MEMBERSHIP HAS ITS PRIVILEGES: U2'S "U22"

I'm not just a fan of U2, I'm a member of the fan club. I was a member back in the day when the fan club was called "Propaganda." My membership has occasionally lapsed over the years, but I always re-sign up when they have something cool, like this: U22. It's a 22 track live collection, taken from U2's 360 tour (which blew my mind).

The tour focused on their latest album, No Line On The Horizon, but by the end it was really leaning on Achtung Baby. I could never understand why they didn't put out a live album after Achtung Baby, it was such a great studio album that really translated live.

So I was glad that this collection has some of the best songs from that album: "Even Better Than The Real Thing" (excellent live), "The Fly" (one of my favorites, it's amazing live) and "Ultra Violet (Light My Way)," which was a highlight of the concert.

On the other hand, Bono mangled one of my favorite songs, "Until The End Of The World," by vamping on Frank Sinatra in the middle of the song, and singing a bit of it like Sinatra. Personally, I don't care about Sinatra (I know, sacrilege, sorry, but I don't).  It just took a really intense song (and one that hasn't had a great live version on CD)  and made it sound corny.

But on the other hand, "I Still Haven't Found What I'm Looking For" (which has had a few different live versions) got yet another new one: South African trumpet legend Hugh Madekela (a solo artist in his own right, he also played on The Byrds' "So You Want To Be A Rock And Roll Star?") joined them on the song, adding a completely different dimension to it.

What are some other highlights? "Magnificent" (similar to the version they did on The Rock And Roll Hall Of Fame 25th Anniversary Concert), "Stay (Faraway, So Close)," "One Tree Hill," "Beautiful Day," "All I Want Is You," "The Unforgettable Fire," "Zooropa," "Walk On," and their latest classic song "Moment Of Surrender." "Out Of Control" was a great touch also.

Is it worth the $50 annual subscription price?  Well, I'm not going to try to sell you on it, but I'll just say that the live collection is awesome.  If you're enough of a U2 fan to want to spend the cash, go here to join the fan club.

DEAR BONO: SHUT UP.

Dear Bono:

First off, let me get this out of the way.  I'm not a hater or a U2 detractor.  In fact, I have every U2 album. I went to see you guys on the Unforgettable Fire tour in April of 1985 and it blew my mind.  I've seen every tour since. I've stuck with you and also the band through everything. Lemons on the Popmart tour.  The Million Dollar Hotel. Spider-Man. Your well intended collaboration with Jay-Z and Rihanna. Everything.  Your music has always meant so much to me.

I've always respected the fact that you and the band have try to use your position to make the world a better place. Your reach may exceed your grasp, but still you try, and I love that. I don't mind that you have no problems with enjoying the spoils of your success, either. And I don't think that it makes you a hypocrite when you talk about working to eliminate extreme poverty. I've always been interested to hear what you have to say. I've always read interviews with you, and have been honored to interview U2 twice.

But some of the stuff you've been saying lately is ridiculous and insulting, and I'm calling you on it right now.

Apparently you told The Sun that "We've been on the verge of irrelevance for the last 20 years, dodged, ducked, dived, made some great work, I hope, along the way – and the occasional faux pas."  I'll argue the point that a lot of the music you've made in the past 20 years holds up to your first ten.  "Dirty Day," "Numb," "The Wanderer," "If God Will Send His Angels," "Gone," "Please," "Wake Up Dead Man," "Your Blue Room," "Staring at The Sun," "Beautiful Day," "In A Little While," "Stuck In A Moment," "Walk On," "Electrical Storm," "Vertigo," "Sometimes You Can't Make It On Your Own," "All Because Of You."  You created a second classic version of "One" with Mary J. Blige and brought "The Saints Are Coming" to a huge audience via your powerful collaboration with Green Day. U2's past 20 years have been more relevant than most bands at their peak.

This quote stings: "Whether we can play music for small speakers of the radio or clubs or where people are living right now, remains to be seen, we have to go to that place again if we are to survive." Yeah, I know you want to be played on the radio. What terrestrial radio channels play new music from a band that's been around for more than 20 years? Terrestrial radio is completely ageist. And of the bands they support, how many are actually good? Bono, what do you mean by "clubs and places where people are living right now?"  Are people who don't go to clubs anymore not "living"? Are they worth writing songs for? Your fans who went to see you on the Unforgettable Fire tour, the Joshua Tree tour, the Achtung Baby tour... and even the Popmart tour.  They're not "living right now?" They're working, and raising families and trying to make their way in the world. Are they really less important than people who pay tons of money to hear David Guetta or Deadmau5 spin records? (I'm not done - click below to see the whole letter.)

U2's 360 TOUR RETURNS TO NJ

Giants still walk the earth, and I'm not talking about a sports team.  Last night, U2's concert at the New Meadowlands Stadium was one of the best concerts I've ever seen. I've seen lots of U2 shows: I've seen every tour since 1985.  This may well have been the best one.

For the past twenty years, I've felt that the band have had a hard time aligning their two sides: the rootsy, earnest Joshua Tree guys and the edgier, darker guys who chopped that tree down with Achtung Baby. Put another way: their '80s material didn't always fit into their shows in the '90s, and then in the '00s, post-All That You Can't Leave Behind, it sometimes felt like the '90s material didn't totally make sense in their sets.  On the 360 Tour, everything seems to work. Their gigantic stage is a visual assault with both heart and mind. I saw the earlier part of the tour, and this time the show was even better.

Clearly, Achtung Baby was on the band's collective mind: they are about to release a 20th anniversary edition of that album, and they opened up with four songs in a row from the LP: "Even Better Than The Real Thing," "The Fly," "Mysterious Ways" and "Until The End Of The World." The songs sounded better live than they ever have: they've lost some of their techno sheen, replaced by a roaring garage rock sound. When those songs first came out, they sounded like a real departure from "rock" music, but last night they all sounded like stadium anthems.

Speaking of anthems: from there they went into "I Will Follow," which still sounds so fresh. I've never gotten tired of this song. It struck me that this must be so much fun on "Rock Band," especially on drums. Listen to this song, you'll understand why U2 should have been called The Larry Mullen Band. His playing is so cool, but he doesn't try and call attention to himself.  You notice it if you're paying attention.  Larry and Adam Clayton really held it down last night: Adam sounded more funky and aggressive than ever.  He's probably getting more girls than ever (Bono remarked that he still thinks that being in the band is a "great way to meet girls"). You can hear it in his playing.

It's the end of the tour, and they've dropped a few songs from No Line On The Horizon. But they did play "Get On Your Boots" (which doesn't really work for me, it always struck me as an attempt to repeat the similar but cooler "Vertigo," which they also played), the remix of "I'll Go Crazy If I Don't Go Crazy Tonight" (also didn't really work, but they segued into "Discotheque," which is a much better dance jam), and "Magnificent," which is a classic.

There were some of the colossal hits: "Pride (In The Name Of Love)," "I Still Haven't Found What I'm Looking For," "One," "With Or Without You" and "Where The Streets Have No Name." All were incredible as always.

On this tour, they've brought back "Walk On," one of my favorites.  They have Amnesty International volunteers on stage with candles in honor of recently freed Burmese leader Aung San Suu Kyi, (read more about her here). Aung San Suu Kyi addressed the audience via video after the song.  It's one of those powerful moments that U2 pull off so well.  Another moment was astronaut Mark Kelly's video intro to "Beautiful Day," where he floated flash cards with the lyrics before the song, and then quoted Bowie: "Tell my wife I love her very much: she knows." How could you not get a lump in your throat! Kelly read some of the lyrics during the song also. He is already home from his space mission, but still, wow. That moment could have overwhelmed the song, but it didn't.  "Beautiful Day" is that rare rock song about, well, beauty... but played with Zeppelin-esque power.  And last night's performance was righteous, as was the performance of its album-mate, "Elevation," which followed.  I know The Edge isn't a typical "guitar hero," his playing is so rocking while also being zen. Like Larry's drumming, you never feel like The Edge is trying to call all the attention to himself.

Some surprising '90s moments: "Miss Sarajevo" and "Zooropa," both of which were excellent. Bono even sang Pavarotti's part of "Sarajevo," and pretty much pulled it off.  He was in amazing vocal form, and of course, was incredible as a frontman (a great moment came when he read a setlist from a U2 show from The Fastlane, 30 years earlier).  Also, "Hold Me, Thrill Me, Kiss Me, Kill Me" from the Batman soundtrack was great, proving that not all of U2's superhero collaborations aren't disasters.  Although the folks at Marvel Comics probably weren't psyched that "Hold Me" made the playlist ("How about 'Rise Above 1?').

The show ended with No Line On The Horizon's "Moment Of Surrender." My opinion: it holds up with the band's best songs.  Check it out if you haven't.  It's a soul music classic.

And that's the way the show was supposed to end. But Bono says "One more!" And so it was that they launched into "Out Of Control." A song I've always loved and have never seen them perform in the 26 years I've been attending U2 concerts. It's amazing that they are still surprising me after all that time, both with old classics and with their ability to continuously add to their catalog, already bursting at the seam with an embarrassment of riches.

(a few other notes: the show was opened by Interpol, a very Joy Division sounding band, who are no match for Muse, who opened last time. The top photo here was taken by my lovely wife, and the second photo is by my dear friend Ashmi, follow her on Twitter.)

BEST ROCK ALBUM? GREEN DAY OR U2?

No Expiration is a NARAS member and Grammy voter, and this weekend, I've spent time on my ballot. One category I'm stuck in is Best Rock Album. My favorite albums that would be considered for this category were unsuprisingly not nominated: The Cocktail Slippers' Saint Valentine's Day Massacre, Rancid's Let The Dominioes Fall, The Dead Weather's Horehound and Muse's The Resistance. 

The nominees in the category, though, are AC/DC's Black Ice, Eric Clapton & Steve Winwood's Live From Madison Square Garden (which is disqualified from my ballot, many of the songs on the album are as old as I am, and some are older, you can't compare albums that came out this year to Blind Faith and Traffic), The Dave Matthews Band's Big Whiskey and the Groogrux King, Green Day's 21st Century Breakdown and U2 's No Line On The Horizon.

So, Clapton/Winwood is disqualified. While I respect DMB, I'm not a huge fan and their album didn't seem to make any kind of impact. I really dig Black Ice, but I really think the best of the bunch are the Green Day and U2 albums.

Green Day's album was a bit disappointing to me: it comes on the heels of my favorite album of 2008, Foxboro Hot Tubs' Stop Drop and Roll (Foxboro Hot Tubs are actually Green Day playing old school garage rock). And before that was Green Day's greatest album, American Idiot. But there are a lot of classics here, I love "Know Your Enemy," "21st Century Breakdown," "Peacemaker," "21 Guns" and especially "Horseshoes and Hand Grenades" which sounds like a Foxboro Hot Tubs song.

U2's album, as always comes with huge expectations, and at first I felt a bit let down. It has definitely been growing on me, and I now realize that "Moment Of Surrender" is one of their greatest songs. And there are other great songs: "No Line On The Horizon," "Magnificent," "Breathe," "Stand Up Comedy" and "White As Snow." One of the problems with the album is that they led off with a kind of weak single, "Get On Your Boots," which was like a second rate version of "Vertigo." And their performance at last year's Grammy Awards wasn't great (the live version they've been doing on tour is much better), and the second single, "I'll Go Crazy If I Don't Go Crazy Tonight" is also weak (the "remix" version that they were playing live was also better).

Tough decision: but a few years ago when I was doing interviews for VH1 at the 2004 Grammys, Bono himself told me that he was glad that they had won a bunch of Grammys (for "Vertigo") but that U2 would gladly step out of the way for another band -- he mentioned Green Day -- to get more acclaim.  There's room for everyone of course. Hmm, this is gonna be a touch choice.

BEST OF THE '00s: U2

At the start of the '00s, U2 were in a weird place.  In the early '90s, they reinvented themselves in as radical a way as any other rock band ever had. Going from the Americana-influenced ernestness of Joshua Tree and Rattle & Hum, they returned as jaded techno-fuelled rock stars who didn't take much seriously with Achthung Baby. On paper, it would seen like a disaster, but as we all know, it worked incredibly well.  (For a pretty amazing analysis of the album, check out the 33 1/3 series book that features the album).

Some may argue that they took that approach too far on Zooropa and especially Pop. Actually, I felt that Pop was a bit misunderstood: the lyrical matter of the album is actually pretty heavy, it's just that they led with the single "Discotheque" and the tour was kind of a kitch-fest.  Moving in the millenium (everyone used to use that word all the time), they stripped down and went back to basics.

Actually, before they released their new album, they did a few new songs on the soundtrack to The Million Dollar Hotel, which was produced by Bono (and who did a few solo tracks on it). That film was a bit of a mess, and was Bono's first and last real foray as a filmmaker (unfortunately it didn't deter him from being involved in what may be Broadway's biggest ever flop, Spider-Man). The songs were stripped down and a good sign of where the band was going.

When they released All That You Can't Leave Behind in 2000, they were back. Four classic singles, "Beautiful Day," "Walk On," "Elevation" and "Stuck In A Moment That You Can't Get Out Of." Plus great album tracks like "Kite" and "In A Little While." It was a classic. When they hit the road, it was on a simple stage, with a heart-shaped track that went into the audience, allowing some fans to actually watch the show from inside the stage. After 9/11, they seemed to be one of the only bands, if not the only band, that mattered. Their performance of "Walk On" at the America: A Tribute To Heroes telethon was classic, and their halftime show at the Super Bowl that year was the best ever.

The follow-up, How To Dismantle An Atomic Bomb, wasn't quite so powerful, but was still a great album, and "Vertigo" was an undeniably great single. And "Sometimes You Can't Make It On Your Own," which Bono wrote for his father, was one of their most emotional moments. There was another great tour, which was shot for the concert film U23D. That era also saw two cool U2 collaborations: they recorded an incredible version of their classic "One" with Mary J. Blige, and also with Green Day on a cover of punk rock band The Skids' "The Saints Are Coming" (which they performed at the New Orleans Saints' first game back in New Orleans aftre Katrina). They also did a great cover of John Lennon's Instant Karma for a Lennon tribute by the same name (a benefit for Amnesty International), a single released only in Ireland and featuring lots of Irish stars, "The Ballad Of Ronnie Drew." And they did a great Christmas single, a cover of Greg Lake's "I Believe In Father Christmas."

Their latest album, No Line On The Horizon, is good but not great - but the tour has been mindblowing. And U2 are one of the only bands -- if not the only band -- who I feel like can still crank out a classic after more than thirty years together.  I think they've been disappointed by their favorite bands, and they don't want to be the band that does that. On the other hand, as Neil Young sings in "Thrasher," "they had the best selection, they were poisoned by protection," and when you have multiple homes, millions in the band, etc., it's hard to grab that hunger that you sometimes need to create a classic. It's even harder when you are in a band (as opposed to a solo artist).

Some people have a problem with rock stars as activists: I don't. I respect Bono for being involved in the One campaign or Project (Red), or The Edge 's involvement in Music Rising. I think it is a logical extension of the music, and  I also think it fuels them in some way.  I mean, if all you do is make music and enjoy your millions, I don't know if you still have that fire. At least with U2, they have the audacity (of hope?) to try and make the world a better place through their music. Not many bands still do that - and not many bands still can.

More Best Of The '00s: Bob Dylan
Willie Nelson
Aimee Mann
Jeff Tweedy
David Johansen
Levon Helm
The Beatles
Jim James