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gotdablouse
Bono and The Edge live on TV :
[m.canalplus.fr]
[m.canalplus.fr]

Imagine Mick and Keith doing the same, that would be something!

Seems more like music we used to play in High School / College.

Prefer this: [www.youtube.com]

I totally agree with Happy24.. The 2cd version of the album really brings it all together, and the acoustic set on cd2 is just brilliant. Bono's voice is superb, and the songs sound a lot more special, in my opinion. I highly recommend the 2cd set to U2 fans... Very much worth it.

They've just put in a blistering performance on The Graham Norton show.

I save just 5 tracks.



Edited 1 time(s). Last edit at 2014-10-18 09:52 by pepganzo.

I save nothing

#1 when free #9 when sold in the US.

[www.aceshowbiz.com]

"U2's 'Songs of Innocence', which was released for free on iTunes last month, is at No. 9 on the chart with 28,000 copies sold in its first commercial week."

Top Ten (Nielson SoundScan cited as source)
1. "Anything Goes" - Florida Georgia Line (197,000)
2. "Old Boots, New Dirt" - Jason Aldean (91,000)
3. "Ride Out" - Bob Seger (59,000)
4. "rose ave." - You+Me (50,000)
5. "Partners" - Barbra Streisand (40,000)
6. "In the Lonely Hour" - Sam Smith (37,000)
7. "Blood Moon: Year of the Wolf" - The Game (33,000)
8. "People Keep Talking" - Hoodie Allen (30,000)
9. "Songs of Innocence" - U2 (28,000)
10. "Sweet Talker" - Jessie J (25,000)

"Anything Goes" by Florida Georgia Line is being heralded as THE WORST ALBUM EVER as well as THE WORST COUNTRY MUSIC ALBUM EVER.

Pretty funny.

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GasLightStreet
"Anything Goes" by Florida Georgia Line is being heralded as THE WORST ALBUM EVER as well as THE WORST COUNTRY MUSIC ALBUM EVER.

Pretty funny.

Good thing they didn't release it for free first... They wouldn't have sold ANY copies!

I know nothing about the band so I'm really not in a position to comment about it or them. I do though find it funny when someone describes something as the worst or best ever though. I guess I shouldn't judge the comments all that quickly as possibly the person HAS actually heard every album ever released and IS in a position to make an observation like that. Then again, knowing the history of the preception of Exile, who knows, in five years we may be told that it's the greatest album ever.

Funny to read the reviews at Amazon though
. It came up sorted as "Most Helpful Reviews" and the first 8 had the following stars: 1 2 1 1 1 1 2 3. Overall, 43 reviewers currently have it at 4 stars. I didn't bother reading any of the favorable reviews as, seeing as I don't really have a dog in the fight, the one's I read were more than entertaining enough.

Peace,
Mr DJA

I read a review about their new album recently. I've never heard them nor have I ever heard of them. If I can find it online I'll post it here. It's astounding.

Well, that was easy. Here you go:

Congratulations Justin Moore and Outlaws Like Me, you’re officially off the hot seat. Because right here, right now, I am unilaterally declaring that Florida Georgia Line’s new album Anything Goes is the worst album ever released in the history of country music. Ever. Including Florida Georgia Line’s first album Here’s To The Good Times, including anything else you can muster from the mainstream, including a 4-track recording made by a head trauma victim in a walk-in closet with a Casiotone keyboard and an out-of-tune banjo. Anything Goes can slay all comers when it comes to its heretofore unattainable degree of peerless suckitude.

In a word, this album is bullshit. Never before has such a refined collection of strident clichés been concentrated in one insidious mass. Never before have the lyrics to an album evidenced such narrowcasted pseudo-mindless incoherent drivel. Never before have such disparate and diseased influences been married so haphazardly in a profound vacuum of taste, and never have all of these atrocities been platooned together to be proffered to the public without someone, anyone with any bit of conscience and in a position of power putting a stop to this poisoning of the listening public.

...

[www.savingcountrymusic.com]

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GasLightStreet
Well, that was easy. Here you go:

Congratulations Justin Moore and Outlaws Like Me, you’re officially off the hot seat. Because right here, right now, I am unilaterally declaring that Florida Georgia Line’s new album Anything Goes is the worst album ever released in the history of country music. Ever. Including Florida Georgia Line’s first album Here’s To The Good Times, including anything else you can muster from the mainstream, including a 4-track recording made by a head trauma victim in a walk-in closet with a Casiotone keyboard and an out-of-tune banjo. Anything Goes can slay all comers when it comes to its heretofore unattainable degree of peerless suckitude.

In a word, this album is bullshit. Never before has such a refined collection of strident clichés been concentrated in one insidious mass. Never before have the lyrics to an album evidenced such narrowcasted pseudo-mindless incoherent drivel. Never before have such disparate and diseased influences been married so haphazardly in a profound vacuum of taste, and never have all of these atrocities been platooned together to be proffered to the public without someone, anyone with any bit of conscience and in a position of power putting a stop to this poisoning of the listening public.

...

[www.savingcountrymusic.com]

That's funny! Thanks for posting! Not surprising that a website called saving country music wouldn't care for a pop-country album but still have to give the writer some props. I have got to figure out how to get the line "a 4-track recording made by a head trauma victim in a walk-in closet with a Casiotone keyboard and an out-of-tune banjo" into the lyrics of a song at some point in my future. After having tought music lessons at a local music store for the better part of 15 years, I actually know what THAT sounds like!

Peace,
Mr DJA

Heh! I used to use a Casio for making 4-track demos... the stupid drum machine for ideas that happened fast or late at night (sometimes I used Bic pens for drum sticks on my drums at times with the gain turned up a good bit, it sounded pretty good; another time I moved the sofa in front of the kick drum... that was cool - oh and overdubbed a snare through a wah-wah, but there were times when I could only use the keyboard drums) and I forget whatever for bass when I didn't have a bass guitar around.

So yeah, I get what you mean. Head trauma. Although there's no Casio in this... the head trauma you will understand.

Not sure if I can thank you for that or not GLS. For the laugh, I'll say thanks. One time I'm thankful that my headset here at the office only has one ear piece... At least my right ear was safe!

Peace,
Mr DJA

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mr_dja
Not sure if I can thank you for that or not GLS. For the laugh, I'll say thanks. One time I'm thankful that my headset here at the office only has one ear piece... At least my right ear was safe!

Peace,
Mr DJA

Ah ha ha ha ha! That is just... so awful it's hilarious. When I first saw that I was floored.

Hijackers><

Foo Fighters' Taylor Hawkins says U2 album "sounds like a fart"

[www.nme.com]

From today's New York Times (NYT)

DUBLIN — It took nearly 30 years for “The Joshua Tree,” the 1987 album that was U2’s breakout ticket to megastardom, to reach 30 million people. “Songs of Innocence,” which was released on Sept. 9 as part of the unveiling of the iPhone 6, pulled that off in three weeks. Bono, the band’s leader, explained as much to the packed audience at the Web Summit here, saying that 100 million people had listened to a song or two and that 30 million people had listened to the whole album.

It was not without costs, even though it was given away. The album was pushed onto the playlists of some 500 million iTunes users, and Apple and U2 ended up in stockades on the web for what many consumers saw as an unwanted intrusion into their most personal territory — their music collection.
Continue reading the main story
Related Coverage

Enda Kenny, Ireland's prime minister, rang in the first day of the Web Summit, a gathering of tech and media industries, in Dublin on Nov. 4.
Ireland Vies to Remain Silicon Valley’s Low-Tax Home Away From HomeNOV. 9, 2014

As a mushroom cloud of discontent erupted, Bono engaged in what sounded like contrition in a video posted on the band’s Facebook page as part of a Q. and A. with fans. One of them asked why U2 thought they could embed themselves in people’s phones without so much as a how-do-you-do.

“Oops, I’m sorry about that,” he said with a bit of mischief in his smile. “I had this beautiful idea. Might have gotten carried away with ourselves. Artists are prone to that kind of thing: A drop of megalomania, a touch of generosity, a dash of self-promotion, and deep fear that these songs that we poured our life into over the last few years might not be heard. There’s a lot of noise out there. I guess we got a little noisy ourselves to get through it.”

In truth, U2 is on a dead run to remain relevant and avoid turning into a nostalgia act that makes buckets of money on tour but produces records people no longer care about — the Rolling Stones come to mind. Bono will tell anyone who will listen that the new album, which is written as a kind of origin story for U2, reflects the band at its best and most personal. He did not want a project that took five years to finish to then be missed by indifferent, busy ears. Thus the iTunes gambit.

“We would rather be the first of a new breed than the last of a dying breed,” he said on stage, “and we could see, we could predict, the trajectory of our album, and we didn’t like that idea, that it would be gone from the charts in six weeks.”

It was hard to peer through all the playfulness and discern whether he actually cared about the blowback. From the stage he said that, while it was unpopular, at least to some, the deal with iTunes was “one of the proudest things for us, ever.”

So I asked him backstage afterward: Not sorry?

“I really didn’t apologize, I was having some fun. Nobody wants to upset some young woman on Facebook,” he said, and then smiled and promised, “I’m working on the apology for the apology as we speak.”

U2 has always been opportunistic — Bruce Springsteen called them “wily Irish guys” at their induction into the Rock and Roll Hall of Fame — but the band is not, as some have suggested, a latecomer trying to catch up with changes in the industry.

Almost exactly a decade ago, Steve Jobs was accompanied on stage by U2 when he introduced an odd-sounding device called the iPod and a marketplace for music called iTunes. Even now, every time a listener presses the artist button on iTunes, their thumb lands on a silhouette of Bono’s head.

I assume it has been a profitable relationship that has burnished the image of both, until now. To my mind, the bigger hair shirt should belong to Apple. Given the context, the company should have been more sensitive to the consumer’s right to be left alone — after all, the company is fresh off a hack that allowed strangers to steal, view and share nude photos of famous actresses from iCloud accounts. If the introduction of a new phone left Apple feeling a sense of largess, it could have offered music fans dozens of options of bands that they could download if they felt like it.

Bono, a singer who often takes a knee when he wants to amp up the drama in an arena, has stood tall on business matters from the beginning. Back then, the band chose a letter and a number for its name “because we could make it really big on posters.”

“We’ve always worried about the marketing, even before people thought of bands as brands,” Bono said as he nursed a Heineken backstage after a panel at the event.

U2 saw its chance with Apple and grabbed with both hands. But in this instance, Bono’s fervent desire that a passion project be heard by the masses may have gotten the best of him. We live in a time when music is meant to be pulled by consumers, not pushed on them by big rock music acts and an even bigger company.

As savvy as he is, Bono probably knew this was one U2 caper that would not go unpunished. Still, it’s surprising to see him strike a sour note, because as Jay Z might say, Bono’s not just a businessman, he’s a business, man. Bono is an investor in Elevation Partners, a venture capital firm with a futuristic bent, and he is hardly nostalgic for the good old days in the music business. From the stage, he railed against the lack of transparency in music label accounting. And even as he handed me one of the deluxe editions of U2’s new record at his house, I asked him if he felt that a physical artifact was necessary to validate the work of the artist.

“Absolutely not,” he said.

Last week, Taylor Swift, one of the biggest musical acts on the planet, withdrew her work from Spotify in part to protest the challenging economics of streaming for artists. But Bono defended the streaming model.

“The old model is broken. People in music rail against Spotify, but streaming is here to stay, audiences want it, and we have to figure out a way for it to work for everyone,” he said after the panel.

He said that while he thought streaming would eventually become a meaningful source of revenue for musical acts, he’s worried that the people who write the songs, the copyright holders, will still be out of luck.

“I have a lot of friends who are songwriters and they’re getting a raw deal,” he told me. “Cole Porter did not sell T-shirts. I’m not going to be the public face of this — no one cares or thinks the singer in U2 needs more money — but I’m working behind the scenes to work toward some models that will work for them.”

With that, he was fetched to lead a pub crawl for the summit event, which has been exploding in size and scope, doubling its attendance this year to 22,000. It has all but overwhelmed Dublin, spilling the gospel of entrepreneurism in a culture and economy still wounded, but recovering, from the crash in real estate in Ireland.

Bono became involved after getting buttonholed at a dinner by Paddy Cosgrave, one of the founders of the Web Summit. Mr. Cosgrave, along with his partners Daire Hickey and David Kelly, are kindred spirits, Irish kids with big ambitions and a gangster’s facility for getting things done. From the stage at the conference, Bono compared the young people in attendance building apps and businesses to the punk bands of yore, a D.I.Y. response to the conventions of the establishment.

“I love what has happened in Dublin with the summit. I like little guys with big ideas in their head,” Bono said. “There’s a certain braggadocio in the Irish psyche. You could call it small island syndrome or small rock star syndrome but, you know, we are very attracted to big ideas.”

That ambition was on full view at the Web Summit, a tiny event just a few years ago that is growing quickly and in danger of being overwhelmed by its own success. Think of it as the Irish version of Austin’s South by Southwest conference, but with a lot more Guinness.

Seeing Bono there brought to mind one of the problems with being the little guy who is always punching up. Once you’re on top, it’s tough to quit swinging.

Drew

It could easily be argued that the Stones and U2 are the two top competitors in the rock and popular music industry, based on record sales, attendance at live concerts, revenue from concerts, and popularity polls.

U2 recently released a number of new songs on this CD, to critical acclaim. Yet the Stones are unable, unwilling, or unable to create and release a CD of all new material. All I have heard is a rumor that the Stones might be releasing a few never released songs, from the seventies, along with remastered songs from Sticky Fingers.

Are the Stones afraid they might not be able to create a CD most fans would like. Are they afraid to take a chance on something new. Have they lost the creative spirit. Is there a deeper, more fundamental problem I have not thought about?

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flilflam
It could easily be argued that the Stones and U2 are the two top competitors in the rock and popular music industry, based on record sales, attendance at live concerts, revenue from concerts, and popularity polls.

U2 recently released a number of new songs on this CD, to critical acclaim. Yet the Stones are unable, unwilling, or unable to create and release a CD of all new material. All I have heard is a rumor that the Stones might be releasing a few never released songs, from the seventies, along with remastered songs from Sticky Fingers.

Are the Stones afraid they might not be able to create a CD most fans would like. Are they afraid to take a chance on something new. Have they lost the creative spirit. Is there a deeper, more fundamental problem I have not thought about?

yes, they are old, have more money than god, don't sell records with any degree of sales volume, and are therefore not interested.

The Stones have been there and done that already. It's simply a matter of when and where they play the next concert.

I don't think you can compare U2 with The Rolling Stones at all.
The Stones are simply out of competition, they are THE GREATEST ROCK N ROLL BAND EVER!!!

U2 is on the tail end of their creative career, the Stones are done and have been since 2005 - and even that is not exactly - 1997 to 2005. BRIDGES could be argued to have been their last true creative post-Wyman LP (which is hilarious seeing it's only the second post-Wyman LP). And only 3 LPs done since 1989...

BANG was probably more of a habit or excuse than an actual need to create.

Aside from all that, it was pretty much determined at the time, in the Billboard article on A BIGGER BANG, that that was the last studio album by the Stones.

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flilflam
It could easily be argued that the Stones and U2 are the two top competitors in the rock and popular music industry, based on record sales, attendance at live concerts, revenue from concerts, and popularity polls.

U2 recently released a number of new songs on this CD, to critical acclaim. Yet the Stones are unable, unwilling, or unable to create and release a CD of all new material. All I have heard is a rumor that the Stones might be releasing a few never released songs, from the seventies, along with remastered songs from Sticky Fingers.

Are the Stones afraid they might not be able to create a CD most fans would like. Are they afraid to take a chance on something new. Have they lost the creative spirit. Is there a deeper, more fundamental problem I have not thought about?

Bono is 54 years old now (Mick was 54 in 1997 - Bridges To Babylon). Let's wait and see what U2/Bono are up to in 2031.
I agree with OutOfTime. The Rolling Stones will always remain THE GREATEST ROCK AND ROLL BAND IN THE WORLD.

Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Bridges To Babylon was created like this.

Since Mick went solo in 1984 some great STONES-albums were aborted. First of Dirty Work. Mick kept songs for his first solo album.

Primitve Cool + Talk Is Cheap = 1987-88 STONES album, select best 12 songs and recorded with Charlie, Bill and Ronnie. Call it TALK IS COOL.
Wandering Spirit + Main Offender = 1992-93 STONES album, best 12 songs selected. Name it Spirit Offender or Main Wanderer.
This would have been great STONES-albums. A bit of spreading through the years etc. Well it's all Mick fault....Let's Work...Grrr!

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Seeing that A BIGGER BANG was released in September of 2005... doesn't it seem obvious that they're done recording and releasing new studio LPs? I don't mind what they do on their own, regardless of how good (Keith) or bad (Mick) it is, the Stones are done as any kind of a creative "band". It's all about the past now, as it has been since FORTY LICKS came out really.

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GasLightStreet

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Seeing that A BIGGER BANG was released in September of 2005... doesn't it seem obvious that they're done recording and releasing new studio LPs? I don't mind what they do on their own, regardless of how good (Keith) or bad (Mick) it is, the Stones are done as any kind of a creative "band". It's all about the past now, as it has been since FORTY LICKS came out really.

That really annoys me.
What has Keith done on his own lately? At least Mick does something (and I don't think it's bad at all).

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BowieStone

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GasLightStreet

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Seeing that A BIGGER BANG was released in September of 2005... doesn't it seem obvious that they're done recording and releasing new studio LPs? I don't mind what they do on their own, regardless of how good (Keith) or bad (Mick) it is, the Stones are done as any kind of a creative "band". It's all about the past now, as it has been since FORTY LICKS came out really.

That really annoys me.
What has Keith done on his own lately? At least Mick does something (and I don't think it's bad at all).

SuperShitty didn't annoy you? That was horrible. Jagger ran away from that as fast as possible.

What has Keith done lately. Supposedly a new LP. He did a new version of Words Of Wonder for Playing For Change that's killer and better than anything Mick's done in a while.

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GasLightStreet

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BowieStone

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GasLightStreet

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Seeing that A BIGGER BANG was released in September of 2005... doesn't it seem obvious that they're done recording and releasing new studio LPs? I don't mind what they do on their own, regardless of how good (Keith) or bad (Mick) it is, the Stones are done as any kind of a creative "band". It's all about the past now, as it has been since FORTY LICKS came out really.

That really annoys me.
What has Keith done on his own lately? At least Mick does something (and I don't think it's bad at all).

SuperShitty didn't annoy you? That was horrible. Jagger ran away from that as fast as possible.

What has Keith done lately. Supposedly a new LP. He did a new version of Words Of Wonder for Playing For Change that's killer and better than anything Mick's done in a while.

A new LP we haven't heard a single note off and it's already good?
Playing for Change... I thought it was pretty dull, but ok that might just be me.
So that's two songs in about a quarter of a century. And not even new songs. Just a quick take one late afternoon.

The SuperHeavy album wasn't a classic. But Mick does something in his spare time. I appreciate that. And I still play the album in the summer. It's a fun album.
And he does more... He produces films, tv series, prepares the entire stones thing.

So the thing that annoys me is that Keith (the rockgod) still gets more respect than Mick (the poser) by doing absolutely nothing.

EDIT: what says it all is that the best thing Keith could come up with for The Stones - after 10 years - was an 1988 outtake... That Mick had to finish! Mick came with a fresh and exciting song that was played heavily on the radio.

But hey, this thread is about U2.



Edited 3 time(s). Last edit at 2014-12-17 19:59 by BowieStone.

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BowieStone

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GasLightStreet

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BowieStone

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GasLightStreet

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Naturalust
Unlike some here, I'm not countin' the Stones out when it comes to releasing new material. But it seems like both Keith and Mick might feel that the Stones is not the best vehicle to give wheels to their new songs. Keith and Micks writing may have diverged to the point that they find it hard to compliment each other's new stuff. Mick want's SuperHeavy, Keith want's his hand picked solo bands.

peace

Seeing that A BIGGER BANG was released in September of 2005... doesn't it seem obvious that they're done recording and releasing new studio LPs? I don't mind what they do on their own, regardless of how good (Keith) or bad (Mick) it is, the Stones are done as any kind of a creative "band". It's all about the past now, as it has been since FORTY LICKS came out really.

That really annoys me.
What has Keith done on his own lately? At least Mick does something (and I don't think it's bad at all).

SuperShitty didn't annoy you? That was horrible. Jagger ran away from that as fast as possible.

What has Keith done lately. Supposedly a new LP. He did a new version of Words Of Wonder for Playing For Change that's killer and better than anything Mick's done in a while.

A new LP we haven't heard a single note off and it's already good?
Playing for Change... I thought it was pretty dull, but ok that might just be me.
So that's two songs in about a quarter of a century. And not even new songs. Just a quick take one late afternoon.

The SuperHeavy album wasn't a classic. But Mick does something in his spare time. I appreciate that. And I still play the album in the summer. It's a fun album.
And he does more... He produces films, tv series, prepares the entire stones thing.

So the thing that annoys me is that Keith (the rockgod) still gets more respect than Mick (the poser) by doing absolutely nothing.

EDIT: what says it all is that the best thing Keith could come up with for The Stones - after 10 years - was an 1988 outtake... That Mick had to finish! Mick came with a fresh and exciting song that was played heavily on the radio.

But hey, this thread is about U2.

HA HA!