|Algumas fotos e clippings importados da banda.|
O lado B abre com “The refugee”, também não muito conhecida. A bateria de Larry Mullen arrebenta tudo desde o início. Uma harmonia não tão rica, mas com um refrão que difere de suas estrofes raivosas, por assim dizer. Seu final traz uma daquelas melodias típicas para a massa acompanhar junto. Faixa muito interessante, poderia muito bem ter sido incluída na trilha sonora do filme “Em nome do pai” – cuja música tema é de Bono, por sinal.
Alguns números da Rolling Stone: A capa de “War” foi eleita pelos leitores em 1991 como a 42ª melhor de todos os tempos. O disco está entre os 40 maiores da década segundo os críticos da revista. O álbum é listado como um dos 500 maiores de todos os tempos (#223). Chegou a número 1 no Reino Unido e a número 12 nos EUA.
Other discs were also "heavy" (in political aspects) in the 80´s, right? Bands like Big Country, the Clash or New Model Army were politicized bands, but didn't make it to the mainstream as U2 – talking openly of world´s conflicts at the time. Let's go to the bomb itself…
"Sunday Bloody Sunday" opens the disc as an immortal anti-belicist cry referring to the Londonderry massacre back in 1972 by British troops against Irish catholics. Until today is a symbol of the band and that season. Needless to say that U2 did not support the IRA in its terrorist actions against the British rule of the Royal Crown. The highlight, beyond the letter, is the violin presence by Steve Wickham in the song.
"Seconds" is pervaded by acoustic guitars and a letter that talks about the so-called Cold War and the nuclear looming with a simple push of a button generating the end of the world. Adam Clayton puts a very interesting bass line. Cold - with striking drums - was not a success but is very good track. The Edge is the mainly vocal in this track, dividing work with Bono.
"New year's day ´" waiver comments. Beautiful keyboard riff from The Edge, the lyrics (referring to the Lech Walesa´s Solidarnosc in Poland) and the passionate interpretation of Bono have made this one of the 10 biggest hits of the band's career, no doubt. On disk, the length is longer than the live version performed by the band, with one more stanza.
"Like a song" don't stand out as much, however, is the most dramatic performance of Bono, putting their lungs out and the band coming together, super committed.
"Drowning man" is beautiful, also counting on a violin, with the band almost floating (that is the feeling that brings me this song) and Bono declaiming a letter full of passion and noble sentiments for his love. Sure a presence on this work.
The B side opens with "The refugee", also not very known. Larry Mullen drums bursts from the top. A harmony not as rich, but with a chorus that differs from the rest, so to speak. The ending brings one of those typical melody lines as to make the masses come in and sing together. Very interesting track, could very well have been included in the soundtrack called "In the name of the father" – whose theme is sung by Bono.
"Two hearts beat as one" was the second single from the album. A pop dancing tune – at least compared to the others – has a cool drum & bass work and up lyrics. Here in Brazil the market released a remix of this song that came to play hard in the danceclubs (!) of Rio de Janeiro by 1985/86.
"Red light" is also uplift, with good backing-vocal work and lyrics (according to Wikipedia) in reference to prostitution. Kenny Fradley´s trumpet solo and work goes very well, pushing the ending as in a soundtrack mood. Worth listening carefully.
Then comes my favourite on the disc. "Surrender" was never equaled live ... The climate of this recording is unique: a studio junction of people and feelings at that particular moment. Sadie's distress, the girl-theme song in a passionate lyric (another one) by Bono, the incidental keyboards, drums arranged meticulously by Mullen, the great performance of Jessica Felton along the track and the striking arrangement of voices that closes the song- with maestro Bono in charge at imaginary masses - makes this song one of the 10 most memorable recordings of the group throughout their career (I quote here also " A sort of homecoming " in the following year). This is the highlight - in my opinion.
"40" was, for a long time, the song that closed their concerts. Spiritual, "hot", where the band left the stage and Mullen would close the show alone. Pay attention to the placement of the voices in this tune. The Edge and Bono bring richness to “Bible” lyrics, leaving you with a certain melancholy. Genius.
Regarding other aspects of the album: it was all recorded in Dublin in 1982 (released in 1983), with producer Steve Lillywhite. The cover boy (Peter Rowen), which lived in Bono´s brotherhood, was also the cover model for "Boy". An image that illustrated the tour and became a symbol for the band. Another interesting fact is that the art is in gray and red, same colors of the weekly "Solidarnosc" journal in Poland´s movement.
Some Rolling Stone magazine pool numbers: The cover art was pointed as number 42 in a hundred list by Rolling Stone´s writers in 1991. Appears on the 500 greatest albuns of all time (#223) by its critics and also on the greatest albuns of the decade (#40). Reached number 1 in the UK and number 12 in the U.S.
I have great respect for the follower 1984´s "The Unforgettable fire" – another essential record - but "War" can sound magnificent without disposable tracks. This record was one that I couldn't get rid of and even today causes me passion to listen to. My copy is brazilian in mint condition and bought – who remembers that? – in extinct Gabriella disc store. Here I pay a debt (another one) to the band, before U2 become a caricature of theirselves, with Bono (sic) finding himself a business showman like Sinatra, lose their way during the 90´s and lose this fan who speaks. My respect and gratefulness to the band, however, are eternal.