U2 - Community rankings - FIN - #4 Sunday Bloody Sunday, #3 - One, #2 - Bad, #1 - Where the Streets Have No Name -Spotify links, thanks to Krista4 (5 Viewers)

[Ghost Rider]

Huge fan of Kite.  I think it is their best song of the 21st century, and one of the few songs from All That You Can't Leave Behind I revisit.  This one I revisit often.  Melodies are great, the performance is great, the arrangement is great. One of those songs where everything came together just right. 

 

[Alex P Keaton]

#31 - Kite (2000)

Highest Rank - 2

Lowest Rank - 99

Where to Find it - All that You Can’t Leave Behind LP

Vulture.com ranking and comment -85/218 - Another heartbreaker, this one is subconsciously about Bono’s father (who would pass away in 2001), but is also just another missive of remembrance and loss. Bono’s voice soars, climbing from the end of the first verse until he goes full throttle into the chorus, with the Edge behind him echoing the melody.

Comment - This is a beautiful song. Vocals and music are in harmony. Perfect album track. At a different time could have been a single. Another odd one for the rankings. We have the #2 ranking and two closer to 100. I am at #30 as I am quite fond of it. Some of the live versions are sensational. 

Next up, we start the top 30 with another Achtung Baby track

Really good song.  I’m in the 40s on this one (48 to be precise).   The more I listen to it the better it gets.  

 

[Alex P Keaton]

This is a nice song, but musically it could have been done by anyone. It’s not very distinctively U2, or distinctively anything.  So a #2 ranking is baffling to me. The lyrics take it up a notch.

I think there is something about the #2 song which is very personal to each person.  Granted, I’m re-writing my rankings now so this will change, but my initial #2 song went off the board quite awhile ago now.  It was shocking then — and still is — to me that it was ranked so low.  Psychologically, I think we all know our #1 song has to be a legendary song.  But #2?  I mean, can’t I have that one for myself?

Just thinking out loud.  Probably overthinking it.   This thread is still fun for me.  Hope others love it at least half as much as I do.

 

[Anarchy99]

I was lowest on Kite. To me, it's just a song. A decent one and well performed, but nothing extraordinary about it. The live version is better IMO, but still not a song I ever really find myself looking for or drawn to. Not in my Top 5 from the ATYCLB album. It would not have been a song I thought someone would rank second overall.

 

[Nugget]

I was lowest on Kite. To me, it's just a song. A decent one and well performed, but nothing extraordinary about it. The live version is better IMO, but still not a song I ever really find myself looking for or drawn to. Not in my Top 5 from the ATYCLB album. It would not have been a song I thought someone would rank second overall.

I had it 6th on the album - mid 80's ranking.  

 

[Grace Under Pressure]

Huge fan of Kite. Live version is also terrific. It feels like it gets a little loose at the end. I think it's in the same ballpark as "Sometimes You Can't Make It On Your Own" and "Stuck in a Moment". 

 

[Nemesis]

Kite:  Really good song.  I’m in the 40s on this one (48 to be precise).   The more I listen to it the better it gets.  

When i put my list together, this landed just inside my Top25.   Really good song that I've had in my personal U2 playlist.  Didn't really notice it that much when the album was first released......but over time, it's grown on me. 

 

[Pip's Invitation]

Why does that matter? 

Anarchy’s post on this page is a good explanation for this.

 

[Grace Under Pressure]

Is it too late to mention I think Playboy Mansion is underrated at 144? 

I kid, but life gets in the way and I missed chiming in on a lot from around 70 forward. 

Just a couple of personal favorites from that point on:

• 68 and 67: Magnificent and A Day Without Me. Great songs back to back here. A Day Without Me is a quintessential example of an early U2 song. If someone asked my to play them a pre-War number that wasn't Gloria or Electric Co., I'd give them A Day Without Me. 
  
• 62: Zoo Station
  
• 57: Sometimes You Can't Make It On Your Own
  
• 52: In A Little While
  
• 49: Sweetest Thing (great video here)
  
• 45: Red Hill Mining Town 
  

And then every tune from 41 forward to this point is the real deal. Except maybe You're the Best Thing.

 

[Nemesis]

#31 - Kite (2000)   Highest- 2     Lowest- 99     All that You Can’t Leave Behind LP
Vulture-85/218 - subconsciously about Bono’s father (who would pass away in 2001), but is also just another missive of remembrance & loss. Bono’s voice soars, climbing fr the end of the 1st verse until he goes full throttle into the chorus, w the Edge behind him echoing the melody.

Comment - beautiful song. Vocals & music in harmony. Perfect album track. At a different time could have been a single. Another odd 1 for the rankings. #2 ranking & 2 closer to 100. I am at #30 as I am quite fond of it. Some of the live versions are sensational. 

Songfact:
The idea for the song came from a kite-flying outing on Killiney Hill overlooking Dublin Bay that Bono attempted w his 2 daughters. The outing went quickly awry when the kite crashed & 1 of the girls asked to go home & play w their Tamagotchis video game.  The incident also brought the singer back to his childhood when his father had the same disastrous luck with a kite.

Although 1st written w Bono's daughters in mind & realizing that they soon will "no longer need him", it's more generally about a kite as a metaphor for someone or something escaping 1's realm of control. The Edge assisted Bono in writing the lyrics & suggested that they were actually about Bono's emotionally-reserved father, Bob Hewson, who was dying of cancer at the time.

• During the tour, it is well documented how Bono was flying to Dublin every night to be at his father's bedside.
  
• Bob died on Aug 21, 2001, & U2 played a concert in London a few hrs after his death where Bono dedicated this song to him.  Link
  
• A few days later, at their performance at Slane Castle, Bono seemed to struggle / almost cry during the line "I know that this is not goodbye."    Link....starts at 9min mar
  

On the 2001 Elevation tour, Bono said this song is "about saying goodbye to somebody you don't want to say goodbye to." In many concerts, the lyric 'last of the rock stars' is changed to 'last of the opera star's, reflecting Bob's past opera career.  Bono would also go onto to write Sometimes You Can't Make It On Your Own with his father in mind.

Bono pondering his own mortality: "I wasn't sure of my own well-being. I just wanted to have some songs that would, in a way, tell my kids something about who their father was."

Edge: "it was apparent from the beginning that the song was about Bono's dad, even before the singer realized it. Bono was convinced he was writing about his kids but I could see that it was more about his dad. He was going, 'No, no, I don't think that's it.' He couldn't see it, but I could. I suppose it's just when you know someone so well, you can see things they won't admit to themselves. I think he was struggling to figure out how to deal w it, because his dad was a very dry person who found emotions difficult, & Bono is such an emotional & open character, so there was an incredible mismatch. I think it was a tough thing in terms of communication or the lack of it."

Edge considers this his favorite song on the album (his father was a Tenor too). Bono also mentioned that "Kite" was his favorite song on the CD. He also referenced the death of Michael Hutchence, former singer for INXS while discussing the song.

Lyrics:
Something is about to give
I can feel it coming
I think I know what it is
I'm not afraid to die
I'm not afraid to live
And when I'm flat on my back
I hope to feel like I did

'Cause hardness, it sets in
You need some protection
The thinner the skin
I want you to know
That you don't need me anymore
I want you to know
You don't need anyone, anything at all

Who's to say where the wind will take you
Who's to say what it is will break you
I don't know which way the wind will blow
Who's to know when the time has come around
Don't wanna see you cry
I know this is not goodbye

In summer I can taste the salt in the sea
There's a kite blowing out of control on a breeze
I wonder what's gonna happen to you
You wonder what has happened to me
I'm a man, I'm not a child
A man who sees the shadow behind your eyes

Who's to say where the wind will take you
Who's to say what it is will break you
I don't know where the wind will blow
Who's to know when the time has come around
I don't wanna see you cry
I know that this is not goodbye

Did I waste it
Not so much I couldn't taste it
Life should be fragrant
Rooftop to the basement
The last of the rockstars     <--sometimes changed in concert to Opera star
When hip-hop drove the big cars
In the time when new media
Was the big idea
That was the big idea

Recording:  In late 1998, U2 worked at Dublin's Hanover Quay Studios w producers Brian Eno & Daniel Lanois in hopes of quickly developing new material for a studio album. With Eno on keyboards & Lanois on rhythm guitar & percussion, the 6 of them composed songs during jam sessions.  These sessions did not produce many great ideas, resulting in Edge bringing in his own individual musical ideas for them to work on. 1 of these was a loop of a string section that inspired "Kite". After hearing the loop, the others quickly improvised the entirety of the song. 

At the time, Bono had been struggling w his voice due to allergies, but had a special moment while recording this. "My voice returned at that moment. When I sang, 'I'm a man, I'm not a child' everyone in the studio almost fell over. I went: 'Wow!' It was like the blind man when the scales fall off his eyes. It was almost comedic. Where did that come from? I want some more of that!"
"I think I can have that note when I'm worthy of it. It's really bizarre. Because I would never sit down at a piano or at a guitar & come up w a note that high, because it's too hard to hit. You would never write it. But I stepped into it. In 10 yrs there hadn't been a note like that hit in U2, full voice."

Even though Kite was never released as a single, it has become a fan-favorite

Kite (Live From The FleetCenter, Boston / 2001)
Kite live - Telstra Stadium Sydney Nov 2006   the video sux, but the audio is good....Edge has a different solo, Bono releases a balloon.  From 'Windows in the skies' single.

Been played live 106 times..........almost all on the 2001 Elevation tour & then 8x on the 2006 Vertigo Tour. (hasn't been played since then)

 

[Nemesis]

Haven't done one of these in little while & need to start unloading the ones i've saved.

U2 TIDBITS:    Let's call this one...... "U2's not so greatest moments" 

• In 1989, Irish police arrested Adam for possession of cannabis & he made a donation of 25,000 to a women's refuge rather than face jail.
   
  
• On 26 Nov 1993, Adam's alcohol problems, came to a head during the Zoo TV Tour.  He was so hung over following a binge drinking session that he was unable to play the 1st of 2 concerts in  Sydney (the dress rehearsal for their Zoo TV concert film). Bono tells the audience that he is suffering from a virus & his guitar technician Stuart Morgan fills in. It is the 1st time a member of U2 has missed a performance.   The incident caused friction with the other band members but fortunately this served as a wake-up call & made him realize that he had to take control of himself.  After that incident, he resolved to give up alcohol, eventually beginning his sobriety in 1996.
  
• In 2009, Adam found himself in the headlines again after his housekeeper & personal assistant, Carol Hawkins, was accused of misappropriating €1.8 million of his money by using his credit & debit cards w/o authorization. This was particularly galling for Adam as the same assistant had earlier confessed to stealing €13,000 of his money but at that time, he had decided to treat her sympathetically & agreed to keep her on. She was eventually tried on 184 counts of theft & forgery & sentenced to 7 yrs imprisonment.
  
• Edge & Morleigh Steinberg have residences in Dublin, New York, the South of France, & Los Angeles.  In 2006, Edge bought 156 acres of land in the hills of Malibu, California for $9 million & began seeking to gain approval for a large, 5-home development. Opposed by environmentalists, it was rejected by the California Coastal Commission in 2011 (yes...5 YEARS!!). The project was reactivated & the battle over it intensified again during 2014.  The Santa Monica Mountain Conservancy agreed to remain neutral on the issue following a $1 million donation from Evans &a commitment to designate 100 acres of the land as open space for public footpaths.  Finally in 2016 the couple won approval from the commission to proceed based upon a revised design. However the Sierra Club then filed suit against the project.
  

 

[Ghost Rider]

Anarchy’s post on this page is a good explanation for this.

It really isn't, in regards to your earlier point, but oh well. We all like what we like.  

 

[John Maddens Lunchbox]

Huge fan of Kite.  I think it is their best song of the 21st century, and one of the few songs from All That You Can't Leave Behind I revisit.  This one I revisit often.  Melodies are great, the performance is great, the arrangement is great. One of those songs where everything came together just right. 

Really good song.  I’m in the 40s on this one (48 to be precise).   The more I listen to it the better it gets.  

Huge fan of Kite. Live version is also terrific. It feels like it gets a little loose at the end. I think it's in the same ballpark as "Sometimes You Can't Make It On Your Own" and "Stuck in a Moment". 

When i put my list together, this landed just inside my Top25.   Really good song that I've had in my personal U2 playlist.  Didn't really notice it that much when the album was first released......but over time, it's grown on me. 

This song has been a real grower for me. Didn’t think much of it all upon release. Once I heard it live a few times and then understood the lyrics, it became a lot more personal and had deeper meaning. When the hooks and nuances of the song got through my thick skull it became a song I enjoy listening to now. I am nowhere near the #2 ranking, but I can totally see this song being very personal and having a strong meaning.

 

[John Maddens Lunchbox]

I think there is something about the #2 song which is very personal to each person.  Granted, I’m re-writing my rankings now so this will change, but my initial #2 song went off the board quite awhile ago now.  It was shocking then — and still is — to me that it was ranked so low.  Psychologically, I think we all know our #1 song has to be a legendary song.  But #2?  I mean, can’t I have that one for myself?

Just thinking out loud.  Probably overthinking it.   This thread is still fun for me.  Hope others love it at least half as much as I do.

Yeah the #2 song is really odd. You’ve really nailed the synopsis. My #2 is the next of ours we will see, not for a little while, but soon enough. The fact all our #2s have really low rankings attached to them means they mean something to us. I will be really curious when I ask for others to send in their top 25/50, whatever, how the #2’s look for others.

BTW what was your #2? So much has happened and my memory ain’t what it used to be, 

 

[John Maddens Lunchbox]

Is it too late to mention I think Playboy Mansion is underrated at 144? 

I kid, but life gets in the way and I missed chiming in on a lot from around 70 forward. 

Just a couple of personal favorites from that point on:

• 68 and 67: Magnificent and A Day Without Me. Great songs back to back here. A Day Without Me is a quintessential example of an early U2 song. If someone asked my to play them a pre-War number that wasn't Gloria or Electric Co., I'd give them A Day Without Me. 
  
• 62: Zoo Station
  
• 57: Sometimes You Can't Make It On Your Own
  
• 52: In A Little While
  
• 49: Sweetest Thing (great video here)
  
• 45: Red Hill Mining Town 
  

And then every tune from 41 forward to this point is the real deal. Except maybe You're the Best Thing.

The Playboy Mansion attracted a #20 ranking and two rankings in the 210s, including mine. I even mentioned that I believe Playboy Mansion and Miami is the worst two song stretch on any U2 album. 

That said I really like other opinions. Especially if they can explain why they like the song. 

 

[John Maddens Lunchbox]

The idea for the song came from a kite-flying outing on Killiney Hill overlooking Dublin Bay that Bono attempted w his 2 daughters. The outing went quickly awry when the kite crashed & 1 of the girls asked to go home & play w their Tamagotchis video game.  The incident also brought the singer back to his childhood when his father had the same disastrous luck with a kite.

Although 1st written w Bono's daughters in mind & realizing that they soon will "no longer need him", it's more generally about a kite as a metaphor for someone or something escaping 1's realm of control. The Edge assisted Bono in writing the lyrics & suggested that they were actually about Bono's emotionally-reserved father, Bob Hewson, who was dying of cancer at the time.

This is why I love your posts here.

This is such incisive information and gets to the heart of why U2 are such a great band. The relationship between Bono and Edge is so nuanced, multi layered and complicated. 99.9% of people will not have experienced the depth of  understanding to pick up on things like this. The song resonates with me cause I have similar feelings about my daughters. 

 

[John Maddens Lunchbox]

#30 - Who’s Gonna Ride Your Wild Horses (1991)

Highest Rank - 33

Lowest Rank - 62

Where to Find it - Achtung Baby LP

Vulture.com ranking and comment -77/218 - This is not the strongest track on the album, but it is sonically resonant, and coming after the betrayal in “Until the End of the World,” one could view this as the flip side: the guilty party having to deal with the aftermath of their perfidy when their beloved decides to go elsewhere, and the jealousy that ensues. There is blame and pleading and confessions and insistence and obsession and regret. Sonically, it’s as gigantic as new love or a broken heart, and it all builds up to the two lines at the end of the bridge — “Come on now love / Don’t you look back” — sung with tremendous pain and passion.

Comment - Not my fave, in fact it’s the only song on Achtung Baby I can do without. If the B Side on one of the versions, Salome, were in its place, it would be odd, but I like that one better. WGRYWH has a distinct commercial feel, but it just seems formulaic and boring if I am being harsh. No one here hates it,  but no one loved it really either. 

Next up, we finally get to the last non album track and close off all B Sides, Soundtracks, one off singles, collaborations etc

 

[Anarchy99]

Horses is the one U2 song that was released with a dramatically different version as a single. Can anyone else think of another single from the band that was released that was so different?

LINK

 

[Mr. Landry]

I've been following this thread religiously, but have been hesitant to post for a few reasons.  The main one being I have trouble commenting on the location of the songs as they continually move for me.  As much as I wanted to participate in the rankings, I didn't have the time and, more  importantly, I don't think I could have committed to my rankings.  As with a lot of people in here, they change depending on the day and my mood.  So, while I could support Miami being at 201, other days I could argue it was a good 50-75 spots too low.

Another stumbling block for me is I'm one of those "odd" U2 fans....the ones that appear to be overly obsessive (as I mentioned earlier, I have seen them over 25 times in concert and have even flown to Ireland and Australia just to see them).  I can't think of a single U2 song that I don't like.  I don't remember the last time I switched the channel when a U2 song was on.  I, obviously, like some of their stuff more than others, but I don't dislike anything of theirs (yes, even Happiness is a Warm Gun and Landlady).  So anything I had to say would be nothing but praise and as big of a fan as I am, I understand listening to someone continually toot the horns and ring the bells would get old.

So, while my blind allegiance to them sometimes makes reading the critiques a little tough to swallow, I have appreciated reading the various opinions from people that consider themselves fans.  And I can appreciate some of the honest, albeit negative, opinions of some of their songs.  Although I will never understand how Bullet the Blue Sky could end up so low...

We've now hit the sweet spot for their songs and most of what I consider to be their best music (on most days) is yet to come.  Kite is one that I would generally rank higher than it is (much closer to the #2 than the #99).  Although, like many of their songs, it is probably more for the personal meaning it has for me (similar to "40", which I think I would have higher).  As a 35+ year fan I have a lot of personal connections to most of their music and most of the major events of my life are tied to their songs in one way or another.  I'm very interested to see how these last thirty play out.   

Thanks for doing this and thanks to everyone who has contributed to the discussions.  

 

[John Maddens Lunchbox]

Horses is the one U2 song that was released with a dramatically different version as a single. Can anyone else think of another single from the band that was released that was so different?

LINK

Eric Clapton and Layla lol

 

[John Maddens Lunchbox]

I've been following this thread religiously, but have been hesitant to post for a few reasons.  The main one being I have trouble commenting on the location of the songs as they continually move for me.  As much as I wanted to participate in the rankings, I didn't have the time and, more  importantly, I don't think I could have committed to my rankings.  As with a lot of people in here, they change depending on the day and my mood.  So, while I could support Miami being at 201, other days I could argue it was a good 50-75 spots too low.

Another stumbling block for me is I'm one of those "odd" U2 fans....the ones that appear to be overly obsessive (as I mentioned earlier, I have seen them over 25 times in concert and have even flown to Ireland and Australia just to see them).  I can't think of a single U2 song that I don't like.  I don't remember the last time I switched the channel when a U2 song was on.  I, obviously, like some of their stuff more than others, but I don't dislike anything of theirs (yes, even Happiness is a Warm Gun and Landlady).  So anything I had to say would be nothing but praise and as big of a fan as I am, I understand listening to someone continually toot the horns and ring the bells would get old.

So, while my blind allegiance to them sometimes makes reading the critiques a little tough to swallow, I have appreciated reading the various opinions from people that consider themselves fans.  And I can appreciate some of the honest, albeit negative, opinions of some of their songs.  Although I will never understand how Bullet the Blue Sky could end up so low...

We've now hit the sweet spot for their songs and most of what I consider to be their best music (on most days) is yet to come.  Kite is one that I would generally rank higher than it is (much closer to the #2 than the #99).  Although, like many of their songs, it is probably more for the personal meaning it has for me (similar to "40", which I think I would have higher).  As a 35+ year fan I have a lot of personal connections to most of their music and most of the major events of my life are tied to their songs in one way or another.  I'm very interested to see how these last thirty play out.   

Thanks for doing this and thanks to everyone who has contributed to the discussions.  

Thanks for chiming in. All four of us rankers and especially Anarchy have professed that their rankings shift day to day. My appreciation for songs, especially newer ones has changed dramatically from the first rank.

I think all rankers can appreciate that we are better fans for the experience. I know i have piled on some songs and vocals, but mainly early on when the rougher songs were listed. I have much admiration for each member of the band, especially Bono for some of the things he has done outside the band. Just literally watched a Band Aid documentary where Bono argued vehemently not to sing “Thank God Its them...” but finally relented. 

Anyway, when we finish I hope you contribute when I ask for rankings from others as deep as you want to go....from 25 to whatever. 

 

[Pip's Invitation]

#30 - Who’s Gonna Ride Your Wild Horses (1991)

Highest Rank - 33

Lowest Rank - 62

Where to Find it - Achtung Baby LP

Vulture.com ranking and comment -77/218 - This is not the strongest track on the album, but it is sonically resonant, and coming after the betrayal in “Until the End of the World,” one could view this as the flip side: the guilty party having to deal with the aftermath of their perfidy when their beloved decides to go elsewhere, and the jealousy that ensues. There is blame and pleading and confessions and insistence and obsession and regret. Sonically, it’s as gigantic as new love or a broken heart, and it all builds up to the two lines at the end of the bridge — “Come on now love / Don’t you look back” — sung with tremendous pain and passion.

Comment - Not my fave, in fact it’s the only song on Achtung Baby I can do without. If the B Side on one of the versions, Salome, were in its place, it would be odd, but I like that one better. WGRYWH has a distinct commercial feel, but it just seems formulaic and boring if I am being harsh. No one here hates it,  but no one loved it really either. 

Next up, we finally get to the last non album track and close off all B Sides, Soundtracks, one off singles, collaborations etc

I like Vulture’s explanation. I have always seen it as a pair with Until the End… but couldn’t articulate why. I like the single mix better than the album mix, the latter seems a bit unnecessarily noisy.

 

[Ghost Rider]

It is indicative of how awesome Achtung Baby is when a song as good as Who’s Gonna Ride Your Wild Horses is the one I consider probably the least best.  Damn good song, and I think I might prefer the single mix as well, although I do love that distorted guitar in the album version.  It gives an otherwise lovely song a bit of a dirty feel. 

 

[Mr. Mojo]

#30 - Who’s Gonna Ride Your Wild Horses (1991)

Highest Rank - 33

Lowest Rank - 62

Where to Find it - Achtung Baby LP

Vulture.com ranking and comment -77/218 - This is not the strongest track on the album, but it is sonically resonant, and coming after the betrayal in “Until the End of the World,” one could view this as the flip side: the guilty party having to deal with the aftermath of their perfidy when their beloved decides to go elsewhere, and the jealousy that ensues. There is blame and pleading and confessions and insistence and obsession and regret. Sonically, it’s as gigantic as new love or a broken heart, and it all builds up to the two lines at the end of the bridge — “Come on now love / Don’t you look back” — sung with tremendous pain and passion.

Comment - Not my fave, in fact it’s the only song on Achtung Baby I can do without. If the B Side on one of the versions, Salome, were in its place, it would be odd, but I like that one better. WGRYWH has a distinct commercial feel, but it just seems formulaic and boring if I am being harsh. No one here hates it,  but no one loved it really either. 

Next up, we finally get to the last non album track and close off all B Sides, Soundtracks, one off singles, collaborations etc

I am in the minority that really likes that song and nearly the entire album.

 

[Grace Under Pressure]

I am in the minority that really likes that song and nearly the entire album.

Big Achtung Baby fan here. I think the album revived their career and to me was a refreshing pivot from the Joshua Tree/Rattle and Hum era. Though while I enjoy it, Wild Horses is a song I can skip once in a while, there are other songs on the album I enjoy much more. Pretty sure there's a song on there that the band themselves admit may have saved them as a band, guessing all those details will come out when we get there.

 

[DocHolliday]

I am in the minority that really likes that song and nearly the entire album.

You are not alone.  

 

[Leroy Hoard]

I'll piggy back the above comments.  I only like certain U2 songs but this is one of them.

 

[Nemesis]

VERSIONS:    I'll come back & post the song meanings/recording, etc in another post, but since it's already been brought up, let's talk about the versions of this song & give it proper due.

I like the single mix better than the album mix, the latter seems a bit unnecessarily noisy.

I never really realized the subtle differences until today when i played them back to back.......but I agree.  I like the SINGLE Version best, as the dialed up piano adds something to the song while still getting Edge's guitar in there.

Here are the "official" versions that were released:
Horses - album version...5:17

Horses - SINGLE version JML's link...... 4:56    weird seeing Larry wearing a hat backwards

Horses - Temple Bar Remix.....4:48(Anarchy's link)  
Horses - Temple Bar Edit....3:54
There is also a Temple Bar Nature Sounds version with added nature sounds at the end of the track, used on the “Earthrise II” album.....but i didn't find it

Horses (Kindergarten BABY Version) 5:20 this is the early version during the recording sessions that got bootleg released
The lyrics are darker & more direct about a break up, & captures more raw emotion.
The 2 versions don't line up exactly.....some choruses are moved or expanded, but take a look as it's really interesting to me (at least):

IF YOU ARE ON YOUR PHONE TURN IT LANDSCAPE 

Kindergarten BABY early version                          Final Studio version
You’re innocence, I’m experience                           You’re dangerous ‘cause you’re honest
& the windows of my room all look over you   You’re dangerous, u don’t know what u want
Now the night has turned a different kind of blue Well you left my heart empty as a vacant lot 
Though it’s too late, as you walk away              For any spirit to haunt
Black, was I asking you to stay                                       
                                                                                  Hey hey sha la la
                                                                                   Hey hey

I’m a sinner, you’re the holy child             You’re an accident waiting to happen
But your secret heart is a savage                        You’re a piece of glass left there on the beach
Scratching at my door                                            Well you tell me things I know you’re not supposed to
And your lips of blood have me screaming out Then you leave me just out of reach
For more and more

You cry, I’d kill for you                                    Hey hey sha la la
I lied, you made it true                                          Hey hey sha la la

Who’s gonna ride your wild horses                     Who’s gonna ride your wild horses
Who’s gonna drown in your blue sea                  Who’s gonna drown in your blue sea
Who’s gonna ride your wild horses                     Who’s gonna ride your wild horses
Who would take the place of me   changed--> Who’s gonna fall at the foot of thee

Took a drive in the dirty rain                                 Well you stole it ‘cause I needed the cash
Out to a place where the wind calls her name   And you killed it ‘cause I wanted revenge
Under the trees the river laughing                       Well you lied to me ‘cause I asked you to
As she turns away                                                 Baby, can we still be friends
At the car door slam
And you back scratch, tear off
Your relief for love
And you beg, steal, lie
Like a thief for love

She says                                                                    Hey hey sha la la
Come on now love, don’t you look back              Hey hey sha la la
Turn to love

Who’s gonna ride your wild horses                     Who’s gonna ride your wild horses
                                                      added a line--> Who’s gonna drown in your blue sea
Who’s gonna ride your wild horses                    Who’s gonna ride your wild horses
Who’s gonna fall at the foot of thee                  Who’s gonna fall at the foot of thee
Oh now

I want you now                                                    Oh, the deeper I spin       (Temple Bar...see note below)
Where are you now                                             Oh, the hunter will sin for your ivory skin
The days are deep                                              Took a drive in the bitter rain
And the night’s too mean                                  To a place where the wind calls your name
Were you talking to me                                     Under the trees the river laughing at you and me
Was it someone else                                         Hallelujah, heavens wide rows
I could hear you better                                       The doors you open
When you cried for me                                      I just can’t close

You do what you meant
Not what you said
Follow you down to the end
Baby

Don’t turn around, don’t turn around again       Don’t you turn around, don’t turn around again
Don’t turn around, your gypsy heart                   Don’t turn around, you gypsy heart
Don’t turn around, don’t turn around again       Don’t turn around, don’t turn around again
Don’t turn around, and don’t look back             Don’t turn around, and don’t look back

Come on now love, don’t you look back            Come on now love, don’t you look back
Turn around

Who’s gonna ride your wild horses                   Who’s gonna ride your wild horses
                                                                                Who’s gonna drown in your blue sea
                                                                                Who’s gonna taste your salt water kisses (<--new line)
                                                                               Who’s gonna take the place of me

                                                                              Who’s gonna ride your wild horses
                                                                              Who’s gonna tame the heart of thee  (<--new change)

NOTE:  I also looked at the Temple Bar Edit lyrics & those nearly match the Studio version.....but removes the entire "Oh, the deeper I spin" section
NOTE:  The Temple Bar REMIX version is identical to the STUDIO version lyrics.

 

[Nemesis]

#30 - Who’s Gonna Ride Your Wild Horses (1991)  Highest- 33   Lowest- 62    Achtung Baby LP
Vulture77/218 - not the strongest on AB, sonically resonant, & coming after the betrayal in “End of the World,” 1 could view this as the flip side: the guilty party having to deal w the aftermath of their perfidy when their beloved decides to go elsewhere, & jealousy that ensues. There is blame & pleading & confessions & insistence & obsession & regret. Sonically, it’s as gigantic as new love or a broken heart, & it all builds up to the two lines at the end of the bridge — “Come on now love / Don’t you look back” — sung w tremendous pain & passion.

Comment - Not my fave, in fact it’s the only song on AB I can do w/o. If the B Side on 1 of the versions, Salome, were in its place, it would be odd, but I like that 1 better. WGRYWH has a distinct commercial feel, but it just seems formulaic & boring if I am being harsh. No 1 hates it,  but no 1 loved it really either. 

Songfact:
WGRYWH is the 5th track on AB & was released in 1992 as the album's 5th & final single. The lyrics of the song are universal in their appeal, about someone letting go of someone at the end of a relationship.

For "WGRYWH," Bono drew upon watching Edge go through a separation from his wife, Aislinn O'Sullivan, w whom he has 3 daughters, after 7 yrs of marriage. To compound the heartache, divorce was very difficult in Ireland in 1991, where it was frowned upon.  Edge later married Morleigh Steinberg, a belly dancer on their Zoo TV tour.

Recording:  The song proved to be very difficult to record.  It began as a demo that the band recorded at STS Studios in 1990. The band worked on it during the formal AB sessions, including several failed attempts at Hansa Studios in Berlin. This produced several versions of the song & about a dozen mixes. However, the original demo remained their preferred version. Producer Jimmy Iovine, in particular, expressed his preference for the demo version when lead vocalist Bono played it for him. When U2 switched to recording in Dublin in 1991, producer Steve Lillywhite was brought on to provide a "fresh pair of ears" & mix the song. (Lillywhite, Lanois, & Eno are all given producer credit on the track.)  The album version most closely resembles the original demo.

Steve Lillywhite recalls: "They hated that song. I spent a month on it & I still don't think it was as realized as it could've been. The Americans had heard it & said, 'That's your radio song there', because they were having trouble w some of the more industrial elements [of the album]. It's almost like a covers band doing a U2 moment. Maybe we tried too hard."  Bono: "It's a song I feel we didn't quite nail on the record because there was another whole set of lyrics that were dumped & I wrote those quickly & off we went." The band later released an alternately arranged "Temple Bar Remix" as the single, the version of the song they most prefer. The band also has claimed they find the song difficult to perform in concert & it was 1 of the 1st songs dropped from heavy rotation in the setlists during the ZooTV tour. Adam Clayton: "It's a great torch song, w melody & emotion, but I don't think we ever captured it again & we have never really been able to play the song live.

On the album you can actually hear the audio levels being raised at the beginning of the song. After the initial album release, the song was eventually re-recorded (The Temple Bar-Remix) & released as a single. The new version, which the band felt was superior, gave the song an acoustic sound & replaces the guitar w more keyboards.   The video single actually features the Temple Bar Edit/Remix rather than the actual song that appears on the album.

The line "Who's gonna taste your salt water kisses?" is a reference to oral sex. 

The other B-Sides on the single include covers of "Fortunate Son" & "Paint It Black," & a longer version of "Horses."

When the covers to the singles of "Even Better Than the Real Thing," "The Fly," this song & "Mysterious Ways" are arranged, a picture of the band members driving a Trabant is formed. 

Charts:    UK: peaked at #14     US:   #35...... Ireland: #4     Australia: #9     Canada: #5

Surprisingly, WGRYWH was NOT in Rolling Stones Top50 songs of U2

Amsterdam 2018 - I+E tour
Barcelona - 2018 Acoustic
The Royal Philharmonic Orchestra plays - WGRYWH (ok....something a little different i'll admit, but it's still a version of it)

Been played live 113 times..........more than half on the 92 ZOO tour........then ~15x on '05 Vertigo and ~20 on the '18 E+I tour

 

[Nemesis]

Adam Clayton, 61, appears unrecognizable.(3 days ago)........"Santa, is that you?"

Holy moly, Gandalf is in U2!   .....or “I don’t always create iconic bass lines, but when I do…”

From DEC 2020

 

[John Maddens Lunchbox]

#29 - A Celebration (1982)

Highest Rank - 17

Lowest Rank - 113

Where to Find it - Standalone single

Vulture.com ranking and comment -132/218 - This was recorded and released between October and War as an attempt at a stopgap filler, and it definitely feels that ephemeral. “At that point we needed a hit. ‘A Celebration’ wasn’t one of those,” the Edge said. The video is the very definition of ’80s video-making, with every possible cliché present and accounted for. (Nice red pants, Bono.)

Comment - Why this never found a place on an album i will never know. It makes either October or War much better. Maybe it didnt fit the mood of either. Still its a pretty good indication of their potential. I will be interested in Nemesis’s comments on this one, especially how many times they played this live. I am the second highest btw. Strange for an old song. 

Next up, now its time to say goodbye to all our company. Will it be All I want is you from Rattle and Hum, Gone from Pop, Gloria from October or City of Blinding Lights from HTDAAB

 

[bigbottom]

#29 - A Celebration (1982)

Highest Rank - 17

Lowest Rank - 113

Where to Find it - Standalone single

Vulture.com ranking and comment -132/218 - This was recorded and released between October and War as an attempt at a stopgap filler, and it definitely feels that ephemeral. “At that point we needed a hit. ‘A Celebration’ wasn’t one of those,” the Edge said. The video is the very definition of ’80s video-making, with every possible cliché present and accounted for. (Nice red pants, Bono.)

Comment - Why this never found a place on an album i will never know. It makes either October or War much better. Maybe it didnt fit the mood of either. Still its a pretty good indication of their potential. I will be interested in Nemesis’s comments on this one, especially how many times they played this live. I am the second highest btw. Strange for an old song. 

Next up, now its time to say goodbye to all our company. Will it be All I want is you from Rattle and Hum, Gone from Pop, Gloria from October or City of Blinding Lights from HTDAAB

This is such a cool high energy song. Glad to see it crack the top 30. 

 

[Anarchy99]

I remember hearing an interview with Edge probably 30+ years ago now talking about A Celebration. He was asked why they didn’t perform it anymore (it was only a few years since they had last played it).

He mentioned he couldn’t remember how to play it. He explained he uses muscular memory to play songs, essentially that his body is preprogrammed to remember the chords and progressions. He just couldn’t get himself to remember all the things he had to do and it was apparently extremely difficult to play. So after 31 performances in 82-83, they took it out of the rotation permanently. 

 

[Pip's Invitation]

I remember hearing an interview with Edge probably 30+ years ago now talking about A Celebration. He was asked why they didn’t perform it anymore (it was only a few years since they had last played it).

He mentioned he couldn’t remember how to play it. He explained he uses muscular memory to play songs, essentially that his body is preprogrammed to remember the chords and progressions. He just couldn’t get himself to remember all the things he had to do and it was apparently extremely difficult to play. So after 31 performances in 82-83, they took it out of the rotation permanently. 

I think I read somewhere that they also dropped it because of people misinterpreting the “I believe in the Third World War, I believe in the atomic bomb” passage.

 

[Pip's Invitation]

#29 - A Celebration (1982)

Highest Rank - 17

Lowest Rank - 113

Where to Find it - Standalone single

Vulture.com ranking and comment -132/218 - This was recorded and released between October and War as an attempt at a stopgap filler, and it definitely feels that ephemeral. “At that point we needed a hit. ‘A Celebration’ wasn’t one of those,” the Edge said. The video is the very definition of ’80s video-making, with every possible cliché present and accounted for. (Nice red pants, Bono.)

Comment - Why this never found a place on an album i will never know. It makes either October or War much better. Maybe it didnt fit the mood of either. Still its a pretty good indication of their potential. I will be interested in Nemesis’s comments on this one, especially how many times they played this live. I am the second highest btw. Strange for an old song. 

Next up, now its time to say goodbye to all our company. Will it be All I want is you from Rattle and Hum, Gone from Pop, Gloria from October or City of Blinding Lights from HTDAAB

This too is my favorite non-album track. It’s powerful and energetic and may be the most straight-up rocking thing they did before Bullet the Blue Sky. 

 

[Anarchy99]

Yeah, I was highest on A Celebration (which is probably the least surprising thing about the countdown so far). High energy rock track with an attitude and and angry sound and presentation. Yes, please. I agree with the sentiment that this should have been on War, as it would have been the perfect fit and blended right in. It ended up as a bonus track on October and also appeared on the Complete U2 digital download complete retrospective. Not sure why they stuck it as an add on to October, as it doesn't really fit with the rest of the album. C'est la vie.

 

[Alex P Keaton]

#29 - A Celebration (1982)

Highest Rank - 17

Lowest Rank - 113

Where to Find it - Standalone single

Vulture.com ranking and comment -132/218 - This was recorded and released between October and War as an attempt at a stopgap filler, and it definitely feels that ephemeral. “At that point we needed a hit. ‘A Celebration’ wasn’t one of those,” the Edge said. The video is the very definition of ’80s video-making, with every possible cliché present and accounted for. (Nice red pants, Bono.)

Comment - Why this never found a place on an album i will never know. It makes either October or War much better. Maybe it didnt fit the mood of either. Still its a pretty good indication of their potential. I will be interested in Nemesis’s comments on this one, especially how many times they played this live. I am the second highest btw. Strange for an old song. 

Next up, now its time to say goodbye to all our company. Will it be All I want is you from Rattle and Hum, Gone from Pop, Gloria from October or City of Blinding Lights from HTDAAB

Mrs APK - self proclaimed U2 aficionado - doesn’t remember ever hearing this before today.   “Wow, that’s a great song!  It definitely sounds like an October-era song. That would be in my rotation.”

29 seems high to me, but not by a ton.  Thanks JML, this thread does it again!!!

 

[Alex P Keaton]

Yeah, I was highest on A Celebration (which is probably the least surprising thing about the countdown so far). High energy rock track with an attitude and and angry sound and presentation. Yes, please. I agree with the sentiment that this should have been on War, as it would have been the perfect fit and blended right in. It ended up as a bonus track on October and also appeared on the Complete U2 digital download complete retrospective. Not sure why they stuck it as an add on to October, as it doesn't really fit with the rest of the album. C'est la vie.

Zero surprise that you were highest.

It doesn’t fit the tone of October, but it clearly was written then.  I don’t think it sounds like Wat either — but it more fits the tone.  If that makes any sense.  It really is a tweener, like the Stevie Francis of U2 songs.

 

[Ghost Rider]

I really like the rocking aggressiveness of A Celebration, and Edge's guitar has that nasty thing going on, but I find the vocal melodies to be just kind of there.  I guess the "Shake! Shake!" and "Go! Go!" parts are supposed to be the hooks.  

 

[bigbottom]

I really like the rocking aggressiveness of A Celebration, and Edge's guitar has that nasty thing going on, but I find the vocal melodies to be just kind of there.  I guess the "Shake! Shake!" and "Go! Go!" parts are supposed to be the hooks.  

True, it doesn’t have a traditional chorus hook, but when they combine the verse and pre-chorus vocals at the end, I think it’s super catchy.

 

[Pip's Invitation]

Not sure why they stuck it as an add on to October, as it doesn't really fit with the rest of the album. C'est la vie.

My guess would be because people needed more incentive to buy a deluxe version of October than they would to buy a deluxe version of War. 

 

[John Maddens Lunchbox]

Merry Christmas

#28 - Gone (1997) 

Highest Rank - 12

Lowest Rank - 78

Where to Find it - Pop LP

Vulture.com ranking and comment -59/218 - It’s hard to be a rock band and write a song about what it’s like to be in a rock band without sounding either ungrateful or oblivious. “Gone” comes really close to the mark, and although the band are hard on this particular number, it’s presented with enough honesty and lack of coyness to make it worthwhile. “Then you discover what you thought was freedom is just greed,” Bono sings at the end, as the band are about to go off on a tour they’re not ready for to support an album they all believe is not finished, with one of the most elaborate stage sets of all time. Maybe someone should have paid attention to the lyrics. The song came back during the Elevation tour, usually dedicated to the late Michael Hutchence, and in an arena, the song has an intimacy it couldn’t possibly achieve in the colossus of PopMart.

Comment - This is better than some of the singles. There were at least 5 singles released off Pop. This outlasted every single one of the. IMHO it Drones on too long, but at least it is interesting and captures a moment. 

Next up, we continue to prune All that you can’t leave behind. The next one will make us go from 3 to 2. 

 

[Ghost Rider]

Even though I prefer Staring at the Sun, I can live with Gone being the top song from Pop. Great song, and 28 is not far from where I'd have it. 

All That You Can't Leave Behind having 3 of the 27 makes my brain hurt, though.   I can live with the one that mentions the album title in its intro, but the other two that are coming? No chance in hell. 

 

[Pip's Invitation]

Merry Christmas

#28 - Gone (1997) 

Highest Rank - 12

Lowest Rank - 78

Where to Find it - Pop LP

Vulture.com ranking and comment -59/218 - It’s hard to be a rock band and write a song about what it’s like to be in a rock band without sounding either ungrateful or oblivious. “Gone” comes really close to the mark, and although the band are hard on this particular number, it’s presented with enough honesty and lack of coyness to make it worthwhile. “Then you discover what you thought was freedom is just greed,” Bono sings at the end, as the band are about to go off on a tour they’re not ready for to support an album they all believe is not finished, with one of the most elaborate stage sets of all time. Maybe someone should have paid attention to the lyrics. The song came back during the Elevation tour, usually dedicated to the late Michael Hutchence, and in an arena, the song has an intimacy it couldn’t possibly achieve in the colossus of PopMart.

Comment - This is better than some of the singles. There were at least 5 singles released off Pop. This outlasted every single one of the. IMHO it Drones on too long, but at least it is interesting and captures a moment. 

Next up, we continue to prune All that you can’t leave behind. The next one will make us go from 3 to 2. 

Top 4 song from Pop for me. This, Last Night on Earth, Staring at the Sun and Discotechque. If I never hear any of the others again, I won’t really miss them. 

I like that it rocks but also fits into the new approach they were trying. 

As with most of the rest of Pop, I never paid much attention to the lyrics amid all the cacophony. 

I have a hard time fathoming how they managed to release such a half-baked album because they rushed to get it out before a tour. Extremely poor planning, as was the case for the tour itself.

 

[Alex P Keaton]

Merry Christmas

#28 - Gone (1997) 

Highest Rank - 12

Lowest Rank - 78

Where to Find it - Pop LP

Vulture.com ranking and comment -59/218 - It’s hard to be a rock band and write a song about what it’s like to be in a rock band without sounding either ungrateful or oblivious. “Gone” comes really close to the mark, and although the band are hard on this particular number, it’s presented with enough honesty and lack of coyness to make it worthwhile. “Then you discover what you thought was freedom is just greed,” Bono sings at the end, as the band are about to go off on a tour they’re not ready for to support an album they all believe is not finished, with one of the most elaborate stage sets of all time. Maybe someone should have paid attention to the lyrics. The song came back during the Elevation tour, usually dedicated to the late Michael Hutchence, and in an arena, the song has an intimacy it couldn’t possibly achieve in the colossus of PopMart.

Comment - This is better than some of the singles. There were at least 5 singles released off Pop. This outlasted every single one of the. IMHO it Drones on too long, but at least it is interesting and captures a moment. 

Next up, we continue to prune All that you can’t leave behind. The next one will make us go from 3 to 2. 

Vulture gets it right again.  59 is closer to where I have this one (in the 70s), but either way it’s a good song with a unique sound.   Kudos to these guys for taking the chance to reinvent themselves over and over and over.

 

[bigbottom]

I’m not sure this one would have cracked my top 100. Interesting concept but not an enjoyable listen, IMO. 

 

[John Maddens Lunchbox]

All That You Can't Leave Behind having 3 of the 27 makes my brain hurt, though.   I can live with the one that mentions the album title in its intro, but the other two that are coming? No chance in hell. 

Only one of these tracks make the top 20.

One of the three left. One is a Nice song and all, but its my lowest rated song left at #62. 

The one we see tomorrow was one ranking of 122 away from being top 12. The other three had it at 14, 25, 27

The top one left from this album has 2 top 10 rankings and we will see where that lands a little later. 

 

[John Maddens Lunchbox]

I have a hard time fathoming how they managed to release such a half-baked album because they rushed to get it out before a tour. Extremely poor planning, as was the case for the tour itself

I don’t think it was half baked. More like overcooked. Yes they had a deadline for release, but they spent so much time trying to get the songs right.....and failing. It may have been their most unhappy release as none were satisfied with the final product. They had trouble playing the songs live. It was easily the flattest I ever saw them live and I was within touching distance of the band in a half empty outdoor stadium in Melbourne Australia. 

 

[John Maddens Lunchbox]

Vulture gets it right again.  59 is closer to where I have this one (in the 70s), but either way it’s a good song with a unique sound.   Kudos to these guys for taking the chance to reinvent themselves over and over and over.

I’m not sure this one would have cracked my top 100. Interesting concept but not an enjoyable listen, IMO. 

This is one of the songs that went way higher than expectations.

The one ranker with the most unusual rankings, which I welcome, has this at #12. The rest of us #53 or lower. Tomorrow we see their rankings drag a song down with the lowest ranking left of #122.

Once we get to the top 20 we only have 4 rankings that have a score lower than 50.....55, 82, 86 and 112. @Anarchy99has 2 of them. The 112 absolutely kills a song that would easily be top 10 otherwise. Same with the 86 and 82 ranking. The #55 ranking drops the other song a few spots. 

 

[Anarchy99]

Vulture gets it right again.  59 is closer to where I have this one (in the 70s), but either way it’s a good song with a unique sound.   Kudos to these guys for taking the chance to reinvent themselves over and over and over.

i'm with you. I was lowest on this one at 78. it"s just ok.