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Napisano 02 lutego 2009 - 11:38
Nothingman
Napisano 02 lutego 2009 - 12:18
Użytkownik
Napisano 02 lutego 2009 - 16:16
)Ta jak i poprzednie dwie czy trzy zostały skopiowane z forum u2startU2 set to release twelfth studio album - and we have the lowdown
Feb 1 2009 Edited By Billy Sloan And Mickey Mcmonagle
U2 finally unveiled their new album No Line On The Horizon behind closed doors and under the strictest security.
But first again with the big music exclusives... Email were there to hear it.
We were invited by Bono, The Edge, Adam Clayton and Larry Mullen Jr to get a sneak preview of their eagerly awaited 12th studio album - not released until March 2.
And it's a cracker, up there with U2 classics such as Achtung Baby, The Joshua Tree and All That You Can't Leave Behind.
The Irish supergroup took the wraps off No Line On The Horizon in the chic Saatchi art gallery at the famous Chelsea Barracks in London.
It features hot new single Get On Your Boots, which is being played to death by radio stations across the UK.
Before hearing the killer tracks, the select guests had to give up all belongings - including mobile phones and any recording devices. They were only returned when the playthrough was over.
But it was worth it to get the first listen to amazing songs such as Magnificent, Moment Of Surrender and Cedars Of Lebanon.
On first hearing, it sounds like U2's most complete album - to be listened to from first track to last. It's also full of brilliant lyrics and Bono's vocals have never sounded stronger.
Here is my pick of the key cuts on No Line On The Horizon.
NOLINEONTHEHORIZON
This opens with a loud sonic drone before Bono sings: "I knew a girl who's like the sea/I watch her changing every day for me."
Then Larry's drums kick in and the song lifts off. It could be their best live stadium opener since Zoo Station.
MAGNIFICENT
A future single choice which more than lives up to its bold title. The Edge's driving guitar gives the song a New Year's Day-style mood.
Bono is in great form when he sings: "I was born to sing for you/I didn't have a choice but to lift you up."
He's dead right because, just two numbers in, the album already has a classic feel.
MOMENT OF SURRENDER
Bono reckons this is one of the best songs U2 have written - and with their back catalogue, that's saying something.
It opens with a guitar sound reminiscent of Where The Streets Have No Name and features a great Edge solo.
In one of his most personal lyrics, Bono says: "I've been in every black hole/At the altar of the dark star/My body's now a begging bowl/That's begging to get back."
Astunning song Springsteen or Dylan would be proud of.
UNKNOWN CALLER
An epic with double-tracked vocals, wailing Edge guitar and pounding Adam bass.
It's a musical feast with so much going on it's initially tough to take it all in. In the chant-style chorus Bono sings: "Hear me/Cease to speak/That I may speak/Shush now."
If nothing else, that's got to be another first for U2 - a pop song with "Shush" in the lyric.
I'LL GO CRAZY IF I DON'T GO CRAZY TONIGHT
Thumping drums, pulsing bass and piano get this potential single off the launch pad.
Musically, it has all the trademarks of a U2 classic with another soaring Bono vocal and great "woo-oo" hook on the chorus.
STAND UP COMEDY
This proves the group are huge Led Zeppelin fans because Edge's guitar riff has a real Jimmy Page feel.
In terms of being musically adventurous, it's not for the faint-hearted and definitely up there with Exit from The Joshua Tree in 1987.
CEDARS OF LEBANON
Bono almost speaks his vocal over a more hymnal, hypnotic backing which leads to a beautiful, almost choral, hook.
Some atmospheric Edge guitar creeps in and builds the mood. This song is so good you don't want it to end.
A fitting finale to a classic U2 album.
ciuch ciuch!
Użytkownik
Napisano 02 lutego 2009 - 16:29
I znowu recenzja płyty (jeśli jest ich za dużo to piszcie, ograniczę się
Użytkownik
Napisano 03 lutego 2009 - 12:06
Czy to nasze utwory z NLOTH ?
Użytkownik acr edytował ten post 03 lutego 2009 - 15:34
Użytkownik
Napisano 03 lutego 2009 - 13:55
AS MUCH as can be discerned from one listen, U2 no longer feel the need to sound like "classic U2", the imperative which energised the 2000 album, All That You Can't Leave Behind, but stymied their last album, 2004's more ho-hum How To Dismantle An Atomic Bomb.
Producers Brian Eno and Daniel Lanois bring their characteristic touches to the backing vocals, the scurry of background sounds (this will be a great headphone experience) and the creation of atmosphere even in almost punkish rock songs. The oblique album cover in one sense represents this album's regular avoidance of the obvious.
But Eno in particular also brings his preference for not repeating tropes and it seems the band are ready to play, taking excursions into wide open road desert songs, cocky denim rock and moody dark corners as well as the odd distortions of tracks such as the first single, Get On Your Boots.
Now it's not as if U2 have re-imagined themselves: there are familiar, stadium-ready rock numbers and there are electro-influenced numbers. But there's an oddness to many tracks which speak of adventure rather than comfort.
The Edge takes centre stage with a mix of aggressive and tuneful guitars and Bono's lyrics seem occasionally to have been put through the random mixer, which is no bad thing when it comes to someone with very familiar pathways. It is indicative of an album which may reward long-time attention rather than seek immediate affection
źródło: u2start.comI've had one listen to the new U2 album No Line On The Horizon.
It sounds adventurous and there are bits of very old U2 and bits of not so old U2, in league with sounds more common in Brooklyn at the moment than Dublin.
You can easily hear the influence of producers Brian Eno and Daniel Lanois. Definitely an improvement on How To Dismantle An Atomic Bomb. Here is a hurried first response and don't hold me to the lyrical references.
Track one: No Line On The Horizon
Buzzy guitars and offkilter Enoesque noises vie for attention while Bono strains for effect as he reflects both the tension and the intensity of the song. The chorus (not a big one; more a devolving of the verse) retains the tension but puts it in a gentler setting. Bono seems to be singing to, or about, a girl, not for the last time on the album, but it's not easy to decipher.
Track two: Magnificent
More of those odd sounds behind treated guitars and synthesisers and the song opens in two or would now be called "classic U2", the familiar 80s quick marching rhythm and the Edge's exploratory guitar lines. The most traditional sounding song on the album has Bono declaring that "I was born to sing for you/I didn't have a choice" before confessing that "only love can leave such a mark".
Track three: Moment Of Surrender
A moodier track with irregular hand percussion (or a loop, or both) picking away at the edges of a bed of synthesisers and violin. The emotional tone is late '80s U2; the musical palette, with hints of electronica, is more early '90s. Before those richly layered Eno/Lanois-signature backing vocals arrived late in the piece Bono goes from enigmatic: "I tied myself with wire to let the horses run free/playing with fire till the fire plays with me" (I think) to matters closer to the heart: "it's not if I believe in love but if love believes in me".
Track four: Unknown Caller
Some really interesting ambient sounds in a late, late night setting more concerned with atmosphere than asserting itself. It's 3.33am "in a place of no consequence or company" and he's "speed dialling with no signal at all". The lyrics seem more impressionistic, disconnected and with a touch of David Bowie in the chanting underneath. And is that French horns at the end? Not usually heard on a U2 album.
Track five: I'll Go Crazy If I Don't Go Crazy Tonight
Mixed marriages don't always work, but should, seems to be the theme. "She's a rainbow and she likes the quite life/I'll go crazy if I don't go crazy tonight." This is a straight out pop song with reverb guitars and Bono in high croon. It's also a U2 track they could do in their sleep, but no less attractive for that. The question is will it last as long as some of the others?
Track six: Get On Your Boots
The first single and perplexing some already. A mess of dirty guitars and urgent energy play through electronic bibs and bobs. You can hear Fly-era U2, with a little less edge, but here something niggling through earlier songs becomes clearer: they have been listening to Brooklyn's art rockers TV On For Radio. It makes some sense: TV On The Radio spent their youth listening to Eno and Bowie too.
Track seven: Stand Up Comedy
A strutting 70s guitar finds the Edge channelling his inner Marc Bolan while that Brooklyn fractured dance of rock feels returns (and then becomes almost pure Madchester ecstasy nightclub). The "song" runs out a little earlier than the groove does but it doesn't seem fatal at all.
Track eight: FEZ - Being Born
This seems to be two songs hooked together, one a collection of odd sounds and shapes, the other a pulsing rock number which becomes something else again when the sonic oddness returns prior to a drifting away ending.
Track nine: White As Snow
A ballad not just inspired by but evoking wide spaces and open skies. There are low rumbles and darting sounds, brass even. Could this be U2 aiming for Bruce Springsteen in his solo tales-of-the-desert mode?
Track 10: Breathe
This is pushier at immediately, coming with a bit of attitude. Did Bono really just say he is "not somebody's cockatoo"? He definitely says "I'm running down the road like loose electricity while the band in my head plays a striptease" and it's an apt description of this land of atmosphere and aggression.
Track 11: Cedars Of Lebanon
Lyrically and musically strongly reminiscent of a film noir narration (Bono as Walter Neff? Why not?), the central character is a man cut off from affection and life in general. Some really interesting harmonies - Eno at work again - and a closing set of lines worth pondering for implications. "Choose your enemies well for they will define you ... they are going to last with you longer than your friends".
ciuch ciuch!
Guest_VeRTi-go_*
Napisano 03 lutego 2009 - 14:04
Przepraszam bardzo, ale te // paski // są super ;]. Lubię ten motyw. Kreślę podwójnymi skośnymi paskami nawet numer zadania z matematyki... <lol>tak czy siak to myślę, że znacznie lepiej będzie się prezentował na ścianie niż vertigowskie paski..
Użytkownik
Napisano 03 lutego 2009 - 14:55
Przepraszam bardzo, ale te // paski // są super ;]. Lubię ten motyw. Kreślę podwójnymi skośnymi paskami nawet numer zadania z matematyki... <lol>
Teraz powinni dać z siebie coś więcej niż szarość - z tego co czytam to nie pasuje mi do albumu. 
Już mam dość tych recenzji, tak cholernie podkręcają atmosferę, że mam tego dość, chcę to w końcu usłyszeć! Jestem aż za pozytywnie nastawiony do tej płyty...
Chyba nie wytrzymam, te opisy brzmią tak pociągająco, że nie można się doczekać.
nocny tabaskowicz
Napisano 03 lutego 2009 - 14:58
Przepraszam bardzo, ale te // paski // są super ;]. Lubię ten motyw. Kreślę podwójnymi skośnymi paskami nawet numer zadania z matematyki... <lol>
Guest_VeRTi-go_*
Napisano 03 lutego 2009 - 15:21
Cały 'image' Bomby jest dla mnie katastrofalny i najgorszy w historii dyskografii zespołu. No za Chiny ludowe nie mogę dostrzec tam jakiegoś, choćby najmniejszego pozytywu.
. Twoje zdanie, że "image" Bomby jest do kitu, nie sprawi, że poczuję się "pojechana" i zmienię zdanie. Wiem swoje. O!
Użytkownik
Napisano 03 lutego 2009 - 23:33
As we enter the DEFCON 1 environs of Universal Music (not really, just hand over your mobile please. And your soul), I can only think that teenage me would really be freaking out right now to be hearing an advance copy of a new U2 album a full month before it becomes ubiquitous out in the world (maybe sooner, if a copyfight happy employee decides to leak it. C’maaaaaan, chumpy!)
Adult me is also pretty excited.
Focus! We were only permitted to hear it through once, and the sheer joy I felt afterwards over it not being searingly terrible has forced a lot of critical faculties out of my brain. Still, I would characterise No Line On The Horizon overall as falling firmly near the Achtung Baby/Zooropa/Pop triumvirate (OF AWESOME) with a sprinkling of Boy (also, excellent) and very far from the All That You Can’t Dismantle You Leave Atomic Bombs Behind, or whatever they were called twinset (OF TERRIBLE), with only a few nods to the later 80’s with a lot of OH OH OH OHHHs that surely this band can take a patent out on now.
In due time I will collect my thoughts for a real review closer to the release date, for now I’ll just transcribe my notes:
No Line On The Horizon
U2 have been listening to Kings of Leon. Dirty big Fly-like riff tears out of speakers, masses of percussion upfront in the mix. First of several Boyesque choruses, Oh-oh-oh-oooooh! This song is incredibly loud. Phwoar, good start.
Magnificent
U2 have been listening to the Killers. Oh wait, only a bit. Stomps along at maybe U2’s quickest ever clip, (they’re aren’t really for fast ones though, are they?) a neat 4/4 disco rock beat. THIS is the guitar album they have been banging on about for a decade. Huge riff. Some Real Thingish slide guitar choruses. Is this one of Bono’s God songs? Could definitely be about a woman (very good at that trope now, Bono.) “Only love can leave such a scar.” This is incredibly aptly titled, clever U2. Stadium ready “You and I will make a fire!” This will be a single.
Moment of Surrender
A downtempo, Eno-heavy gospel thing, a soul ballad built on a heavy bass figure and prominent, processed drums. Ok, so everything is on fire (“We’ll set ourselves on fire.”) Right, U2 own this Ohoh oh ooh OOHHHH thing, I got it. “I’ve been down every dark road”, I love it when Bono gets existential, this is my favourite Bono mode. Then he’s on his knees in a revery in the street, “I did not notice them, they did not notice me” perhaps the only time Bono has vocalised a desire for anonymity. “ATM machine”. Well, we all call them that.
Unknown Caller
Birds?? A Morroccan drone. Guitar figure sounds a lot like… Walk On? (AGAST I AM. Still sounds pretty great.) Is this about someone getting mugged? Some kind of tech nightmare, “you know your password, key it in.” Something about making it out alive. “3:33 in the morning and the numbers dropped off the clockface” (here I have double underlined, LOVE THIS. I am glad Bono uses concrete imagery.) Urgent sounding church organ, a horn section (whoa.) First-ever instance of double tracked lead vocals. Double the Bono! (Again I have underlined LOVE THIS.) “Escape yourself and gravity.”
(I am trying very hard to not stare too long or obviously at the photos in the press pack, which is hard because U2 look very handsome in them, especially Adam “Silverfox” Clayton. Edge looks in one like he might punch the photographer. Edge is very good looking. Bono, it is Edge who has a beard. And for God’s sake GET SOME NEW GLASSES. Or a new stylist. Or are you dressing yourself? Stop doing that. I am thinking of starting you a PayPal account.)
I’ll Go Crazy If I Don’t Go Crazy Tonight
Awesome in spite of immensely stupid title. Bono hits crazy high notes in chorus (see what he did there?) Is this song addressed to anyone in particular? A party girl who longs for a quiet life, but we want her to perform, part of us wants her to go crazy! She’s a rainbow! Leave her alone. A Beatlesque guitar figure, building a very sweet, pop melody and into a rousing “Baby, baby, baby” chorus (love when Bono says ‘baby’ without being ironic.) Will absolutely kill live, “I think I’ll go crazy if I don’t go crazy tonight!” Stomping again. Good good.
Get On Your Boots
Here’s the Elvis Costello song. This is so damn catchy. The tried and tested U2 trick of a lead single not really indicative of the rest of the album. Still love that glam rock riff.
Stand Up Comedy
Dreading this, the worst of the superbad titles. Then, huge Led Zepplin riff, into Stone Roses groove. Most Achtung-like track, big celebratory rock song, amazingly good. We’re at a peace rally. “Stand up for your love!” A big crunchy bass line and McCartney-infused melodies. “Stand up to rock stars!” A pattern emerges: the worse the title, the better the song.
FEZ-Being Born
Sounds like a crowded marketplace, phones are ringing. Recycles ‘Boots’ “let me in the sound!”, underwater. Eno all over. Flat out, exceedingly weird. EXCELLENT (double underlined.) Blips and noise, Passengers return. OK! New song. A militaristic shuffle propels uptempo rock. No discernible hook but instead weaves a sound, layers of keyboard and chiming notes. Many voiced chorus. ENO (circled, underlined.) Totally out there.
White as Snow
Piano playing a lullaby. Spare, Johnny Cash guitar. This is what the Wanderer might have been like had he recorded it. Intro sounds like the Necks. I deeply love this. Bono does Nick Cave. A murder ballad, “my brother and I would drive for hours.” “The water was icy, the road refuses strangers.” “They were hunting in the woods.” Hypnotically slow narration. I can see this rapidly becoming one of my favourite ever U2 songs. Like nothing they’ve ever done. Please make a bare-bones country album one day.
Breathe
Wacky time signature, 16/9? Band and Bono come crashing in, Bono is trying to out-Dylan Dylan with free-form rapid fire choruses (“A cockatoo!” WHAT.) Time straightens out into massively catchy 3/4 chorus (“Walk out, into the street/ See your heart, see my heart out”). Huge guitar line, Achtung Baby x Joshua Tree. Strings and piano join, Bono reaching his upper register in an unabashedly uplifting chorus up there with U2’s best melodies. I wish this would go forever. I can see Bono belting this with his face up to the sky and that beatific grin, as 60,000 people join in. Crazy if this isn’t a single.
Cedars of Lebanon
Bono is in deep-talking sexy mode, like Velvet Dress (actually this is my favourite Bono mode.) Bluesy keys and guitar build a very sombre mood, this album is ending on a heavy, downbeat note as the best U2 albums always have (even heavier than Wake Up Dead Man/Love is Blindness which are equally a little like being hit in the head with a shovel.) A war correspondent recalls a litany of shit and his now disjointed senses, but “the shitty world sometimes produces a rose” bringing small note of stubborn optimism. Bono neatly slays the entire profession of journalism: “the best of us are masters of compression.” Yikes. Definitively proves “crap title equals killer track” rule.
______________
In conclusion:
I’m dying to hear this album again. And again many times over. Definitely U2’s most challenging record, with the band hitting previously unheard of straps. Bono especially sounds far better than he has over the last decade, or longer, and never sounds like he’s pushing to hit notes he can’t reach, instead totally flying.
Time Out Sydney
U2's new album reviewed
U2 return with a new album. Sadly, it's Brian Eno's.
Island/Universal
By Andrew P Street
Disclaimer: This review is based on a single listen at the Universal Music offices rather than a week or so living with the album and being able to explore its nuances.
First impression is this: bully to U2 for trying. Here is a band that could plonk out any old bunch of songs secure in the knowledge that it would sell like sexy, sexy hot cakes regardless of quality. But no: after the longest break in their career, they've tried to incorporate some new sounds and textures into No Line on the Horizon, including Middle Eastern percussion and loads of squiggly keyboard sounds.
That said, they've also brought in their three most frequent producers – Steve Lillywhite, Daniel Lanois and Brian Eno – so any envelope-pushing is being done in very circumscribed areas. Eno is all over the album: damn near every song begins with some of his burbling mono synth action, which usually has a barely tangential connection with the song that follows. And for all that's new, there's no way that you'll mistake it for another band. The Edge has evidently found the bag of effects pedals he used circa The Unforgettable Fire and everything's covered in sustain and delay. Bono's still howling wordlessly away in most of the choruses. Larry Mullen, Jr pumps out his searingly competent drum work and Adam Clayton... well, he plays bass. As much as he usually does, anyway.
(Note for musical types: in fact, with everyone apparently so worried about the dangers of irresponsible drinking at the moment, why not use this opportunity to play the Adam Clayton Root Note Drinking Game? It's simple: take a shot every time that Adam plays anything that's more than two frets from the root note of the chord. You could play it with vodka filtered through absinthe and still be sober enough to pilot a commercial airliner.)
First impressions aside, let's get on with the tracks:
1. 'No Line on the Horizon'
A Bo Diddley beat heralds the beginning of Brian Eno's new album, featuring U2. In fact, the cluttered production and layers of keys sound not dissimilar to what Eno did with James circa Whiplash. And then they staple some ethnic percussion to the thing for no good reason.
(Clayton Root Note Drinking Game: No drink)
2. 'Magnificent'
Kind interpretation: this harkens back to Zooropa, especially in the electro introduction. Less-kind version: hey, it's REM's 'Orange Crush', as rewritten by short-lived 90s synth darlings Republica! It's here that Bono's lyrics come to the fore and you realise that he's followed Bruce Springsteen into the late-period creative cul-de-sac where he's incapable of speaking in anything other than clichés and meaningless waffle. "Only love can leave such a mark," he declares, leaving the listener to answer the question, "what the bloody hell is he on about?" for themselves.
(CRNDG: No drink)
3. 'Moment of Surrender'
After the Vangelis-via-Eno synth intro, Bono delivers a husky, passionate vocal for the album's first ballad, including what an early contender for Dumbest Line of 2009: "Playing with the fire, 'til the fire plays with you." The Edge pulls out a rudimentary slide guitar solo and then there's an oh-ah-oh wordless singalong that should be a hit at the half dozen shows where they try this one out before never playing it again.
(CRNDG: No drink)
4. 'Unknown Caller'
Eno has a good old fiddle until The Edge remembers what he did for 'I Still Haven't Found What I'm Looking For' – which will make a sweet segue during the tour. There's some genuinely great tasteful fingerpicking here, but it's about this point you'll start thinking "Hold on, aren't U2 best known for their stick-in-your-head choruses? What happened? And how did the last song go?"
(CRNDG: Don't be fooled: that's some down-tuned Edge guitar you're hearing for the first third of the song, not bass. No drink for you)
5. 'I'll Go Crazy If I Don't Go Crazy Tonight'
There are two ways that a song with this title should go. The first and most obvious is a Bon Jovi/Poison good time blues-rock party anthem, with a kick-ass guitar solo (preferably heralded with Jon Bon Jovi/Sebastian Bach screeching "Guitar!") and maybe some sweet harmonica in the coda. The other, less obvious but equally suitable way would be as a Bryan Adams/Aerosmith power ballad, which would also have a kick-ass guitar solo but would be less about partying and more about how crazy the love of a woman can drive a man, which would be a thinly-veiled sex metaphor. "I'm not perfect baby, as anyone can see," Adams/Steven Tyler would sing just before the chorus, "And though you drive me crazy, I'm still as crazy as a man can be." See? The song writes itself. The third option, which is the one that U2 went for, is to do an unmemorable mid-paced song with lyrics like "She's a rainbow, she loves the peaceful life" and a guitar riff lifted from Altered Images' 'I Could Be Happy'. My versions are so, so much better.
(CRNDG: No drink)
6. 'Get on Your Boots'
The first single, and oh, Escape Club – how wonderful you must be feeling at this moment! Ever since 'Wild, Wild West' vanished from the charts in 1988 you've been waiting for a sign that you were something more than just another one hit wonder, so hearing U2 re-write the song must warm the cockles of your heart. And Elvis Costello must be smiling too, humming 'Pump It Up' under his breath as he dials his lawyers and wonders what sort of settlement to demand.
(CRNDG: It's a repeated riff bassline, so take a few much-needed shots)
7. 'Stand Up Comedy'
Sorry, Red Hot Chili Peppers: just in case you were thinking of recording a version of The Stone Roses' career-ending 'Love Spreads', be advised that U2 have beaten you to the punch. Bono says something about the Twin Towers and falling down and standing up, and then drops the line "Cross the road like a little old lady". You'd think that a band of U2's status could extend a deadline so that their lead singer could write some lyrics, surely?
(CRNDG: Sure, take a drink. Who cares?)
8. 'FEZ - Being Born'
Starts off like incidental music from the last Prince of Persia video game, then snaps into a prog rock section while Bono sings about fire. Dammit, we should have started a drinking game based on references to fire. Too late now, I suppose.
(CRNDG: No drink)
9. 'White as Snow'
The absolute highlight without any doubt: a superb country lament. Bono makes a decent fist of it with Edge's down-tuned guitar the perfect accompaniment, but it would have been utterly perfect for the late Johnny Cash to wrap his weathered voice around (and would be one hell of a companion piece to the Cash/U2 collaboration 'The Wanderer'). Bono's nature references – seeds, earth, snow, fruit – make perfect sense in this context. See, Bono, you can do it when you try.
(CRNDG: No drink)
10. 'Breathe'
Frantically bowed strings hit harmonics over Mullen, Jr's thundering tom toms, before the rest of the band burst in at cross-rhythms and Bono starts up a scansion-free declamatory vocal like a third-rate Bob Dylan. Still, once it locks in the chorus it all makes sense. Either the album's picking up towards the end or I'm undergoing some sort of musical Stockholm Syndrome in which I fall in love with my captors as a coping mechanism. That said, Edge does pull out a three-note guitar solo that suggests he's never even seen a guitar before, and it's nice of Tears For Fears to let U2 use their keyboard sounds.
(CRNDG: Yeah, Edge and Adam lock on a riff. Have a quick one)
11. 'Cedars of Lebanon'
Yep, they close on a ballad – and it's about world suffering. "Squeeze a complicated life into a simple headline," Bono sighs, and we all agree. "Yes, Bono," we weep, as one. "Oh media, when will you learn?" Then we go to a different perspective, that of a displaced person in a warzone. "A soldier brings oranges," Bono sings, "he got out of a tank." And with that clanging line the magic is dispelled, like the unexpected slam of a toilet door. It's a nice idea, and the tune's a good one, but honestly: some sort of lyric editor would have been wise.
(CRNDG: There's a breakdown where Edge and Adam play a riff with slightly dodgy intonation. Have a deep, last drink)
ciuch ciuch!
Nothingman
Napisano 04 lutego 2009 - 11:50
Aż się zastanawiam, czy to przypadkiem nie jego - podobne porównania, identyczne czepianie się tekstów i prostoty solówek.. Niestety, przynajmniej w jednym się prawdopodobnie zgodzimy - U2 mają jeszcze zbyt dużo do powiedzenia, by nie móc nareszcie wykopać Eno i Lanoisa.
Użytkownik
Napisano 05 lutego 2009 - 17:39
ciuch ciuch!
Nothingman
Napisano 05 lutego 2009 - 17:52
Beach Clip nr 5 to "I'll Go Crazy If I Don't Go Crazy Tonight", a nie tak jak wcześniej pisałem "Winter". Ponoć utwór ten przeszedł sporą metamorfozę od czasu nagrania Beach Clips.
Użytkownik
Napisano 05 lutego 2009 - 18:11
Jeden z użytkowników u2start.com zamieścił taką informację, jednak źródła nie podałSKąd wiesz ? Jeżeli tak, to wspaniała wiadomość. Jest nadzieja, że GOYB jest tu wyjątkiem, i cała reszta beach clips różni się bardziej od ostatecznych wersji, niż to.
ciuch ciuch!
Użytkownik
Napisano 06 lutego 2009 - 07:28
0 użytkowników, 4 gości, 0 anonimowych
