Tag Archives: U2

What do I like most about music?

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For the record, I love when students leave me messages on my office door whiteboard. I’ve gotten some pretty creative messages and even some pictures. (I’ve been meaning to create an album to share them. One day…)

Anyway, here’s the latest message:

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Before I get to my answers, I’d like to thank whomever posted these questions. When I first saw this message, I thought the answers were going to be pretty straightforward. Upon further reflection, however, the answers weren’t so simple. Surprisingly, these are questions I haven’t been asked very often, despite my career choice. I’ve gotten lots of questions about music theory specifically, what music theorists do, and why I chose this specialized field, but I’ve seldom been asked about music in general and my personal connection to it. It’s been a while since I’ve reflected on this. Here goes:

I like that music is a vehicle for expression. Regardless of genre, composer, or time period, the essence of music is its underlying humanity. In general, that’s what art is: the expression of what it is to be human. Through art, we can reflect on and share our experiences. Fear. Betrayal. Joy. Depression. Anger. Jubilation. Humor. Sarcasm. Longing. Desperation. Hope. Exhilaration. Confusion. Pride. Music, in particular, has the ability to reach people on a base, visceral level in a way that other media cannot.

I also like the fact that music connects people. It provides commonalities between people who otherwise would have almost nothing in common. When I watch concert footage of U2, for example, I’m amazed that there are thousands of fans who, despite speaking very little English (or even none at all), can sing every one of Bono’s lyrics. If I were to hum the opening motive to Beethoven’s 5th symphony, chances are someone within a stone’s throw will know something about that piece of music, regardless of their social background or musical experience.

Essentially, what I like most about music is that it’s multi-purpose. It can tell a deeply personal narrative or arouse public sentiment. It can be a call to arms or a reminder to reflect. It can set the mood for a scene or situation. It can be a distraction or an escape or a lifeline. It can be mentally stimulating, physically demanding, or emotional exhausting; many times it’s all three at once! It can be a communal experience or an outlet for individual expression. Music can be used to make a political statement or for pure entertainment, existing for the sole purpose of being enjoyed in the moment and nothing more.

I stay passionate about music through active engagement. Though I never had the chops to be a professional performer, I still enjoy playing the piano and singing. These activities help me connect with  music on a physical level. And when my physical abilities have reached their limits (which, admittedly, aren’t very high), the intellectual side takes over. That’s what attracts me to music theory in the first place: It gives the opportunity me to engage music from a new perspective. Theory allows me to be actively involved with pieces of music I can’t play and further deepens my understanding of the music that I can perform. Ultimately, my physical and intellectual engagement necessarily affect my emotional connection to music. Through music, my body and my mind help enrich my soul.

Keep Calm…

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… And try not to lose your shit over the potential partnership between two of your favorite things: Apple and U2.

Or so I’m telling myself in the wee hours of the night before 1) I teach three classes, and 2) a big iPhone announcement that maybe-possibly-hopefully-prettypleasewithsugarontopI’lldoalmostanythingtomaketheserumorstrue involves U2. Much to my surprise, however, many U2 fans don’t share my enthusiasm. Here’s why this collaboration is good for both parties:

For Apple, it’s a product announcement involving the company’s cash cow: the iPhone. This event would get media coverage even if U2 wasn’t involved. But more than that, teaming up with U2 brings some added pizzazz to what promises to be an already big day for the tech goliath. Of late, Apple keynotes, while still the gold standard for tech announcements, have been a bit dry, due in no small part to the absence of Steve Jobs’ charisma and presence in front of an audience. Samsung (grr) paired up with Jay-Z last year. How much the hip hop mogul actually boosted sales numbers is irrelevant; what’s important is that it the event lent a bit of “cred” to Samsung’s image and created additional buzz for its newest flagship phone. No offense to Jay-Z, but U2 is in a whole other league when it comes to global visibility and marketability. Regardless of what anyone says about relevancy, the relatively “disappointing” sales figures of 2009’s No Line On The Horizon, or a lack of an album in more than five years, U2 is still the biggest band on the planet. I can tell you from firsthand experience that Apple doesn’t like to be outdone. Getting U2 involved with the new iPhone (and potentially the Beats music service) outdoes anyone, anywhere, for years to come.

For U2, it gets the band back into the public consciousness immediately. It’s an instant marketing campaign that will help promote the new album and (eventually) the accompanying tour. I can recall going to the an early 360 show and seeing the Blackberry ads all over the stadium and being sorely disappointed in that joint venture. Besides the signs at concerts and logos on merchandise, what did BlackBerry (then called RIM) do to help the band generate buzz? Nothing. In 2009, RIM was already on the verge of technological irrelevance, to say nothing of its social cache. A partnership with Apple would also assuage the second Bono’s two fears: U2 not making good music and not being culturally relevant. The first should have been allayed earlier this year when “Ordinary Love” was nominated for Oscar and “Invisible” launched on Super Bowl Sunday (which I think, despite lukewarm critical and chart success, is a great song; I wrote about the song for @U2). Not only is Apple technological relevant, but the company also occupies a front-and-center public profile thanks in large part to the ubiquity of iPhones and iPods.

Additionally, teaming with Apple shows that the band has (once again) embraced the latest trends in digital media. In the early 1990’s, that was the whole ethos behind the groundbreaking Zoo TV tour, albeit with an ironic twist. A decade ago, U2 and Apple worked together when the latter was the undisputed king of mobile digital music. Before the iPhone, the iPod was Apple’s moneymaker, and U2 was in on it. There were several iPod commercials and products featuring the band: silhouette campaign (here’s the extended version),  video iPod, and the special edition U2 iPod. Still need further proof that the Apple/U2 relationship is deep? Open up the Music app on in iOS and look at the “Artists” option at the bottom of the screen. Look familiar? Even through all the software updates and upgrades, it’s been Bono’s silhouette for years.

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 As for the issue of how the band will be involved tomorrow… well that’s a whole other discussion. In a nutshell, here’s what I envision for the partnership:

U2 is this announcement’s “one last thing.” Tim Cook announces a collaboration with U2 that includes a redemption code for the iTunes store. This code allows the new iPhone owner to download the band’s newest album (whenever that drops; I think October) that will feature digital content like music videos, interviews, and live performances. This would help boost sales figures, which would make both the band and the record company happy. Accompanying the new record be a new official U2 app that will be linked to a newly redesigned website that focuses on fan interaction. Behind the scenes footage, exclusive interviews and photos, unreleased tracks, digital wallpapers, along with a one-year subscription to the fan club, which will offer more goodies. The announcement ends with U2 playing a short set.

I’m trying not to get ahead of myself here, but the sheer excitement is making me thing crazy things. This is all “pie in the sky” speculation, of course, but it’s going on six years since the band’s last full-length studio record, so I think U2 fans will can be forgiven for getting a little giddy. All this conjecture does set us up for some massive disappointment, but such is the life of a die-hard fan.

This arrangement is a good thing, folks. It has the potential to be a game-changer. Odds are it won’t be the earth-shattering event my imagination has vividly outlined, but with these two global icons in cahoots, it’s not out of the realm of possibility. Both Apple and U2 have been game-changers for their respective fields. Who’s to say it can’t happen again tomorrow?

Version 2.0

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Welcome to the second iteration of this blog.

Why restart this site? And why now? It’s simple, really: I need to jump start my music theory writing. Allow me to explain.

Finding balance in life is proving a mighty challenge, especially now that I’ve got a family of my own. Family will always come first, but because I am the primary breadwinner in my family, I cannot afford to shrug off my professional responsibilities. And, as I am now discovering, achieving a balance within each portion of my life is also difficult proposition. With a lot of discussion, planning, and trial and error, my wife and I have done a great job so far at finding time to be husband and wife amidst the hurricane of being Daddy and Mommy. Professionally, however, I’ve struggled.

This summer was a wonderful and much needed break from all things professional. I’m thankful for the time off, but now I’m having trouble getting back into a research groove because I was checked out for so long. Professionally, I consider myself a teacher first and a researcher second. I’m fortunate that FGCU values teaching as the most important aspect of being on the faculty. But, no matter how valued teaching is, long-term career stability and mobility are difficult to achieve in the field of music theory without paying attention to the other two academic pillars: scholarship and service. At this stage of my career, publication is the name of the game. And, the thing is, I love analyzing music. There’s a bevy of analytical riches buried in U2’s music, just waiting for someone to discover them and write about them. It’s just that I’m so mentally exhausted after teaching and planning that I’ve put my analytical writing on the proverbial back burner. I’ve taught these class before, so I didn’t anticipate teaching and planning to be as tiring as it has turned out to be. We even changed textbooks to one with which I am quite familiar because I used it at my previous institution. But, the change in textbooks was my suggestion, so I’m nervous about the success of its implementation. In addition to the textbook change, I’m also anxious because I’m trying several new things this semester: integration of Canvas, the University’s online system, into the daily class flow; extensive use of an iPad in class; a new organizational system for my lesson plans. Nervousness at the beginning of the school year is normal, but the anxiety about my new workflow has stymied my motivation to do research. I’m finally settling into it, though, so now is the time to get back into research game.

Which brings me back to the reason I’m restarting this blog. When I was younger, my dad told me repeatedly told me that I could improve my writing by reading more and writing regularly. 25 years later, I’m finally going to start following my his advice. I want to use this blog as a creative outlet (sometimes, I need more than 140 characters) that will steer me back into a research routine. Hopefully, writing begets (good) writing. I figure that if I can get the creative writing juices flowing again at least on a semi-regular basis, then I can find the inspiration/motivation to analyze music and write about it. I’ve been thinking about getting back into this site for a while now, but never could justify the time and energy it requires. Not only do I want to write, I need to write. I’m hoping this blog will provide the impetus I need to finish the projects I’ve started and begin new ones.

NLOTH, 2 years later

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U2’s latest studio album, No Line On The Horizon, came out two years ago this week, and it was just over two years ago that I posted my initial reaction to the album.  With that in mind, I thought I’d write another entry regarding that record, how I think it’s stood up over two years and its place in the U2 catalogue.

First thing’s first: NLOTH is a slow burner.  That is, it takes a little while to “get it.”  It’s a much more lyrically and musically conceptual album than the other two albums from this style period, How To Dismantle An Atomic Bomb (2004) and All That You Can’t Leave Behind (2000), which is good and not-so-good.

Nope: The so-so stuff first.  NLOTH doesn’t sound like any previous U2 album in terms of overall feel.  It’s got the signature U2 elements, to be sure, such as The Edge’s echo, Larry’s signature drums, and Adam’s pulsating bass.  Perhaps the disjointed feel has to do with the order of tracks.  I’m OK with “No Line On The Horizon” starting the record and “Cedars of Lebanon” finishing it, but I think several tracks in between are out of place.  “FEZ-Being Born” doesn’t feel quite right as track #8.  It’s a two part song, with the first half a slow, quiet cacophony of street sounds, some organ lines, and an echo of the “Let me in the sound” line that is first heard in “Get On Your Boots,” and the second part is a more energetic run towards its end.  I think “FEZ” would have made a great opening track, especially considering its two-part construction and the conceptual nature of the album as a whole.  It would have made the perfect introductory track.  As track #8, however, “FEZ” feels more like a non-sequitur that comes out of nowhere, especially following two rockers like “Boots” and the Led Zeppelin-esque “Stand Up Comedy.”  Here’s a revised track listing that I think would have helped the album’s flow:

  1. FEZ-Being Born
  2. Get On Your Boots
  3. Magnificent
  4. Breathe
  5. Moment of Surrender
  6. White As Snow
  7. Unknown Caller
  8. Stand Up Comedy
  9. I’ll Go Crazy If I Don’t Go Crazy Tonight
  10. No Line On The Horizon
  11. Cedars of Lebanon

With this track order, there are two distinct halves to the record, with the “O Come Emmanuel”-based “White As Snow” functioning as the dividing line.  This track order would give the record two distinct peaks (“Breathe” and “No Line”), and both halves would end with slow songs (“Moment of Surrender” and “Cedars”).  Radical, I know, but I think the order works to give the listener more of a literary exposition-conflict-climax-denoument impression than the scattered original order.

Yup: With all that being said, I think the record is a solid one overall.  The good tracks are really, really good.  Originally, I thought “Magnificent” would the next great U2 song, following in the footsteps of “Pride,” “Where the Streets Have No Name,” and “Beautiful Day,” to name but a few.  But as I lived with the album, it wasn’t “Magnificent” that took the mantle, rather it was “Breathe.”  A song of hope (“Every day I / have to find the courage to / walk out into the street / with arms out / got a love you can’t defeat”) and defiance (“Neither down nor out / there’s nothing you have that I need / I can breathe”) and courage (“The roar that lies / on the other side of silence / the forest fire: / that is fear, so deny it”), “Breathe” is a rocker that I can easily play on repeat and not get tired of it.

“Magnificent,” while not holding up quite as well as I thought it would, is still a great song.  You want the trademark U2 sound?  “Magnificent” has it all: long, dramatic introduction; Adam’s rich, powerful, active bass line; The Edge’s signature echo; Larry’s driving drumbeat; Bono’s soaring lyrics about love; dynamic use of the stereo field; a wide open, spacious sound.  This is, perhaps, the most easily accessible song on the record.  That is, it would appeal U2 newbies (U2bies?) as well as longtime U2 die-hards.

The lead single, “Get On Your Boots,” got a lot of criticism, for reasons I can’t understand.  Listen to the song carefully: It’s “Vertigo Part II,” and I think that’s a good thing.  The texture, form, lyrical content (“Let me in the sound” is a perfect introduction to the artistic direction of this record) are all very similar to “Vertigo,” and that song rocked the house.

Hidden Gem: “Unknown Caller.”  This song is amazing, but it’s not for the uninitiated.  Like the record as a whole, this one took a little bit to grow on me, but after a while, and especially after seeing it live on the 360 Tour, I’m adding this one to the “Must Listen” list.  It’s a complex song, but the ambiguity reflected by the title is clearly represented in the music and lyrics.  What “accident” is Bono referring to?  Where is the protagonist?  We don’t know for sure, and I think that’s the whole message of the song.  It’s a conversation between the narrator and someone or something else (the devil?  his conscience?  an angel?) at some undisclosed, nondescript location.  He’s at a crossroads in his life and he’s searching for meaning.  This song could even be interpreted as a metaphor for the band themselves.  After such a long and distinguished career, U2 are at another crossroads.  Where do they go from here?  The uncertainty is never resolved: the song’s ending is harmonically open-ended, suggesting that there’s more out there for the protagonist (U2?).

Album Hero: Without a doubt, the hero of this album is Adam Clayton.  His bass lines on this record are simply amazing.  There is hardly a track on which Adam’s lines aren’t front and center.  His tone is big, thick, and rich, without being overpowering, providing the perfect foundation upon which The Edge and Bono can flourish.  Check out the chorus sections in “Breathe,” “Magnificent,” and “Unknown Caller.”  He give heft and gravity to the verses in “Get On Your Boots,” “Stand Up Comedy,” and “Cedars of Lebanon.”  30 years on, and Adam has never sounded better.

Must Listen: “Magnificent,” “Unknown Caller,” “Breathe,” “Stand Up Comedy.”

Overall impressions: This is a good album.  I wouldn’t go so far as to call it a great one, especially in light of some of U2’s other efforts.  But it’s a solid upper-midlevel record.  The way I see it, it’s definitely not for U2 newbies.  But for seasoned vets who know what to listen for, this one has got some good stuff.

Get On Your (concert) Boots

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As a long-time paying member of U2.com, I got access to the “Horizon” level of pre-sale tickets to U2’s concert tour this fall.  And now, I’m the proud owner of a pair of tickets to see U2 at Gillette Stadium on September 20th.  Section 107, thank you very much.

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They’re just a bit farther from the stage than I originally planned, but I didn’t have the $250 it would have cost for each seat in section 111 like I wanted.  Oh well.  The way I see it, these seats are just fine.  Just being able to see them again is enough for me.  This tour promises to be huge, and with the innovative stage setup and supposed 360-degree viewing angles, there’s likely not a bad seat in the house.

Get excited!!

March 2009 12 of 12

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It’s been a couple of months since my last 12 of 12.  But I remembered this month…and what a day it was!

img_0725 7:42AM  I don’t teaching on Tuesday or Thursday, so I slept in today.  Only until 6:30, however, because I had to drop off my car to get my oil changed and get the SRS light checked out.  Little did I know it would end up costing me much more than I intended to spend.

img_0729 7:43AM  Oreo’s used to the morning routine by now.  She got in her bed in the kitchen without me even having to tell her.  Note the look on her face that says, “OK.  Fine.  Leave me…again.”

img_0737 9:03AM  I rearranged my office again (for the 7th time…literally).  I’m trying out a new floorplan, with the desk against the wall.  It really opens up the space and makes the office seems quite big.  (And yes, that’s Optimus Prime on my wall.)

img_0734 9:27AM  My new dry erase/cork board combination that I hung up on my wall this morning.  Now I can write and post notes to myself without having to scotch tape them to the lovely cinder block walls in my office.

img_0736 10:16AM  The view from my desk, while grading papers and listening to Pandora.  Man, I love Pandora.

img_0741 1:31PM  Taking a break from grading (and waiting for the Honda dealer to call me about my car), I practice a little piano.  I’m playing the celeste part for Copland’s Lincoln Portrait.  If you look closely, you can see that it’s very simple part that oscillates on an E major chord for 10 measures.  Ah, my kind of accompanying.

img_0745 2:56PM  The Honda dealer STILL hadn’t called me.  I was getting frustrated.  They called me about 15 minutes later to tell me that my car needed a new battery, and that it would be done in an hour and cost me more than initially quoted.  Great.img_0749 3:14PM  Finally having a timeframe of when I’d get my car back, I scramble to finish my lesson plan for Theory 2: cadential and passing 6/4 chords.  Fun times.  (You can really tell it’s my office by all the U2 posters on the walls.)

img_0750 4:12PM  I run to the duplication room in hopes of picking up my Theory 1 Proficiency Exams before the Honda shuttle picks me up, only to find out Arlene left early today.  Great.  So I rush back to the Music office to try to make copies there, only to find that it’s closed early, too.  This is the view of the office from the outside of my mailbox.  I go into school on my off day and stay much later than I should, while others who normally work later than I leave early.  The irony of the whole afternoon was not lost on me.

img_0751 4:46PM  The Honda dealer finally picks me up and drops me off to get my car…8.5 hours later!!

img_0754 4:48PM  What was initially going to be a $30 oil change ended up costing me nearly ten times that much.  All to get the stupid SRS light to shut off.  It took the service department almost nine hours to figure out that my car needed a new battery.  *SIGH* I miss Proctor Honda in Tallahassee.

img_0753 4:51PM  I’m finally back in my car.  Notice how the SRS light isn’t on any more.  Not bad for $300.  Ugh.  What a day.

BONUS:

img_0757 11:40PM  The way I see it, regardless of how crappy my day went, it ended nicely, with my packing for FriendFest 2009 Part a in DC.  I’m driving to visit Mike, then going to Houston to see Xan and my parents.  And, yup, that’s a Guitar Hero guitar, packed and ready to rock!  Bring on the Expert level!!

My lament

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*SIGH*

U2 is in Boston tonight (Somerville, technically), giving a special not-so-secret-anymore Q&A/performance for a lucky 900 or so people.  Unfortunately, tickets to this event were not put up for sale and were only given away by local radio stations.  So close, yet so far.  It’s a bit frustrating, seeing as I’ve worked with their music so much these past two years.  In fact, I feel very confident in saying that I don’t think there’s anyone in New England, perhaps even the country, who deserves to get up close and personal with the band more than I.  Conceited and a bit self-centered?  Sure.  But I wrote a freakin’ dissertation on their music, so I’d like that counts for something.

Oh well…I’m trying to think positively.  The way I see it, I’m happy to think that, although I’m missing an opportunity to see them tonight, I’m eligible for pre-sale tickets to their concert tour this fall.  So, while the rest of the Boston area is waiting for tickets to go on sale on Monday, 30 March, I’ll already have my seats already reserved for their September 20th show at Gillette Stadium.  I just knew that being a U2.com subscriber would really pay off eventually!

U23D

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U23D is U2’s latest foray into the cinematic world.  It’s also a breakthrough film, as it’s the first live-action movie shot and presented in digital 3-D.  It was originally released last year, but since it wasn’t showing in Tallahassee (and the nearest theater with showtimes was four away, plus I was in the throes of getting my dissertation wrapped up) I didn’t get a chance to see it.  Luckily for me (and all the other U2 fans out there), it was re-released this week for a limited run at select IMAX theaters.

I drove down to Boston last night and checked it out.  It was, in a word, incredible, both from a U2 fan’s standpoint and from a general cinematic perspective.  The 3-D effects were amazing, like Adam Clayton was going hit my head with his bass or like I was going to trip over Larry Mullen’s drums.  More impressive than the actual 3-D, however, were the shots the filmmakers got.  Despite the venue being huge, the footage captured on film was quite intimate, with many close-ups of the band and crowd alike.  And the grandiosity of IMAX screen and digital surround sound really immersed the audience in the whole experience.  It was like we were at the concert, only we got better views of the band.

img_0710Pre-show snapshot, trying the 3-D glasses.

img_0711On my way out of the theater: one last shot of the fancy specs.

Watching the movie also reminded me of the power of music, not just U2’s, but music in general.  The concert footage was from South America, a place where English is not the primary language, yet the entire audience sung along to every word of every song of the show.  It was awesome.  And I’ve heard stories about many other rock bands experiencing the same thing.  The way I see it, the fact that non-English speakers can sing and scream and show along with songs that aren’t even in their native tongue reinforces the universality of music.  It’s an art form that knows no barriers, one that connects with people on basic, almost primal, levels.  That fact makes me proud to do what I do.

U2: No Line On The Horizon

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U2’s new album, No Line On The Horizon, hits US stores this week.  There’s been a lot of press about the release, and rightfully so.  Even if you don’t like U2’s music, or Bono’s politics (which shouldn’t even enter the discussion when talking about an album, but alas some “reviewers” have trouble compartmentalizing), U2’s relevance in the pop/rock genre is undeniable.  They are one of the all-time greats, with the financial and critical success to back up such a claim.  This entry is a review of the album, as well as a review of some reviews I’ve read.  Dozens of music critics from around the globe have contributed their opinions on the band’s new work.  I’ve had the opportunity to live with the record for almost a week now, listening pretty much nonstop.  And while those critics may have more experience with pop/rock music in general, I feel certain that no one outside U2’s immediate circle has worked more closely with their music than I over the past two years.  So, here’s my not-so-humble opinion.

First, allow me to start by saying that a proper album review shouldn’t be made without living with the album for a little bit.  A few days at least, as initial impressions tend not tell the whole story.  Unfortunately, a couple of reviews reveal that the writers spent very little time with the album, and even less time with U2’s history or the band’s catalogue.  Time Magazine’s Josh Tyrangiel, a music critic for the periodical since 2001 (that’s right, Josh, I “Googled” your ass) writes a pretty scathing review of the band’s latest studio offering, going so far as to say it’s one of the band’s worst records.  I have a problem with that contention, seeing as the album hasn’t even been released yet (by the posting date of this entry).  It’s tough to put this album at either end of the spectrum (“greatest thing since sliced bread” or “worst thing since nuclear holocaust”) because it hasn’t yet had a chance to live.  Give it a year.  If it “only” sells 2 million copies, then consider it a dud.  The way I see it, however, sales numbers don’t tell half the story.  By U2 standards, 1997’s Pop was an abject failure, managing “only” to go double platinum here in the US.  Yet, after some time, critics and fans alike have recognized some of the brilliance on that album.  “Gone,” “Please,” “Do You Feel Loved,” and “Staring At The Sun” are prime examples.  But I digress.  

Another problem I have with Tyrangiel’s review is that his opinions on U2’s catalogue are, well, not quite right.  While he is correct in saying that the band’s last two records, All That You Can’t Leave Behind (2000) and How To Dismantle An Atomic Bomb (2004) saw Bono and the boys return to their stadium rock roots with “an ease of sound” and radio friendly hits like “Beautiful Day” and “Vertigo,” I’m still looking for the “lightness of theme” that Tyrangiel identifies.  I really don’t see what’s so light about singing about the death of a father (“Sometimes You Can’t Make It On Your Own,” “One Step Closer”), mortality (“In A Little While), unjust house arrest (“Walk On”), or the African AIDS epidemic (“Crumbs From Your Table”).  What made those albums work so well, Mr. Tyrangiel, is the fact that such heavy topics were broached in songs with such an easy flow to them that they didn’t feel as heavy as their subject matter.  Even going to back to U2’s early years, Tyrangiel “ranks” October (1981) higher that the band’s debut, Boy (1980).  What?  “I Will Follow,” “Twilight,” “Out of Control,” “The Electric Co.”…enough said.  And Zooropa (1993) being on par with Achtung Baby (1991) in terms of “gotta-have-it” status.  Again: What?  Sorry, but …no.

Back to NLOTH…

No Line On The Horizon was meant as a transitional album, away from the “standard” stadium rock sound of the band’s previous two records.  And that’s exactly what Bono declares in the lead single, “Get On Your Boots,” with the lyrics “Let me in the sound.”  It’s an experimental record that’s fusing “old” U2 with new sounds.  I’m confused as to why Tyrangiel has “trouble” with the song entitled “Magnificent” (in my estimation one of the next great U2 tracks and a blow-the-roof-off-the-concert-venue track).  Yes, it is a “catchy, thunderous love song.”  And?  Is that supposed to be bad?  Again, Josh, revisit your U2 history books: songs like that helped make them “The Biggest Band In The World” (TM).  How is Bono’s delivery an “ambivalent growl” that sounds “less like a love song and more like a grievance”?  A “growl” would suggest anger or frustration; however, there’s nothing growl-like his delivery.  In fact, his voice sounds damn good in this song, especially considering it’s high in the vocal range.  What, did you miss his passionate exclamations of “Magnificent!” in the song’s intro?  Sorry if a high A4 isn’t passionate enough for you, Josh.

The biggest problem I have Tyrangiel’s review is his blatant, unbashed cynicism.  Dude, lighten up and listen.  I mean really listen: there’s a lot of good stuff on this new record.  And remember your U2 history (oh wait, you don’t know much of it): critics like yourself foretold U2’s demise after Pop was released and failed to make waves.  But then along came “Beautiful Day” and ATYCLB.  After this band’s storied career, making it as far as they have from humble beginnings in Dublin with admittedly limited technical skills on their respective instruments, are you so quick to dismiss this album and write off a Rock ‘N Roll Hall Of Fame band?

Even more shocking to me than Mr. Tyrangiel’s review was Darryl Sterdan’s quip in the Toronto Sun about U2’s “fading relevance.”  In his review, he chronicles the various stages through which pop musicians’ careers go.  Interesting concept, I’ll give him that.  That’s about all I’ll give him.  He writes, “[NLOTH is] getting plenty of attention–but not the same sort of attention as their previous discs.”  Oh, really Darryl?  Is that why U2 are performing five night in a row on Letterman?  Is that why this release is being hyped as one of the biggest of the year and already put in contention for next year’s Grammy Awards?  He goes on to say that the lukewarm reception to “Get On Your Boots” and the subpar performance at this year’s Grammy’s doesn’t “bode well for Horizon‘s prospects with the public.”  Oh, really Darryl?  Much like Mr. Tyrangiel, I should remind you of a little U2 history.  Let’s go back to 1991 and the release of “The Fly” as the lead single from Achtung Baby.  I recall that single didn’t light up the charts, either, but the album went on to become, arguably, the band’s best.  And yet, later in the article, Sterdan files AB under the “Misstep & Stumble” category.  Excuse me?  An collection that almost wins Album of the Year (to take nothing away from Eric Clapton, AB arguably should have won) is a misstep and stumble?  I’m confused: if selling more than nine million albums while creating a new sound is a misstep and stumble, what the heck is Mr. Sterdan’s definition of success?  Ah, the bitter smell of cynicism wafting from the north.

Next, I must quote, to get the full effect:

“As any music geek can tell you, there are several stages in the life of an artist. And every act that hangs around long enough walks the same path: Aerosmith, AC/DC, Bowie, Dylan, KISS, R.E.M., Madonna, Springsteen, and countless others. Granted, not all of them go through the stages in the same order or at the same rate. Some skip stages. Others repeat them. A few get stuck in one for most of their careers. But eventually, most get to where U2 now find themselves.  Of course, the band that blazed the trail — like so many others — is none other than The Rolling Stones. Now that U2 is catching up, let’s follow the line that the British rock gods drew — and that leads inexorably to the Irish icons’ limited horizons.”

Whoa, Darryl.  Easy there, killer.  U2 catching up to the Stones in terms of irrelevance?  First of all, the Rolling Stones are NOT irrelevant.  Neither is Aerosmith (they have a video game!), AC/DC (just released a kick-ass record), Dylan (perhaps the greatest lyricist of all time: a title like that bestows permanent relevance), Madonna (she forever changed the landscape of pop), or Bowie (perhaps has influence more pop musicians than anyone, directly  or indirectly).  The Stones  had one of the highest grossing tours of all time last time they circled the globe.  And while U2 have given credit to the Stones for influence, the two bands are hardly “inexorably” linked.  What sets U2 apart from just about every other band out there is their willingness to continually reinvent their sound–at great risk (see The Unforgettable Fire, AB, ATYCLB)–yet never seeming to fail completely, rebounding back into the stratosphere.  Darryl, I’ll tell you the same thing I told Josh earlier: lighten up, man.  And don’t be so cynical.  Just when you think U2’s lost it, they surprise you.  U2 irrelevant?  Couldn’t be further from the truth.  (Oh yeah, and don’t forget about a little trailblazing band from Liverpool.  I think they called themselves The Beatles.)

OK, this has gotten quite long, so I’ll keep my review brief.

No Line On The Horizon, U2’s 12th studio offering, is unmistakably U2, for both good and less than stellar reasons.  First, the subpar elements.  While there are some lyrical gems, there are some lyrical flubs.  At times, it sounds as if Bono was trying so hard to find the right words that when he couldn’t he went too banal, too whimsical. Also, I actually agree with Josh Tyrangiel when he says that the album “lacks a unified feel.”  This is particularly striking when compared to the two most recent records.  There are rockers like “Magnificent,” “Get On Your Boots,” “Stand Up Comedy,” and “Breathe,” along with slow burners like “Moment of Surrender” and “Cedars of Lebanon.”  What makes the album feel a bit fragmented, perhaps, is the ordering of the tunes.  It feels a little random, with little in the way of a flow or progression.  “Boots” and “Comedy” seem more suited for the beginning of the disc, while the intensity of “Magnificent” is more like a track 4 or 5 (think “City of Blinding Lights,” “Walk On,” or “Until The End Of The World”).

That being said, this album is a grower.  My initial reaction was lukewarm, but after spending some time with it, this one’s worthy of U2’s catalogue.  Highlights include: Adam Clayton and Larry Mullen–Their bass and drums, respectively, have never sounded tighter or held a better groove; “Magnificent”–a rousing love song that puts on display the driving rhythm section and Bono sounding as good as he has in years (I’m tellin’ you: this one’s gonna be the hit of the next tour); “Breathe”–featuring classic Edge minimalist guitar stylings and some fantastic breadth of sound that makes you draw in a breath as you’re washed over by the track; the intimacy and frailty reflected in “Moment of Surrender”.

There are plenty of reviews out there hailing NLOTH as U2’s best since AB.  I wouldn’t go that far: HTDAAB was more unified and ATYCLB represented a career renaissance.  NLOTH isn’t U2’s best, but it fits comfortably in the middle, which, taken in context, is not at all bad place to be.

Happy Birthday, Oreo!!

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Today is Oreo’s unofficial first birthday, ‘unofficial’ because I don’t know exactly what day she was born last year.  I know it was sometime in late January or early February, so I figured February 4th was as good a day as any.  I’ve had her for almost 10 months now, and I can’t imagine how empty my life would be without her, especially since I’ve moved up to Lowell.  Granted, getting up early to take her out in near-zero temperatures is not loveliest task to complete, but it’s a small sacrifice.  Here’s to many more birthdays in Oreo’s future!

In other news, I just found out I’ll be presenting at the IASPM-US Conference in San Diego at the end of May.  Woo hoo!  So, that’s makes two conferences in two weeks in May…I feel like I’m having deja vu, seeing as I did a conference tour two years ago.  No road trip for me this time, though, as the U2 Conference is in NYC from May 13-15, and the IASPM Conference is in San Diego from May 29-31.  Even though they’re two weeks apart, ain’t no way I’m driving to California from Massachusetts.  The way I see it, I’ll probably spend as much on gas and hotels along the way as I would on a plane ticket, so I’ll take the convenience of flying.