This error was unfortunately picked up and used in the liner notes for the U Singles compilation. The single sleeve, shot by Anton Corbijn, featured a black-and-white photo of The Edge sitting on arid, sandy ground with his shadow stretched behind him.
On vinyl and cassette formats, The Edge is looking forward. The video was reshot by Meiert Avis, which is the more common version of the video. This version features footage of the band performing the song in both black-and-white and in colour. Interspersed with this is some footage of shadows of tree branches and of a woman—wrapped in a sheet at first, and later naked, again taken from the Mahurin video.
Because the Avis video featured footage from the first video, you will often see Mahurin and Avis listed as directors for this second version. This version of the video can be found on The Best of and U Videos compilations. The woman in the video is Morleigh Steinberg, a professional dancer and choreographer, who was filmed separately from the band.
My instinct was to go with something very simple [ I still think it's sort of brave, because the end of "With or Without You" could have been so much bigger, so much more of a climax, but there's this power to it which I think is even more potent because it's held back. Bono's vocals enter at in a low register , a stark contrast from Bono's typical singing style to that point in the group's career. At the end of each of the first two stanzas, his vocals drop an octave , from A to A.
Author Susan Fast called Bono's vocals on "With or Without You" the first occasion on which he "extended his vocal range downward in an appreciable way". The riff, a perfect fifth opening to a sixth, features a prominent use of delay. A stanza begins in which Bono sings the song's title in a high, passionate voice as the drums get heavier. He explained that its understated nature was meant to resist the temptation to play an intricate guitar solo as an ending. The lyrics ostensibly describe a troubled relationship between two lovers, although the lyrics have been interpreted in religious contexts.
The Washington Post interpreted the song as both an acerbic love song and a tune lamenting the moral contradictions one faces with their religious faith. One, 'cause it's so uncommon these days, and two, 'cause it's so difficult to do. Author Niall Stokes interpreted the line as encompassing the theme of "surrendering the ego" to one's love and spiritual faith.
The band's manager Paul McGuinness was resistant to U2 releasing "With or Without You" as a single, as he thought it was too sonically unusual for release. Gavin Friday, having helped the band complete the track, disagreed and thought it would be a "certain No. United States radio stations were allowed to play the song at a.
In church perhaps. The single also peaked at number two on the Dutch MegaCharts Top The first includes abstracts shots of dancer and Edge's future wife Morleigh Steinberg edited in between shots of the band playing the song. A second alternative version can be found in the Super Deluxe version of the album. It was played at most shows on 's Lovetown Tour.
Since the PopMart Tour , it has been more common for Bono to repeat the "Ohh" at the climax of the song, with the "shine like stars" verse sung rarely. It was dropped from the setlist during the third leg of the Elevation Tour. It was initially a rare inclusion during the Vertigo Tour - over the two months of the tour's first leg, it was only played four times. Rolling Stone called it an "inventively arranged tune Graham suggested the lyric "And you give yourself away" was essential to U2's message.
DeGagne described Bono's singing as "unleashing all his vocal power, moving from a soft, subtle intro and middle to an explosive burst of unyielding energy toward the end". I don't mind inviting people into the house but I've got to honour her. But we get some amazing things. I remember a whole party of French people who applauded me outside the door. I'd just got out of bed and laughs I said: 'No thank you, I'm the wrong guy.
I don't know how this will sound - but there was this one girl in the bushes. She was Italian, 18, very beautiful, sitting there in the flowers. And she said: 'I just wanted to come to Dublin and meet U2 before I die. So I talked to her, didn't take it too seriously and went off. But the next day, two BMWs came along and out came these Italian men in designer suits with flowers and flowers, presenting them to me because we had looked after this man's daughter who had some incurable illness.
And that was almost shocking. How could I live up to that responsibility? God Almighty. I just can't come to terms with that. The bottom line is that music means a lot but what they haven't separated is the music from the musician. Because the musicians are only ordinary people. It's the music which is extraordinary if you like. Adam: There's a weird process which I've just begun to understand.
Particularly when you get the letters from 15 year olds. And they're asking questions as if you're the second line of defence for their heads. They've become disillusioned with their parents and they think their teachers are assholes now. Bono: It's one of my feelings that if you're around Dublin long enough, people just won't even notice. I love this city. I love it and I hate it and I love it and and I hate it. What I hate is to see how much they have destroyed Dublin - to see them pulling down the buildings.
The closest I carne to throwing a large brick through the window in the last two years was outside the Royal Hibernian Way. I had to be dragged away.
I mean, the rage I feel inside me when I see the pill-boxes they have planted outside Christchurch Cathedral. Well Larry just says to me: 'Come on, when you're worried about the way a city looks like, you know you're okay. Adam: If you don't like it, you put down your instruments and walk off stage. That's your choice laughter. Bono: Live Aid could've been a classic example of shooting ourselves in the foot. And I was sharing a microphone with Paul McCartney!
But when I got home and watched a video of Live Aid, I was so desperate and depressed. I really believed I had made a big mistake. I couldn't sleep. And I drove down the South East and I met a sculptor who was actually making a bronze piece which was meant to be the Spirit of live Aid, a naked figure and it was called The Leap. I talked with him and he said he'd called it The Leap because I had left the stage and this image connected with him. The figure wasn't me. It was meant to be the whole spirit of it.
But I felt, if he understood what I was trying to do and he was a man in his late fifties, outside of rock'n'roll But there's no question about it, I'm not doing that again. And I still don't understand why I did it. Bono: There was a very interesting reaction afterwards. The people who believe in U2 are very ordinary people, working-class people.
The only flak we get for being in a privileged position is from the middle-class. I felt how can I write a song about being unemployed when I am fully employed, how can I stand on stage at an unemployed benefit when I know U2 are not short of cash? But one guy came up to me afterwards and said: 'I'm really pissed off about what you said on stage. And he said: 'You said you don't know what it's like to be unemployed. We didn't want to hear that - because we know you know what it's like, even if you don't.
And then I heard all these stories about people singing "Maggie's Farm" on the dole queue on the Monday morning, which I found funny.
I don't know whether they were slagging us off or just enjoying the song. And there is a sense too that maybe some politicians had pigeonholed us like mimics rural hack's insincere sing-song accent , 'there's U2 now, a good example of young people. Playing their music' - when getting off their lazy backsides is what they really mean. And I just wanted to say: Look Mister. Because I knew there'd be certain politicians watching the programme and I didn't want to let them off the book.
Because the truth of it was that a lot of people were on the hook because of their policies. I just wanted to be that anger. I allowed that anger to be a part of the performance. How did you feel about the political impact of the "Sun City" project?
It seemed to start strongly but then fizzled out somewhat. Adam: I'm sure the actual success of the record was politically interfered with. There were a lot of radio stations that wouldn't play it because of advertisers. In certain places, it wasn't released. But I think it's part of a movement that began with Live Aid. Bono: Many people don't know it but the Dunnes Stores Strikers actually sang on that record. In the background. If not quite in tune, certainly close to it! Bono: Well, Amnesty doubled their membership in America.
But the best news I had all year was a letter from one of the U2 fanzines telling me that all over America now they're setting up these U2 clubs.
But they're not exclusive to U2. They're also an appreciation of Peter Gabriel, The Waterboys and groups that, for whatever reason, they've linked together.
And I was looking at this U2 fan club poster and it had an entrance fee of 3 dollars. At first, I felt - what's this about, charging to hear U2 records?
But then I discovered this money was going to Third World concerns. And that, all over America, they had set tip these clubs where they listen to U2 records and actually write cards for Amnesty. And if you can inspire something on that small scale, that's just everything I could ever ask for. All, in fact, I would ask for. Bono: I don't know. To be honest, U2 saved my life in a way because I a unemployable.
There's nothing else I can do. Bono: Not I think I would have imploded, as distinct from exploding in my musical life. I mean I worked as a petrol pump attendant. Can you imagine me as a petrol pump attendant? You've seen people who were friends turning to drugs as one sort of escape route - as people in Dublin have done in increasing numbers recently. Would that ever have been a possibility? Bono: I really understand the attraction I don't come from the viewpoint of someone who is completely unsympathetic to drug users.
I understood it then and I understand it even more now because of, for instance, being onstage for two hours and then not being able to sleep for six or seven or eight hours. The point is Dublin is rife with a particular problem which people have to come to grips with in their personal lives.
To understand the background to the song might help people. Adam: In its simplest form, I've always seen heroin as a very evil thing. Consequently that's always inspired a great fear of it in me so I can assume that anyone who takes it has a similar fear.
To actually have their back so much against the wall, to be controlled by it, is something I can't understand. I haven't been that close to the edge. I've certainly been near it a few times in one way or another but to imagine that next stage is pretty much impossible. Bono: referring to "Running To Stand Still" I heard of a couple both of whom were addicted and such was their addiction that they had no money, no rent, so that the guy risked it all on a run. All of it.
He went and smuggled into Dublin a serious quantity of heroin strapped to his body so that there was on one hand, life imprisonment, on the other hand, riches.
Apart from the morality of that, what interested me was what put him in that place. And so if you can't change the world you're living in, seeing through different eyes is the only alternative. And heroin gives you heroin eyes to see the world with; and the thing about heroin is that you think that's the way it really is. That the old you, who worries about paying the rent, the old you who just worries, is not the real you.
Bono: A thing that really bothers me personally is that for two years, myself and Ali lived in Howth, on the same road as Phil, in a little cottage that we rented at the time.
And I would see him everywhere else but on that street. Every time I saw him, he'd say 'Why don't you come down for dinner? You know, you have to come down for a bite. You have to drop up.
And I never did call down and he never did call up. That's what came back to me. I never did call up. Sexually, U2 have a very clean image.
How have you reacted to gender-bending pop and glam rock games? Bono: I am interested in that aspect of sexuality. When I look at my lyrics, I'm obsessed with borders, be they political, sexual or spiritual. It's not a subject I've broached yet but I wouldn't rule it out. I know a lot of homosexual men and most of them I get on with.
Some overtly camp men I don't get on with. But it all comes down to love. How can anyone attack love? That doesn't specifically condemn or condone homosexuality or any kind of sexuality. I could never attack love. But how does it relate to U2's idea of subversion?
Bono: I think there's nothing more radical or revolutionary than two people loving each other because it's so hard to do it and to keep those feelings going. In a sense, U2 are owning up to those feelings and emotions that have been swept under the carpet of rock'n'roll in favour of these cartoon things.
Edge: One thing about the gay question is that in America, gay rights and gay liberation has suddenly been put back ten years because AIDS has suddenly become an excuse for anti-gay feelings. I think that's a very unfortunate development. Bono: The funny thing about it was Somoza's house, the house of this great ugly dictator.
I was expecting a palatial residence but it was all falling down - and they just left it falling down. Then the theatre, the arts centre in Managua, is bombed out and they left it bombed out and just placed the stage in the middle of a gutted building.
People come through holes in the wall to watch the plays and they leave it there as a testament to the earthquake. So you sit in this bombed out building watching a performance and somebody like Daniel Ortega comes in and it's no big deal.
I said to somebody: this is the sexiest revolution I ever saw, you know the women in their khaki greens, they've got smiles stuck on their faces.
They're not at all malevolent like the troops in Salvador Bono: The spirit of the people in Nicaragua is being beaten down. They've no food, they've no supplies and I was actually at a rally of Daniel Ortega's and just the look in the people's eyes, they wanted so much to believe in their revolution. People think with their pockets a lot of the time and you can't blame them for it, women trying to bring up children and fellas with no work.
It's just very sad to see the stranglehold America has on Central America in practice. When you go into a restaurant and they give you a menu, there's 15 items on the menu and they don't tell you at first they've only got one. You have to ask 14 times before they tell you, no, we just have rice. Edge: It's a very different America from the one we've seen over the last couple of years.
People were so behind everything Ronald Reagan stood for but now I think when we go back, we'll be seeing a broken country in a sense. Either that or people refusing to look - which is a more frightening prospect.
I've been talking to some Americans since Irangate. People's faith in the Administration, and therefore their faith in politics generally, is shattered. Bono: And of Werner Von Braun.
I mean, there's a right-wing vein running through America at the moment and it's made of steel and with all the will in the world, it seems almost impossible to break or bend that. It lies dormant for maybe a few years and it comes out with its cold steely grip on America. Dick Gregory, for instance - there's no question in his mind but that Lenny Bruce was escorted to death's door by this right-wing America.
There's no doubt in his mind that Martin Luther King was escorted to the same door. He's a conspiracy theorist, he believes that heroin was introduced to white America only when white America began to wake up and speak out in the early Sixties on campus.
I'm not a conspiracy theorist but there is no question: there is this iron hand. Bono: Well, the paper-clip conspiracy - it's quite clear now that America became a haven for nearly Nazis and war criminals.
That Nazis helped to put the first man on the moon is now a fact. But, that said, I still believe in Americans.
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