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Found 14 results

  1. Obviously there's a LOT of great ones to choose from but I'm really curious to see what everyone thinks! I know that there are alternate versions of some of these available but these should be all of the main releases.
  2. suelifinoto

    Adoravel surprêsa!

    From the album: "All I want is you"

    Amei!!! http://suelifinoto-artes.blogspot.com.br/
  3. suelifinoto

    Genial suprêsa

    From the album: "All I want is you"

    Adorei a surprêsa invisível!!! http://suelifinoto-artes.blogspot.com.br/

    © http://suelifinoto-artes.blogspot.com.br/

  4. U2 are planning an arena tour next year, frontman Bono has confirmed. The Dublin rockers are excited about going out on the road to promote new album 'Songs of Innocence' but do not want to play vast outdoor spaces this time around. Bono told Absolute Radio's Christian O'Connell: "We're gonna be touring. We're gonna start next year. We're gonna try and play the O2 and places like that, more indoors that outdoors this time, but we'll see where it takes us. "It's exciting. We'll be coming your way and these songs are the songs that, I think... I think they will play themselves." The 54-year-old rocker - who has daughters Jordan, 25, and Memphis, 23, and sons Elijah, 15, and John, 13, with wife Ali - admitted it takes a lot for the group to tour these days and they will only do so if they are truly proud of their new material. He said: "Only if the songs are great can you bear leaving home. We all have families and mates and... so you know, you're looking for 11 great reasons to leave home and I think we've got them. "You know what it's like now, it's like a whole city goes on the road with us. Our kids go out on the road, they get excited about it. It's like... yeah, it's kind of a whole... Dublin goes on the road." From: Irish Examiner
  5. From the album: Me

    This is also *SOI*-inspired...Don't know exactly where it came from...So...There you go !

    © Chris

  6. pain_18_

    Late Autumn

    From the album: Me

    This is a drawing made under the inspiration I got after 2 months of constantly listening to U2's great New Album : Songs of Innocence !!!

    © Chris

  7. In the new issue of Hot Press (with the famous Dublin act on the cover), Olaf Tyaransen joins Bono, Edge, Larry and Adam on a two-hour flight, discussing the new album, the iTunes experiment, and everything else concerning the band on everyone’s lips. He finds the four in rare form, eager to discuss a record that many have ranked amongst the best of their long and decorated career. “It absolutely represents where we are,” says Adam of the album, “As a band that’s been around a long time. I’m always a little bit of looking back and trying to rationalize where you came from, but I think, in certain ways, it revitalised some of the things that made us.” For U2’s thoughts on technology, taxation and plenty more besides, pick up the new issue of Hot Press, on shelves tomorrow! Hot Press
  8. What's left to learn about U2 in 2014? Plenty, as it turns out – especially if you get a few days worth of intimate access to the band in three different countries. Here's the best of what didn't fit into the cover story, from the making of the new album to the secrets of Adam Clayton's jewelry. It's not unimaginable that U2 could still be around when the band members are in their 70s. "I don't know – if we're writing songs as good as these ones," says Bono. "I mean, I saw Leonard Cohen play Dublin, and he said, "The last time I was out on the road, I was 60. Just a kid with a crazy dream!'" Adds Adam Clayton, "When you're working up to 50, you think, 'Oh, maybe there will be some time where we can kick back and it can be slower, and we can enjoy life a bit.' And then when you kind of cross over the 50 mark, your thinking kind of goes, 'Oh, why would you want to stop? This is actually the best bit. We're really enjoying this, let's keep going.' And that's kind of odd, but I guess there's a reason why people like Paul McCartney and Elton John are still playing shows and making records." After spending years on Songs of Innocence, they recorded the acoustic version that's on the deluxe edition in about a week. For the band, it was a test of whether they'd met their goal for the album: writing songs that would work in the barest arrangements. "We had to go in and test the theory," says Bono. "I saw the Edge with his head in his hands, and he said, 'It's taken us three years to finish this album, and you're saying we have to do another album in a week?' I said, 'Edge, all the work over the last three years is going to mean that we can do it." He just went 'Ah!'" And he said, 'We can do it in a week. Will we put it out? We don't have to. Let's just try.' It got pretty frenetic at the end." The Edge doesn't think rock is dead. "I think it goes in cycles, honestly, and I think that we've just been through a particularly low cycle point for guitar-based music, and electronic dance music has been kind of the focus. But I think it's about doing something fresh and novel, and the problem is that with a lot of guitar-based music, the songwriting has not been great, and it's not particularly fresh, you know? I think the songwriting has been better in electronic dance music, weirdly enough. So inevitably I think people have drifted that direction. So I don't fear for guitar-based music long-term, I just think we need some better songs out there. And I like my music to be a little bit more defiant. There's not a lot of defiance right now. It's gone very mild and meek. It's nice to shake things up a little bit. Punk rock was not mild and meek, it was pretty in-your-face defiant." Songs of Innocence had some very different potential running orders. Says Bono, "It used to start with 'This Is Where You Can Reach Me,' which was always supposed to be the first song, and then 'Raised By Wolves.' And the reason we changed ... we put the songs first, is we thought, "Well, if we're going to have 5,000,000 people perhaps check us out, a really long intro is probably not a good idea. Let's put the songs first, like on The Joshua Tree." Bono loves the band Future Islands. "Have you seen them?" he asks. "That song, 'Seasons?' A miracle, that is." The car-bombing referred to in the song "Raised by Wolves" was a pivotal event in Bono's political awakening. "I asked myself, 'Why am I always writing about political violence? What's that all about?' OK, I live in Ireland. And then I thought back to 1974, to my near-miss with this car bombing, and the odds of that, and thought, "Is that part of the reason?" Through happenstance, I took my bike to school that day and I wasn't there. Any other Friday I would have been there. Is that why I'm interested? Maybe. And, you know, people like me should probably spend some time in a psychiatrist's couch, but I don't." Until the last two months of recording, "Raised by Wolves" was radically different. "It was quite a pop song," says Declan Gaffney, who co-produced it. "You know, Bono, when he writes melodies, he sings in a language called Bongolese, things that aren't really words right up until about a month or two before the record is finished. And then Bono came in with these dark lyrics, and we kind of felt that the music didn't really match the lyrics. So we tried to turn the music on its head, to match the lyrics. The band's biggest fear was seeing their new album ignored – which explains their controversial iTunes deal. "That's the hardest thing right now in music, is to get people to notice," says the Edge. "I'm just watching all of these albums coming out and realizing, 'Wow, they just came and went, and no one noticed.' We're not maybe as vulnerable as a lot of other artists to that phenomenon, because we do have a big, loyal fan base. But we're also always interested in finding new fans. And in this era, it just gets more and more difficult to sort of go beyond your fan base, because there's so many things in competition. When I was 18, music was the clear winner in terms of the kind of youth culture focus. Now you're competing against the whole world of gaming, technology, social networking. So I think music has to fight for its position and has to fight for attention. And I think this helps us for sure, but I think it also helps keep music in the conversation, on sort of the front page rather than page three, four, five, six, seven of the conversation." There are lines in "Volcano" where Bono's younger self is talking to his current self. "The second verse is, the younger guy goes, 'Your eyes were like the landing lights/They used to be the clearest blue/Now you don't see so well/And the future's going to land on you.'" It's this young guy going, "The fuck happened to you?" And on Songs of Experience, there will be a little bit more of that cross-talk, and I think that's going to get very interesting. So for a live show you can imagine Quadrophenia where Pete Townshend could walk in any minute and have an argument with his younger self. You know?" Bono initially imagined "Every Breaking Wave" as somewhat in the vein of Bob Dylan's "Every Grain of Sand." "'Every Breaking Wave' was Steve Jobs' favorite song," says Bono, "and he said, 'Do you have one like that?' And I said, 'I think so. At least we started one.' I might have even sent him the lyrics way back, like as soon as I started. And I wouldn't dare compare the two songs now, I'm just saying the idea was, could you just do a song that simple? Like you and piano? It was a song about how hard it is to give yourself completely to another person. And the two characters in it are addicted to failure and rebirth. I like the idea that they say to each other, 'Are we ready? Are we ready to be swept off our feet?" Adam [Clayton] was more like one of the characters in that song than I am. And then he went and got married! It took him to be 52 or whatever he was to be swept off his feet. And he got there." Larry Mullen might be too good a drummer. "My timing is pretty good for an old man," Mullen says with a smile. During the making of Songs of Innocence, one of the producers wanted to alter Mullen's performance to make it less perfect. "They basically said, 'We have to make it sound like it's live.' It's like, it is live! The idea is making it sound slightly out of time just in case somebody would think it's a machine. That gave me a lot of belly laughs, and also some restless nights. " Mullen doesn't mind being a dissenting voice in the band from time to time. "Some decisions are not welcomed, or aren't popular, but I'm not in a popularity contest. I'm in a band." The band is weighing a two-night structure for their 2015 tour. "There is talk of doing two different kinds of shows," says Clayton. "One night would be a kind of loud, explosive rock & roll kind of event and then the other night's show take the acoustic arrangements of some of the songs, and kind of present those songs in a much more intimate way. But we don't really know how that's going to sound and look." One thing the band hasn't figured out: how to make sure audiences understand in advance which show they're getting. The Edge went to Coachella this year. "The band that I liked at Coachella was Cage the Elephant. Their commitment to the performance really blew so much of the other stuff away. They really did own it in a way that few other artists did. Broken Bells were great, and Skrillex's thing was pretty cool. Pixies were on, that was good to see them. And I love Outkast. Some of the more strange hippie stuff wasn't that great. Neutral Milk Hotel, you know them? If you were sort of one of the faithful, you could sort of get excited about it. It didn't really have a universal appeal at all. And that might be its appeal." The band found the recording and songwriting process humbling this time. "We probably had 50 songs," says Bono. "Some would come and go in favor, and some you could get them halfway up the hill, three-quarters of the way up the hill. A lot of times, we just couldn't get them up to the top of the hill. And that was the humbling element. And there's some humiliation in realizing that your talent is just not up to the task. And then you realize, after that, no one's talent is. People who are smarter and more creative, more prolific than U2, stopped being able to get songs across after, 20 years, 30 years, and you don't know why. And I think the muse is a jealous lover, and you really have to serve and wait on her." Bono feels that the lyrics on Songs of Innocence are more accessible than anything he's written in years. "Edge was really worried about getting so personal, that it would appear nostalgic. But strangely, by being this intimate, it's much more relatable, because the last album's quite esoteric. There are esoteric themes – like in 'Moment of Surrender,' the guy falls to his knees in a busy street beside an ATM machine. People are saying, 'I haven't been able to understand you for years, but this I get.'" "'Esoteric' would be a good way to describe No Line on the Horizon," says the Edge. "It had a certain introspective darkness to it and I'm always going to be interested in the sort of darker, more melancholy musical mood. But we might have slid a little bit too strongly in that direction, and we wanted this record to be accessible to a wider range of music fans. I think the last record was very much a sort of U2 fan base record. I don't think we made a hell of a lot of new fans on that record. And with this album, I believe we can. And I fee; much more confident, for instance, that we've done this whole Apple thing with this album than I think I would have felt if it was No Line on the Horizon." Bono never liked it when people tried to compliment him by saying, "You haven't changed." "Things must change," he says. "I remember people would say, 'You haven't changed' — like it was a good thing. I was thinking like, 'What do you mean I haven't changed? I have changed!' And I want to continue to change — I want to continue to peel off the layers and if there's anything in this onion, I want to know what it is." Adam Clayton has had a jade bracelet stuck on his wrist since he was 21 years old. "I was given it when I was 21," Clayton says with a laugh. "And it's a women's size, and I can't get it off. My hand was a little smaller. And I actually really forced it on at the time. Because I was 21, and I was having a good time." From: Rolling Stone
  9. monica martino

    U2 Promo Tour

    On Sunday the 12th of October, U2 will appear on Italian talkshow Che Tempo Che Fa, hosted by Fabio Fazio. by Fabio Fazio.che tempo che fa‏@chetempochefa domenica prossima gli U2 a che tempo che fa 12:26 - 5 ott 2014 The show airs on Italian TV network RAI 3 at 8:10pm local time. Universal Italia contacted U2place.com saying that the band will play more than one song and due to the fact that the presence of the band has been confirmed only on friday night there's no time to plan and set up an outdoor performance and at this time also there are no more seats available among the audience due to the fact that audience is selected well before the show not considering the hosts.
  10. After U2, Interscope Records and Apple made the band's latest album Songs of Innocence available for free to 500 million iTunes customers, a spokesperson for the Grammys said that the group would not be eligible for the next Grammy Awards due to the album being unavailable for purchase before the September 30th cutoff. With that deadline quickly approaching, U2 have sent a limited number of vinyl copies of Innocence to retailers that will be available to buy on Tuesday's cutoff date, a source close to the situation tells Rolling Stone. A spokesperson for the Grammys tells Rolling Stone that once the record is available on Tuesday, the band will be eligible for the upcoming 57th Annual Grammy Awards on February 8th, 2015. "As long as the album, be it CD, vinyl or digital, is available commercially for sale to the public by our eligibility cutoff date at a nationally recognized retailer or website, then it's eligible for consideration," the spokesperson says. The group will release a deluxe edition of Songs of Innocence, with four additional songs, on October 14th, two weeks after the eligibility cutoff. It's unclear whether U2's label intended to distribute the limited-edition vinyl from the beginning of the campaign or if this is a reaction to the Grammys' original decision to render it ineligible for the upcoming awards. The band worked on Innocence for two years with producer Danger Mouse (a.k.a. Brian Burton) before bringing in Flood, their collaborator since 1987's The Joshua Tree, and Adele producers Paul Epworth and Ryan Tedder. To start, the band went back to their musical roots, soaking in punk rock, glam and post-punk icons like David Bowie, Joy Division, the Clash and the Ramones before recording more than 100 tracks. "We wanted to make a very personal album," Bono told Rolling Stone at the time of the release. "Let's try to figure out why we wanted to be in a band, the relationships around the band, our friendships, our lovers, our family. The whole album is first journeys — first journeys geographically, spiritually, sexually. And that's hard. But we went there." The group is planning on releasing another album entitled Songs of Experience, but has yet to set a release date. For now, the group is starting to think about translating the album to the road. "The tour is still in the planning stage so it's too early to describe what it will be like," says the Edge. "I think we will start small. We certainly can't get any bigger than the last tour." From: Rolling Stone
  11. In late 2010, U2 began recording a new album with producer Brian "Danger Mouse" Burton during downtime from their 360° world tour. They had little idea they were kicking off a four-year process, far and away the longest they'd ever spent on a single album. "The experiments and excursions we took with Danger Mouse at the start of the album recording were unashamedly unhinged and free of all critical judgement," says the Edge. via e-mail. "We were happy to suspend disbelief just to see where we could get to. Those early sessions were some of the most productive and fun U2 studio sessions I can remember." According to Bono, who spoke to Rolling Stone over e-mail, the group ultimately recorded about 100 different songs. "We had great fun getting lost in the creative process," says the U2 frontman. "The thing that propelled us to reach deeper and aim higher was a new appreciation of the craft of songwriting." But he wasn’t completely happy with the material produced in the early days. "We realized that some tunes are just better than others, some lyrics just more coherent, some soundscapes just more compelling," he says. "We found ourselves bored with material that just felt good or unique." The Edge felt the same way. "At a certain point, as the songs were coming into focus, we could see that certain qualities, hallmarks of our work where not represented," he says. "This meant we needed to go off and write some new songs and rework a few that were almost finished." Former Interscope Records head Jimmy Iovine served as the group's sounding board through much of the recording process. "When they first played me music I didn't hear songs that were going to include people that weren't U2 fans," he says. "I heard lyrics and ideas that could, but not songs." He told them they had to dig deeper: "I was straight up with them. I said, 'In order to make the record you want to make, you have to go to a place where you don’t live now. And it hurts. It's dark and painful, but you have to go there. Can you put yourself back in the place you were at 25 or 35 and the world was coming at you 100 per hour and you don't give a shit?'" In order to get there, Bono began writing songs about his difficult teenage years in Dublin and the music that changed his life, most notably the Clash and the Ramones. "I went back and started listening to all the music that made us start a rock band," he says. "It gave us a reason to exist again. That’s how this album started." Bono also attempted to simplify his songwriting. "We wanted the album to have songs that would stand up when played on acoustic guitars or piano," he says, "not relying on Edge, Adam and Larry’s atmospheres or dynamic playing. We’re putting out an acoustic session with the physical release to try to prove this point." At a certain point, Danger Mouse had to step away to focus on Broken Bells and his many other ongoing projects. "We took the opportunity to work with people like Ryan Tedder and Paul Epworth," says Bono. "[They] were equally strung out on the old fashioned notion of 'songwriting.'" Flood, whose tenure with U2 dates all the way back to The Joshua Tree, was also brought in to help. "It takes a village to make a U2 album," says Bono, "whether its The Joshua Tree or All That You Can’t Leave Behind, we have always needed all hands on deck." Eventually, the group found themselves with a collection of songs they felt stood up to their best work. "We had achieved a lot in terms of establishing a fresh perspective but we also wanted the album to contain some elements of what you might call the Big Music," says the Edge. "It’s a good sign that if you asked me what songs came together last I would really have to think about it. The album has a cohesion in spite of our strange process." With the end of recording in sight, the band turned to an issue almost as serious: how to make a big, U2-level cultural impact at a time when album sales are at a record low and rock radio is diminished. "We wanted to reach as many people as possible," says U2 manager Guy Oseary. "We brainstormed and brainstormed. Apple has hundreds of millions of iTunes accounts – giving it away just made sense." There have been reports that Apple agreed to pay $100 million or more in marketing, which a source close to the band believes is incorrect. "I have no idea where they are getting that number from," says the source. "I think it's wrong." The amount the band was paid directly by Apple remains even more of a secret. "There’s no such thing as a free album," says Bono. "It costs time and energy to make. It was free to people because Apple paid for it. It was their gift." ("There was a payment made to the label by Apple," is all that Oseary will say when pressed for more info.) Perhaps predictably, considering that the album went out to half a billion people, reaction to Songs of Innocence has been all over the map: everything from elation to curiosity ("Never really been a big fan, but that Songs of Innocence [is] kinda dope," said one tweeter) to bewilderment ("Either someone hacked my iTunes or I'm buying U2 albums in my sleep," wrote another) and even to anger. After the release, Apple received so many complaints that it put out a software tool that allowed users to delete the album from their iCloud accounts. But the band's camp points to the fact that 17 of U2's albums appeared in the iTunes top 100 chart in the days following the release. "There's not much rock in the zeitgeist," says Iovine. "So what the band were trying to do is defy gravity. And whatever tools you can use to do that, you should use." There’s also another album in the works called Songs of Experience. "Early on it became obvious that we were working on two separate albums," says the Edge. "The majority of the unfinished songs are worthy of becoming part of Songs of Experience and some are already as good or better then anything on Songs of Innocence. The Songs of Experience album will be released when it's ready. I hope it won't take nearly as long." Bono is unwilling to predict when the album will be ready. "As is obvious, I'm not very reliable on predicting release dates," he says. "Ask Edge." For now, the group is beginning to turn their attention to getting on the road and playing their new music live. "The tour is still in the planning stage so it's too early to describe what it will be like," says the Edge. "I think we will start small. We certainly can't get any bigger then the last tour." In the meantime, nobody with the band is apologizing for aiming high on the release of Songs of Innocence. "By this point, seven percent of the planet has gotten the album," says Oseary. "It might be too big, but we like to think big." Bono, when asked about the response to the record via e-mail, puts it even more simply: "If you don't want it, delete it. Here's the link." From: Rolling Stone
  12. It has been a whirlwind nine months for Guy Oseary since he took the reins of U2’s management after longtime manager Paul McGuinness announced his retirement last fall. That includes a Golden Globe, an Oscar nomination, a big Super Bowl campaign and the premiere of The Tonight Show in support of two songs that ultimately didn't make the final cut on Songs of Innocence, the history-making album that debuted to 500 million iTunes customers on Sept. 9. With lead single "The Miracle (Of Joey Ramone)" set to be featured in a massive media campaign from Apple, valued at $100 million by multiple sources, U2 has already scored arguably the biggest launch in music history. And it's one that's already fraught with a little controversy, from angry retailers to Grammy and SoundScan guidelines. Oseary, 41, rang Billboard on Sept. 11 to address the many questions about the launch, and what’s next (another album?) from this landmark deal with Apple. Songs of Innocence has already been touted as the biggest album launch of all time. How did you get to this point? U2 worked five years on this album, they poured blood, sweat, tears into project, and we were really confident with it. The goal was: how do we reach as many as possible? U2 first worked with Apple nearly 10 years to the day when they were sharing a stage with Steve Jobs and launching their iPod with many fewer accounts, and here we are 10 years later with Apple gifting this album to 7 percent of the planet. Many people are already calling the announcement “disruptive” in the same way that Jay Z’s deal with Samsung and Beyonce’s surprise album drop were also disruptive to traditional industry rollouts. While this news was significant for U2, how could other artists potentially benefit? Well first of all, when music becomes a piece of the conversation at an Apple event, that’s always a good thing. Two is, the power of music and the fact that it can actually be shared with 7 percent of the planet in one push of a button. That’s a pretty big concept. Any sort of innovation may inspire other people to do things that are innovative. We may see someone sitting with another manager, or another band going, "Hey, what can we do that's interesting maybe with our lyrics or our videos or something interactive with the ticketing to our shows?" That’s all, I don’t know where it’s headed, I just know that I’m always looking for the answers, for new ways to do things. That’s my job, my job is to try to not follow the lead. And there’s a lot of other people that have a lot of peers and bands that are in the community wanting to lead, and they’ll lead in other ways. And that’s what’s exciting to me. It’s not gonna be the same thing. But who knows where it goes? There’s endless possibilities to do things today with music and performance. Jimmy Iovine is a figure we didn’t see onstage Tuesday, but someone who has been closely linked to U2 for many years from his days at Interscope and now happens to be an Apple employee. What was his role in making this deal happen? Jimmy is part of whatever this band does, even in their personal lives. It’s a family. We look to Jimmy for guidance and support no matter what we end up doing, whether its this project or talking about the next single, or whether we’re talking about doing other things down the road. Talk about family, trips, things that we wanted to to do in our personal lives -- we’re really connected, we’re really supportive. Jimmy is near and dear to this band, he’s definitely a source of support and guidance. He’s a big part of the U2 family, and to myself personally -- whether I’m working with U2 or someone else, he’s always been a very supportive and dear friend. We consider him family and there’s been a lot of hand-holding together through this process. On Tuesday, Bono emphasized the fact that the band was paid by Apple for the album, and there's a reported $100 million ad campaign in the works, which may have ruffled some feathers of longtime fans who admire Bono’s humanitarian work. So, is there an altruistic component to this new Apple partnership? Apple's very private about their philanthropic work, but they've done a lot for (RED.) They've given $70 to $90 million to saving lives, and while I was at the event I counted two times where two (RED) products were actually promoted at the event. Bono also mentioned on Facebook that there’s a second album already in the can. What else can we expect from U2 and Apple? We're working on other things as well with Apple that have to do with how music is heard and innovation, with [iTunes VP of content] Robert Kondrk leading that charge. There’s a lot of things still to come that are really interesting. The band really wants people to engage with albums, they want them to support the art form of artwork and lyrics and video content and just get into their music in a much different way than an MP3 file. This is a long relationship. Some retailers are already up in arms about a five-week exclusive with iTunes. How will you make sure there’s still value to the commercial release when it arrives Oct. 14? There’s four brand-new songs, and Gary Kelly [interscope’s head of retail sales] can tell you there’s a bunch of acoustic versions of songs from the album, too. So it’s probably gonna be anywhere between nine or 11 songs that were not on the standard. Retail is important, too, we’re not trying to alienate anyone. We're just trying to reach our potential, and it happens to be with a company that is very forward-thinking. U2 is part of the Apple story, and Apple has played a big part in U2's life. It’s been a decade since U2 has had a true mainstream hit, so there’s a whole generation of music listeners who may just be discovering the band’s music. How do you convert them into fans without oversaturating them? As you can see from today’s iTunes charts, clearly people are digging back into the catalog to learn more about the band, with 16 albums on the iTunes charts. That’s a statement, that people are going, “Oh, let me learn more about this band.” I’ve seen a lot of tweets from kids who are 14, 15, 16, 18 who are going, “Wow, this is really good.” They didn’t know what to expect. That’s a great feeling, that maybe someone in their collection only has hip-hop, and yet maybe someone only has country artists, or someone in India doesn’t have any Anglo artists, and they discover U2 today. The one thing all these people have in common is U2 now. The one thing everyone on iTunes has in common today is U2 and a U2 album. It’s an amazing opportunity, even at this stage in U2’s career, to make new friends. You just gave away an album to 500 million people worldwide. How do you turn those free customers into album buyers a month from now? This is all new territory, but we have four brand-new songs and the deluxe is a killer package. And it’s early days. You can't look at the standard as one piece of this puzzle, you have to look at whether we reached as many as possible. Are people buying the catalog all of a sudden? And the answer is yes. By releasing a free album this week, you’ve missed some of the requirements for the Billboard as well as Grammy deadlines. So what’s the overall statement you wanted to make? Look, we just went with organic, genuine feelings of “Let’s share this album with as many people as possible” and then we know that there’s a lot of unknowns. And we accept the ups, we accept the downs, it’ll be what it’ll be, but we’re really happy with this week and historical launch. From: Billboard
  13. I guess it's the first interview of a member of the band after the release of the new album. It's a long one but it's worth to read it. Bono leans in to my face so our noses are almost touching, and he sings, unaccompanied, “Life begins with the first glance, the first kiss at the first dance, all of us are wondering why we’re here, in the Crystal Ballroom underneath the chandelier . . . We are the ghosts of love and we haunt this place, in the ballroom of crystal lights, everyone is here with me tonight, everyone but you.” It is sean-nós in shades. “I need to tell you something really weird about this song,” he says. “It’s called The Crystal Ballroom, which used to be the name of McGonagles in South Anne Street [now knocked down]. A whole generation of Dubliners would go to the Crystal Ballroom for dances, and many couples first met there. My mother and father used to dance together in the Crystal Ballroom, so that song I just sang you, which hasn’t been released yet, is me imagining I’m on the stage of McGonagles with this new band I’m in called U2 – and we did play a lot of our important early gigs there. And I look out into the audience and I see my mother and father dancing romantically together to U2 on the stage.” Bono takes a deep breath and, speaking slowly, says, “I have just realised that my mother died 40 years ago yesterday, and here we are today playing our new album about Dublin, which is about my family and what happened to me as a teenager. “My mother died when she was at her father’s funeral. She had a cerebral aneurysm. I was only 14. And in this song I am singing, “Everyone is here tonight, everyone but you.” And it’s me wanting to see my mother dance again in the Crystal Ballroom and for her to see what happened to her son.” All about my mother We are in a windowless room at Apple’s headquarters in Silicon Valley, in the California town of Cupertino. U2 have just helped launch a range of Apple products, and it has been announced that their new album, Songs of Innocence, is being given to iTunes customers. The Edge is here too. He flicks through his phone, finds The Crystal Ballroom and presses play. There is silence in the room as it plays. After a long pause a clearly upset Bono whispers, “Her spirit was with us today.” This new U2 album could be read as Bono’s All About My Mother. The song Iris (Hold Me Close) – Iris is his mother’s name – finds him singing about her untimely death. “The ache in my heart is so much a part of who I am . . . Hold me close and don’t let me go . . . I’ve got your life inside of me . . . We’re meeting up again.” Standing up and walking around the room, he highlights a lyric in the song. “I sing this verse which has ‘Iris standing in the hall, she tells me I can do it all,’ and then there’s a typical mother’s line when she says to me, ‘You’ll be the death of me.’ But it wasn’t me. I wasn’t the death of her. I was not the death of her.” “The mother is so, so important in rock music. Show me a great singer and I’ll show you someone who lost their mother early on. There’s Paul McCartney, there’s John Lennon. Look at Bob Geldof and what happened to his mother. “In hip hop, by contrast, it’s all about the father – being abandoned by the father and being brought up by a single mother. But for me it’s all about the mother. I had rage and grief for my mother. I still have rage and grief for my mother. I channelled those emotions in music, and I still do. I have very few memories of my mother, but all of them are in the song Iris.” Bono’s mother saw him sing on stage only once, before U2, but Bono has said that if he could relive just one moment in his life he would go back to singing in front of his mother for the first time. As a 14-year-old, Bono – then just plain Paul Hewson – had strained relationships with his brother, Norman (eight years his senior), and his father, growing up on Cedarwood Road, in Glasnevin, in north Dublin, after his mother’s death. With no mother, Bono would find himself knocking on the doors of his neighbours: the Rowens at lunchtime, the Hanveys at teatime. Derek Rowen would become the artist Guggi. Fionán Hanvey would become the musician Gavin Friday, of the Virgin Prunes. In the new song Cedarwood Road Bono talks about the cherry blossom tree in the Rowens’ garden. “I was looking for a soul that’s real. Then I ran into you, and that cherry blossom tree was a gateway to the sun.” In the Dublin suburbs of the 1970s, Bono says, the cherry blossom tree “seemed to be the most luxurious thing”. The Edge then pitches in, talking in some detail about Dublin City Council’s policy on cherry blossom trees. How he knows this I can’t imagine. Finglas, Cabra, the SFX Songs of Innocence sees U2 trying to reconnect with the teenage kicks of late-1970s Dublin and its new-wave musical scene, which centred around McGonagles, the Dandelion Market and odd forays to the SFX or out to the Top Hat, in Dún Laoghaire. “It’s us trying to figure out why we wanted to be in a band in the first place, the relationships around the band and our first journeys – geographically, spiritually and sexually. It was tough and it took years. Put it this way: a lot of sh*t got dragged up,” says Bono. With songs about Finglas, going to see the Ramones play at the Cabra Grand and taking the bus into College Green to see The Clash play at Trinity College, this album seems decades apart from their last one. And in a way it is. When Bono talked to The Irish Times around the release of No Line on the Horizon, in 2009, he took this reporter into the study of his Dalkey home, opened the windows and showed off his view of the Irish Sea, a vista in which no line was visible on the horizon – that day anyway. Ireland’s recession was going from bad to brutal, and a multimillionaire rock star was calling an album after the sumptuous view he enjoyed every day. But the image that went around the world this week from the Cupertino launch party was very different: a paper-clad vinyl album done up to mimic the look of the band’s first release, in 1979, the U2 Three EP. The Dublin bombings In 2009 Bono showed me art work Frank Sinatra had presented to him; today he is talking about Superquinn in Finglas (the first place he was asked for his autograph, after the band’s first Late Late Show appearance), about U2’s early support-slot date with The Stranglers at the Top Hat (“They treated us like sh*t, so we stole all their wine and swore to ourselves that when our time came we would treat everyone with respect”) and about taking the bus to Marlborough Street to browse in the Golden Discs shop there. This experience makes its way into the new song Raised By Wolves, a sort of Sunday Bloody Sunday for the Dublin bombings of 1974. “The bombs were set to go off at the same time on a Friday evening, at 5.30pm,” he says. “At that time on Fridays in 1974 I would have been at the Golden Discs shop in Marlborough Street, just around the corner from where the bombs exploded. But that day I had cycled to school so didn’t get the bus into town afterwards as usual.” But this is no nostalgia-tinted album. Bono also recalls the violence and the incessant beatings handed out to members of U2 and their friends in the Virgin Prunes. “I’m not really talking about the Black Catholics here so much as how we just attracted violence for the way we looked and bands we liked,” he says. “Gavin Friday used to get his head kicked in regularly. But then Gavin’s always had a stupid, big head. “Then I went a bit further and remembered all the violence meted out to women by their husbands, the beatings children experienced from their fathers and how, at that time particularly, priests were sexually abusing young children.” And there was musical self-loathing. When Bono was 17 or 18 he believed he had no hope of being in a band. “That was because I sang like a girl. I was never going to make it as a punk-rock singer or a rock-music singer with my girl’s voice,” he says. “But I found my voice through Joey Ramone, hearing his singing at a gig in Dublin. Joey has a sort of girl’s voice as well when he sang – and that was my way in.” Earlier in the morning, at the Apple launch, they had played the new song The Miracle (of Joey Ramone), which transported the tech heads in Cupertino, whether they knew it or not, to the Cabra Grand. ‘I wish we were a better band’ The self-loathing is still there. “The honest truth here is that I wish we were a better band. I wish we were a more talented band. The reason why this new album didn’t happen for us for so many years is because of this,” Bono says. The Edge teases it out. “As a band we were always either power or noise. But now U2 have so many grey areas. It’s no longer power, which is good, or noise, which is bad. You’ve got to know when it’s not happening with us, and the most destructive thing here is to almost get it right.” “It’s also the excruciating humility I have to go through these days,” says Bono. “The fact that I think we are incapable of greatness. And Jimmy Iovine, a former U2 album producer, said something hard to me. He said, ‘You’re a long way from where you live.’ And that hurt. I live in Dalkey but I’m from Cedarwood Road, and I know what he was saying about me when he used that line. It was really embarrassing for me to hear that. And that is precisely why this album is Dublin-centric.” Albums, money and tours: Bono on . . . The second album Bono says a sister album to Songs of Innocence, called Songs of Experience, will be released soon. “Over the next while we will be collaborating with Apple on some cool stuff, and Songs of Experience should be ready soon enough. I know I’ve said that before.” The bottom line Contrary to reports that U2 gave Songs of Innocence to Apple to distribute free, Bono confirms the band did receive money for the transaction. “We were paid,” he says. “I don’t believe in free music. Music is a sacrament.” The tour “We don’t have a firm start date for the next U2 tour, but it will be next year,” says Bono. “We need good ideas to go back out there live. Expect something new, something fresh.” Irish Times