U2 - Achtung Baby 20th Anniversary Super Deluxe Edition (2011) FLAC CD1-3 of 6 EAC Rip Part 1 of 6CD+4DVD FLAC (Tracks) - Cue - Log Scans Complete Release: 2011 1.27 GB Gerne: Rock This Super Deluxe Edition contains six CDs, including the original Achtung Baby album, the follow-up album, Zooropa, B-sides and re-workings of previously unheard material recorded during the Achtung Baby. U2 Achtung Baby: Deluxe Edition (Universal Music). Where did it all go so horribly right for U2 in 1991? Vmware for mac os x yosemite free download. They’d spent the ‘80s living in a black and white postcard, charting a path from political post punk to gospel-tinged Americana. Popular but boring, it was the band themselves that decided to terminate their image with extreme.

49 Songs, 3 Hours 37 Minutes

EDITORS’ NOTES

U2’s fifth album cemented their status as the greatest rock band to rise out of the ’80s. Bono’s bell-like voice and The Edge’s ringing guitar lines were honed to a deceptively simple melodic perfection, bolstered by the rhythm section’s propulsive marches and airy atmospherics of producers Brian Eno and Daniel Lanois. They're firing on all cylinders here, attacking social barriers (“Where the Streets Have No Name”) and insipid politics (“Bullet the Blue Sky”), while making heartbreak sound anthemic (“With or Without You”). Free program icewarp merak mail server 9.4.2 cracked. The album effortlessly combines U2’s initial post-punk energy with their immersion into the American mainstream. This 30th-anniversary Super Deluxe set includes new remixes, b-sides, and a stunning live set from Madison Square Garden in 1987.

EDITORS’ NOTES

U2’s fifth album cemented their status as the greatest rock band to rise out of the ’80s. Bono’s bell-like voice and The Edge’s ringing guitar lines were honed to a deceptively simple melodic perfection, bolstered by the rhythm section’s propulsive marches and airy atmospherics of producers Brian Eno and Daniel Lanois. They're firing on all cylinders here, attacking social barriers (“Where the Streets Have No Name”) and insipid politics (“Bullet the Blue Sky”), while making heartbreak sound anthemic (“With or Without You”). The album effortlessly combines U2’s initial post-punk energy with their immersion into the American mainstream. This 30th-anniversary Super Deluxe set includes new remixes, b-sides, and a stunning live set from Madison Square Garden in 1987.

• 49 Songs, 3 Hours 37 Minutes
• Released: Mar 9, 1987
• ℗ 2017 Island Records, a division of Universal Music Operations Limited

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U2 Achtung Baby

Best new reissue

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Achtung Baby is rightly known as one of rock's greatest reinventions because it was so complete. And just as the 1991 album both fulfilled and upended rock'n'roll myths, this coffee-table-book sized, 6xCD, 4xDVD set both props up Achtung and pokes a few holes in it.

'If you give a pop star a shit pile of dough and he refuses to self-destruct, I think it is a bit wet,' said a smoking, slicked-back, black-sunglasses-clad Bono in a 1993 interview on the UK music show 'Naked City'. 'I think it's part of the deal. If they don't die on a cross by 33, I'd ask for your money back.' Like many of the knowingly audacious quotes from the singer and his U2 mates during this period, it's a little tough to deduce the exact level of sincerity involved. And that was the whole idea. In the early 1990s, U2 were sending up the idea of a 'rock'n'roll star.' They were offering themselves as an ironic, postmodern band for similarly confused times. They were making fun of themselves and their own humorless, slate-faced 80s reputation. A year after Bono's casual quip about pop stars dying on a cross, Kurt Cobain killed himself. And in Nirvana's final video, for 'Heart-Shaped Box', Cobain could be seen making wild eyes in front of one.

Achtung Baby and its accompanying Zoo TV tour lived within the slippage between perception and reality. 'Sometimes you can get far closer to the truth of what you're trying to say by highlighting what it isn't as if it were true,' said the Edge on 'Naked City'. 'That's assuming we know the truth-- 'truth' is one of those words that's lost its meaning.' In the 80s, U2 seemed endlessly in search of a definite truth, whether in peace or god or love or some ambiguous combination of the three. Famously, they didn't find it.

But the quest was thrilling-- at least until 1988's album and film Rattle and Hum, which found the group looking and sounding spectacularly self-serious while gawkily paying tribute to some of their American heroes like Elvis Presley and B.B. King. The resulting critical backlash caused these open-hearted Irishmen to reflect, and they weren't crazy about what they saw in the mirror. 'We looked like a big, overblown rock band running amok,' says Bono in an excellent new documentary called From the Sky Down that chronicles the band's pivotal turn-of-the-decade moment. And while that might seem like an aptly derisive opinion of today's incarnation of U2, it's important to remember that these guys originally came out of the cacophony of rule-breaking post-punk, a realm where bloated arena rock was the enemy. So they went away and tried to come up with a new way to seek some truth.

Achtung Baby is rightly known as one of rock's greatest reinventions because it was so complete. Sure, U2 changed their sound from chiming melodics to lurching, distorted rhythm. But they also changed their attitude, their demeanor, their look, their ideas on how to deal with celebrity. All of a sudden, they were funny, sexy, a bit dangerous-- three things few would've associated with U2 in the 80s. And yet, at their core, the band's values remained constant. They were still ethically minded and interested in the real-life connection between living beings. But the way they went about projecting those core tenets flipped. In TV-news parlance, their attitude switched from '60 Minutes' to 'The Colbert Report'.

This new era was conveniently spelled-out on Achtung's first single 'The Fly' with the Edge's metallic skronk and Bono's conspiratorial, effected whisper of lines like, 'It's no secret that a conscience can sometimes be a pest/ It's no secret that ambition bites the nails of success.' And just as the album goes lengths to both fulfill and upend rock'n'roll myths with thorny tales of deep betrayal, questioned fidelity, and ambiguous artifice, this coffee-table-book sized, 6xCD, 4xDVD set both props up Achtung and pokes a few holes in it, too.

Take the album's much-ballyhooed place of origin, Berlin's Hansa Studios. Sai ve sadi fariyad tere tayi lyrics. This was the location that played host to David Bowie and Iggy Pop's electronic-inspired masterworks Low and The Idiot. Scientific workplace free download. And Hansa is located near the Berlin Wall, which had only recently been breached when U2 set up there in the fall of 1990. Perched literally in the middle of historic liberation, U2 were meant to find inspiration in the world events around them and turn that spark into a new version of the band for a new decade. It's a great backdrop for a great story. But it didn't really go down that way. 'We're there, and greatness has left the building,' Bono recalls in From the Sky Down, which features the band returning to Hansa earlier this year in preparation for their headlining set at Glastonbury.

While Berlin did inspire bits of the record-- 'Zoo Station' was named after one of its prominent train terminals-- it hardly lived up to its lofty reputation. This serves as a lesson for U2, a band that shamelessly worships past rock heroes, to move past such naïve mythologizing. 'Berlin was a baptism of fire,' says bassist Adam Clayton in the documentary. 'It was something we had to go through to realize what we were trying to get to was not something you could find physically, outside of ourselves, in some other city-- that there was not magic to it and that we actually had to put the work in and figure out the ideas and hone those ideas down.' This newfound pragmatism would help them to move past their fantasies about the sanctity of rock. So while Berlin played a part on Achtung Baby, it did so in surprising ways; though 'One' was mostly written in a burst of inspiration in Hansa, most of the album truly came together once the group went back home to Dublin.

Most of the audio bonuses in this set are unfortunately superfluous, and don't offer much in terms of insight. There are two CDs filled with dance remixes, and while U2 were at the vanguard of big time rock bands embracing the notion of the remix, even the most devout rave nostalgist would have little use for six remakes of 'Mysterious Ways'. The disc of bonus material and B-sides is disappointingly slight, and another filled with early versions of every song on Achtung offers a few revelations-- an Irish jig-style version of 'Tryin' to Throw Your Arms Around the World' has an easy charm, but generally, it's easy to see why these attempts were improved upon later. Achtung's even more electronic and weirder follow-up, 1993's Zooropa-- which was recorded in a creative frenzy during a break in the Zoo TV tour-- is also included, though it's generally (and somewhat unfairly) glossed over in all the accompanying materials.

U2 Achtung Baby Tracks

The worthy additions in this 'super deluxe edition' are nearly all visual. There's Anton Corbijn's gorgeous and colorful photography that covers its case, as well as a big, sturdy 84-page book. And then the four discs of video: It Might Get Loud director Davis Guggenheim's new 90-minute doc From the Sky Down, every video from the era, a full live gig taped in Australia in 1993, interview shows (like 'Naked City'), and, best of all, a playfully subversive TV special from 1992 that includes live footage from the Zoo TV tour as well as goofy interludes that play up the surrealism and insanity of the whole project. Moments like the 'Even Better Than the Real Thing' video, with the band playing in a glass case while fans look on outside, successfully tie in all the pomo flourishes U2 were chasing. The group was at the forefront of bringing huge video screens into the live arena, and some of the tricks they pull off-- Bono 'dueting' with a static-y Lou Reed or flipping channels to live local stations-- still look impressive. And for all the technical wizardry of the stage setup, the band still uses it to complement the music rather than overshadow it. Even 20 years on, the tour looks like something to behold, a singularly inventive experience that no band-- including U2 itself-- has been able to really expound upon in a meaningful way.

In the Zoo TV special, which originally aired during Thanksgiving weekend in 1992, a 'news commentator' covering the show dubs it 'the most significant and exciting TV event since the Gulf War.' Some of the ideas behind Zoo TV and Achtung Baby were inspired by the television coverage of that initial Gulf War in 1991, and the bizarre reality of being able to switch channels from home shopping to MTV to the bombing of Baghdad. U2 recognized the dangers of this idea, when war turned into just more filler for the burgeoning 24-hour TV-news cycle. And instead of preaching against it in a high and mighty fashion, they embraced that chaos in an effort to expose it. Of course, our collective information overload has been upped exponentially since thanks to the internet, making the flashes of words and slogans that backed U2 during their live campaign seem eerily prophetic. Talking about the Zoo TV audience in the 'Naked City' interview, drummer Larry Mullen, Jr. says, 'They're coming to a rock'n'roll show and watching television, what more can you ask for?' He's joking, but as we go to arenas and see singers on big screens through our cellphone cameras, the question begins to answer itself.

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Artistic longevity has its perks, but it also has its drawbacks. At some point, a band or an artist will inevitably falter. Why this happens depends on the circumstances, of course; how the artist reacts determines what happens next. For Irish rockers U2, that moment came in 1997; their album Pop found the group receiving some of their worst reviews and album sales to date. Of course, going Platinum might not seem like poor sales, but compared to sales over the past decade, this development couldn’t be ignored. Thus was borne 2000’s All That You Can’t Leave Behind, the band’s tenth album, and the subject of a fine deluxe edition.

Pop had been the cumulation of a decade’s ascent to the top of the rock star throne. Considering the harder-edged Achtung Baby’s world-conquering success, and the surprise success of the edgier, experimental companion Zooropa, the band fell down the trap of self-indulgence. Overproduced, overwrought, and largely forgettable, Pop felt like the end of an era, a band that had traded its passion for production, an expensive-sounding record that ultimately felt hollow—and, for the first time in their career—utterly superficial.

U2 Achtung Baby Song List

Wiser heads recognized this. For their next album, they brought back the duo of Daniel Lanois and Brian Eno, the two men who helped turn U2 into rock royalty with the one-two punch of 1984’s The Unforgettable Fire and 1987’s masterpiece The Joshua Tree. While Pop sounded bloated and not very U2-like from the opening “Discotheque,” All That You Can’t Leave Behind opened up with “Beautiful Day,” one of the band’s finest numbers. With a stripped-down production and catchy electric piano melody, frontman Bono sounds like his younger self, confident, proud, and energetic.

“Beautiful Day” sounds like the U2 of yore, and it set the tone for the rest of the album. Lanois and Eno helped the band channel their mid-80s selves once again, in more ways than one. With restrained production, the songs are shorter and succinct; All That You Can’t Leave Behind is the band’s shortest album since The Unforgettable Fire. Furthermore, it’s a very fast-paced record; the first listen felt positively Ramones-like compared to their previous albums. (The American version of the album had 11 tracks, while the other major markets added an additional song, the Salman Rushdie composition “The Ground Beneath Her Feet,” which had already been released Stateside on The Million Dollar Hotel soundtrack.)

Yet they didn’t fully abandon the tools they picked up over the decade. It’s nice to hear them return to the roots-rock/gospel hybrid of Rattle & Hum again on “Grace” and “Peace On Earth,” but it’s to their credit that these numbers don’t sound like a band imitating itself. “Stuck In A Moment You Can’t Get Out Of” is perhaps the best song on the album. It is a melancholy gospel number that documents an argument Bono wishes he had with his friend, INXS’s Michael Hutchence. “Elevation” proves that Pop wasn’t a totally bad idea; the dance groove is restrained and works well when the excesses are paired down. Then there’s “Kite,” a song ostensibly about the end of a relationship, but if you listen closer, one might walk away thinking Bono is singing about the Pop misstep, and his moving words an apology to his fans.

All That You Can’t Leave Behind stands as a solid, consistent album; the only real flaw comes from its sequencing. U2 released four very fine singles from it . Yet all four songs are sequenced at the beginning of the album, making the album feel quite top-heavy. And if that’s the only quibble, then that’s a pretty good thing, no? Thankfully, the album cuts stand up on their own quite nicely.

The second disc of the set offers up leftover studio tracks: three outtakes and six b-sides. For the most part, the mood and tempo is melancholic and gray. U2 has always had a knack for hiding some fine jewels on the flipsides of their singles. The campfire singalong of “Summer Rain” is a delight, as is the brooding “Stateless,” which sounds a bit like The Dandy Warhols’ “Godless” to these ears. The only true clunker to be found is a calypso version of Johnny Cash’s “Don’t Take Your Guns To Town,” an experiment that just doesn’t work. (The fifth disc in this collection offers up the remixes from their singles, as well as a few that stayed in the vault. Truth told, these are more for the hardcore fan; if that’s not you, you aren’t missing anything.)

This super-deluxe edition also contains a two-disc live show recorded in Boston in 2001 and previously released on DVD. Much like the album, U2’s live set finds them pulling back the overwhelming excesses of previous tours. The setlist reflects it, too; it features seven songs from the new album, plus a healthy selection of the band’s greatest hits. Only one song from Pop appears, the otherwise forgotten “Gone,” a song that became a dedication to the deceased INXS lead singer. Versions of “Bullet The Blue Sky,” “Desire,” and “I Will Follow” retain the white-hot intensity of the original versions while simultaneously flexing their muscles in a most appealing way. For those who saw it, The Elevation Tour felt like a band returning to form. This live show certainly makes the case, and is a superb concert experience.

All That You Can’t Leave Behind deftly pressed reset for a great band that had lost its way. For the next few years, they understood the lessons learned from Pop. Over the past decade, they’ve returned to a more experimental mindset. Unfortunately, unlike the risks taken with Achtung Baby, listeners have failed to connect with this new sound. Will they rally and pull off another All That You Can’t Leave Behind? That remains to be seen. Here’s hoping they can convene once more and reclaim their title as one of the greatest rock bands ever.

Purchase U2 All That You Can’t Leave Behind: Super Deluxe Edition: Amazon