#U2 rattle and hum update

#U2 rattle and hum update

Update your settings here to see it.īut not everyone knocked it. This content is not available due to your privacy preferences. What comes across in song after song is sincere egomania.' (Their) urgency has curdled on Rattle and Hum, where U2 insists that clumsy attempts at interpreting other people's music are as important as the real thing. 'Angel of Harlem,'' desperately dropping jazz names in a would-be tribute to Billie Holiday, comes across as overwrought and frantic. We're stealing it back.' He'd forgotten that U2 is not the Beatles - and he goes on to scramble the lyrics.' He didn't like the roots-heavy originals any better, saying, 'Unfortunately, blues and soul aren't U2's main roots. 'Bono starts the album with his foot in his mouth as he introduces 'Helter Skelter,' saying, ''This is a song Charles Manson stole from the Beatles. Jon Pareles summed up the dismissive side in a New York Times album review ominously titled 'When the Self-IMportance Interferes With the Music.' 'It's a mess,' he wrote. And the massive rollout for both album and film didn't shout 'back to basics.' With that mixed a message being sent out, was it any wonder that the reaction was also all over the place? But there seemed to be more hubris than humility in the footage of their arena shows. King, or recording at Memphis' Sun Studios, to cement their interest in archival Americana. Much of the Rattle and Hum music represented a back-to-roots move, with the band employing a gospel choir or B.B.

U2 seemed to be having a hard time staying on-message.