[post em: 21/JUN/16]
Este foi um dos álbuns que me
levaram a cantar, a formar uma banda, a tentar uma carreira, a povoar minha
mente de fantasias musicais, de contestações, de poesias...O U2 estourou nas
rádios brasileiras em 1985, após a arrasadora apresentação da banda no Live Aid,
em Wembley. As rádios começaram a executar “Sunday
Bloody Sunday” e “New year´s day”
bastante, ajudando a divulgar a banda e uma nova febre nascia aqui no Brasil.
Este álbum e o “The Unforgettable fire”
foram dois álbuns de cabeceira – mesmo! – pois nesta época cansava de escutar
os dois álbuns em fita k7 tarde da noite, tentando mergulhar na conturbada
Europa dos anos 80. Fundamental na carreira da banda, este álbum foi
prejudicado pelo roubo das letras de Bono por alguém não identificado durante a confecção da obra (o que
mostra a maestria do vocal com os escritos, pois conseguiu reunir de novo grandes ideias e insatisfações num álbum incrível).
“Sunday Bloody Sunday” abre o disco como um imortal grito de
protesto anti-bélico referindo-se ao massacre da cidade de Londonderry em 1972 pelas tropas inglesas contra os
católicos irlandeses. Até hoje é um símbolo da banda e da época. Resta dizer
que o U2 não apoiava o IRA em suas
ações terroristas contra o domínio britânico da coroa real. O destaque, além da
letra, é o violino super bem-colocado por Steve Wickham na canção. Está entre as 500 maiores canções do pop para a Rolling Stone (#272).
“Seconds” é permeada por violão e uma letra que fala sobre a Guerra
Fria da então URSS contra os EUA e a iminência nuclear de um simples apertar de botão vir a deflagrar o fim do
mundo. Adam Clayton manda uma linha de baixo super interessante...Fria, com
bateria marcante, não foi sucesso mas é muito boa faixa. The Edge divide o canto com Bono nesta, sendo
inclusive a voz principal.
“New year´s day” dispensa comentários. A linda linha de teclado de
The Edge, a letra ( referindo-se ao sindicato Solidariedade de Lech Walesa da Polônia)
e a interpretação apaixonada de Bono fizeram desta um dos 10 maiores sucessos
da carreira da banda, sem dúvidas. No disco, a duração dela é mais longa do que
a que é executada pela banda ao vivo, com uma estrofe a mais. Está entre as 500 maiores canções do pop para a Rolling Stone (#435).
“Like a song” não se destaca tanto, porém, é a performance mais
dramática de Bono, colocando os pulmões pra fora e a banda chegando junto,
super engajada.
“Drowning man” é belíssima, também contando com um violino
marcante, com a banda quase flutuando (é esta a sensação que me traz esta
música) e Bono declamando uma letra cheia de paixão e sentimentos nobres pelo
seu amor. Destaque certo do disco.
 |
| 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.
“Two hearts beat as one” foi o segundo single do disco. Dançante e
pop – pelo menos em relação às demais – conta com um trabalho bacana da
cozinha e uma letra mais para cima. Aqui no Brasil foi lançado um remix desta
canção que chegou a tocar bastante nas danceterias (!) do Rio de janeiro em
1985/1986.
“Red light” também é mais para cima, com trabalho de backing-vocals
e letra (segundo a Wikipedia) em referência
à prostituição. O trompete de Kenny Fradley entra muito bem, solando e
encerrando a música em clima de trilha-sonora. Vale a audição com cuidado.
Em seguida vem a minha preferida
do disco. “Surrender” nunca foi igualada
ao vivo...O clima desta gravação é único, coisa de estúdio, junção de pessoas e
feeling de momento. A aflição de Sadie, a garota-tema da canção numa letra
passional (mais uma) de Bono, os teclados incidentais, a bateria arranjada de
forma minuciosa por Mullen, a estupenda performance vocal de Jessica Felton ao
longo da faixa e o impressionante arranjo de
vozes que fecha a canção – com o maestro Bono no comando das massas
imaginárias - faz com que esta música seja uma das 10 gravações mais memoráveis
do grupo em toda a carreira (cito aqui também a linda “A sort of homecoming” do ano seguinte). É o grande destaque em
minha opinião.
“40” foi, durante muito tempo, a faixa que fechava os shows da
banda. Espiritual, quente, onde a banda saía do palco e Mullen fechava sozinho
o show. Preste atenção na colocação das vozes desta gravação. The Edge e Bono
trazem muito lirismo à canção e te deixam com uma certa melancolia. Genial...
 |
| Minha coleção de revistas / livros tendo o U2 como tema e/ou capa. |
A respeito de outros aspectos do
álbum: Foi todo gravado em Dublin em 1982 (lançado em 1983), tendo como
produtor Steve Lillywhite. O garoto da capa (Peter Rowen), que era da
vizinhança de Bono - esteve também presente na capa do álbum “Boy” - ilustrou a turnê do
disco e se tornou um símbolo da banda. Outro fato interessante é que a arte é
em cinza e vermelho, mesmas cores do jornal “Solidariedade Semanal” do
movimento polonês.
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.
Respeito muito o “The Unforgettable fire” de 1984 –
outro essencial da banda – porém, “War”
consegue soar magnífico sem faixas descartáveis como o seu sucessor. Este disco
foi um dos que não consegui me desfazer e até hoje me causa espanto ao escutar.
Minha cópia é nacional de 1985, em
estado de zero e comprada – quem se lembra – na extinta rede Gabriella
Discos. Aqui eu pago uma dívida (mais uma) a uma banda de cabeceira, antes do
U2 se transformar numa caricatura de si mesmo, com Bono (sic) se achando um
business showman à la Sinatra, perder o rumo durante os anos 90 e perder o fã
de carteirinha que vos fala. Meu respeito e agradecimento à banda, porém, são
eternos...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.
Fotos: acervo pessoal. Review
por Alvaro Az. Quer ler mais sobre este
magnífico álbum? Saiba mais em: https://pt.wikipedia.org/wiki/War_(%C3%A1lbum)
ENGLISH VERSION
This was one of the albums that send me to sing,
to form a band, trying a career, to populate my mind of musical fantasies,
objections, poetry... U2 blew in the Brazilian radios in 1985, after their overwhelming
presentation at Live Aid in Wembley. The radios began to perform "Sunday
Bloody Sunday" and "New year's day" so much, helping to promote the band and a new
fever was born here in Brazil. This and "The Unforgettable fire"
were two bedside albums-really! - because this time I got “tired” of listening
to these two albums on tape late at night, trying to soak in the troubled
Europe of the middle 80´s. Vital in the band´s career, this album was hindered
by the theft of Bono lyrics by someone unidentified. What shows the mastery of U2
vocal with the lyrics, as he managed to put all his disatisfaction and ideas on an amazing album.
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.
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.
Photos: personal collection. Review by Alvaro Az. Read more at: https://pt.wikipedia.org/wiki/War_
(% C3% A1lbum)
