Hawkmoon 269 - If you had picked up this album on vinyl upon it's release, this song would bring side one of the album to a close. Using heavy symbolism in his lyrics (nothing new for Bono) and driving the whole thing home with a hot blast of harmonica, Bono gets down and dirty in the trenches of desperate sexual desire here, and the band backs him up with big drums, thundering bass, and wild, screaming guitars. Bluesy, rockin, shaking, and shimmering all at once, Desire smolders and smokes like the subject of the song. All sexual tension and charged up R&B, Desire bristles and burns with what the title of the song suggests. 3.25ĭesire - This is the real start of the album. A good song in everyway, but nothing too special. The stark, barebones music and Edge's gentle, plaintive wail carry the song along nicely to it's final message of hope, and when it's over you feel like you have heard it before but don't know where. Ultimately a song about loss, justice, and the labor of life, Edge tackles lead vocals on this track while providing a simple melody from his instrument and blends the two together nicely to deliver what basically amounts to a live solo performance. But this is a nice, simple electric folk song of longing and perseverence. Van Diemen's Land - I have no idea who or what a Van Diemen is. You can tell this is not going to be business as usual U2 right from the start. But they make it through and change gears on the very next song. This performance is stiff, average, and doesn't sound much like an opener.
U2 never quite steal the song back for the Beatles, but they make it through with servicable competence. It's a shaky start at best, with the band following Edge's stiff opening riff with ploding bass and drums while Bono tries his best to live up to his opening statement. And with that Rattle And Hum kicks off with a live cover of the Beatles classic Helter Skelter. Helter Skelter - "This is a song Charles Manson stole from the Beatles. And this is the treatment that suits it best. Because that's exactly the kind of album it is. Neither a step forward nor a step back, and having little or no narrative to hang it's hat on, this reviewer is going to tackle the album track by track.
Not so much a cohesive album of songs as a collection of songs thrown together as best they can be, and produced by Patti Smith/Tom Petty/Stevie Nicks/Pretenders producer Jimmy Iovine, Rattle & Hum is an album of close calls, near misses, homeruns, and near failures. Part live album, part studio album, and exploring somewhat diverse musical stylings, Rattle and Hum is a disjointed and joyful mix of typical U2, atypical U2, and a band who isn't U2 at all. And with Rattle and Hum they set out to do just that. So now, having paid there dues and having made their record company a ton of cash, the former little band from Dublin that could had licence to do whatever they wanted to. And that something was they fell in love with American blues, gospel, R&B, and soul. But something interesting had happened to U2 in there journeys across America promoting their albums. Considered among many to be one of the top live acts in the business, and having toured extensively since the beginning of the 80's, a live album and film project was put in the works to close the decade. Having started out over 10 years before from humble beginnings and the city of Dublin, and having established themselves since that time as the biggest rock band on the face of the planet, U2 entered the latter part of the decade with five albums under there belt and a monster called The Joshua Tree to live up to.
The decade of the 80's was an interesting time for this band from Ireland who call themselves U2.
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