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Several photographs were considered as candidates for a single cover image, including shots of: a cow on an Irish farm in; the nude Clayton; and the band driving a, an East German automobile they became fond of as a symbol for a changing Europe. Ultimately, a multiple image scheme was used, as U2, Corbijn, Averill, and the producers thought that 'the sense of flux expressed by both the music and the band's playing with alter egos was best articulated by the lack of a single viewpoint'. The resulting front sleeve is a 4×4 squared montage. A mix of Corbijn's original images from Berlin and the later photo shoots was used, as the band wanted to balance the 'colder European feel of the mainly black-and-white Berlin images with the much warmer exotic climates of Santa Cruz and Morocco'. Some photographs were used because they were striking on their own, while others were used because of their ambiguity.

The group believes his intervention saved the album. Eno theorised that the band was too close to their music, explaining, 'if you know a piece of music terribly well and the mix changes and the bass guitar goes very quiet, you still hear the bass. You're so accustomed to it being there that you compensate and remake it in your mind.' Eno also assisted them through a crisis point one month before the recording deadline; he recalled that 'everything seemed like a mess', and he insisted the band take a two-week holiday.

By distancing himself from the work, he believed he provided the band with a fresh perspective on their material each time he rejoined them. As he explained, 'I would deliberately not listen to the stuff in between visits, so I could go in cold'. Since U2 wanted the record to be harder-hitting and live-sounding, Lanois 'push[ed] the performance aspect very hard, often to the point of recklessness'. The Lanois–Eno team used and a philosophical approach—popularised by Eno's —that contrasted with the direct and retro style of Rattle and Hum producer. Berlin sessions [ ] The band believed that 'domesticity [w]as the enemy of rock 'n' roll' and that to work on the album, they needed to remove themselves from their normal family-oriented routines. With a ' emerging at the end of the, they chose Berlin, in the centre of the reuniting continent, as a source of inspiration for a more European musical aesthetic.

Images of the band with Trabants, several of which were painted bright colours, appear on the sleeve and throughout the album booklet. These vehicles were later incorporated into the Zoo TV Tour set design as part of the lighting system. The nude photo of Clayton was placed on the rear cover of the record. On the US and sleeves, Clayton's genitals are censored with a black 'X' or a, while editions feature the photo uncensored. The label of the physical CD and vinyl record features an image of a 'babyface' by artist Charlie Whisker onto an external wall of Windmill Lane Studios. The babyface image was later adopted as a logo for Zoo TV Tour memorabilia and was incorporated into the album cover.

I guess I’ll go for the Super Deluxe since I don’t have any of the post-Joshua Tree U2 albums as original CDs, and that one comes with the bits that interest me: the albums, the DVDs and well, also some crap like those remixes but I can live with that I’m not interested in Bonos sunglasses, bloody badges and stickers I don’t care but I guess that box wasn’t made for me, was it?? At least these guys had some level of decency and crafted 2 different options or “levels” for their boxes, so I don’t have to get stuck with my only option being to pay about 500 bucks to get some sunglasses. I still can get the cheaper one with the discs only.

Whereas the group were known for their earnest live act in the 1980s, their Zoo TV performances were intentionally ironic and self-deprecating; on stage, Bono portrayed several characters he conceived, including 'The Fly', 'Mirror Ball Man', and 'MacPhisto'. The majority of the album's songs were played at each show, and the began with up to eight consecutive Achtung Baby songs as a further sign that they were no longer the U2 of the 1980s. The tour began in February 1992 and comprised 157 shows over almost two years. During a six-month break, the band recorded the album, which was released in July 1993.

Elysa Gardner of compared the layering of dance beats into guitar-heavy mixes to songs by British bands and. 'Mysterious Ways' combines a funky guitar riff with a danceable, -laden beat, for what Bono called 'U2 at our funkiest. Meets Madchester.'

The emergence of the scene in the UK left them confused about how they would fit into any particular musical scene. 'Buzzwords on this record were trashy, throwaway, dark, sexy, and industrial (all good) and earnest, polite, sweet, righteous, rockist and linear (all bad). It was good if a song took you on a journey or made you think your hifi was broken, bad if it reminded you of recording studios or U2.,,,,, the,,, and Insekt were all in favour. Became a conceptual backdrop for the record. The Berlin of the Thirties—decadent, sexual and dark—resonating against the Berlin of the Nineties—reborn, chaotic and optimistic.' —, on Achtung Baby U2 hired and to the album, based on the duo's prior work with the band on and The Joshua Tree.

Lanois was principal producer, with as. Eno took on an assisting role, working with the group in the studio for a week at a time to review their songs before leaving for a month or two. Eno said his role was 'to come in and erase anything that sounded too much like U2'.

Author Susan Fast said that with the group's use of technology in the song's opening, 'there can be no mistake that U2 has embraced sound resources new to them'. For the album, the Edge often his normally minimalistic approach to guitar playing and his trademark chiming, -heavy sound, in favour of a style that incorporated more,, and. Industrial influences and guitar effects, particularly, contributed to a 'metallic' style and 'harder textures'. Music journalist Bill Wyman said the Edge's guitar playing on the closing track ' sounded like a 'dentist's drill'. The Edge achieved breakthroughs in the writing of songs such as ' and ' by toying with various. The rhythm section is more pronounced in the mix on Achtung Baby, and hip hop-inspired electronic dance beats are featured on many of the album's tracks, most prominently '.

They chose to record at in, near the recently opened. Several acclaimed records were made at Hansa, including two from 's 'Berlin Trilogy' with Eno, and 's. U2 arrived on 3 October 1990 on the last flight into on the eve of. While looking for public celebrations, they mistakenly ended up joining an anti-unification protest. Expecting to be inspired in Berlin, U2 instead found the city to be depressing and gloomy. The collapse of the Berlin Wall had resulted in a state of malaise in Germany.

For the 20th anniversary of their landmark Achtung Baby LP, U2 have chosen to release approximately 273 (I may be exaggerating here) different versions of the inevitable reissue set; the Super Deluxe Edition boasts six discs of music and four DVDs, and that’s not even the most extensive set available. It begs the question: why Achtung Baby? After all, prior to the album’s 1991 release date, U2 had a bona fide discography to their name, and titles like The Unforgettable Fire and especially The Joshua Tree were immensely well-received.

In 2003, music television network ranked Achtung Baby 's sleeve at number 39 on its list of the '50 Greatest Album Covers'. Bono has called the sleeve his favourite U2 cover artwork. The German word 'Achtung' ( IPA: ) in the album title translates into English as 'attention' or 'watch out'. U2's sound engineer Joe O'Herlihy used the phrase 'achtung baby' during recording, reportedly taking it from the film. The title was selected in August 1991 near the end of the album sessions. According to Bono, it was an ideal title, as it was attention-grabbing, referenced Germany, and hinted at either romance or birth, both of which were themes on the album. The band were determined not to highlight the seriousness of the lyrics and instead sought to 'erect a mask' with the title, a concept that was further developed on the Zoo TV Tour, particularly through Bono's characters such as 'The Fly'.

The very title Achtung Baby strives for lack of significance and—just as insignificantly—the sleeve itself is not the usual single cinematic image of heroic import but rather a grid of snapshots evoking, if a little cleanly, the slapdash glory that was 's artwork for the '.' —Mat Snow, contrasting the title and artwork of Achtung Baby with U2's previous albums The sleeve artwork for Achtung Baby was designed by, who had created the majority of U2's album covers, along with Shaughn McGrath. To parallel the band's change in musical direction, Averill and McGrath devised sleeve concepts that used multiple colour images to contrast with the seriousness of the individual, mostly monochromatic images from previous U2 album sleeves. Rough sketches and designs were created early during the recording sessions, and some experimental designs were conceived to closely resemble, as Averill put it, 'dance-music oriented sleeves. We just did them to show how extreme we could go and then everyone came back to levels that they were happy with.

Amidst layers of distorted guitars, 'The Fly' and 'Zoo Station' feature industrial-influenced percussion —the of Mullen's drums exhibits a 'cold, processed sound, something like beating on a tin can', according to author Albin Zak. Whereas Bono exhibited a full-throated vocal delivery on the group's previous releases, for Achtung Baby he extended his range into a lower and used what Fast described as 'breathy and subdued colors'.

“Until The End of The World” • 2. “Who’s Gonna Ride Your Wild Horses* • 3. “So Cruel” SIDE C • 1. “The Fly” • 2.

“Mysterious Way” • 3. “Tryin’ To Throw Your Arms Around The World” SIDE D • 1. “Ultra Violet (Light My Way)” • 2. “Acrobat” • 3. “Love Is Blindness” 5 x 7-inch Vinyl Singles • 1. “The Fly” • 2. “Mysterious Ways” • 3.

DVD 1 – FROM THE SKY DOWN – a documentary DVD 2 – THE VIDEOS • 1. MYSTERIOUS WAYS • 3. EVEN BETTER THAN THE REAL THING • 5. ONE (Buffalo Version) • 6. ONE (Restaurant Version) • 7. WHO’S GONNA RIDE YOUR WILD HORSES • 8. THE FLY (Performance only) • 9.

'We're at a point where production has gotten so slick that people don't trust it anymore. We were starting to lose trust in the conventional sound of rock & roll—the conventional sound of guitar.

U2 Achtung Baby Lyrics

In 2002, Q magazine said the Zoo TV Tour was 'still the most spectacular rock tour staged by any band'. The tour's 27 November 1993 concert in Sydney was filmed and commercially released as by PolyGram in May 1994. • Assayas, Michka; Bono (2005). Bono: In Conversation with Michka Assayas. • Brothers, Robyn (1999). 'Time to Heal, 'Desire' Time: The Cyberprophesy of U2's 'Zoo World Order '. In Dettmar, Kevin J.

EDITORS’ NOTES On their first album of the '90s, U2 succeeds at a game few bands pull off—adding new elements to their sound without sacrificing the strength of their original musical vision. Producers Daniel Lanois and Brian Eno's electronic beats and impressionistic synths spin a new kind of sonic gold. The hypnotically groovy 'Mysterious Ways' and the surging ballad 'One' maintain the band's commercial credibility, while stranger, more experimental efforts, like 'The Fly,' offer a peek into their complex and intriguing dark side. EDITORS’ NOTES On their first album of the '90s, U2 succeeds at a game few bands pull off—adding new elements to their sound without sacrificing the strength of their original musical vision. Producers Daniel Lanois and Brian Eno's electronic beats and impressionistic synths spin a new kind of sonic gold.

With Elsinore located within walking distance of Bono's and the Edge's homes, the sessions there were more relaxed and productive. The band struggled with one particular song—later released as the B-side 'Lady With the Spinning Head'—but three separate tracks, ', ' and ', were derived from it.

Bullet The Blue Sky • 16. Running To Stand Still • 17. Where The Streets Have No Name • 18. Pride (In The Name Of Love) • 19.

They briefly returned to Berlin in January 1991 to finish their work at Hansa. Reflecting on their time in Berlin, Clayton called the sessions a ' and said, 'It was something we had to go through to realize what we were trying to get to was not something you could find physically, outside of ourselves, in some other city—that there was not magic to it and that we actually had to put the work in and figure out the ideas and hone those ideas down.' Although just two songs were delivered during their two months in Berlin, the Edge said that in retrospect, working there had been more productive and inspirational than the output had suggested. The band had been removed from a familiar environment, providing what they described as a certain 'texture and cinematic location', and many of their incomplete ideas would be revisited in the subsequent Dublin sessions with success. Dublin sessions [ ]. Bono in 1992 as his persona 'The Fly', a leather-clad egomaniac meant to parody rock stardom. He conceived this character during the band's 1991 recording sessions in Dublin.

U2 weren’t known for their ambiguity, but by 1991 they’d turned into a teenager: pissy, confused, quitting sports they were good. From Achtung Baby on, panoramic ballads sat side by side with mini-rebellions masquerading as “art,” peaking with 1993′s Zooropa, also included here, featuring Bono’s drag-queen falsetto on “Lemon.” Repackaging it all as a six-disc set (including remixes and alternate versions) is pretentious, extravagant, and romantic — U2, after all. 6 disc edition including the original Achtung Baby album, the follow-up album, Zooropa, b-sides and re-workings of previously unheard material recorded during the Achtung Baby sessions.

U2 Achtung Baby Youtube

He and Bono advocated new musical directions along these lines. In contrast, Mullen was listening to acts such as,, and, and he was learning how to 'play around the beat'. Like Clayton, he was more comfortable with a sound similar to U2's previous work and was resistant to the proposed innovations. Further, the Edge's interest in dance club mixes and made Mullen feel that his contributions as a drummer were being diminished. Lanois was expecting the 'textural and emotional and cinematic U2' of The Unforgettable Fire and The Joshua Tree, and he did not understand the 'throwaway, trashy kinds of things' on which Bono and the Edge were working.

U2: Into the Heart – The Stories Behind Every Song. McCormick, Neil, ed. • van Slooten, Johan (2002). Albumdossier: 1969–2002.

Zooropa and Best of 1980-1990 also being reissued on vinyl Surprisingly, despite the lavishness of ‘s 2011 reissue of Achtung Baby (five physical formats, including vinyl box, super deluxe and uber deluxe editions) there was no straightforward and affordable just-the-album-on-vinyl re-release of the 1991 long-player. That has now been corrected and a vinyl edition will be issued in July. Norseman wood heater instruction manual.

The initial recording sessions took place at Berlin's in late 1990 in a former ballroom. Morale worsened once the sessions commenced, as the band worked long days but could not agree on a musical direction. The Edge had been listening to electronic dance music and to bands like,,, and.

Until The End Of The World • 9. New Year’s Day • 10. Angel Of Harlem • 12. Stay (Faraway, So Close!) • 13. Satellite Of Love • 14. Dirty Day • 15.

But if it’s all the same to you, let’s collectively agree to assume that the reason the reissues of Achtung Baby are so exhaustive is because, quite simply, it’s U2’s best album. That doesn’t change the fact that Achtung‘s Super Deluxe edition is positively exhausting to listen to. Those two discs of remixes are an endurance test – even if the idea of stretching these songs into 8-minute rave parties appeals to you, mixes of “Mysterious Ways” and “Even Better Than the Real Thing” monopolize the lions’ share of time dedicated to remixes, to the point that a front-to-back listen to the entire set severely wears out the welcome of two of the best pop songs on the record. (For the record, the Perfecto Mix of “Real Thing” fares best, soaring gospel vocals driving home the “take me higher” outro, and the way the Tabla Motown Remix of “Mysterious Ways” transforms the shimmying grooves of the original into a slinky, percussive Peter Gabriel b-side is pretty fascinating, but they all bleed together eventually.) Fortunately, the other bonus discs do what bonus discs are supposed to do – they peel back the layers to provide an engrossing glimpse at the process of crafting the perfect final product. A disc-length collection of b-sides and remixes intrigues by unveiling a labyrinthine series of corridors that the band could have taken – “Alex Descends Into Hell For A Bottle of Milk” hints at a collision between the growling low-end of “The Fly” and the chiming, expansive riffing of “Until the End of the World”. The fascinating “Lady With the Spinning Head” comes the closest to sounding like it would have fit on the album proper; somehow, that’s not due to the fact that “Zoo Station”, “The Fly”, and “Ultraviolet” all spun off from this track, although it’s pretty mind-blowing to listen to it and pinpoint each musical cue that, eventually, splintered off into the foundation of a fully-formed song. (Over on one of the remix discs, an Extended Dance Mix of “Lady” draws these lines explicitly by pairing the track with the sinister “Fly” riff, and the genesis of the chord progression is fairly obvious.) “Salome”, all bass groove and blues guitar and canned handclaps hints at the Americana direction Rattle And Hum hinted at, but oddly-placed electronic effects make it just weird enough to work; “Oh Berlin” and its spoken-word verses takes the form of a wintry hymn of reverence, laying bare the titular city’s influence on the recording of Achtung Baby.

The leak shook U2's confidence and soured their collective mood for a few weeks. Staffing schedules led to the band having a surplus of engineers at one point, and as a result, they split recording between Elsinore and the Edge's home studio to increase productivity. Engineer Robbie Adams said the approach raised morale and activity levels: 'There was always something different to listen to, always something exciting happening.' To record all of the band's material and test different arrangements, the engineers utilised a technique they called 'fatting', which allowed them to achieve more than 48 tracks of audio by using a 24-track, a machine, and a synchroniser. The focus on capturing the band's material and encouraging the best performances meant that little attention was paid to combating. In issue 14 of U2's fan magazine Propaganda, Lanois said that he believed some of the in-progress songs would become worldwide hits, despite lyrics and vocal takes being unfinished.