I can not believe that none of you mentioned Brian Eno's production on this album. Personally I love War, and I love Eno's work with Talking Heads and solo work. I found the intersection of Eno and U2 to be disappointing. What I like about earlier U2 was a rougher, less polished sound. Joshua Tree was too produced for me.
We probably would have discussed the production more if we did The Unforgettable Fire, where the ambient sound is more pronounced. I still prefer the raw, visceral sound of Boy. Don't forget about Eno's excellent work with Bowie!
I like Eno’s production a lot on this album. That being said, I had 600 words to work with and a lot to say. But thanks for mentioning it. Eno has an incredible body of work
This is a personal issue I have with myself. I love and respect Eno, but I feel he led U2 astray. In the panel's comments, there was a recurring theme about U2's development as a social cause. I wonder how much the musical sound and the social image were related. Maybe I have been blaming Eno when I should be blaming U2...
It’s probably a safe bet that by the time TJT was released in 1987, there wasn’t a producer on the planet that could tell U2 what to do. So if you have to blame, your probably right that you should blame the band
How the heck can Don justify giving 2x for this being a hard sell - and how the heck can the rest of you let him get away with this. Over 25 million copies sold, album charted and is certified in nearly every country, half the songs charted as hit.....this is quite possibly the easiest sell you guys have reviewed. I suspect some type of quid pro quo or other shenanigans with this one - something smells rotten and it’s not the fish in Rathfarnham. Biggest scandal since that Quiz Show they made the movie out of.....booooooooo!
As the others know, I think the points are silly. But maybe I’m wrong. Perhaps. I liked how Ken put it out there with TJT. Not the “coolest” U2 album. So I appreciated his sell.
Let's be honest here: Big U2 is always watching and has thousands of lawyers and lobbyists on retainer. Most people feel the same way that I do about TJT but are afraid to say so, out of fear of being blackballed in the industry or not getting free sub-par albums on their iPhones. I've heard from prominent industry people (through secure channels) that my opinion is absolutely correct. I won't be cowed by Big U2 AND I CAN SEE SEE THOSE FIGHTER PLANES!!!
But it is deniable - whether or not it is “great” is a matter of personal opinion - three of you said it’s great but Mitch said only good, and his review substantiates his rationale as well as his preference for their earlier work. Ultimately with Mitch it’s a moot point. As much as he loved U2 back in the day, so have it on good authority that he only listens to U2 one day each year - which is more than I can say for myself.
I was obsessed with U2 in high school (and may have touched my tv and cried with Bono slow danced with that girl at Live Aid) but turned on them when "The Unforgettable Fire" became too commercial for me. In 1987, I was a sophomore in college and had my first apartment with a roommate who came home every. fucking. day. to play "The Joshua Tree" at full blast over and over again. I don't have fond memories of that album at all even though I know it by heart. She was out of town when they played the Garden and I heard from a friend that U2 was staying at the Four Seasons. So I camped out in front of the hotel with the album hoping that one of them would autograph it. To pass the time, I was reading the Boston Globe when two limos rolled up. Adam and Larry went directly into the hotel but The Edge and Bono came over to me. I swear there were no other fans around! Anyway, they signed the album for my roommate but then Bono noticed I was reading the Globe and asked if he could read the concert review from the night before. He and Edge read it, commented on it, and then signed it. Bono hugged me (my personal Live Aid moment?) and went into the hotel. It was crazy! Anyway, that's my "Joshua Tree" moment. I agree with Chris Davis about Brian Eno ruining U2's music for me! But they were super nice and not jerk rock stars.
Not sure if it was on “Rattle and Hum”, but as a long time blues fan, all I had to hear was the legendary BB King giving high praise to Bono, and the band, for the deep meaning and relevance of the lyric to himself, and others, in “When love comes to town”, to legitimize my hopes for what this new band would become.
I too have felt ambivalence over the years with the Uber celebrity of Bono, and what It may have done to objective assessment of the band and its’ music over the years, but one can not argue with the Joshua Tree album, and its capturing the souls of a new generation of rock fans, with It’s ground breaking Dublin rythems backing the story and feeling of the new day.
I saw B.B. King in Worcester, MA (the Gregg Allman Band opened) when I was about 15-16 years old. He is an incredible performer and I agree with you...when the King praises you, you must be good! Thanks for the comment.
I can't get past CJ dissing "One." Achtung Baby is a masterpiece and "One" is the centerpiece. And Joshua Tree is incredible as well. And the fact that one band put those two albums out in fairly close proximity considering, says everything about U2. Not many bands can reinvent themselves and absolutely nail it. But back to Joshua Tree. I never diminish an album based on how popular it became. I remember being in high school and listening to this non-stop. I would argue that every song is great - zero filler. My 3 favorites are probably 'Streets,' 'Running to Stand Still,' and 'One Tree Hill.' My 'least' favorite has always been 'Bullet.' - but I think it's a strong song for sure. I just can't find any flaws with Joshua Tree.
BTW - I also love the earlier albums and I put "The Unforgettable Fire" right up there with their best. Now, I'm going to go listen to 'One.'
At the risk of alienating two passionate fan bases, I'm going to make an analogy here. "One", to me, is like a lot like many latter day Stephen King novels. (And I'm a much bigger King fan than I am a U2 fan.) Both are so earnest and try so hard to be deep that, as a fan, you wonder why somebody on the team didn't raise their hand and say, "Umm...aren't we forcing the issue a little here?" The stanza that epitomizes that wasted effort in "One" is:
Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus
To the lepers in your head?
Talk about a tortured metaphor. It's akin to King reviving the character of Danny Torrance in "Dr. Sleep" and then spending 500+ pages of flimsy plot lines just so Danny can have some closure with his father (last seen frozen to death in the topiary maze).
Not only that , but Bono sings the word "one" as "hwwww-onnnne". And I just can't have that.
All that said, it's a beautiful Friday afternoon. So, I'm gonna go listen to "Two Hearts Beat As One" and read "The Stand."
Well done. I still don't agree, but very well framed argument. I happen to be listing to "Love Rescue Me" (totally by chance by the way) - but let's not get into Rattle & Hum, which is very underrated...damn I said I wouldn't get into it. Have a great Friday!
CJ throwing shade at "One" shouldn't surprise me, but for some reason it still leaves a bad taste in my mouth.
Overproduced. Overindulgent. Overwrought.
I can not believe that none of you mentioned Brian Eno's production on this album. Personally I love War, and I love Eno's work with Talking Heads and solo work. I found the intersection of Eno and U2 to be disappointing. What I like about earlier U2 was a rougher, less polished sound. Joshua Tree was too produced for me.
We probably would have discussed the production more if we did The Unforgettable Fire, where the ambient sound is more pronounced. I still prefer the raw, visceral sound of Boy. Don't forget about Eno's excellent work with Bowie!
I like Eno’s production a lot on this album. That being said, I had 600 words to work with and a lot to say. But thanks for mentioning it. Eno has an incredible body of work
This is a personal issue I have with myself. I love and respect Eno, but I feel he led U2 astray. In the panel's comments, there was a recurring theme about U2's development as a social cause. I wonder how much the musical sound and the social image were related. Maybe I have been blaming Eno when I should be blaming U2...
It’s probably a safe bet that by the time TJT was released in 1987, there wasn’t a producer on the planet that could tell U2 what to do. So if you have to blame, your probably right that you should blame the band
How the heck can Don justify giving 2x for this being a hard sell - and how the heck can the rest of you let him get away with this. Over 25 million copies sold, album charted and is certified in nearly every country, half the songs charted as hit.....this is quite possibly the easiest sell you guys have reviewed. I suspect some type of quid pro quo or other shenanigans with this one - something smells rotten and it’s not the fish in Rathfarnham. Biggest scandal since that Quiz Show they made the movie out of.....booooooooo!
Like the Grateful Dead, EONS is a leaderless organization that thrives on avoiding conflict.
We certainly don’t want to know which one of you is wearing the short shorts
"Picasso Moon" made its debut on 4/28/98 - Bobby fans are people too!
I like many Bobby songs....but Picasso Moon is definitely NOT one of them...guaranteed skip every time
I texted the Exec Committee and flat-out refused to accept the 2x. I was rebuked with extreme prejudice
As the others know, I think the points are silly. But maybe I’m wrong. Perhaps. I liked how Ken put it out there with TJT. Not the “coolest” U2 album. So I appreciated his sell.
Also the fact Mitch gave an undeniably great album only 1 star *proves* it was a hard sell.
Let's be honest here: Big U2 is always watching and has thousands of lawyers and lobbyists on retainer. Most people feel the same way that I do about TJT but are afraid to say so, out of fear of being blackballed in the industry or not getting free sub-par albums on their iPhones. I've heard from prominent industry people (through secure channels) that my opinion is absolutely correct. I won't be cowed by Big U2 AND I CAN SEE SEE THOSE FIGHTER PLANES!!!
But it is deniable - whether or not it is “great” is a matter of personal opinion - three of you said it’s great but Mitch said only good, and his review substantiates his rationale as well as his preference for their earlier work. Ultimately with Mitch it’s a moot point. As much as he loved U2 back in the day, so have it on good authority that he only listens to U2 one day each year - which is more than I can say for myself.
The old St. Patrick's Day playlist - U2, Van Morrison & The Cranberries day to shine!
I was obsessed with U2 in high school (and may have touched my tv and cried with Bono slow danced with that girl at Live Aid) but turned on them when "The Unforgettable Fire" became too commercial for me. In 1987, I was a sophomore in college and had my first apartment with a roommate who came home every. fucking. day. to play "The Joshua Tree" at full blast over and over again. I don't have fond memories of that album at all even though I know it by heart. She was out of town when they played the Garden and I heard from a friend that U2 was staying at the Four Seasons. So I camped out in front of the hotel with the album hoping that one of them would autograph it. To pass the time, I was reading the Boston Globe when two limos rolled up. Adam and Larry went directly into the hotel but The Edge and Bono came over to me. I swear there were no other fans around! Anyway, they signed the album for my roommate but then Bono noticed I was reading the Globe and asked if he could read the concert review from the night before. He and Edge read it, commented on it, and then signed it. Bono hugged me (my personal Live Aid moment?) and went into the hotel. It was crazy! Anyway, that's my "Joshua Tree" moment. I agree with Chris Davis about Brian Eno ruining U2's music for me! But they were super nice and not jerk rock stars.
What a great story! I hope your roommate appreciated the effort. Thanks for sharing that awesome tale.
Not sure if it was on “Rattle and Hum”, but as a long time blues fan, all I had to hear was the legendary BB King giving high praise to Bono, and the band, for the deep meaning and relevance of the lyric to himself, and others, in “When love comes to town”, to legitimize my hopes for what this new band would become.
I too have felt ambivalence over the years with the Uber celebrity of Bono, and what It may have done to objective assessment of the band and its’ music over the years, but one can not argue with the Joshua Tree album, and its capturing the souls of a new generation of rock fans, with It’s ground breaking Dublin rythems backing the story and feeling of the new day.
I saw B.B. King in Worcester, MA (the Gregg Allman Band opened) when I was about 15-16 years old. He is an incredible performer and I agree with you...when the King praises you, you must be good! Thanks for the comment.
I can't get past CJ dissing "One." Achtung Baby is a masterpiece and "One" is the centerpiece. And Joshua Tree is incredible as well. And the fact that one band put those two albums out in fairly close proximity considering, says everything about U2. Not many bands can reinvent themselves and absolutely nail it. But back to Joshua Tree. I never diminish an album based on how popular it became. I remember being in high school and listening to this non-stop. I would argue that every song is great - zero filler. My 3 favorites are probably 'Streets,' 'Running to Stand Still,' and 'One Tree Hill.' My 'least' favorite has always been 'Bullet.' - but I think it's a strong song for sure. I just can't find any flaws with Joshua Tree.
BTW - I also love the earlier albums and I put "The Unforgettable Fire" right up there with their best. Now, I'm going to go listen to 'One.'
At the risk of alienating two passionate fan bases, I'm going to make an analogy here. "One", to me, is like a lot like many latter day Stephen King novels. (And I'm a much bigger King fan than I am a U2 fan.) Both are so earnest and try so hard to be deep that, as a fan, you wonder why somebody on the team didn't raise their hand and say, "Umm...aren't we forcing the issue a little here?" The stanza that epitomizes that wasted effort in "One" is:
Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus
To the lepers in your head?
Talk about a tortured metaphor. It's akin to King reviving the character of Danny Torrance in "Dr. Sleep" and then spending 500+ pages of flimsy plot lines just so Danny can have some closure with his father (last seen frozen to death in the topiary maze).
Not only that , but Bono sings the word "one" as "hwwww-onnnne". And I just can't have that.
All that said, it's a beautiful Friday afternoon. So, I'm gonna go listen to "Two Hearts Beat As One" and read "The Stand."
Well done. I still don't agree, but very well framed argument. I happen to be listing to "Love Rescue Me" (totally by chance by the way) - but let's not get into Rattle & Hum, which is very underrated...damn I said I wouldn't get into it. Have a great Friday!
All opinions are welcome here, especially dissenting ones. We love debating music almost as much as we love listening to it. Enjoy your weekend!