Vinyl Vault
By
JBev
September 29th, 2008
(Page 3 of 5)
War (1983, Island Records)
In 1983, U2 came out swinging. From the opening martial drum beats of “Sunday Bloody Sunday”, it was clear that War, the group’s third album, wasn’t backing down from anyone. The in-your-face title alone was incendiary, and the songs within tackled the issues that most bands avoided. And, go figure, the end result was the group’s first big pop-chart success and marked their ascendance into the rock stratosphere. Does War still put up a good fight 25 years later? The song-by-song album review is on the case.
Side 1
“Sunday Bloody Sunday”
Because of the title, people always want to tie this specifically to the situation in Ireland. But, if you listen to Bono’s lyrics, his best to this point in his career, you hear a far more general warning against desensitization and ambivalence that still rings pretty true today. There’s no doubting though that the music is the star here, from Larry Mullen Jr.’s opening gunshot snares to The Edge’s legendary riff to the subtle violin squeals buried in the mix that add to the heightened drama.
“Seconds”
Once again it’s Mullen that kicks things off with a drumbeat that sounds like a countdown. Then bassist Adam Clayton enters the fray with an ominous line. The nuclear threat is the focus of Bono’s lyrics here, but the wordless moans that pop up throughout say all that needs to be said. And how about a lead vocal from The Edge!
“New Year’s Day”
Bono does a nice job again of mingling the personal and political, as the song works both ways in a manner that would make Springsteen proud. We can make fun of the 80’s, but can you imagine a song with this much on its mind becoming a hit today? The urgent music set against the optimism of the lyrics is what you remember: “Torn in two/We can be one.” Transcendent stuff.
“Like a Song”
This song tends to be forgotten amongst the bigger hits, but it really should have been a smash itself. The sections featuring Bono pleading for an end to divisiveness against Mullen’s powerful backbeat are particularly affecting. Then The Edge clears the air with a lethal solo, leaving nothing in doubt. This is some of the band’s toughest rock and roll.
“Drowning Man”
An acoustic change of pace that’s features Bono singing as if his life, or love, depended on it, this song’s repetitive chord structure give it an evocative, trance-like feel.
Side 2
“The Refugee”
With the rhythmic bassline and exotic percussion, this oddity seems like a Peter Gabriel castoff. It’s a bit of a mess, but at least it’s not a dull mess.
“Two Hearts Beat as One”
If you just took the lyrics, you might think this was a Cole Porter song. The propulsive nature of the band hides the sentimentality well though, especially toward the end when Clayton and The Edge bounce off each other like pinballs.
“Red Light”
Whoa, who invited the Pointer Sisters to this song? Rattle And Hum would later prove that trying out American styles like R&B and funk didn’t suit the band. This sounds like it was intended for an unmemorable episode of Miami Vice.
“Surrender”
The Edge’s chugging guitar has its moments here, but again, this song has its dated elements. It’s as if the band wasn’t so sure that their political stuff would fly, so they tried to hedge their bets with some clunky genre moves on Side 2.
“40”
Written on the fly at a session that didn’t even include Adam Clayton (that’s The Edge on bass), this simple rewrite of a Psalm became an unlikely concert closer. Its simplicity is part of its power. And it brings the album to a fitting close, with the “How long” refrain calling “Sunday Bloody Sunday” back to mind, albeit here in a more spiritual way.
The Bottom Line
It really all came together on War for U2, as Bono found the ideal subject matter for the intensity of the band. With anthems at practically every turn, it’s the first of many classics in their storied career.
Go to Page 4 for a review of UNDER A BLOOD RED SKY >>
