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U2 - The Unforgettable Fire [Deluxe Edition]
| Pitchfork |
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The first song on 1984's The Unforgettable Fire is called "A Sort of Homecoming"-- not just "A Homecoming". And that shade of uncertainty-- that "sort of"-- is key. Compared to U2's first three albums-- and almost everything that has come afterward-- The Unforgettable Fire is marked by a sketchy in-between-ness that works as a gracious foil to the the band's natural audacity. It's sort of stadium rock, sort of experimental, sort of spiritual, sort of subdued, sort of uncharacteristic, sort of brilliant, sort of a classic. After their first major breakthrough with 1983's War and its anthems "Sunday Bloody Sunday" and "New Year's Day", U2 could have easily continued to perfect the fist-pumping, flag-waving arena battle cry. Instead, they sought out producer Brian Eno, a bold choice for a band looking to parlay semi-success into something Springsteen-ian. While Eno is now seen as a go-to stadium savior (see: Coldplay's Viva La Vida), back then he was still the guy who coaxed magnificent weirdness out of David Bowie and Talking Heads, to say nothing of his own work, which ranged from prog-rock insanity to elegant wallpaper. The U2/Eno braintrust has since become one of the most out-and-out successful in rock history, but The Unforgettable Fire finds the pair-- along with frequent conspirator Daniel Lanois-- feeling each other out and testing limits. The album ebbs and flows along the spectrum between the spiky, post-punk U2 of old and the impressionistic, Eno-assisted U2 they were yearning to become....full text |
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| Rollingstone |
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The title of U2's fifth album is perversely suggestive. Over the course of three studio LPs and one live-in-concert item, this stormy Irish guitar band, borne aloft by its grand, anthemic roar and an earnest concern for social issues, had ascended to the verge of substantial rock stardom in this country. Unfortunately, with The Unforgettable Fire, U2 flickers and nearly fades, its fire banked by a misconceived production strategy and occasional interludes of soggy, songless self-indulgence. This is not a "bad" album, but neither is it the irrefutable beauty the band's fans anticipated. What happened? Initially, U2's decision to abandon the pop-conscious ministrations of its previous producers, Steve Lillywhite and Jimmy Iovine, and to hire instead the veteran experimentalist Brian Eno and his current collaborator, Canadian producer Daniel Lanois, seemed not only interesting but also admirably consistent with the band's vaunted idealism. The four members felt artistically constricted by their chart-tested monster-guitar format; the right producer – somebody with serious art credentials – would understand their impasse, would be able to help them grow. It sounded like a brave gamble: art over gold....full text |
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| Sputnikmusic |
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After spending the first half of the '80's releasing three loud, straight forward, guitar driven, and original albums that found U2 on the brink of wide spread success in America and worldwide superstardom through a lot of hard work and a lot of touring, the question for U2 and it's fans was 'what's next'? Having finally busted down the doors of resistance in the States with the explosive War album (which although successful, was at the time a gold record at the most, with 600,000 copies sold) and with the rock world waiting with bated breath to see just what the next release from this new and interesting band would have in store, The Unforgettable Fire, U2's fourth studio release in five years, would not only take it's fans by surprise but also set a trend for the band that exist to this day. Ditching producer Steve Lillywhite, whom had been credited with much of the bands success and was closely associated with the groups now trademark sound of big drums, thundering bass, and guitarist Edge's harmonic/echo laden guitar style and delivery, the band would do a 180 degree turn and take up with former Roxy Music impresario and legendary record producer Brian Eno and then Eno protge sound engineer Daniel Lanois for this effort. Known for his work with Roxy Music, the Talking Heads, songwriting collaborations with David Bowie on his 'Berlin Trio" of albums Low, Heroes, and Lodger, respectively, Eno was perhaps best known for his avant garde solo work of ambient/electronic music and is considered a groundbreaking and innovative figure in his chosen field of record production. A self declared "non-musician' and with a decidedly unconventional approach to making records that oft times produced unconventional results, this at the time curious choice for production duties on The Unforgettable Fire would gut the sound of the former U2 and replace it with another that would serve the band well throughout their entire career. But this album, U2's first bold step forward in a long line of taking steps forward, would not be born easily. And it's results are a mixed bag of tricks and treats to be sure....full text |
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| Pitchfork |
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The early news of DOOM compilation Unexpected Guests positioned it as a field report from the indie MC's late-decade wilderness period, spanning a half-committed star turn (2005's Danger Doom collaboration with Danger Mouse) to this year's bullish return to form on Born Like This. And it is... except when it isn't-- "Rock Co.Kane Flow", taken from De La Soul's The Grind Date, actually finds DOOM doing something of a victory lap in 2004 after his essential triad of Take Me to Your Leader (released under the name King Geedorah), Vaudeville Villain (Viktor Vaughn), and Madvillainy (Madvillain). "Rock Co.Kane Flow" is a fantastic symbiosis of DOOM's many playful styles, but the beat itself feels weightier than what we're used to from De La and the stakes higher (ahem) than what we're used to from DOOM when he guests on a track. The other high(er)-profile collaborations on Unexpected don't always fare as well-- while "Da Supafriendz" spotlights a nerdy side of Vast Aire that often goes overlooked amidst Cannibal Ox's doomsayer image, "Fly That Knot" is the second hopelessly corny track DOOM's done with Talib Kweli (see also: "Old School" from The Mouse and the Mask) and most of the blame lies with Kweli's increasing ineptitude at hook-writing, it's clear these two share more camaraderie than chemistry. So, Unexpected Guests would appear to be a primer of DOOM's work on other people's albums... except when it's not. Even the most modest DOOM discographers likely know "?", a track with Kurious that dates back to 1999's Operation: Doomsday. If we're opening it up to collaborations from actual DOOM albums, why nothing from Madvillainy, or even career highlights like "Let Me Watch" or "Rapp Snitch Knishes"?...full text |
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| Atlanta.creativeloafing |
| With another Madvillainy CD in the works and MF Doom's collaboration with Ghostface in the final stages (according to Nature Sounds owner Devin Horwitz), Doom fans might feel less than fulfilled by his new collection Unexpected Guests. It contains rarities, vinyl-only singles and remixes but not a single new song, after all, and some of these tracks — such as "Da Supafriendz" with Vast Aire — have probably been heard on a half-dozen other albums. Still, like pizza, sex and Coen brothers' movies, even when a Doom album is bad, it's good. Thus, the largely rehashed Unexpected Guests is still a winner. "Fly That Not" with Talib Kweli, for example, is as hot as the first 50 times you heard it. Throughout, Doom's gags, double entendres and stream of consciousness rhymes satisfy without ever being, uh, unexpected. (Gold Dust) 3 stars out of 5...full text |
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| Skiddle |
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Now that's what I call real Hip Hop! Unexpected Guests is the new mix CD from DOOM aka MF Doom aka Viktor Vaughn aka Zev Love X. For those who have never heard of DOOM, he is one of the most important players in the underground hip hop scene since the formation of his original group KMD. This album sees Doom selecting tracks from from his back catalogue, choosing the best guest appearances, non-album tracks, remixes and vinyl only singles. Big name appearances from hip hop heavyweights like De La Soul, Talib Kweli, J Dilla, Vast Aire of Cannibal Ox and Wu Tang's Ghostface, Masta Killa, Deck and GZA let's you know that you're in for a treat. The album opens with one of the better known MF Doom appearances, De La Soul's "Rock Co. Kane Flow" then on to a more recent track "Get 'Er Done" from his work with Seattle producer Jake One off the highly rated "White Van Music" LP. We also see rare track "Sniper Elite" a track recorded with J Dilla and Ghostface. The release of this track was postponed after J Dilla's death in 2006 but now after its recent release on Stones Throw you can also catch it on this mix. Also featured on the album is John Robinson's "Sorcerers" giving fans a taste of the "Who Is This Man?" LP (which dropped last year for those who were sleeping!) "Da Supafriendz", a track from Vast Aire's "Look Mom.. No Hands" album gets the head nodding with a loop that sounds like it came straight from a Charlie Brown cartoon. "All Outta Ale" (the b-side to the 2002's 12 inch release of "My Favourite Ladies") sees DOOM rapping over a looping dark piano beat....full text |
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