  61. ^ following The Beatles, The Band, and The Who)
  62. ^ "Rock's Hottest Ticket" Time Magazine Archive, April 1987. Retrieved on 20 January 2007.
  63. ^ The RS 500 Greatest Albums of All-Time Rollingstone.com. Retrieved 15 October, 2006.
  64. ^ de la Parra (1994), pages 102-103, 111)
  65. ^ Stokes (1996), page 78; Graham (2004), pages 36-38
  66. ^ Allmusic.com Rattle and Hum review. Retrieved 3 November 2006; Christgau, Robert. "Rattle and Hum. robertchristgau.com. Retrieved 3 November 2006.
  67. ^ McCormick (2006), page 213; "A Story of One" [Video documentary].
  68. ^ Eno, Brian (28 November 1991). "Bringing Up Baby". Rolling Stone. {{cite journal}}: Check date values in: |date= (help); Cite has empty unknown parameter: |coauthors= (help)
  69. ^ Flanagan (1995), pages 4-6; Graham (2004), page 43
  70. ^ Deep Cuts: U2, Part I
  71. ^ Graham (2004), page 44
  72. ^ The RS 500 Greatest Albums of All-Time Rollingstone.com. Retrieved 15 October, 2006.
  73. ^ Flanagan (1995), page 7
  74. ^ Flanagan (1995), pages 6-11
  75. ^ Flanagan (1995), page 30; Graham (2004), page 49; Stokes, Niall (1996). Into The Heart: The Story Behind Every U2 Song. Australia: HarperCollinsPublishers. pp. pages 102. ISBN 0-7322-6036-1. {{cite book}}: |pages= has extra text (help); Italic or bold markup not allowed in: |publisher= (help)
  76. ^ de la Parra (1994), pages 139-141; Flanagan (1995), pages 12,13, 58-61; Stokes (1996), pages 110-111
  77. ^ de la Parra (2003), pages 153, 166
  78. ^ Graham (2004), page 51
  79. ^ de la Parra (2003), pages 166-172
  80. ^ McCormick (2006), page 269
  81. ^ McCormick (2006), page 261-262
  82. ^ Graham (2004), pages 62-63
  83. ^ (U2 have) relaxed sufficiently to allow a certain funk into their music... NME Retrieved 31 October, 2006; U2 have not reinvented themselves so much as rediscovered themselves... Sunday Times (UK) Retrieved 31 October, 2006
  84. ^ "Rolling Stone Pop Review". Rolling Stone (756). March 1997. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  85. ^ U2 Set to Re-Record Pop contactmusic.com. Retrieved 31 October, 2006.
  86. ^ U2 live: Play-by-play of the concert lasvegassun.com. Retrieved 29 December, 2006; U2, Brute? spin.com. Retrieved December 29, 2006; U2:Pop : Music Reviews Rollingstone.com, December 1997. Retrieved 29 December, 2006.
  87. ^ de la Parra (2003), pages 193-202
  88. ^ Rock On The Net: U2 rockonthenet.com. Retrieved October 31, 2006,
  89. ^ U asked U2! msn.com. Retrieved 15 January, 2007; Furthermore, Bono described the show as "one of the toughest and one of the sweetest nights of my life."(Bono in Conversation The Independent. Retrieved 15 January, 2007)
  90. ^ Graham (2004), page 21
  91. ^ Tyrangiel, Josh (2002-02-23). "Bono's Mission". Time. Retrieved 2007-03-10. {{cite web}}: Check date values in: |date= (help)
  92. ^ McCormick (2006), pages 289 & 296
  93. ^ Time to Get the Leathers Out Guardian.co.uk. Retrieved on 31 October, 2006
  94. ^ Hunter, James (26 October 2000). "Review: All That You Can't Leave Behind". Rolling Stone Magazine (RS 853).
  95. ^ The Rock Radio: U2 biography therockradio.com. Retrieved 31 October, 2006.
  96. ^ de la Parra (2003), page 268
  97. ^ Wenner, Jann S (February), "Bono On The Records", Rolling Stone (648): pages 74, 75 {{citation}}: |pages= has extra text (help); Check date values in: |date= and |year= / |date= mismatch (help)
  98. ^ Rock On The Net: U2 rockonthenet.com. Retrieved October 31, 2006.
  99. ^ Wenner, Jann S (February), "Bono On The Records", Rolling Stone (648): pages 74, 75 {{citation}}: |pages= has extra text (help); Check date values in: |date= and |year= / |date= mismatch (help)
  100. ^ U2's Vertigo Leads Year's Top Tours billboard.com. Retrieved 31 October, 2006.
  101. ^ U2 stars enter rock Hall of Fame bbc.co.uk. Retrieved January 17, 2007; Transcript: Bruce Springsteen Inducts U2 into the Rock and Roll Hall of Fame u2station.com. Retrieved January 17, 2007
  102. ^ a b Top 10 U2 Songs of the '80s about.com. Retrieved February 18, 2007
  103. ^ U2 Dissect "Bomb" rollingstone.com. Retrieved February 18, 2007
  104. ^ A Study of the Edge's (U2) Guitar Delay amnesta.net. Retrieved February 18, 2007
  105. ^ a b U2's Leading Edge Musician Magazine. Retrieved February 25, 2007.
  106. ^ Column: off the record..., vol. 6-201 atu2.com. Retrieved February 18, 2007
  107. ^ Reynolds (2005), page 368
  108. ^ Rolling Stone: War: Review rollingstone.com. Retrieved February 18 2007
  109. ^ U2: Achtung, Baby: Music Reviews rollingstone.com. Retrieved February 18 2007
  110. ^ a b Under A Golden Arch, Sincerely U2 nytimes.com. Retrieved February 18 2007
  111. ^ U2: The Catharsis in the Cathedral nytimes.com. Retrieved February 18, 2007
  112. ^ U2 - How to Dismantle an Atomic Bomb Review uncut.co.uk. Retrieved February 18 2007
  113. ^ McCormick (2006), page 113
  114. ^ Clash Star Strummer Dies, BBC news, 27 December 2002
  115. ^ About U2 Influences: The Ramones by Daniel Walker, October 2004
  116. ^ "This is a song Charles Manson stole from The Beatles, we're stealing it back!"
  117. ^ NewOrderStory [DVD]. Warner Bros., 2005.
  118. ^ The Creatures - Siouxsie Sioux Official Website. Archived News: Mojo Icon Award 17.06.05. Last night Siouxsie lifted the Icon Award and the Mojo Honours Awards. The award was given to her by U2's The Edge who sited Siouxsie as a big influence on Bono and U2 before handing over the Award. Retrieved May 17 2007
  119. ^ a b Rolling Stone, Issue #1025-1026, May 3 - May 17 2007
  120. ^ NME's 10 Most Influential Bands/Artists. NME Magazine, 2002; Angels & Airwaves - Between the Blinks musicOMH.com. Retrieved February 18 2007
  121. ^ Bono time.com. Retrieved January 16 2007; McCormick (2006), page 289
  122. ^ McCormick (2006), page 238
  123. ^ McCormick (2006), page 262
  124. ^ McCormick (2006), page 277
  125. ^ McCormick (2006), pages 285-286
  126. ^ McCormick (2006), pages 295-296
  127. ^ Ambassador of Conscience Award 2005 artforamnesty.org. Retrieved February 5, 2007
  128. ^ Kagan Daryn."CNN Access: Bono backs 'effective aid' for Africa" CNN.com, May, 2002. Retrieved 31 October, 2006; Bono and O'Neill in Africa: Summing up the trip CNN.com. Retrieved October 31, 2006; "Bono wins Chirac aid boost pledge". CNN.com, June, 2002. Retrieved 31 October, 2006.
  129. ^ The Edge (U2) Announces 'Music Rising', a Campaign to Aid Musicians Affected by Hurricanes Katrina and Rita modernguitars.com. Retrieved January 16 2007
  130. ^ Hiatt, Brian (25 September 2006). "U2, Green Day Unite". Rolling Stone. Retrieved 2007-05-04. {{cite web}}: Check date values in: |date= (help)
  131. ^ McCormick (2006), page 169
  132. ^ McCormick (2006), page 211
  133. ^ de la Parra (2003), page 141
  134. ^ de la Parra (2003), page 132
  135. ^ Wenner, Jann S (December 6 2001). "Goddess In The Doorway Review". Rolling Stone. Retrieved 2007-05-04. {{cite web}}: Check date values in: |date= (help)
  136. ^ William S. Burroughs dies at 83; Beat Generation godfather Houston Chronicle. Retrieved October 31 2006; How Mystical 23 Changed Course Of History mirror.co.uk. Retrieved February 25 2007.
  137. ^ U2 Connections: William Gibson atu2.com. Retrieved October 31 2006; American Masters: Allen Ginsberg PBS.com. Retrieved October 31 2006.
  138. ^ Salman Rushdie's Words Become U2 Lyrics CNN.com Retrieved November 6 2006.

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