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U2 has performed 635 concerts featuring songs from Rattle And Hum.

Rattle and Hum was the sixth studio album by U2, released October 10, 1988, although it also featured as selection of live recordings taken from the movie of the same name.  The movie, “Rattle and Hum” was a documentary following U2 around America during the Joshua Tree tour, filmed by director Phil Joanou. Many of the studio album tracks are included in the film as we witness U2 recording and rehearsing these new songs. Jimmy Iovine was the producer of the album. The cover of the album features Bono shining a spotlight on the Edge during a performance.

Live material used in the album included “Helter Skelter”, “All Along the Watchtower”, “Silver and Gold”, “Pride (In the Name of Love)”, and “Bullet the Blue Sky”. These performances were taken from performances in Tempe Arizona on December 19 th and 20 th 1987, San Francisco California on November 11, 1987 and Denver Colorado on November 7 th and 8 th 1987.

Four singles were issued from Rattle and Hum .  These included “Desire”, “Angel of Harlem”, “When Love Comes to Town” and “All I Want is You”. “Desire” became U2’s first single to chart #1 in the UK Singles chart.

The album Rattle and Hum reached number 1 on the US Bilboard 200 Chart, and also reached number 1 on the UK Album chart.

The film that accompanied this album has been released for the home video market with releases on videocassette, laser disc, DVD, HD-DVD, and Blu Ray.

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U2’s ‘Rattle and Hum’ Turns 30: Why Critics Had the Live Album/Documentary All Wrong

For most of the naysayers, it wasn't so much the actual music that got their collective goat as it was the way the band portrayed themselves.

By Ron Hart

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“This is a song Charles Manson stole from The Beatles . We’re stealing it back.”

Those were the first words uttered by Bono in the 1988 U2 rockumentary Rattle and Hum before the band ignited a sold-out McNichols Sports Arena in Denver with a rendition of “Helter Skelter” so electric Manson himself might’ve felt its vibes through the walls of San Quentin. Thirty years later, Manson is dirt in the ground and “Helter Skelter” is 12 minutes long on the 50th anniversary edition of The White Album coming out this November. Yet the critical disdain for both the Rattle and Hum film and its chart-topping soundtrack remains the same as it ever was. Upon the release of the Jimmy Iovine-produced album (Oct. 10) and the film (Oct. 27), Rattle and Hum was met with largely complacent and downright hostile reviews.

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“By almost any rock & roll fan’s standards, U2’s Rattle and Hum is an awful record,” wrote Tom Carson in The Village Voice . “But the chasm between what it thinks it is and the half-baked overweening reality doesn’t sound attributable to pretension so much as monumental know-nothingness.”

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In The New York Times , Jon Pareles accused the band of trying to “grab every mantle in the Rock-and-Roll Hall of Fame” before scowling “what comes across in song after song is sincere egomania.”

“This is a mess with a mission,” wrote David Fricke in his year-end review of Rattle in the Dec. 15-29, 1988, issue of Rolling Stone . “But a mess nevertheless.”

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For most of the naysayers, it wasn’t so much the actual music that got their collective goat as it was the way the band portrayed themselves to filmmaker Phil Joanou, who was only 26 when he directed Rattle and Hum (it was his second feature film behind the 1987 high school black comedy  Three O’Clock High ). At its root, it’s a highly stylized concert film culled from U2’s blockbuster tour in support of their breakthrough fifth LP The Joshua Tree —  the album that catapulted Bono, The Edge, Adam Clayton and Larry Mullen, Jr. into a new stratosphere of superstardom. In between performances, however, were scenes of the group traversing through American cities crucial to the fabric of rock n’ roll’s history.

They went to San Francisco to play the “Save the Yuppies” concert in Justin Herman Plaza, where they dazzled the impromptu crowd with a version of “All Along the Watchtower” which served as the perfect middle ground between Bob Dylan ‘s original and Jimi’s fiery takeover of the song. They visited Harlem, where they cut a gospel version of their Billboard Hot 100 No. 1 single “I Still Haven’t Found What I’m Looking For” with the New Voices of Freedom choir and caught the renowned street blues duo Satan and Adam busking on 125th St. They headed down to Memphis to visit Graceland and cut some songs at Sun Studio, including “Angel of Harlem” featuring the legendary Memphis Horns and references to Billie Holiday, John Coltrane and Miles Davis, and “Love Rescue Me,” a co-write with Bob Dylan which, along with the Daniel Lanois-produced Oh Mercy , helped many U2 fans get hip with Zimmerman. They also recorded “When Love Comes to Town” at Sun, a song that helped many young U2 fans find their way to the catalog of the song’s soulful co-captain B.B. King and such blues classics as Live at the Regal and Indianola, Mississippi Seeds.

These were the scenes that drew the ire of music critics, who were unfairly convinced that U2’s motives came from somewhere other than honest admiration and appreciation. But for a 14-year-old in 1988 in the first weeks of his freshman year of high school, Rattle and Hum —  both the film and its soundtrack — proved to be an eye-opening introduction to music beyond my narrow scope of MTV and rock radio at the time. It was the first time I ever heard about A Love Supreme or experienced the string arrangements of Van Dyke Parks, who along with Benmont Tench on pump organ, provided the sweep of heartbreak that imbues the album and film’s closing number “All I Want Is You,” still very much considered U2’s greatest ballad. I never truly, honestly felt the shimmy of the Bo Diddley beat before I listened to “Desire,” a song that earns the distinct honor of being the first single to simultaneously top the mainstream and modern rock Billboard charts (and scored the group a Grammy in 1989). “God Part II” gave me a deeper appreciation for the solo work of John Lennon , particularly Plastic Ono Band , whose key track “God” U2 were responding to as Bono defends John and Yoko by taking a shot at controversial biographer Albert Goldman with the line — “I don’t believe in Goldman, his type like a curse/Instant karma’s gonna get him, if I don’t get him first.” The atmospheric beauty of “Heartland” — featuring Brian Eno on keyboards — was a perfect gateway to the more esoteric moments on The Unforgettable Fire and The Joshua Tree, especially for someone who went into the Rattle and Hum experience as something of a U2 skeptic. 

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It was the strength of the live material featured both on screen and throughout the soundtrack that helped make this cynical young music fan so annoyed by those Joshua Tree singles on heavy, heavy pop radio rotation throughout 1987-88 a true believer. Largely split between black and white footage at McNichols and beautifully shot color celluloid at Sun Devil Stadium in Tempe, Arizona, the film’s rousing renditions of “Pride (In the Name of Love),” “Bad,” “With Or Without You” and “Bullet the Blue Sky” (where the project’s title comes from, as well as the main cover/poster art) burst through the surround sound with more impassioned energy than the studio originals. Elsewhere, there’s simply no touching the live rendition of “I Still Haven’t Found What I’m Looking For” from Madison Square Garden with the aforementioned New Voices of Freedom in tow that temporarily transformed the Mecca of sports and entertainment into America’s largest Baptist church in the most transcendent way possible.

There are two specific performances from the concert portion of the film that would’ve either cemented your devotion to U2 or confirmed your disgust for them. The first one, “Silver and Gold,” is a supercharged version of a song Bono recorded with Keith Richards and Ron Wood on Little Steven’s 1985 Sun City charity album for Artists United Against Apartheid where Bono goes on a lengthy riff about the troubles of South Africa at the time before asking the crowd “Am I bugging you? I didn’t mean to bug ya” and then directing The Edge to peel off one of his best guitar solos of the ’80s. And while it wasn’t included on the soundtrack itself, there isn’t a more pointed or combative version of the War screed “Sunday Bloody Sunday” than the one U2 performed at McNichols Arena. Evoking the fierce rendition the group delivered at Red Rocks five years prior, Bono goes into an impassioned rally against the Irish Republican Army with a defiant “fuck the revolution!” He continued, “What’s the glory of taking a man from his bed and gunning him down in front of his wife and his children? Where’s the glory in that? Where’s the glory in bombing a Remembrance Day parade of old age pensioners, their medals taken out and polished up for the day. Where’s the glory in that? To leave them dying or crippled for life or dead under the rubble of a revolution that the majority of the people in my country don’t want” and then leading the audience in the “No More!” chant that defined the Red Rocks version so resonantly. It’s easily the most powerful moment in the movie, one made real enough for the band to invoke a moratorium on performing the song in concert until the second leg of the Zoo TV tour five years later.

“They say in the Eighties that rock & roll is dead,” Bono told writer Steve Pond in the March 9, 1989 issue of  Rolling Stone . “I don’t think it’s dead, but if it’s dying, it’s because groups like us aren’t taking enough risks. You know, make a movie. Put yourself up against what’s out there.  Robocop  and  Three Men and a Baby . That’s great for rock & roll, not just for U2. I think you’ve got to dare.”

Thirty years later, it’s time for the skeptics to look beyond the allegations of bombast, self-importance and idol worship levied at U2 by American music journalists and dare to experience Rattle and Hum with fresh ears – and you may appreciate the wonder felt by a 14-year-old freshman who marched straight from the movie theater to the record store on the other side of the mall to pick up the cassette immediately after seeing it back in 1988.

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Rattle And Hum

By Anthony DeCurtis

Anthony DeCurtis

Rattle and Hum is an expression of U2 ‘s urge to have it both ways. A sprawling double album that incorporates live tracks, cover versions, collaborations, snippets of other people’s music and a passage from a taped interview, the record is an obvious effort to clear the conceptual decks and lower expectations following the multiplatinum success of The Joshua Tree.

But ambition has always been U2’s gift and curse, and the band clearly doesn’t feel fully comfortable with its sights lowered. Consequently, if amid the rather studied chaos here, you feel moved to draw comparisons with masterpieces of excess like the Beatles’ White Album or the Rolling Stones’ Exile on Main Street , you can be sure that Bono, the Edge, Adam Clayton and Larry Mullen Jr. won’t mind a bit.

This record doesn’t quite ascend to those heights, but U2 does win half the prize. In its inclusiveness and rollicking energy, Rattle and Hum caps the story of U2’s rise from Dublin obscurity to international superstardom on a raucous, celebratory note. At the same time, it closes off none of the options the band might want to pursue for its next big move — and, possibly, the album even opens a few doors.

Despite Bono’s insistence in the blistering “God Part II” that “I don’t believe in the 60’s in the golden age of pop/You glorify the past when the future dries up,” Rattle and Hum is in large part a paean to the tradition of Sixties artists that U2 reveres. “God Part II” itself is Bono’s personal extension of “God,” the dramatic track on Plastic Ono Band in which John Lennon shed the Sixties, his identity as a Beatle and all the idols he had worshiped. Bono’s update includes a pointed attack on Albert Goldman, whose book The Lives of John Lennon paints a bitter, unflattering portrait of the ex-Beatle: “I don’t believe in Goldman his type like a curse/Instant karma’s gonna get him if I don’t get him first.”

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Rattle and Hum evokes the Beatles right off the bat when it opens with a corrosive live version of “Helter Skelter,” a song that originally appeared on the White Album. “This song Charles Manson stole from the Beatles; we’re stealin’ it back,” Bono announces portentously before U2 tears into the tune.

Bob Dylan sings on one track (the meandering ballad “Love Rescue Me,” which Dylan also co-wrote) and plays organ on another (“Hawkmoon 269”). He is further acknowledged when U2 ignites a live rendition of “All Along the Watchtower.” Jimi Hendrix, the third member of U2’s Sixties trinity, is resurrected when the version of “The Star-Spangled Banner” he performed at Woodstock introduces U2’s searing live take on “Bullet the Blue Sky.”

U2 certainly holds its own while flirting with the greats, but Rattle and Hum is most enjoyable when the band relaxes and allows itself to stretch without self-consciously reaching for the stars. The New Voices of Freedom choir joins the band onstage in New York for an electrifying gospel-style rendition of “I Still Haven’t Found What I’m Looking For” that finds new depths in a song that was gripping the first time around.

Guitarist B.B. King teams up with U2 at Sun Studio, in Memphis, and together they tear up “When Love Comes to Town,” a rousing blues rocker about the redemptive power of love. While in Memphis, U2 also brought in the Memphis Horns to help out with a soulful tribute to Billie Holiday titled “Angel of Harlem.”

U2 flexes its rock & roll muscle on the Bo Diddley-inspired single “Desire,” the fierce “Hawkmoon 269” and a raucous live rendition of the anti-apartheid “Silver and Gold,” which first appeared in a studio version on the Sun City protest album organized by Little Steven Van Zandt. A tough live performance of “Pride (In the Name of Love),” U2’s anthem in honor of Martin Luther King Jr., captures the group’s onstage might at its inspirational peak.

But the quieter songs on Rattle and Hum provide the record with introspective moments made all the more effective by the generally boisterous context of the album. The Edge turns in a fine lead vocal and accompanies himself on electric guitar and keyboards on the hymnlike “Van Diemen’s Land,” about an Irish nationalist poet who was exiled to Australia. “Heartland,” on which Brian Eno plays keyboards, summons up a dreamscape reminiscent of the drifting, poetic songs on The Unforgettable Fire. And Rattle and Hum eases to a close with the ballad “All I Want Is You,” a stirring statement of unsatisfied desire that features an eloquent string arrangement by Van Dyke Parks.

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As its title suggests, Rattle and Hum is meant to be dynamic, rather than strictly coherent. It’s intended to dramatize U2 in motion and transition and to exult in the barrage of influences the band had just begun to admit on The Joshua Tree. Recorded almost entirely in the United States, the album also carries forward U2’s near obsession with the brave new world of America.

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But for all its excitement, Rattle and Hum seems a tad calculated in its supposed spontaneity. The album is, after all, a soundtrack. Rather than a documentary, it’s merely a document of events that often were staged and arranged for the express purpose of being filmed and recorded. The album ably demonstrates U2’s force but devotes too little attention to the band’s vision.

That vision, of course, has evolved impressively over the years — beginning with the dark adolescent wonder of Boy and moving through the mystical enclosure of October , the fury and poignance of War , the surreal imagery of The Unforgettable Fire and the resonant expansiveness of The Joshua Tree. Rattle and Hum is the sound of four men who still haven’t found what they’re looking for — and whose restlessness assures that they will be looking further still.

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U2: Rattle And Hum The Greatest Concert Documentary Ever Made

• November 29, 2013 June 24, 2023
• by Wes Candela

What Up Yo.

“ U2: Rattle And Hum ” is a documentary concert film chronicling the band’s 1987 “The Joshua Tree” tour.

Shot in (glorious) Black and White and Color film and directed by then Steven Spielberg protege Phil Joanou (“State Of Grace”, “ Three O’Clock High “), the film captures a moment in time that would otherwise be lost, the very rare and meteoric rise to superstardom of a rock and roll band in the prime of their careers. And the film does it with grace. The footage and photography are beautiful, the performances are historic for the band, and, being a film snob, I just downright love the fact that it was captured on 35MM (& 16MM) film at all.

I read on Wikipedia that the band was originally going to finance the film themselves and show it in a few small theaters here and there…but the film went over budget ($5 million) and Paramount Pictures bought it and distributed it worldwide in 1988 in tandem with the accompanying album, “U2: Rattle And Hum”.

I’ve included a few videos below: A teaser trailer for the film, which Incidentally I first saw in 1988 on the videotape release for “ Eddie Murphy: Raw “, 1987. It shows the band walking out onto the stage while the opening of “Where The Streets Have No Name” plays. They appear as silhouettes against a blood-red backdrop. This trailer and the music…drummer Larry Mullen, Jr. clicking hg his drumsticks together …are seared into my mind forever, I watched it over and over again back then, and it just turns me on.

Another is a performance by The Edge, just him playing his electric guitar & singing a song he wrote in tribute to the Irish Poet John Boyle O’Reilly who was sentenced to prison on “ Van Dieman’s Land ” in Australia for being an Irish revolutionary and fighting against British rule. O’Reilly escaped captivity and after a 6 month journey, evading British capture, came to America. The Edge’s performance of this song is another moment from this film that has never left me…it’s beautiful and haunting. I felt compelled to share it.

The third is the performance from the teaser trailer of “Where The Streets Have No Name” from Arizona’s Sun Devil Stadium in 1987.

Listen. Thank the gods for YouTube…but if you are a fan of U2 and by some chance in hell you haven’t seen this film yet, you need to get the Blu-ray, put it on a nice large screen and blast it. STAT.

Happy Turkey Day.

With Love, Wes Rock.

“Van Diemen’s Land”:

“Where The Streets Have No Name”:

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Rattle and Hum by U2

Album Reviews 1988 Albums , Album Reviews by Ric Albano , Irish Artists , U2 0

Buy Rattle and Hum

The idea for this album was spawned in mid 1987 during the tour supporting their highly acclaimed and commercially successful The Joshua Tree . Film director Phil Joanou pitched the idea to the band and they ultimately chose a late 1987 show  at McNichols Sports Arena in Denver, Colorado as the concert to film and record the bulk of the live material. The project’s title was derived from a lyric from the song “Bullet the Blue Sky”, which appears here as one of the live tracks.

Rattle and Hum was produced by Jimmy Iovine , with studio tracks recorded at several studios, including the legendary Sun Studio in Memphis, Tennessee. Much of this new studio material incorporated elements of American roots music such as folk, blues, Gospel and soul into U2’s distinct rhythmic sound.

The album opens with an odd sequence of songs, starting with a live cover of The Beatles’ “Helter Skelter”, which is a bit smoother, cleaner and calmer than McCartney’s original. Next comes “Van Diemen’s Land”, featuring guitarist The Edge on lead vocals for this sparse arrangement with picked electric and much reverb. The lead single from the album, “Desire” is the first place where the heart of the album is reached with a Bo Diddley-like rhythm working well as bedding for Bono ‘s soaring vocals and fine harmonica. The song reached the Top 5 in the US and later won a Grammy Award. “Hawkmoon 269” finishes the original first side as a methodical track, built on repeated rhythms and lyrical motifs along with fine overdubbed, layered guitars.

The album’s second side features all live tracks, starting with a cover of Bob Dylans ‘s “All Along the Watchtower”, recorded in San Francisco. Although upbeat throughout, the overall vibe is rather lethargic, not even coming close to capturing the magic of the Hendrix version on Electric Ladyland . “Silver and Gold” is a strong rocker with a folk-like lyrical delivery and a strong bass presence by Adam Clayton along with an explosive ending guitar lead by The Edge. Also included on side two are live versions of previous U2 hits “I Still Haven’t Found What I’m Looking For” and “Pride (In the Name of Love)”, with the former track featuring a Gospel-like arrangement with a chorus by The New Voices of Freedom .

The third side of Rattle and Hum is the album’s finest, starting with the exquisite “Angel of Harlem”, a fine, lyrically rich Soul rendition which shows the group’s musical versatility. Released as the album’s second single, the song was a hit on both sides of the Atlantic. “Love Rescue Me” was co-written by Bono and Bob Dylan and it slowly fades in with harmonica and picked electric guitar. Arranged like a classic ballad, the track is quiet during the verses, exploding during choruses where Dylan joins Bono on vocals, and later on features The Memphis Horns . “When Love Comes to Town” features B.B. King on lead guitar and co-lead vocals and is held together with Clayton’s thumping bass and rolling drums by Larry Mullen, Jr. , all adding further unique elements to this album’s potpourri of sound. “Heartland” closes the side through a slow, methodical intro before slowly building towards a full-throated, high octave chorus and arrangement.

The fourth and final side commences with “God Part II”, an intense, rhythmic rocker with some dance elements and the chorus hook “I Believe In Love”. The song was written by Bono as a sort of sequel to John Lennon’s song “God” from his 1970 album Plastic Ono Band . After a short inclusion of Jimi Hendrix’s Woodstock performance of “The Star Spangled Banner”, comes the climatic live track “Bullet the Blue Sky”, recorded at Sun Devil Stadium in Tempe, Arizona, featuring a persistent, mechanical motion. The album concludes with the ballad “All I Want Is You” with fine sonic effects over simple, strummed guitars along with an orchestral arrangement which adds to the song’s beauty.

Despite the critical panning, Rattle and Hum topped the charts in over a half dozen countries and went on to sell over 14 million copies worldwide. It also marked the end of an era for the group as they headed into the 1990s and forged a new sound on future albums.

Part of Classic Rock Review’s celebration of 1988 albums.

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« Rattle And Hum | Blu-rays, DVDs and Videos | Angel Of Harlem »

Rattle And Hum (Film)

Original Release Date: October 27, 1988

DVD Release Date: November 23, 1999

Duration: 95 Minutes (VHS), 98 Minutes (DVD)

Liner Notes (VHS):

A concert movie on an unprecedented scale, Rattle and Hum captures U2 - on and off stage - during their triumphant Joshua tree Tour. From the giant technicolor stadium celebrations to the black-and-white intensity of the indoor shows, this is U2 at their best. Follow the group across America, exploring new influences, playing with the legendary B.B. King, on a journey which takes them from Dublin to Graceland, from San Francisco to the streets of Harlem, from The Joshua Tree to Rattle and Hum. Contains 9 songs not included on the album "U2: Rattle and Hum". Total running time approx. 95 minutes. Color and b/w. HiFi-Stereo. PG-13. A Midnight Films production of a Phil Joanou film. Music produced by Jimmy Iovine. Produced by Michael Hamlyn, directed by Phil Joanou.

Liner Notes (DVD):

A concert movie on an unprecedented scale, Rattle and Hum captures U2 - on and off stage - during their triumphant Joshua Tree tour. From the giant technicolor stadium celebrations to the black-and-white intensity of the indoor shows, this is U2 at their best. Follow the group across America, exploring new influences, playing with the legendary B.B. King, on a journey which takes them from Dublin to Graceland, from San Francisco to the streets of Harlem, from The Joshua Tree to Rattle and Hum. Contains 11 songs not included on the album, "U2 Rattle and Hum". Region 1 / NTSC / widescreen version enhanced for 16X9 / Colour and Black & White. Dolby Digital 5.1 and Dolby Surround. Total running time approx. 98 minutes.

Track List:

• Helter Skelter (Live)
• Van Diemen's Land
• Desire (Demo)
• Exit (Live)
• I Still Haven't Found What I'm Looking For (Rehearsal)
• Freedom For My People (Sterling Magee)
• Silver And Gold (Live)
• Angel Of Harlem (Demo)
• All Along The Watchtower (Live)
• In God's Country (Live)
• When Love Comes To Town (Rehearsal/Live/Recital) (Featuring - B.B. King)
• Where The Streets Have No Name (Live)
• With Or Without You (Live)
• The Star Spangled Banner (Jimi Hendrix) (Music By - John Stafford Smith)
• Bullet The Blue Sky (Live)
• Running To Stand Still (Live)
• Sunday Bloody Sunday (Live)
• Pride (In The Name Of Love) (Live)
• All I Want Is You

Track List (DVD Edition):

• Bad (Live) / Ruby Tuesday / Sympathy For The Devil
• VHS: Island Visual Arts 440 082 975-3, Island Visual 082 975-2
• VHS: CIC Video, VHVA2193
• VHS: Paramount, PVT52102
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Review: U2: Rattle and Hum

4 stars (out of 5)

By Dan Pavlides, All Movie Guide

This excellent documentary follows the Irish group U2 on their concert tour of the United States in support of their seventh album Joshua Tree. The politically involved rock quartet sets their sights on American musical influences, previously ignored. They quickly immerse themselves in the musical culture with a recording session at the legendary Sun Studios in Memphis. Four tracks were recorded that ended up on their next record appropriately called Rattle And Hum. Blues Legend B.B.King adds his vocals and guitar work to Love Comes To Town, and Angel Of Harlem is a passionate tribute to the late Billie Holiday. In addition to their original material, the band covers gems from The Beatles, Bob Dylan, and Jimi Hendrix. Director Phil Joanou combines black-and-white with color photography to capture the band on and off the stage. Only the band's visit to Elvis Presley's Graceland seems out of context with the rest of the feature. Although the band's reverence for Elvis and his music is evident, they are merely tourists standing on the other side of a velvet rope. Spinal Tap had a more poignant visit to the king's palace, but Rattle And Hum is still one of the best musical documentaries of all time. Both the musical and political passion of U2 is evident in every frame.

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This page contains a single entry by Jonathan published on October 27, 1988 9:14 AM .

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Music Fan Series: U2: Rattle and Hum

PG-13 | Music Documentary | 1 Hour 13 Minutes | $10.00 General Admission/$6.00 Members

In 1987, legendary Irish rock group U2 — Bono, The Edge, Adam Clayton and Larry Mullen Jr. — embark on the North American leg of the concert tour for their acclaimed album, “The Joshua Tree.” The band visits historic sites of musical importance — including Elvis Presley’s Graceland and Sun Studio in Memphis, Tenn. — and spend time in the recording studio working on covers of classic rock tunes and new songs with guests like blues guitarist B.B. King, Bob Dylan and a gospel choir.

All the while, concert footage of the band’s biggest hits on tour are featured while Bono speaks his mind on the problems of his homeland.

A concert movie on an unprecedented scale. Rattle And Hum captures U2 – on and off the stage – during their triumphant Joshua Tree tour. From the giant Technicolor stadium celebrations to the black-and-white intensity of the indoor shows, this is U2 at their best.

Rattle and Hum

By the late ’80s, U2 had climbed the highest mountains of rock success, having racked up sold-out stadium shows, multiple magazine covers and a chart-topping album in The Joshua Tree. Bono and the boys had officially become the World’s Biggest Band—and now, they had to come up with an appropriately massive follow-up project. Should they make an indulgent double album? A lightning-capturing live album? What about a worshipful rock-doc? With the extravagant Rattle and Hum, U2 chose all three. A mix of new studio cuts and onstage highlights from the Joshua Tree tour, the album chronicles the US’s love for U2—and vice versa. A trip to historic Sun Studio yields “Angel of Harlem”, a swinging, horn-heavy ode to Billie Holiday that became an unlikely radio hit. It’s just one of several cuts that lets U2 dig deep into America’s musical past: The group teams with B.B. King for the wailing “When Love Comes to Town”; adopts a Bo Diddley shuffle on the grabby “Desire”; and collaborates with Bob Dylan for the languid ballad “Love Rescue Me”. Those in-studio moments—which also includes the stirring, straightforward love song “All I Want Is You”—are interspersed with a handful of tracks recorded during U2’s 1987 tear through America, and chronicled for the 1988 Rattle and Hum documentary. Those live moments find the band working overtime to match their fans’ arena-sized expectations: Bassist Adam Clayton and drummer Larry Mullen Jr. march in a lockstep groove to Dylan’s “All Along the Watchtower”, while the Edge lets rip on a fiery solo on “Bullet the Blue Sky”. And while Rattle and Hum’s concert tracks feature a few typically indulgent Bono bon mots—he opens a cover of the Beatles’ “Helter Skelter” by name-dropping Charles Manson—all is forgiven when Harlem’s New Voices of Freedom gospel choir shows up for a joyous rendition of “I Still Haven’t Found What I’m Looking For”. If that all sounds a bit all over the place…well, at the time, so were the members of U2, who were struggling to understand the new-found fame they’d been chasing for more than a decade. The result is an album that encapsulates the group’s past and present—while sneakily pointing to its future. Buried toward the end of Rattle and Hum is the raging “God, Pt. II”, in which Bono unloads a series of violent fantasies over a spare, slinky, proto-industrial dance beat. It’s unlike anything U2 had made up to that point. And it was an early hint of the dark, daring experiments the band would undertake in the next decade. The ’80s were dead, and the ’90s were just around the corner. Achtung, baby.

10 October 1988 17 Songs, 1 hour, 12 minutes This Compilation ℗ 2017 Island Records, a division of Universal Music Operations Limited

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Music Fan Series Presents U2: Rattle and Hum

A concert movie on an unprecedented scale. Rattle & Hum captures U2-on and off the stage-during their triumphant Joshua Tree tour. This is U2 at their best. Co-stars B.B. King, Memphis Horns, New Voices of Freedom, and Harlem Gospel Choir. 99 min. Rated PG-13. Tickets $10/$6 members. Rosendale Theatre, 408 Main Street, Rosendale, NY. Order tickets online in advance at www.rosendaletheatre.org/ Presented by the Music Fan Series.

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U2’s 10 best love songs as Bono’s wife Ali Hewson turns 63

Ali Hewson, the wife of U2 lead singer Bono , celebrated her sixty-third birthday over the weekend.

She has been the muse for the singer for decades. Hewson’s inspiration for his songs like “Song for Someone” and “You’re the Best Thing About Me” is apparent. She has helped spawn some of the band’s greatest hits.

But which are the best? Of U2’s countless love songs, it was hard to narrow down which were the best of the bunch. There is also some recency bias as I proposed to my girlfriend to “All I Want Is You” (Spoiler alert: It’s on the list).

“Spanish Eyes” (Joshua Tree B-side)

“Spanish Eyes” is a fun B-side to “I Still Haven’t Found What I’m Looking For.” It works better in a live setting, particularly in U2’s 1987 performances .

Despite its fun nature, “Spanish Eyes” does feature Bono proclaiming that he “needs” Ali Hewson. Years later, he would circle back to the song in the song “In A Little While” (“That girl, that girl, she’s mine/And I’ve known her since/Since she was a little girl/With Spanish eyes,” Bono sings).

“One” (Achtung Baby)

Like many of U2’s love songs, “One” can be interpreted in several different ways. On the surface, the song is about any group of people breaking up and having to come back together. During the Achtung Baby sessions, U2 was divided, so the song was likely written about that.

And now, the song is the band’s ultimate concert anthem. Thousands illuminate their phone lights and hold them up when the band plays it. It’s a powerful moment during their shows.

“One” can also be analyzed as a love song. No relationship is perfect — everyone has good and bad days as the line “Well we hurt each other and we do it again” indicates.

“Sweetest Thing” (Joshua Tree B-side) 

“Sweetest Thing” isn’t a very sophisticated love song — “My love she throws me like a rubber ball (Oh, oh, oh, the sweetest thing)” is the first line — but it’s a fun one. The rerecorded version featured on the Best of 1980-1990 album is the superior version.

Bono’s vocals are in top form on the song, as he hits angelic high notes in the verses. If only U2 broke it out more often during their live shows.

“Love Is Bigger Than Anything In Its Way” (Songs of Experience) 

Like “One,” “Love Is Bigger Than Anything In Its Way” is an iconic concert anthem. It unites the thousands in attendance at a U2 gig.

But again, the song feels like a love song to Bono’s wife and their children. No matter what is going on in the world, love should always prevail. And, of course, it’s “bigger than anything in its way.”

Call it tacky or cheesy, but I think this is one of Bono’s finer lyrics.

“You’re the Best Thing About Me” (Songs of Experience)

I understand that “You’re the Best Thing About Me” can sound like U2 once again trying to make a radio hit. For my money, they succeeded, but even if you don’t like the Songs of Experience arrangement, there is a lot to like about the band’s acoustic renditions of the song.

Beneath its pop song surface, Bono is quite candid about his love for Ali Hewson. And he also takes the point of view of the showman he is, thanking his wife for putting up with it.

“Shooting off my mouth/That’s another great thing about me,” he sings in the second verse.

Later in the song, The Edge sings a verse that also encapsulates their love: “I can see it all so clearly/I can see what you can’t see/I can see you love her loudly/When she needs you quietly.”

“Song for Someone” (Songs of Innocence)

Since the performances on U2’s “Innocence + Experience” tour, I’ve loved “Song for Someone.” As Bono would introduce the song, an animated video of him in his childhood bedroom would be displayed on the giant LED screen in the arena. He would talk about wanting to impress a girl named Alison Stewart.

Years later, Bono would be singing “Song for Someone” to hear in front of thousands. “If there is a light, don’t let it go out,” Bono pleads throughout the song.

“Landlady” (Songs of Experience) 

If you’ve noticed, a lot of Bono’s best songs about Hewson have come on U2’s recent albums. Songs of Experience features “Landlady,” which is about Hewson taking care of the singer well before U2 became the biggest rock band ever. It brings him back to adolescence, as he thanks Hewson for paying the rent when he couldn’t and offering words of wisdom (“Don’t do, just be”).

“Landlady” is the closest U2 has come to sounding like Coldplay. It’s very ambient and even as it builds to its crescendo, it’s a relatively quiet song. Nonetheless, it’s a standout track from the album and one of Bono’s finest lyrics.

“With or Without You” (Joshua Tree)

“With or Without You” is often misinterpreted as a happy love song. I think people hear the titular line and assume Bono means he can’t live without his partner.

In reality, the song is a vulnerable song written from the perspective of a rockstar. After all, it was Live Aid and subsequently The Joshua Tree that catapulted Bono and U2 to a whole new level of stardom.

More than ever, Bono was exposed in the public eye. He now led the biggest band in the world. This in turn could have been an adjustment for Ali Hewson as well, as she was married to one of the biggest pop culture icons in the world.

When Bono sings about giving yourself away, I believe he’s talking about himself. Now that he’s in the limelight 24/7, people know more about him than ever. In essence, he’s constantly giving himself away when on stage performing for thousands at a time or when they listen to his records and he pours his heart and soul into the songs.

“Every Breaking Wave” (Songs of Innocence)

Decades after “With or Without You” was released, Bono wrote “Every Breaking Wave.” Again, I prefer the Songs of Surrender arrangement, which is piano-driven, but the similarities between the Songs of Innocence version and “With or Without You” cannot be ignored.

They’re played in the same time signature and Adam Clayton’s bass is nearly the same (just in a different key). Aside from musical similarities, thematically, “Every Breaking Wave” is like a companion piece to the Joshua Tree hit.

In the song, Bono sings about the inevitable dooms of a relationship. “If you go your way and I go mine” he sings, later crooning, “Are we so helpless against the tide?”

Lastly, Bono talks about a relationship being over before it can begin. While it’s not about giving himself away, Bono’s once again talking about the not-so-happy parts of relationships. Every single one of them faces hardships, and it’s about how you navigate against the tides.

“All I Want Is You” (Rattle and Hum)

Rattle and Hum wasn’t the most well-received U2 album ever. Whether you find the album self-indulgent or not, it closes out on a high note.

That would be “All I Want Is You,” the song that was playing when I recently proposed to my girlfriend (albeit the Songs of Surrender version). Written from the perspective of a bride, presumably Ali Hewson in this case, Bono talks about the eternal promises made when you get married.

But at the end of the day, what matters is love (another common Bono-ism). Even despite all of the promises we make (and break).

The song has aged like a fine wine. In 2023, U2 released a new arrangement on Songs of Surrender . Instead of the iconic guitar riff taking center stage, it’s a synthesizer or organ. It sounds more like a wedding song than ever and might be the definitive version of the song.

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The post U2’s 10 best love songs as Bono’s wife Ali Hewson turns 63 appeared first on ClutchPoints .

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Get Ready for an Evening of U2's Greatest Hits.

Few bands have a body of work that warrants having a tribute band. Does the band have enough hits to play an entire evening? Does the band have a loyal fanbase? Is the band still relevant today? When it comes to U2, the answers are yes, yes and yes!

If you are a fan of U2, you’ll love Rattle And Hum! Get ready for a sonically and visually stimulating performance of U2’s greatest hits. The members of Rattle And Hum have performed together for more than 14 years. Their passion for the music of U2 is on full display in their incredibly accurate performances.

Rattle And Hum the Band: Stephan Angers – Lead Vocals & Guitar Jeff Vogel – Lead Guitars & Vocals Mike Salvatore – Drums & Vocals Rick Pope – Bass Guitar

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RATTLE & HUMM THE U2 SHOW

Rattle and Hum is the definitive U2 concert experience! Touring home and abroad for many years Rattle and Hum are regarded among the best U2 shows in the world. Their live TV performances include Spicks and Specks, The Today Show, The Kerryanne Show, The Morning Show and Sunrise. They were chosen to perform live concerts before and after U2 themselves outside ANZ Stadium Sydney during the U2 Vertigo Tour to thousands of fellow U2 fans. They recorded the soundtrack for a popular Chasers War on Everything skit which was later released on DVD by the ABC.

Internationally acclaimed, Rattle & Hum pay tribute to U2 taking their audiences on a musical journey through the history of U2. With amazing accuracy the band performs hits from their many number one albums. From the humble beginnings with hits like – Gloria – I will Follow – Sunday Bloody Sunday – New Years Day to powerful classic anthems – Where the Streets Have No Name – Pride – With or without you – Beautiful Day – To the favourite releases from the world wide smash hit album Vertigo!

“Bonox” (Dave Patten) who plays Bono in the show is blessed with an amazing vocal similarity to Bono that can be best described as almost indistinguishable. “Bonox” becomes “Bono” both vocally and visually with equally charismatic stage presence and costumes that depict the shifting era of the super group. The “Wedge” (Adam Watts) plays the part of the “Edge” and is a technical wiz mastering the unique tones and styles of one of the world’s greatest guitarists The Edge!

Larry Mullin Jr is played by the amazing Mick Fink who has the Larry fills and beats down to a tee and Adam Clayton is reanimated by Sean Phegan with his booming bass lines..

We at All ways Entertainment are very proud to be representing  The Rattle & Humm U2 Experience and have seen this band perform live by our talent scouts and the experience is none other than ultra professional almost near the real thing as a venue performance, I’m quite sure if Bono saw this act himself he would swear it is himself on stage.

To have this act perform at your venue soon please don’t hesitate to make an inquiry.

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U2: Rattle and Hum (1988)

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