Pop proves that even the commonly believed worst U2 studio album is better than the best Backstreet Boys pseudo-attempt at music.
Critics and fans alike had problems accepting U2’s new direction on Pop. But, in reality U2 first experimented with the techno-pop-electronica feel on Achtung Baby [1991] and perfected it on Zooropa [1993]. Pop is simply an extension of the exceptionally popular Irish band’s new musical direction.
So what exactly is U2? A band hailing from Dublin, Ireland and having played together for now about a quarter of a century, U2 is a mix of rock, New Wave, and pop music. Lead by the quivering vocals from Bono, The Edge’s guitar, Adam Clayton’s bass, and Larry Mullen’s percussion the band has gone on to be one of the most famous in the world.
In 1981, listeners couldn’t have ever foreseen that U2 would go on to win a great deal of Grammys, sell millions upon millions of albums, and become a household name. That earliest album, Boy, was a post-punk attempt by a bunch of chums to be cool. But, the foursome really came into their own on 1983’s War. It wasn’t until 1987’s brilliant album The Joshua Tree that Grammy came a-knockin’.
As U2 matured, so did their music. 1988’s concert soundtrack Rattle and Hum was a step in the right direction. And, upon the release of 1991’s Achtung Baby the band was clearly a force to be reckoned with. Zooropa didn’t prove quite as accessible although I found it highly gratifying and to be one of my very favorite from the band.
With rock rhythms mixed with political overtones, U2 is massively appealing to a wide population of people. I would go so far as to say that every music listener not stranded on a desert isle for the last twenty years has heard at least one U2 track. I would also bet that that the aforementioned track did not come from 1997’s Pop despite the fact that the album isn’t as bad as critics would lead you to believe.
Pop fuses the old U2 with a new, groovier U2 intent on using electronica to steer the songs. Some of the tracks heed to the constructs of the earlier balladry of The Joshua Tree that guided the album to success. Some of the other tracks modest attempts at dance. As a result of this dichotomy, Pop is a bit difficult to digest. I wholly appreciate it, but can’t possibly rank it among U2’s best.
Steve Osborne, of note for his work also with New Order and Suede among others, produced this strangely compelling album. His keen sense of clean production values surely helps to sell Pop. But, what I personally believe to be more notable are the songs that sometimes fans may at times forget neglect thus completely overlooking Pop.
One of the most appealing tracks here is certainly Staring at the Sun. The melody is gorgeous yet simple and the percussion sparse. Driven more by at times trite emotion and The Edge’s understated guitar, Staring at the Sun is one of the few songs on this album that resembles older recordings by U2. For this reason alone, it’s one of the easiest for non-fans to listen to. On the other hand, there are really other more worthwhile tracks on Pop that don’t get nearly the attention they deserve.
If You Wear That Velvet Dress is quite simply one of the most lovely tracks ever to be recorded by U2. Seething with emotion and passion, the track is somehow reminiscent of Lou Reed. Rather than piling on layer upon layer of electronic noise, U2 relies more heavily on ethereal and light sounds. There’s even an upright bass that is at times even more prominent than the guitars and drums. This is a must-hear tune.
Riding on the wave of anger and pain, Please is also a return somewhat to earlier musical constructs by U2. Although, with the jazzy, funk elements mixed in seamlessly with the band’s general rock instrumentation the song seems rounder and maybe even more appealing. Bono sounds as though he’s begging, pleading for the world’s ills to be dealt with.
Very atypical, Mofo is a techno track. It seems out of place on this album sounding more and more like Prodigy as the song progresses. It’s almost completely instrumental, totally electronic, and absolutely compelling. I don’t know that I’ve ever heard U2 sound quite this forceful…and I like it. Although, for people more accustomed to the band sounding a bit milder, Mofo would be a shock to the eardrums.
If God Will Send His Angels is an obvious plea to God to send his angels to right all that is wrong in the world. Persistently melodious, Bono has never sounded better. As the track progresses more and more musical elements are added and eventually the song becomes whole. Once again, the band put together a universally appealing song. I love it.
Honestly, the only tracks that I can find fault with are Miami and Gone. Miami lacks any direction and wallows around lacking a theme. Gone just isn’t special. No particular spark is apparent and not even a lovely piano can save the song from failure. In addition, you might note that I did not mention Discotheque as one of my favorite tracks. Why? Well, simply put it’s not that great a song. It is repetitive and boring and was allowed too much airplay for it’s own good.
So, in summary, yes I do like Pop. There are some major problems with a few of the tracks thus reflecting badly on the rest of the lovely songs. But, keep this in mind (for those with very short memories), Pop was actually nominated for Best Rock Album in 1998. Critics were just too harsh on U2 for the minor changes they made in recording the album. As a result of the issues I spoke in brief about, this album is worth 4/5 stars. It’s a must own for any U2 fan. For others looking to begin a U2 collection, begin with The Joshua Tree, Achtung Baby, and War and then follow up with Zooropa, Rattle and Hum and All That You Can’t Leave Behind. The only albums to avoid are those totally live ones. Only huge fans should invest their $15 in those discs.
Track Listing:
1. Discotheque
2. Do You Feel Loved
3. Mofo
4. If God Will Send His Angels
5. Staring At The Sun
6. Last Night On Earth
7. Gone
8. Miami
9. Playboy Mansion, The
10. If You Wear That Velvet Dress
11. Please
12. Wake Up Dead Man
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