SOS
Active topics
  1. I disagreed with the people calling SOS a cash grab and I still do strongly disagree but it is the business side of things that has really made this what I think is going to be seen as a big failure. Started during lockdown I believe, if they had just released songs regularly for a number of weeks and months and we ended up with 40 songs taking us from lockdown til whenever then I think a big deal wouldn’t have been made of it. It would have been something to listen to while we were all stuck indoors and eventually getting back to normal life. Instead the business side has came in and they’ve tried to think of a way of selling these 40 tracks in the most profitable way and tried to create attention when unfortunately the quality of the tracks doesn’t merit such attention. I don’t feel the need to get dramatic about it, it is what it is and the brand new material won’t be far away and a tour to support that so I don’t see the need to dwell on any negativity from SOS once it’s out there but I’m not really excited at all about the release now, just hoping there’s a few decent versions on there, probably the lesser known or played stuff will be the most likely to be the best.
  2. I can make out a quick “you” at the end of the song
  3. A U2 single released on my birthday,happy days🥳
  4. I'm still processing everything this new interpretation has. But I do know that I love it. And at the same time it leaves me wanting a bit more. A duality that the song naturally holds, and has for 36 years.

    But the power of this recording rests within its restraint. It's an artistic statement in itself to keep the lid on, to hold things back, especially RIGHT at the moment you want it all to explode in a cascade of catharsis.

    That's the whole point. If the ending feels abrupt, that's because it's supposed to. Well done, everybody...well, mainly Edge

    Keep the SOS tunes coming!
  5. Based on what I've heard so far (snippets + Pride/WOWY) - I have some excitement for SOS but not a ton. To me acoustic U2 just isn't very exciting - it makes U2 just sound like any ordinary band. For me what makes U2's catalog exciting and higher quality than other bands is the sonic details and experimentation, and how they've continually broke ground.

    AB wouldn't be AB with out the grittiness and that feeling of being in Berlin etc. Same with JT and the evocation of Death Valley

    Let me be clear - I love U2 - there's no other band I'd be hitting up a fan site for. And I appreciate anything U2 gives us at this point, including SOS, but nothing compares to the anticipation of NEW music (even if we never achieve the peaks again of the 80s and 90s)
  6. Originally posted by gujuju:Based on what I've heard so far (snippets + Pride/WOWY) - I have some excitement for SOS but not a ton. To me acoustic U2 just isn't very exciting - it makes U2 just sound like any ordinary band. For me what makes U2's catalog exciting and higher quality than other bands is the sonic details and experimentation, and how they've continually broke ground.

    AB wouldn't be AB with out the grittiness and that feeling of being in Berlin etc. Same with JT and the evocation of Death Valley

    Let me be clear - I love U2 - there's no other band I'd be hitting up a fan site for. And I appreciate anything U2 gives us at this point, including SOS, but nothing compares to the anticipation of NEW music (even if we never achieve the peaks again of the 80s and 90s)
    It really isn’t acoustic though right
  8. Originally posted by jnatzke11:I'm still processing everything this new interpretation has. But I do know that I love it. And at the same time it leaves me wanting a bit more. A duality that the song naturally holds, and has for 36 years.

    But the power of this recording rests within its restraint. It's an artistic statement in itself to keep the lid on, to hold things back, especially RIGHT at the moment you want it all to explode in a cascade of catharsis.

    That's the whole point. If the ending feels abrupt, that's because it's supposed to. Well done, everybody...well, mainly Edge

    Keep the SOS tunes coming!
    Agreed. I especially like the new guitar part and Bono finally going up the octave on "nothing left to lose..."

    All things considered I like this one a lot better than Pride.
  9. Not as bad as Pride but still pretty dull...
  10. I try to keep an open mind on these new versions every-time I take a listen but really struggling to enjoy this "new direction" as The edge calls it in his letter...

    I can't help but think they are taking this direction because Bono's voice simply hasn't the range anymore that it used to, which puts pressure on the older songs in terms of performance...

    Stll curious about the other remakes though...
  11. "Music allows you to time travel and so we started to imagine what it would be like to bring these songs back with us to the present day and give them the benefit or otherwise, of a 21st century re-imagining." The Edge

    Seriously? This is how they re-imagine "With or Without You" in the 21st century? Not sure what I've expected, but definitely not an 3mins snippet of the full song.
  12. It doesn’t really sound like a reimagining at all does it. I think so many of us are in agreement with that. Stripping a song down isn’t really reimagining it. The reimagined versions are when the band play the songs live and you hear the changes whether it be different solo’s slightly different guitar parts or Bono singing the song differently, I’m not as clued up on drumming but I’d imagine Larry varies things up from the studio versions too. It doesn’t need to be massive changes but put together it makes reworked songs. These aren’t reworked songs they are stripped back versions of songs.