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Under A Blood Red Sky (1983, Island Records)

As if there was any doubt about their credentials by that time, U2 provided the exclamation point on their 1983 live album Under A Blood Red Sky. Proving themselves an unparalleled live act cemented their status as the next great rock and roll great band, and they’ve been fulfilling that promise for the last 25 years. But does this live album still live up to its reputation? Only the song-by-song album review can answer that question.

Side 1

  “Gloria”
When the band kicks into gear after Bono’s count-in, it’s a thrilling beginning. They show here they can be delicate in concert as well as powerful when they soften in the chorus, only to rev it up again as The Edge’s guitar moans and wails through an extended solo. The switch to the major key in the chorus nails the uplift for which the group is aiming.

  “11 O’Clock Tick Tock”
The chunky riff is executed well, and the lyrics about disillusioned boys and girls likely resonated with a typical concert audience. The falsetto parts always seemed a bit lame to me though. Once again, though, the Edge takes the spotlight during a ferocious solo.

  “I Will Follow”
The chunky riff is executed well, and the lyrics about disillusioned boys and girls likely resonated with a typical concert audience. The falsetto parts always seemed a bit lame to me though. Once again, though, the Edge takes the spotlight during a ferocious solo.

  “Party Girl”
Probably chosen because it allowed the band to show off their flexibility with a less bombastic number, this curious song gives Bono a chance to scat and Adam Clayton to shine with his bass. And you can’t deny it’s darn catchy.

Side 2

  “Sunday Bloody Sunday”
“This song is not a rebel song. This song is Sunday Bloody Sunday.” With that announcement, the band tears into their call to lay down arms. Larry Mullen is absolutely whomping on his drums to set the tone. The “wipe your tears away” breakdown is particularly effective on this version.

  “Electric Co.”
Also included is the brief song snippet known as “The Cry,” which leads into the rock assault of the main track. This album as a whole really belongs to The Edge, and his speed-demon playing here can leave the listener breathless before he sets off the power-chord explosives at the end.

  “New Year’s Day”
Probably the only occasion on the album where the live version doesn’t quite live up to the original. Maybe it’s because of the piano riff sounds a bit hollow, or maybe it’s the slightly rushed tempo, but it all falls just a hair short.

  “40”
The band leaving the song one instrument at a time until only the chanting of the crowd remains is chill-inducing. This song is just ideal as a concert closer.

You should be able to tell by the ratings that there isn’t a lot of flab on this classic. It still holds up as the most fabled live document of one of the premiere concert bands of all time.

Go to Page 5 for HIGHLIGHTS FROM THE BONUS DISCS>>

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