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U2 Pop Wide Awake in America All That You Can ' t Leave Behind Vinyl Reissues( Island / Interscope)
U2’ s recent Songs of Innocence has its share of fans and detractors. Many in the latter camp fault the band for stretching into unfamiliar shapes and pursuing modern production at the expense of a long-forged identity. Consider, however, that the band made similar shifts for 1990’ s career-redefining Achtung Baby. It’ s worth revisiting Pop through a similar lens as well. Fans are now able to do just that, with a new double-LP reissue remastered onto heavyweight vinyl. The fact that Pop went platinum in the US and was called a commercial disappointment is a paradox. The hard-charging head rush of house-inspired single“ Mofo” found the band reveling in electronica and techno production.“ You know you’ re chewing bubblegum,” sang Bono over the dancefriendly groove of“ Discotheque.” Such spirited fun may have seemed lacking in gravitas for a band that had offered the weighty“ One” and“ I Still Haven’ t Found What I’ m Looking For,” but it can be argued that the band had earned a lighthearted moment.
A deeper dive into the material reveals songs of substance that stand up well over time, even when they’ re occasionally obscured by the adventurous sonics.“ Please” is U2 at its most yearning, lamenting unrest and violence at home in Ireland. The krautrock-influenced“ Gone” is anchored by the siren whine of The Edge’ s memorable guitar hook, while Bono’ s lyric takes a steely-eyed look at his own ambition and its potential for lasting emotional damage to himself and those
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around him. The shimmering psychedelia of“ Staring at the Sun” drew comparisons to Oasis and became a Top 40 hit.“ Wake Up Dead Man” was a plaintive( if sardonic) plea for Christ to return with mercy for a fallen world.
Wide Awake in America offers a souvenir of U2 in ascent toward becoming the band that mattered most in the‘ 80s, collecting two live tracks and two B-sides from 1984’ s The Unforgettable Fire album and its tour. The road show continued through 1985, with its apex at Wembley Stadium for Live Aid. The gem here is a show-stopping live version of the cautionary tale about heroin addiction“ Bad” that stretches to eight minutes, with crescendo upon crescendo and an undeniably impassioned performance by Bono.“ A Sort of Homecoming” takes flight as well, featuring Larry Mullen Jr.’ s hypnotic and polyrhythmic drumming. B-side“ The Three Sunrises” connects with the sound of Fire single“ Pride( in the Name of Love),” while being more propulsive and buoyant than the moody atmospherics populating much of the album’ s remainder. Featuring a rare solo by bassist Adam Clayton,“ Love Comes Tumbling” builds a bridge backward to War track“ Drowning Man.”
Following the subversive Pop, 2000’ s All That You Can’ t Leave Behind found U2 reclaiming their brand with the optimistic and anthemic lead single“ Beautiful Day.” Returning to the proven production team of Daniel Lanois and Brian Eno, sympathetic singles“ Stuck in a Moment You Can’ t Get Out Of” and“ Walk On” rang with the kind of earnestness that many felt characterized U2 best. The album sent U2 back atop the international charts and won multiple Grammy awards. The irrepressible surge of the hip-hop influenced“ Elevation” showcased The Edge’ s innovative guitar, although the album version lacks the slashing, descending guitar figure that would become the song’ s spinetingling apex in concerts and the“ Tomb Raider Mix.” The song also boasted one of Bono’ s slinkiest and most energized vocal performances. The remastering effort overseen by the Edge serves the material well, with clarity and bite. Larry Mullen Jr.’ s drums pop and punch, while Adam Clayton’ s bass rumbles satisfyingly in the gut during the winsome acoustic pop of " Wild Honey." The packaging includes an album-sized booklet of Anton Corbijn’ s photos from Charles de Gaulle Airport in Paris, establishing a stylish and modern tone altogether different from the crew’ s earlier and dustier sojourn into Joshua Tree National Park. Appearing 5 / 22 & 23 United Center, Chicago
- Jeff Elbel
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SARAH SHOOK & THE DISARMERS Years
( Bloodshot)
Sarah Shook and Bloodshot are approaching a zenith where like- minded label and artist are hitting their stride together, and audiences are in need of earthy, twangy and soulful country music as tonic for mid-term election angst and the daily baggage that goes along with it. Like Jason Isbell and Margo Price, Shook is a throwback to country music that was rebellious and dangerous. There has always been a cycle of Americana artists that carried the torch for the kids who were into country punk more than country anthems, and Shook represents the former. The onetwo punch of " Good As Gold " and " New Ways To Fail " show that Shook won ' t take any guff from her partners- whether they ' re a man or woman is open ended, and she ' s safe in her space of being feminine and masculine(" I need this shit like another whole in the head "). Her vocals are an interesting yoking of a wobbly Patsy Cline and Broken English-era Marianne Faithful, while her band barrels forward with the bluesy force of a horizontal rain. Years is stripped down and filled with melodic tremors like the cow-punk records from the ' 80s Slash records roster( Green on Red, Rank & File). The Disarmers are also better rehearsed and more focused than on their debut album( Sidelong), and Shook sings " I ' m gonna learn me my lesson and move on(" Lesson ") on Years." She ' s learning on the job and we ' re the lucky patrons. Appearing 5 / 4 Empty Bottle; 5 / 6 Bloodshot Label Showcase, Chicago
– John Vernon
8 red lyrics marinated in unrequited love,
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wit and northern English humor.
Enter David Gedge of the Wedding BURN THE PRIEST Legion: XX
( Epic)
Extreme metal frontrunners Lamb Of God’ s first incarnation, Burn The Priest, has resurfaced after 20 years to reintroduce its punk / hardcore / crossover foundation
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with the release of Legion: XX, featuring 10 cover tracks from the band’ s biggest influences. Covering genre stalwarts such as The Accused, Bad Brains, Cro-Mags, Agnostic Front, and more, BTP executes each track with pinpoint precision. Although Randy Blythe’ s vocals are a big part of LOG’ s sound, covering distinctive vocalists such as Ministry’ s Al Jourgensen on“ Jesus Built My Hotrod,” Bad Brains’ s H. R. on” I Against I” and Cro-Mags’ s John Joseph on“ We Gotta Know,” is a tall order to fill. Even though Blythe performs them well, his voice lacks the unique charm of the original singers. However, Blythe’ s aggressive guttural rasp is better suited for the pounding“ Kill Yourself”( originally performed by S. O. D.) and the chugging“ Honey Bucket”( originally performed by Melvins). Surprisingly, one of the best tunes here is Quicksand’ s sludgy“ Dine Alone.” BTP also cover the mostly unheard of fellow Richmondite punk band Sliang Laos on“ Axis Rot.” Although BTP isn’ t breaking any new ground on Legion: XX, it’ s a worthy nod toward LOG’ s punky past. Plus, it introduces younger modern metal fans to bands that they might not have heard of before. Appearing 5 / 25 Hollywood Casino Amphitheatre, Tinley Park –- Kelley Simms
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DAVID GILMOUR Live at Pompeii CD, DVD, Blu-Ray, LP( Columbia)
When IE interviewed David Gilmour in April 2016 ahead of three performances in Chicago, the former Pink Floyd guitarist teased the fact that he was returning to stage a concert at the ruins of the Pompeii Amphitheatre in the shadow of Mt. Vesuvius. His old band had staged director Adrian Maben’ s 1971 film Pink Floyd Live at Pompeii at the site, but Gilmour’ s shows were going to be different.“ This will be the first concert there with an audience since there were gladiators in that ring,” he said. By the time of the July 7-8, 2016 concerts, Gilmour’ s band of prime players was finely tuned. The guitarist’ s reputation for quality control was applied to both the audio and visual spectrum. Director Gavin Elder’ s new film features the music in high definition, and captures the sights in vivid color at 4k resolution. The dazzling presentation features Pink Floyd’ s famous cyclorama screen in addition to the requisite lasers and pyrotechnics. The show opens with the elegant instrumental“ 5 A. M.,” as drone cameras reveal an intimate crowd on the arena floor starlit with cell phone screens to capture the historical musical moment. The modern phenomenon draws a clear contrast between the new film and
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28 illinoisentertainer. com may 2018 |