The gamecock. (Columbia, S.C.) 1908-2006, March 27, 1997, Garnet and Black, Page 13, Image 13
march[27]1997
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marcus amaker,
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ectacular in hi|
IjAsOn lyNeS
U|2 need no introduction,
countries, decades, genri
band have made more ti
:hemselves. They've made histoi
So how do you follow up history? How do you k
dow do you span generations?
Do it U2 style.
After countless, yet memorable, hit singles, albu
>ack into synch with Pop, a slightly eclectic, surpri
ilbum from the new kings of popular
nusic.
What're forgotten here are rules. Rules ^
hat say you can't use synthesizers on a
ock album. You can't have electronic
nusic and ballads back to back. You can't j
>arty down in a supermarket. ^ "
With this new work, U2 instead make
heir own rules. Never afraid to do their
iwn thing, U2 has put together a superb
ollection of musical genius - commonilace
for a U2 album.
The collection is led by the Pop radio pioneer, "
yith Village People references, hyped up guitars, w
nd the typical Bono whine, "Disco" takes rock to
heques and dance clubs, but rarely heard on mair
J2 goes, everyone follows, as "Disco" was heard on
lation wide.
Next is the highly catchy and bright "Do You Ft
inlike the other songs that head up Pop - twisty, sh
liscofunky. As I speak I'm singing the soft yet ling<
zel...loved? / do you feel loved?" Simple, styling, it'
light chill session or a high powered drive down tb
Versatility is thrown out the window with the la:
Mo-Fo." Obviously a slang abbreviation for a bad r
ites like a bad-ass and hurts like one too. Strong a
ill the air as insane air-raid sirens boom over a low
reaky, half-dead scratchy vocals limp along the hij
t's hard to keep up with how much ass this kicks.
bml the mighty mig
1EO uubMUlieb
let's face it
ItoM chaUMpI
Capitalizing on the rise in popula
music, with bands like No Doubt
Goldfinger, the Mighty
Mighty Bosstones have p
taken a step back JJte
from the hard rock of
1993's Don't Know
How to Party with their <1
new album Irt's Fart*
Songs like "The Rascal
King" and "Royal Oil" show
off the Bosstones' third-wave
ska background. But others ^^1
like "Another Drinking Song" *
"The Impression That I Get," which
?strung
collectio
The rest of the album is littered
Transcending ballads and traditional U2 fun. "If
and "Staring At the Sun," combint
ps. the Irish
lan a name for "^ast Night On Earth" and "Go
Horses" manner, like a whining, w
ry. everywhere.
:eep following up classics? "Miami," the album's only rottei
sound. The good parts take way toi
therefore ruin any relationship it m
ims and concerts, U2 pop resembles U2's older, more primiti\
singly refreshing new "The Playboy Mansion" satirize:
with
Coke
L 1 4-~ jaZZy.
i/ J uaru LU kcvu UU "it
/ ? 1 their
th how much ass this ^
kicks. "^
overs
Baby,
lit lounger, "Dress" seeps on in and
Discotheque." Complete "Please" is a bit too hard to desc
avy-gravy synth noise, track, and a lone Edge riff sprinkle
level common in disco- good song. But there's something rr
istream radio. But where "Please," making it a truly spiritual
strictly rock stations The collection retires with "Wa
slug-like lighter-licker. Bono's syntl
;el Loved?" This is not contrasting the clean, power-driver
louty, and all together obvious struggle that peaks and qu;
;ring chorus of "do vou and U2's new chaDter to dod histor
's a song for both a late Pop is not breaking new ground
e Las Vegas strip. adopted, used and abused. But U2
;t of the synth-strong, Bono can go from the "Last Night (
nouth slogan, "Mo-Fo" pleadingly on "Velvet Dress" and si
nd random techno beats He culd be a jazz singer, a disco dai
lead rhythm. Bono's wants to be - and to add that to U2
?h energy blast of a song. genius could bring any genre, any s
As if Pop didn't have its own thr
? received playtime on radio and MTV, blend ska
my and rock, creating a style that has mainstream
appeal.
This blend of styles was visible on Party, with
"Holy Smoke" and "Don't Know How to Party."
It was overshadowed, however, by the hard-rock
X of "Our Only Weapon," "Tin Soldiers," and other
songs. The toning down of their new album
doesn't mean that the Bosstones can't still rock.
The songs "Desensitized" and "1-2-8" exhibit the
rity of ska guitar-driven music style that made Party
jriL and Jh so popular.
Old fans of the Mighty
M Mighty Bosstones will
probably be annoyed with
H| the watered-down
ska or Lets race it. rans ot
J Party may be disappointed
F with the step back from hard
rock. But Let's Face It,
H powered by ska-rock blends like
"The Impression That I Get" and
Oa#;V "Noise Brigade," has the potential
p * for commercial success, putting the
^ and Mighty Mighty Bosstones at the forefront
has Wr of the recent ska craze.
with slow, Iricky-hke T
God Will Send His Angels"
; for a 1-2 punch, delivering a
me" remember Achtung Baby in a "Wild
inding, jazzed-up freight train headed for
a spot, features a surprisingly uncatchy
o long to rear their beautiful heads and
lay have achieved with your ears. It
rt "Sunday Bloody Sunday" work.
> modern culture in a way only U2 can,
strategic references to plastic surgery,
, U.J., and or course riayooy, all Denind a
blues-like coffeehouse flavor.
You Wear That Velvet Dress" is perhaps
lost genius song this year. Slow, subtle,
oft-spoken, "Dress" opens with Bono's
deep whispering hum, on top of a slight
itic picking. Soon Bono's sweet vocals
i to escape the hole it's in, but is soon
hadowed by another nod to Achtung
the chorus-effect guitar. For the candlemay
never again seep out.
ribe. Funky beats, a traditional Bono vocal
the song, combining for <Surprise!> a
lore. A bit too much soul inhabits
experience.
ke Up Dead Man," a deep, strong, and
red vocals whine, complementing and
r guitars. Bono's voice characterizes the
ickly dies, ending the song, the album,
y.
Many of these styles have been tried and
just does it better than everywhere else.
Dn Earth" power-plug to whining
nging valiantly on "Staring At the Sun."
acer, a pop icon - he can be whatever he
's awe-inspiring pop smarts and musical
ong, any lyric to life,
iving, breathing, pulsating, popping life.
w
sCV