SOE
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U2 - Summer Of Love
 Album:
Songs Of Experience (2017)
  1. Originally posted by Bloodraven:[..]
    I don't get this part... If it was indeed written by U2, then throw away, then taken back, they don't have to give credit at all.

    Same if the song was worked between the band and its producer, that's his job and that's what's supposed to be the norm, not the exception.

    If the song was written by someone else then they should give credit, like in Lights of Home they did and showed that they have no problem at all doing it.
    Could be different on Haim's end. Like U2 SAMPLED a recording, did they not? From a song that was actually already released, by the band, by the label etc. U2 had to give credit on that one. Ideas aren't copyrighted, meaning that even if U2 saw that video and Tedder had nothing to do with the album, they probably could've gotten away with using it as an idea because nothing had been done with it yet.

    Tedder bringing a "song idea" to the studio for the band to jump on and finish isn't the same as taking a finished song that's been released by another band/label and incorporating it into your own song.
  2. Originally posted by RattleandHum1988:[..]
    Could be different on Haim's end. Like U2 SAMPLED a recording, did they not? From a song that was actually already released, by the band, by the label etc. U2 had to give credit on that one. Ideas aren't copyrighted, meaning that even if U2 saw that video and Tedder had nothing to do with the album, they probably could've gotten away with using it as an idea because nothing had been done with it yet.

    Tedder bringing a "song idea" to the studio for the band to jump on and finish isn't the same as taking a finished song that's been released by another band/label and incorporating it into your own song.
    I don't think the problem is "legal", but more of a "moral dilemma".

    The thing is that the scenario you put in your second paragraph shouldn't be a moral issue, since that's what's supposed to happen and what happens all the time... It's not like they came up with The Unforgettable Fire on their own and Brian Eno just happened to be around by chance.

    The first paragraph you wrote? That would be a scenario where I could have a problem with, but not the other one.
  3. Having 9 producer's is a bit alarming are U2 that insecure they need so many to put out a decent album? Why couldn't Edge along with Lillywhite have just produced it because one of their regrets with Pop was too many chef's spoiled the broth .Having made so much money over the years has allowed them to bring in all these hit makers even a pub band would knock out something as good with those guys at the helm but overall the album is not on a par with JT or AB time will tell how it ranks among the rest of their records .I'd love to know how much they spent on hiring all these guys along with the other studio engineers and technicians you'd be lucky to get some change out of 10 million IMO.
  4. Originally posted by Bloodraven:[..]
    I don't think the problem is "legal", but more of a "moral dilemma".

    The thing is that the scenario you put in your second paragraph shouldn't be a moral issue, since that's what's supposed to happen and what happens all the time... It's not like they came up with The Unforgettable Fire on their own and Brian Eno just happened to be around by chance.

    The first paragraph you wrote? That would be a scenario where I could have a problem with, but not the other one.
    Right...

    So what's the problem? (I'm actually lost at this point in terms of what "U2Start" thinks of this.

    I've sort of made peace with it, but the other night when I listened to the album in full again this cropped up in my head when SoL came on. I hope that stops. Even if I am okay with it, I don't like knowing it and wish I had never found out. Even if you're definitely right about a ton of U2 songs probably being written this way, I can't think of another example that's been so blatant.
  5. We’ll probably never know exactly what happened but I believe 100% the band didn’t see the video and either came up with themselves and Tedder was borrowing it in the video we saw or Tedder came to them with it and said what about putting this into a song without making any mention of ‘west coast’. As Tedder is one of there producers he doesn’t need seperate credit for this just credited as a producer on the album which he was.
  6. I agree with both of you (rather not knowing myself, but anyway I'm pretty sure it was one of those scenarios)

    Half of what makes awesome All I Want Is You is the orchestra, and I don't think that was The Edge...
  7. Originally posted by deanallison:We’ll probably never know exactly what happened but I believe 100% the band didn’t see the video and either came up with themselves and Tedder was borrowing it in the video we saw or Tedder came to them with it and said what about putting this into a song without making any mention of ‘west coast’. As Tedder is one of there producers he doesn’t need seperate credit for this just credited as a producer on the album which he was.
    Really? I find that highly unlikely, especially since in Tedder's video you can clearly hear the vocal melody that Bono uses and the fact that "west coast" is a predominant theme.

    I think there are two possible situations:

    1. One Republic wrote the skeleton of this song, including the riff, the vocal melody for at least the chorus, and the "west coast" theme. It very likely wasn't about Syria at that moment, but "west coast" was still a focal point. The band didn't see it going anywhere, but Tedder loved it, and brought it to a U2 session to see if U2 could take it somewhere, and they did. Since we've no way of knowing, we could assume U2 wrote the lyrics to the song using the "west coast" motif, and wrote the verses, the bridge, etc. - but we can't know for sure.

    2. U2 had this song as a demo and didn't see it going anywhere, at which point they offered it to Tedder to see if HIS band could take it somewhere, and they couldn't, and so he brought it back to U2 who suddenly made use of it again after changing their minds.

    In Tedder's video, to me it sounds like a guy who's excited about an idea that his band just came up with, not that he's excited about an idea he just got from another band. He seems like the kind of guy who would've been up front about that, being that he's an industry producer. I think option #1 is what happened. We just have to decide how comfortable we feel with a U2 song having an inception that another band came up with, you know?

    EDIT: The All I Want Is You example to me is different because the song can (and does) exist without the orchestra. We're basically talking the ROOT of the song with Summer of Love. The riff, the "west coast" theme, and the vocal melody. If the song was played with acoustic and vocals, it would be the same thing One Republic had come up with.
  8. You could also make the argument that in this case, U2 was acting/writing like a hip-hop artist would. The producer provided the artist with the hook, the music, and the artist wrote the lyrics to it and completed the idea.

    The difference there is that rappers aren't always musicians, meaning they need producers to provide the music/beat for them to rap to. In this example, it was a band giving an idea to another band who's more than capable of writing their own music. That being said, U2 is also 40+ years old at this point, and there's a very good chance Summer of Love was just a better idea than one they had.

    Here's a question, what if Summer of Love kicked Book of Your Heart off the album and that WAS one written totally by U2?
  9. I’m more leaning towards that Tedder wrote it and brought it to u2 but again if thats Tedder’s idea and he is there producer then that is part of the production process and he has been credited as such. I’m sure producers come up with stuff all the time. As for your question I have no problem with that because for me Summer Of Love is a slightly better song.
  10. I don't have a problem with both scenarios you mentioned, even if I'm not totally comfortable with the first one (the hot dog conundrum, don't ask how it's made, just eat it).

    But I'm more inclined to believe it's the second one, combined with the first: they had something, didn't liked it, threw it away... Tedder figured out what to make with it, but in the end brought it back for the band to finish it.
  11. Originally posted by Bloodraven:I don't have a problem with both scenarios you mentioned, even if I'm not totally comfortable with the first one (the hot dog conundrum, don't ask how it's made, just eat it).

    But I'm more inclined to believe it's the second one, combined with the first: they had something, didn't liked it, threw it away... Tedder figured out what to make with it, but in the end brought it back for the band to finish it.
    I'd like to believe that too, but I feel like if U2 liked the idea that much they wouldn't have been so willing to give it away.

    Basically until someone asks the band how this song came about, we'll all be curious
  12. What really bugs me is the guitar riff... That thing is hipnotic, it´s awesomem it´s what makes the song what it is and it is somewhat clear that its inception had nothing to with U2