Rattle and Hum

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Rattle and Hum
U2r&h.jpg
Artwork for compact disc release
Studio album with live tracks by
U2
Released10 October 1988
Recorded1987–1988
VenueVarious locations
Studio
Genre Roots rock [1]
Length72:27
Label Island
Producer Jimmy Iovine
U2 chronology
The Joshua Tree
(1987)
Rattle and Hum
(1988)
Achtung Baby
(1991)
Singles from Rattle and Hum
  1. "Desire"
    Released: 26 September 1988
  2. "Angel of Harlem"
    Released: 1 December 1988
  3. "When Love Comes to Town"
    Released: April 1989
  4. "All I Want Is You"
    Released: 12 June 1989

Rattle and Hum is a hybrid live/studio album by Irish rock band U2, and a companion rockumentary film directed by Phil Joanou. The album was produced by Jimmy Iovine and was released on 10 October 1988, while the film was distributed by Paramount Pictures and was released on 27 October 1988. Following the breakthrough success of the band's previous studio album, The Joshua Tree , the Rattle and Hum project captures their continued experiences with American roots music on the Joshua Tree Tour, further incorporating elements of blues rock, folk rock, and gospel music into their sound. A collection of new studio tracks, live performances, and cover songs, the project includes recordings at Sun Studio in Memphis and collaborations with Bob Dylan, B. B. King, and Harlem's New Voices of Freedom gospel choir.

Contents

Although Rattle and Hum was intended to represent the band paying tribute to legendary musicians, some critics accused U2 of trying to place themselves amongst the ranks of such artists. Critical reception to both the album and the film was mixed; one Rolling Stone editor spoke of the album's "excitement"; another described it as "misguided and bombastic". [2] The film grossed just $8.6 million, but the album was a commercial success, reaching number one in several countries and selling 14 million copies. The lead single "Desire" became the band's first UK number-one song while reaching number three in the US. [3] Facing creative stagnation and a critical backlash to Rattle and Hum, U2 reinvented themselves in the 1990s through a new musical direction and public image.

History

"I was very keen on the idea of going wide at a time like that, just seeing how big this thing could get. I had always admired Colonel Parker and Brian Epstein for realising that music could capture the imagination of the whole world."

—U2 manager Paul McGuinness, explaining his original motivation to make a movie. [4]

While in Hartford during the 1987 The Joshua Tree Tour, U2 met film director Phil Joanou who made an unsolicited pitch to the band to make a feature-length documentary about the tour. Joanou suggested they hire Martin Scorsese, Jonathan Demme, or George Miller to direct the film. Joanou met the band again in Dublin to discuss the plans and again in France in September before the band chose him as director. The movie was originally titled U2 in the Americas and the band planned to film in Chicago and Buenos Aires later in the year. [5] It was later decided that the Chicago venue was not suitable, and instead U2 used the McNichols Sports Arena in Denver to film. Following the success of Live at Red Rocks: Under a Blood Red Sky , which had been filmed in Denver four years earlier, the band hoped that "lightning might strike twice". [6] With production problems and estimated costs of $1.2 million the band cancelled the plans for December concerts in South America. At the suggestions of concert promoter Barry Fey, the band instead booked Sun Devil Stadium at Arizona State University in Tempe, Arizona, the same city where the Joshua Tree tour began. [6]

The movie is a rockumentary, which was initially financed by the band and intended to be screened in a small number of cinemas as an independent film. After going over budget, the film was bought by Paramount Pictures and released in theatres in 1988, before arriving on video in 1989. It was produced by Michael Hamlyn and directed by Joanou. Paul Wasserman served as the publicist. [7] It incorporates live footage with studio outtakes and band interviews. The album is a mix of live material and new studio recordings that furthers the band's experimentation with American music styles and recognises many of their musical influences. It was produced by Jimmy Iovine and also released in 1988.

The title, Rattle and Hum, is taken from a lyric from "Bullet the Blue Sky", the fourth track on The Joshua Tree . The image used for the album cover and movie poster, depicting Bono shining a spotlight on Edge as he plays, was inspired by a scene in the live performance of "Bullet the Blue Sky" recorded in the film and album, but was recreated in a stills studio and photographed by Anton Corbijn. [8] Several vinyl copies have the message "We Love You A.L.K." etched into side one, a reference to the band's production manager Anne Louise Kelly, who would be the subject of another secret dedication message on several CD copies of the band's later album, Pop .

Studio recordings

Bono said "Hawkmoon 269" was in part as a tribute to writer Sam Shepard, who had released a book entitled Hawk Moon. Bono also said that the band mixed the song 269 times. This was thought to be a joke for years until it was confirmed by guitarist the Edge in U2 by U2, who said that they spent three weeks mixing the song. He also contradicted Bono's assertion about Shepard, saying that Hawkmoon is a place in Rapid City, South Dakota, in the midwestern United States. [9]

"Angel of Harlem" is a horn-filled tribute to Billie Holiday. The bass-heavy "God Part II" is a sequel of sorts to John Lennon's "God".

The lead single, "Desire", sports a Bo Diddley beat. During the Joshua Tree tour, in mid-November 1987, Bono and Bob Dylan met in Los Angeles; together they wrote a song called "Prisoner of Love" which later became "Love Rescue Me". Dylan sang lead vocals on the original recording, a version which Bono called "astonishing", but Dylan later asked U2 not to use it citing commitments to The Traveling Wilburys. [10] The live performance of "I Still Haven't Found What I'm Looking For" (recorded with a full church choir) is a gospel song. "When Love Comes to Town" is a blues rocker featuring B. B. King on guitar and vocals.

U2 recorded "Angel of Harlem", "Love Rescue Me" and "When Love Comes to Town" at Sun Studio in Memphis, Tennessee, where Elvis Presley, Roy Orbison, Johnny Cash and many others also recorded. They also recorded an unreleased version of "She's a Mystery to Me" and Woody Guthrie's "Jesus Christ", which appeared on Folkways: A Vision Shared . The band started writing "Heartland" in 1984 during The Unforgettable Fire sessions, and it was worked on during The Joshua Tree sessions. [11] All of the studio tracks apart from "Heartland" were performed in concert on the Lovetown Tour, which began almost a year after Rattle and Hum's release.

In addition to the nine studio tracks that comprised one half of the double album, a number of additional recordings from the Rattle and Hum sessions would be released on various singles and side projects. "Hallelujah Here She Comes" was released as a B-side to "Desire", and "A Room at the Heartbreak Hotel" was released as a B-side to "Angel of Harlem." Covers were released as B-sides for the rest of the singles—an abbreviated cover of Patti Smith's "Dancing Barefoot" would be released as a B-side to "When Love Comes to Town" (the full version would see release on the 12" version of the single and on CD on the 1994 soundtrack album to Threesome ), while "Unchained Melody" and "Everlasting Love" would be released as the B-sides to "All I Want Is You." A cover of "Fortunate Son" recorded with Maria McKee would not be released until 1992's "Who's Gonna Ride Your Wild Horses" single; a version of the soul classic "Everybody Loves a Winner" by William Bell, also recorded with McKee, would eventually be released on the 20th anniversary edition of Achtung Baby .

Studio versions of "She's a Mystery to Me" (a Bono/Edge composition that would eventually be recorded and released by Roy Orbison), Bruce Cockburn's "If I Had a Rocket Launcher", Percy Sledge's "Warm and Tender Love", and "Can't Help Falling in Love With You", while recorded, have yet to be released. (A solo Bono cover of the Elvis Presley classic would be released on 1992's Honeymoon in Vegas album, however.) A cover of the Woody Guthrie song "Jesus Christ" was also recorded during these sessions for eventual inclusion on the cover album Folkways: A Vision Shared . Lastly, a cover of "Christmas (Baby Please Come Home)" was recorded and released for the first A Very Special Christmas album, released at the end of 1987.

Live performances

The band were filmed at McNichols Sports Arena in November 1987. McNichols Sports Arena 1994.jpg
The band were filmed at McNichols Sports Arena in November 1987.

The band chose to film the black-and-white footage over two nights at Denver's McNichols Sports Arena on 7 and 8 November 1987. They chose the city following the success of their U2 Live at Red Rocks: Under a Blood Red Sky video which was filmed in Red Rocks Amphitheatre near Denver in 1983. The Edge said, "We thought lightning might strike twice". The first night's performance disappointed the group, with Bono finding that the cameras infringed on his ability to play to the crowd. [6] The second Denver show was far more successful and seven songs from the show are used in the film, and three on the album.

Hours before the second Denver performance, an IRA bomb killed eleven people at a Remembrance Day ceremony in the Northern Irish town of Enniskillen (see Remembrance Day Bombing). During a performance of "Sunday Bloody Sunday", which appears on the film, Bono condemned the violence in a furious mid-song rant in which he yelled, "Fuck the revolution!" The performance was so powerful that the band said they were not sure the song should have been used in the film. After watching the film, they considered not playing the song on future tours. [12]

Colour outdoor concert footage is from the band's Tempe, Arizona shows on 19 and 20 December 1987. Tickets were sold for US$5 each and both nights sold out within days. The set was different each night with the band throwing in some rarely performed songs, including "Out of Control", "Christmas (Baby Please Come Home)", "One Tree Hill", and "Mothers of the Disappeared". For the latter, all four members played at the front of the stage, each under a large spotlight.

The album opens with a live cover of the Beatles' "Helter Skelter". Its inclusion on the album was intended by the band to reflect the confusion of The Joshua Tree Tour and their new-found superstar status. Bono opens "Helter Skelter" with this statement: "This is a song Charles Manson stole from the Beatles. We're stealing it back". [13]

The album contains a live version of Bob Dylan's "All Along the Watchtower". The performance is from the band's impromptu "Save the Yuppies" concert in Justin Herman Plaza in San Francisco, California on 11 November 1987. The video intersperses the performance of the song with footage from the band's performance of "Pride" from the same show, during which Bono spray-painted "Rock and Roll Stops the Traffic" on the Vaillancourt Fountain. This caused a bit of controversy, and ultimately, the band paid to repair the damage and publicly apologised for the incident. The phrase "Rock and Roll Stops the Traffic" reappeared 18 years later in the video "All Because of You" when an unnamed fan appeared with the sign at 1:55 in the video. [14] It also reappeared in February 2009, when the band played on the rooftop of the BBC Radio studios in Langham Place. [15]

Dennis Bell, director of New York gospel choir The New Voices of Freedom, recorded a demo of a gospel version of "I Still Haven't Found What I'm Looking For". [16] While in Glasgow in late July during the Joshua Tree Tour, Rob Partridge of Island Records played the demo for the band. [17] In late September, U2 rehearsed with Bell's choir in a Harlem church, and a few days later they performed the song together at U2's Madison Square Garden concert. Footage of the rehearsal is featured in the movie, while the Madison Square Garden performance appears on the album. [18] After the church rehearsal, U2 walked around the Harlem neighbourhood where they came across blues duo, Satan and Adam, playing in the street. A 40-second clip of them playing their composition, "Freedom for My People", appears on both the movie and the album. [19]

During "Silver and Gold", Bono explains that the song is an attack on apartheid. "The Star Spangled Banner" is an excerpt of Jimi Hendrix's famous Woodstock performance in 1969. The noise of the crowd was sampled extensively by The KLF for 'the Stadium House Trilogy' of singles on their 1991 album The White Room . [20]

Alternative live concert footage captured for the film in other cities during the 1987 tour (but ultimately not used for the final cut of the film) included:

Reception

Album

Professional album ratings (1988)
Review scores
SourceRating
The Arizona Republic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [21]
Austin American-Statesman Star full.svgStar full.svgStar full.svgStar full.svgStar full.svg [22]
Chicago Sun-Times Star full.svgStar full.svgStar full.svgStar empty.svg [23]
The Cincinnati Enquirer Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [24]
Knight-Ridder News Star full.svgStar full.svgStar empty.svgStar empty.svg [25]
Los Angeles Times Star full.svgStar full.svgStar full.svgStar full.svg [26]
New York Daily News Star full.svgStar full.svgStar half.svgStar empty.svg [27]
NME 8/10 [28]
Rolling Stone Star full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [29]
The Village Voice B+ [30]

The album divided critics when it was released in 1988. [31] Some reviewers panned it, feeling that U2 were making a deliberate and pretentious attempt at rock and roll renown. [28] Jon Pareles of The New York Times called it a "mess" that exuded "sincere egomania", and said the "band's self-importance got in the way" of their ambition for the album. He said it was plagued by the group's "attempts to grab every mantle in the Rock-and-Roll Hall of Fame" and that each one was "embarrassing in a different way". [32] David Stubbs of Melody Maker said that Rattle and Hum "lacks cohesion" and "is musically, stylistically confused". He criticised Bono's "reverential nods to the great white heroes of rock" and the band's "homages to the bluesmen and gospel greats". [33] Thom Duffy of the Orlando Sentinel said that Rattle and Hum is "greatly in need of a focal point" and "often sounds like an over-reaching attempt to claim chunks of pop history as [U2's] own story". He believed the group had "merely celebrated its own ascension into the pop history books... and little more". [34] Tom Carson from The Village Voice called it an "awful record" by "almost any rock-and-roll fan's standards", and said the group's failure did not "sound attributable to pretensions so much as to monumental know-nothingism". [35] Fellow Village Voice critic Robert Christgau was more complimentary, calling the record "looser and faster than anything they've recorded since their first live mini-LP". [30] David Browne of the New York Daily News said the album's "scope and disjointedness" recalled double albums such as Exile on Main St. or The Beatles , but that until it aged as well as those records, "'Rattle and Hum' just prattles and numbs". [27] Andrew Means of The Arizona Republic thought the album was "no substitute" for the "exhilaration and conviction" of the Joshua Tree Tour. He believed that Bono's passion on record was not "quite as mesmerizing as it is on stage" and that the group's new material did not "add significantly" to their message or image. [21] Lynden Barber of The Sydney Morning Herald called it "an ambitious project, and the result is almost inevitably a mixed bag". He lamented the songs that presented the band's Christianity "as a fait accompli", as well as their proclivity for "jams around a couple of chords substituting themselves for considered song-writing". [36] A reviewer for Knight-Ridder News said, "this double-album boondoggle manages to make the band sound like quintessential overreachers". [25]

Writing in Rolling Stone , Anthony DeCurtis said that the record succeeded at capping U2's rise to stardom "on a raucous, celebratory note", finding it to be "most enjoyable when the band relaxes and allows itself to stretch without self-consciously reaching for the stars". DeCurtis ultimately deemed it a "tad calculated in its supposed spontaneity" and said it demonstrated "U2's force but devot[ed] too little attention to the band's vision". [29] In a rave review for the Los Angeles Times , Robert Hilburn called Rattle and Hum a "frequently remarkable album" that more than matched The Joshua Tree, and he credited U2 for reviving the "idealism and craft of [rock's] finest moments". [26] J. D. Considine of The Baltimore Sun said that the album's songs "draw upon every musical strength U2 has developed over the years" and that the "sheer muscular physicality of its sound" set Rattle and Hum apart from its predecessors. He said that despite the record being "occasionally pretentious", the group "never seems out of its depth" amongst the guest artists. [37] Jay Cocks of Time said, "U2 has never sounded better or bolder", calling Rattle and Hum: "the best live rock album ever made. The record, in every sense, of their lives". [38] Hot Press reviewer Bill Graham said it was U2's "most ambitious record" yet, [39] while John Mackie of The Vancouver Sun said it "should consolidate the band's stature as the Beatles of the late '80s". [40] Cliff Radel of The Cincinnati Enquirer said that Rattle and Hum "proves the achievements of the band's previous album... were no accident", and that it demonstrated the group's ability to create "highly charged songs in the studio and on stage". [24] In the UK, Robin Denselow of The Guardian said that "the whole sounds far greater than the sum of the decidedly variable parts". The review found the cover songs to be the weakest material but judged Rattle and Hum overall to be a "solid, versatile piece of work" that "leaves much of the best until last". [41] Stuart Baillie of NME gave it a positive 8/10 review. [28] Contentiously, his review replaced a much more negative 4/10 review by Mark Sinker, in which he described it as "the worst album by a major band in years". It was pulled by NME editor Alan Lewis, as it was feared that criticism of U2 would affect the magazine's circulation; [42] Sinker resigned in protest. [28]

At the end of 1988, Rattle and Hum was voted the 21st-best album of the year in the Pazz & Jop, an annual poll of American critics published by The Village Voice. [43] In other critics' lists of the year's top albums, it was ranked number one by HUMO , second by the Los Angeles Times and Hot Press, 17th by OOR , 23rd by NME , and 47th by Sounds .[ citation needed ]

Film

"But I wasn't prepared for the difference in the size of the movie campaign and the average record campaign ... how all across America for a couple of weeks, you couldn't turn on your TV without getting U2 in your face. That's not the way records are marketed. It's much more subtle and I think a lot of the band's old fans found it distasteful. The aftermath I think, quite honestly, was that no one wanted to hear about U2 for a while."

 —Paul McGuinness [44]

According to a USA Today survey of reviews at the time of the film's release, Rattle and Hum had an average review score of 64/100. [45] According to review aggregation website Rotten Tomatoes, the film has a rating of 62%. [46] Roger Ebert panned the film as a "mess", saying the concert footage was poorly lit and did not show the audience enough, and that the band being "deliberately inarticulate" in interview segments was "not cute". His review partner Gene Siskel was more complimentary, praising the group's performance with the Harlem gospel choir as "powerful and emotional" and calling Bono's statements during "Sunday Bloody Sunday" the film's highlight. [47] Hal Hinson of The Washington Post called the film "an exercise in rock 'n' roll hagiography" and "a fanzine on celluloid", and said that despite its "stunning look", the film came across as "stagy and overproduced". He said that the band's "attempts to place themselves in the rock continuum are fairly strenuous and more than a little presumptuous". [48] Joyce Millman of the San Francisco Examiner described it as a "tediously pious and self-important" film that "successfully captured everything the faithful love, and we pagans loathe, about the biggest band of the '80s". She said the film "does nothing to pierce the band's vagueness" and that they were upstaged by King and the Harlem gospel choir. Millman judged that the cinematography's "gargantuan pomposity... perhaps unintentionally" personified "the essence of U2". [49] Gary Graff of the Detroit Free Press called the film "a conceptual mess that lacks focus and flow", and said that it neither chronicles the band's breakout success of 1987 adequately nor offers additional insight into the band. He said that "many of the individual components of [the film] are excellent" but that Joanou failed to tie them together. [50] Carrie Rickey of The Philadelphia Inquirer said, "Self-indulgent to the point of absurdity, U2 Rattle and Hum might be the silliest concert film ever made." She said it compared unfavourably to other concert movies due to its lack of narrative, and that Joanou's reverence for U2 bordered on "unintentional hilarity", adding, "Rob Reiner and company couldn't do a Spinal Tap on this; Rattle and Hum is already a parody." [51] Joanou himself called the picture "pretentious". [52]

Michael MacCambridge of the Austin American-Statesman disagreed with the film's detractors, calling it a "very good and at times excellent concert movie" whose "studied avoidance of drifting into self-parody" distinguished it from predecessors and headed off comparisons to This Is Spinal Tap. MacCambridge enjoyed the black-and-white footage of the band "in the middle of becoming legend" and their scenes with King and the Harlem gospel choir, but thought the switch to colour footage interrupted the film's "pace and momentum". [53] David Silverman of the Chicago Tribune said that Joanou "steadily brings the viewer into a relationship with the band and brings an understanding to the new music", while "provid[ing] an innovative, fast-paced insight" to U2. Silverman praised the documentary scenes with the individual band members and the "beautiful artistic" performance footage, and said the director "succeeded in bringing U2 to the screen in a creative, introspective and exciting film that will add to the legend and preserve the integrity of the decade's most influential contribution to rock". [54] Barbara Jaeger of The Record called it a "moving, beautifully photographed look at the group" that properly captured the energy of their live performances. She said, "If there is to be a standard against which future rock movies will be judged, 'U2 Rattle and Hum' is it." [55] Mackie of The Vancouver Sun said that despite the film offering "few insights into the individual members, the live footage is nothing short of brilliant." He described Bono's speech during "Sunday Bloody Sunday" as a "raw, emotional moment, a spontaneous outburst that crystalizes the powerful message of peace and love that U2 preach". [56] Michael Wilmington of the Los Angeles Times said the film "records some savagely compelling live performances" and offers proof of why "this unlikely band... are often ranked by critics as the world's best". He thought that despite Joanou not setting the proper context for the film or conducting an engaging interview with U2, "he matches the impassioned sounds with spectacular visuals". [57]

Commercial performance

Despite the criticism, the Rattle and Hum album was a strong seller, continuing U2's burgeoning commercial success. It hit number one on the US Billboard 200 albums chart, remaining at the top spot for six weeks; it was the first number-one double album in the US since Bruce Springsteen's The River in 1980. [58] Rattle and Hum also reached number one in the UK and Australian charts. In the UK, it sold 360,000 copies in its first week, making it the fastest-selling album at that point (a record it held until the release of Oasis's Be Here Now in 1997). [59] [60] Lifetime sales for the album have surpassed 14 million copies. [61]

Legacy

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [1]
Chicago Tribune Star full.svgStar full.svgStar full.svgStar empty.svg [62]
Encyclopedia of Popular Music Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg[ citation needed ]
Entertainment Weekly B [63]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [64]

"Rattle and Hum was conceived as a scrapbook, a memento of that time spent in America on the Joshua Tree tour. It changed when the movie, which was initially conceived of as a low-budget film, suddenly became a big Hollywood affair. That put a different emphasis on the album, which suffered from the huge promotion and publicity, and people reacted against it." [65]

The Edge

In 1989, while at a press tour in Sydney, Australia (where U2 were touring with B. B. King and working on demos for the follow-up album Achtung Baby), Bono stated, "making movies: that's the nonsense of rock & roll", which Rolling Stone magazine claimed was almost an apology for the film. "Playing shows is the reason we're here", he added. [66] Despite their commercial popularity, the group were dissatisfied creatively; Bono believed they were musically unprepared for their success, while Mullen said, "We were the biggest, but we weren't the best." [67] By the Lovetown Tour, they had become bored with playing their greatest hits. [68] U2 believe that audiences misunderstood the group's collaboration with King on Rattle and Hum and the Lovetown Tour, and they described it as "an excursion down a dead-end street". [69] [70] Towards the end of the Lovetown Tour, Bono announced on-stage that it was "the end of something for U2", and that "we have to go away and ... dream it all up again". [70] The band subsequently reinvented themselves in the 1990s; beginning with Achtung Baby in 1991, they incorporated alternative rock, electronic dance music, and industrial music into their sound, and adopted a more ironic, flippant image by which they embraced the "rock star" identity they struggled with in the 1980s. [71]

Track listing

Album

All lyrics are written by Bono; all music is composed by U2, except where noted

No.TitleWriter(s)PerformerLength
1."Helter Skelter" (live at Denver, Colorado) Lennon–McCartney (lyrics and music)U23:07
2."Van Diemen's Land" The Edge (lyrics)U23:06
3."Desire" U22:58
4."Hawkmoon 269" U26:22
5."All Along the Watchtower" (live from "Save the Yuppie Free Concert", San Francisco) Bob Dylan (lyrics and music)U24:24
6."I Still Haven't Found What I'm Looking For" (live at Madison Square Garden, New York) U2 with The New Voices of Freedom5:53
7."Freedom for My People"Sterling Magee (lyrics and music); Adam Gussow (music) Sterling Magee and Adam Gussow 0:38
8."Silver and Gold" (live from Denver, Colorado) U25:50
9."Pride (In the Name of Love)" (live from Denver, Colorado) U24:27
10."Angel of Harlem" U23:49
11."Love Rescue Me"Bono and Bob Dylan (lyrics)U2 with Bob Dylan6:24
12."When Love Comes to Town" U2 with B. B. King 4:14
13."Heartland" U25:02
14."God Part II" U23:15
15."The Star Spangled Banner" (live) John Stafford Smith (music) Jimi Hendrix 0:43
16."Bullet the Blue Sky" (live at Sun Devil Stadium, Tempe, Arizona) U25:37
17."All I Want Is You" U26:30
Total length:72:27

Film

U2: Rattle and Hum
U2r&hfilm.jpg
Theatrical release poster
Directed by Phil Joanou
Produced byMichael Hamlyn
StarringU2
CinematographyRobert Brinkmann
(black-and-white footage)
Jordan Cronenweth
(Color footage)
Edited byPhil Joanou
Music byU2
Production
company
Midnight Films
Distributed by Paramount Pictures
Release dates
  • 27 October 1988 (1988-10-27)(Ireland)
  • 4 November 1988 (1988-11-04)(United States)
Running time
98 minutes
CountryUnited States
LanguageEnglish
Budget$5 million
Box office$8.6 million [72]
No.TitleWriter(s)PerformerLength
1."Helter Skelter" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )Lennon–McCartneyU2 
2."Van Diemen's Land" (recorded at the Point Depot, Dublin, Ireland, May 1988 [74] )The EdgeU2 
3."Desire" (recorded at the Point Depot, Dublin, Ireland, May 1988 [74] )U2U2 
4."Exit"/"Gloria" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )U2 ("Exit"), Van Morrison ("Gloria")U2 
5."I Still Haven't Found What I'm Looking For" (rehearsal recorded at Harlem, New York, September 1987 [75] )U2U2 with The New Voices of Freedom 
6."Freedom for My People"Adam Gussow and Sterling MageeSterling Magee and Adam Gussow 
7."Silver and Gold" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )BonoU2 
8."Angel of Harlem" (recorded at Sun Studio, Memphis, Tennessee, 30 November 1987 [76] [77] )U2U2 
9."All Along the Watchtower" (live at Justin Herman Plaza, San Francisco, California, 11 November 1987 [78] )Bob DylanU2 
10."In God's Country" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )U2U2 
11."When Love Comes to Town" (afternoon rehearsal and evening live performance at Tarrant County Convention Center, Fort Worth, Texas, 24 November 1987 [79] )U2U2 with B. B. King 
12."Heartland"U2U2 
13."Bad"/"Ruby Tuesday"/"Sympathy for the Devil" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )U2 ("Bad"), Jagger/Richards ("Ruby Tuesday", "Sympathy for the Devil")U2 
14."Where the Streets Have No Name" (live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987 [80] )U2U2 
15."MLK" (live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987 [80] )U2U2 
16."With or Without You" (live at Sun Devil Stadium, Tempe, Arizona, 19 December 1987 [80] )U2U2 
17."The Star Spangled Banner" (Excerpt)John Stafford SmithJimi Hendrix 
18."Bullet the Blue Sky" (live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987 [80] )U2U2 
19."Running to Stand Still" (live at Sun Devil Stadium, Tempe, Arizona, 20 December 1987 [80] )U2U2 
20."Sunday Bloody Sunday" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )U2U2 
21."Pride (In the Name of Love)" (live at McNichols Arena, Denver, Colorado, 8 November 1987 [73] )U2U2 
22."All I Want Is You" (Heard over end credits)U2U2 

Personnel

Guest performers

Additional musicians (field recordings and tapes)

Charts

Song charts

YearSongPeak
AUS
[104]
CAN
[105]
IRE
[106]
NZ
[104]
UK
[107]
US Hot 100
[108] [109]
US Main Rock
[108] [109]
1988"Desire"1111131
"Angel of Harlem"181319141
"God Part II"8
1989"When Love Comes to Town"2341146682
"All I Want Is You"2671248313
"—" denotes a release that did not chart.

Certifications and sales

Related Research Articles

<span class="mw-page-title-main">U2</span> Irish rock band

U2 are an Irish rock band formed in Dublin in 1976. The group consists of Bono, the Edge, Adam Clayton, and Larry Mullen Jr.. Initially rooted in post-punk, U2's musical style has evolved throughout their career, yet has maintained an anthemic quality built on Bono's expressive vocals and the Edge's chiming, effects-based guitar sounds. Bono's lyrics, often embellished with spiritual imagery, focus on personal and sociopolitical themes. Popular for their live performances, the group have staged several elaborate tours over their career.

<i>The Joshua Tree</i> 1987 studio album by U2

The Joshua Tree is the fifth studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 9 March 1987 on Island Records. In contrast to the ambient experimentation of their 1984 release, The Unforgettable Fire, the band aimed for a harder-hitting sound within the limitation of conventional song structures on The Joshua Tree. The album is influenced by American and Irish roots music, and through sociopolitically conscious lyrics embellished with spiritual imagery, it contrasts the group's antipathy for the "real America" with their fascination with the "mythical America".

<span class="mw-page-title-main">Where the Streets Have No Name</span> 1987 single by U2

"Where the Streets Have No Name" is a song by Irish rock band U2. It is the opening track from their 1987 album The Joshua Tree and was released as the album's third single in August 1987. The song's hook is a repeating guitar arpeggio using a delay effect, played during the song's introduction and again at the end. Lead vocalist Bono wrote the lyrics in response to the notion that it is possible to identify a person's religion and income based on the street on which they lived, particularly in Belfast. During the band's difficulties recording the song, producer Brian Eno considered erasing the song's tapes to have them start from scratch.

<span class="mw-page-title-main">In God's Country</span> 1987 single by U2

"In God's Country" is a song by the rock band U2. It is the seventh track from their fifth studio album The Joshua Tree and was released as the album's fourth single in November 1987 in North America only.

<span class="mw-page-title-main">I Still Haven't Found What I'm Looking For</span> 1987 single by U2

"I Still Haven't Found What I'm Looking For" is a song by Irish rock band U2. It is the second track from their 1987 album The Joshua Tree and was released as the album's second single in May 1987. The song was a hit, becoming the band's second consecutive number-one single on the US Billboard Hot 100 while peaking at number six on the UK Singles Chart.

<span class="mw-page-title-main">Lovetown Tour</span> 1989–90 concert tour by U2

The Lovetown Tour was a concert tour by the Irish rock band U2, which took place in late 1989 and early 1990 following the release of Rattle and Hum. It was documented by noted rock film director Richard Lowenstein in the "LoveTown" documentary.

<span class="mw-page-title-main">Angel of Harlem</span> 1988 single by U2

"Angel of Harlem" is a song by Irish rock band U2. It is the tenth track on their 1988 album Rattle and Hum, and was released as its second single in December 1988. It topped the charts in Canada and New Zealand, and peaked at number nine on the UK Singles Chart, number eight on the Dutch Top 40, number 14 on the Billboard Hot 100, and number one on the Mainstream Rock Tracks chart. Written as a homage to Billie Holiday, it was released with two different B-sides; one was an original U2 song called "A Room at the Heartbreak Hotel," while the other was a live version of Rattle and Hum's "Love Rescue Me".

<span class="mw-page-title-main">Desire (U2 song)</span> 1988 single by U2

"Desire" is a song by Irish rock band U2 and the third track on their 1988 album, Rattle and Hum. It was released as the album's lead single on 19 September 1988, and became the band's first number-one single in the United Kingdom and Australia. It reached number three on the Billboard Hot 100 in the United States, and topped both the Modern Rock Tracks and Mainstream Rock Tracks charts, making it the first song to reach number one on both charts simultaneously. It reached number two on the Dutch Top 40. At the 31st Annual Grammy Awards, "Desire" won the 1988 Grammy Award for Best Rock Performance by a Duo or Group with Vocal.

<span class="mw-page-title-main">The Joshua Tree Tour</span> 1987 concert tour by U2

The Joshua Tree Tour was a concert tour by Irish rock band U2. Staged in support of their 1987 album The Joshua Tree, it comprised 109 shows over three legs, spanning from April to December that year. The first and third legs visited North America, while the second leg toured Europe. While it reflects previous tours in minimal production, the Joshua Tree Tour was the first to involve larger venues in arenas and stadiums as a result of the album's breakthrough. Like the themes of its parent album, the tour has the group exploring social and political concerns, along with American roots and mythology, collaborating with American guest musicians and opening acts such as B. B. King. U2 also recorded new material; these songs and the band's experiences on tour were depicted on the 1988 album and documentary film Rattle and Hum and on the 2007 video and live album Live from Paris. Territories that this tour missed would later be covered by Rattle and Hum's Lovetown Tour.

"Bullet the Blue Sky" is a song by Irish rock band U2, and is the fourth track from their 1987 album The Joshua Tree. Lyrically, the song was inspired by a trip that lead vocalist Bono made to Nicaragua and El Salvador, where he saw firsthand how local peasants were affected by United States military intervention in the region. Angered by what he witnessed, Bono asked guitarist the Edge to "put El Salvador through an amplifier." "Bullet the Blue Sky" is one of the band's most overtly political songs, with live performances often being heavily critical of political conflicts and violence.

"Bad" is a song by Irish rock band U2 and the seventh track on their 1984 album, The Unforgettable Fire. Thematically, the song is about heroin addiction, though lead vocalist Bono has given varying accounts of who was the inspiration behind his lyrics. "Bad" is considered a fan favourite and is one of U2's most frequently performed songs in concert. The band's 12-minute performance of the song at the Live Aid charity concert in 1985 was a breakthrough moment for them.

Phil Joanou is an American director of film, music videos, and television programs. He is known for his collaborations with the rock band U2, for whom he directed music videos and their 1988 documentary film Rattle and Hum.

<span class="mw-page-title-main">Sunday Bloody Sunday</span> 1983 song by U2

"Sunday Bloody Sunday" is a song by Irish rock band U2. It is the opening track from their 1983 album War and was released as the album's third single on 21 March 1983 in the Netherlands and West Germany. "Sunday Bloody Sunday" is noted for its militaristic drumbeat, harsh guitar, and melodic harmonies. One of U2's most overtly political songs, its lyrics describe the horror felt by an observer of the Troubles in Northern Ireland, mainly focusing on the 1972 Bloody Sunday incident in Derry where British troops shot and killed unarmed civil rights protesters. Along with "New Year's Day", the song helped U2 reach a wider listening audience. It was generally well received by critics on the album's release.

This is a timeline of the history of rock band U2:

"Mothers of the Disappeared" is a song by Irish rock band U2. It is the eleventh and final track on their 1987 album The Joshua Tree. The song was inspired by lead singer Bono's experiences in Nicaragua and El Salvador in July 1986, following U2's participation in the Conspiracy of Hope tour of benefit concerts for Amnesty International. He learned of the Madres de Plaza de Mayo, a group of women whose children had "forcibly disappeared" at the hands of the Argentine and Chilean dictatorships. While in Central America, he met members of COMADRES, a similar organization whose children had been abducted by the government in El Salvador. Bono sympathized with the Madres and COMADRES and wanted to pay tribute to their cause.

"Exit" is a song by rock band U2. It is the tenth track on their 1987 album The Joshua Tree. "Exit" was developed from a lengthy jam that was recorded in a single take and edited down to a shorter arrangement. The lyrics, which portray the mind of a serial killer, were inspired by lead singer Bono's reading of Norman Mailer's 1980 novel The Executioner's Song, and other related works.

<i>From the Sky Down</i> 2011 documentary film about U2

From the Sky Down is a 2011 American documentary film directed by Davis Guggenheim about rock band U2 and the production of their 1991 album Achtung Baby. The film documents the album's difficult recording period, the band members' relationships, and the group's creative process. Guggenheim, who was commissioned by U2 to create the film to commemorate the record's 20th anniversary, spent several months in 2011 developing the documentary. The band were filmed during a return visit to Hansa Studios in Berlin where parts of the album were recorded, and during rehearsals in Winnipeg for the Glastonbury Festival 2011. The film contains unreleased scenes from the group's 1988 motion picture Rattle and Hum, along with archival footage and stills from the Achtung Baby recording sessions. Development of the album's emblematic song "One" is recounted through the replaying of old recording tapes.

<span class="mw-page-title-main">One Tree Hill (song)</span> 1988 single by U2

"One Tree Hill" is a song by Irish rock band U2 and the ninth track on their 1987 album The Joshua Tree. In March 1988, it was released as the fourth single from the album in New Zealand and Australia, while "In God's Country" was released as the fourth single in North America. "One Tree Hill" charted at number one on the New Zealand Singles Chart and was the country's second-most-successful hit of 1988.

"Love Is Blindness" is a song by rock band U2, and the twelfth and final track on their 1991 album Achtung Baby. The song was written on piano by lead singer Bono during the recording sessions for U2's 1988 album Rattle and Hum. Originally intending to give the song to singer Nina Simone, the band decided to keep it for Achtung Baby after playing it together. Thematically, the song describes a failing romance, mixing personal themes with imagery of metaphorical acts of terrorism. During the recording sessions for Achtung Baby, guitarist the Edge separated from his wife, Aislinn O'Sullivan. The separation had a major effect on the development of the song; Bono said that the ending guitar solo was a cathartic experience for the Edge, as he snapped several guitar strings during the recording.

"Heartland" is a song by rock band U2. It is included on their 1988 album Rattle and Hum and in the film of the same name.

References

Footnotes

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Bibliography