For this, they agreed, they needed an American producer. So along to Memphis came Jimmy Iovine - producer on the transitional live document - Under A Blood Red Sky. In the howling wind comes a stinging rain see it driving nails into the souls on the tree of pain from the firefly, a red orange glow see the face of fear running scared in the valley below bullet the blue sky bullet the blue sky bullet the blue bullet the blue in the locust wind comes a rattle and hum jacob wrestled the angel and the angel was. The results were a double album of live and studio work and a film that met with decidedly mixed reactions. In truth there's nothing wrong with Rattle And Hum other than the fact that, unlike some other bands, U2 didn't necessarily mix so well with other artists or genres. For instance, When Loves Comes To Town (with BB King) is raucous but hardly classic. The live attempt at All Along The Watchtower needed more than grainy black and white footage and cowboy hats to set it up there with Dylan and Hendrix. More impressive were the live cuts and other hits culled from shows in Denver and Tempe where it became obvious that the songs from The Joshua Tree became even grander in a stadium setting. The band's hearts were in the right place (Silver And Gold, as Bono rather obviously points out, is about apartheid). The real problem lay in the grandiloquent context the film provided.
While the band subsequently claimed that things had run away with them, turning a modest tour diary into a Hollywood event, the critical reaction registered quickly enough. The only way to overcome an image of po-faced self regard and epic gestures was to become more epic but also throw in a vast dollop of irony. Achtung Baby to the rescue, then.But the film never recovers, veering between the boys-let-loose-in-the-candy-store kitsch of visiting Graceland, the 'In Search of Dylan' histrionics of 'All Along the Watchtower' and impromptu political science courses given by Bono on the codas and intros of songs. Jacob wrestled the angel And the angel was overcome. These raps are often riveting in person but lose their impact when abstracted as part of a filmed performance, as if Bono's usually unerring sense of rock dramatics is thrown off by the film. You plant a demon seed You raise a flower of fire. We see them burnin crosses See the flames, higher and higher. Woh, woh, bullet the blue sky Bullet the blue sky Bullet the blue Bullet the blue. Suit and tie comes up to me His face red like a rose on a thorn bush Like all the colours of a royal flush And hes peelin. There is some great music the rest of the way, especially thecollaboration with B.B. King, 'When Love Comes To Town,' and the show-stopping renditions of 'Surrender' and 'Bullet the Blue Sky,' but the film ends up trivializing the live performance impact of this great band rather than documenting it. This may well be a generic problem, because feature films have never been an effective medium for rock 'n' roll. Rattle and Hum KC: Bullet the Blue Sky 80 views 1 Dislike Share Save Brian Rice 329 subscribers From Rattle and Hums 11th Anniversary Show at the recordBar in Kansas City on Friday.
The music's basic visual message is best delivered in short bursts, one of the reasons slickly produced videos have dominated rock's visual presentation.Ĭoncert films simply don't work - good live rock shows bristle with the kind of ambient energy that can only be appreciated in person.
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