R.E.M. vs. U2, Part 3
- R.E.M. vs. U2, Part 1
- R.E.M. vs. U2, Part 2
- R.E.M. vs. U2, Part 3
U2 was one of my first true loves. I discovered them in 1984 in the middle of the second British invasion, when my attention was drawn more toward Thompson Twins, Kajagoogoo and Wham! (Yes, I said Wham!). The Unforgettable Fire was a perfect introduction to the group, even though it was an atypical album for them. Their previous releases had been passionate, even angry; The Unforgettable Fire was both soothing and stormy. Laden with keyboards and synthesizers, it was dreamy, not unlike producer Brian Eno’s ambient works.
But it was their signature hit, “Pride (In the Name of Love)” that caught my attention. With the Edge’s guitar chiming away, I discovered that Bono was singing about something important. This was different from songs about Mickey and New Moons on Monday and Karma Chameleon. And as I discovered their back catalog, I heard their more political songs like “Sunday Bloody Sunday” (Gasp! They had a whole album entitled War!).
The Joshua Tree
As the buildup to The Joshua Tree grew, so did my anticipation. I was on a choir tour during spring break when it was released in 1987, and I persuaded the bus driver to stop at a mall in Macon, Ga., so I could buy it. And now as I look back, I can safely say that The Joshua Tree is the only follow-up album that has surpassed my expectations.
I played it constantly – so much that the cassette wore out and I had to buy another. I felt a rush of emotion as Larry Mullen beat the drums with a frenzy, opening the album and the first cut, “Where the Streets Have No Name.” I felt like crying every time I heard “With or Without You”, its slow beginning building until a sudden release of emotion by Bono, met just as intensely by the Edge’s echoing guitar and Mullen’s tom-toms that mimicked the beating of a heart. And I felt at peace with the strings accompanying “Mothers of the Disappeared,” the song that ended the album.
These guys could do no wrong. I loved them, I went to their concerts with a religious fervor, I readied myself in 1991 for the follow-up, which would vault them into the rock stratosphere.
Achtung Baby was the biggest disappointment of any follow-up I’ve ever heard.
The album has received great reviews, ranking right alongside The Joshua Tree as their masterpieces. But that new creative spurt meant exploring new sounds: European, techno, and electronic music. Distorted vocals, guitars and synthesizers were the norm, and their singles (e.g., “Mysterious Ways”) sounded too polished. In my view, U2 had sold out.
When their next two albums came out, I ignored them – especially Pop, in which they looked and sounded like Frankie Goes to Hollywood. Bono grew cocky, calling the White House and ordering pizzas during concerts, strutting around on stages adorned with giant lemons and the golden arches of McDonald’s, and sporting the now trademark wraparound sunglasses.
During most of the 90s, I was estranged from the group. They have since redeemed themselves partly with their last two releases, which have seen them get back to their roots. But still, in the back of my mind, I remember their experimentation. I have forgiven, but not forgotten.
R.E.M was a wild strange group when I first heard about them in 1986, (I grew up on north Georgia, where there was no access to college radio) but when I started listening to Lifes Rich Pageant, I found that they were relatively harmless. Little did I know then that LRP was about as hard-edged as the band would get; their back catalogue was surprisingly tame.
Over the next few years, I waited for the masterpiece that never came, but I was never disappointed, and each album was a new twist in genre and sound: The political overtones of Document, the pop sensibilities of Green (my favorite), the mandolin-laced Out of Time and the dark but accessible Automatic for the People. So when Monster was released in 1994, promising a return to the hard edge of Lifes Rich Pageant, I was excited.
‘Monster’ – a disappointment
Disappointment #1. Monster sacrificed melody for feedback and fuzzy guitars; it seemed as if Stipe and Co. were trying to reach out to Nirvana and Pearl Jam fans. It quickly became my least favorite R.E.M. album, soon replaced by the rough, hastily assembled New Adventures in Hi-Fi, and then replaced by the minimalist, electronic (!) Up, and then Reveal and Around the Sun. I can’t tell you anything about those two, they were so nondescript.
The loss of Bill Berry after New Adventures (he retired to his farm in Watkinsville, Ga.) seemed to be a huge blow, for they never really found their sound, or maybe even their identity. Sadly, R.E.M was no longer relevant. Like U2, they have begun to redeem themselves with this year’s Accelerate, but after five duds in a row, it’s a big hole to climb out from.
So who’s better in the R.E.M. vs. U2 battle?
I guess I can say that my fervor for U2 was greater and more intense, but after Achtung Baby, I felt cheated, and U2’s fall from the pedestal was a long way down. R.E.M., on the other hand, has always seemed like a casual acquaintance, not letting you close enough so that you really know them. I liked most of their songs; I loved very few, and only one (“At My Most Beautiful,” the only jewel from Up) would make my Top 20 songs of all time. (That’s just a guess; I’m still formulating that list in my head.) Likewise, they’ve never had a truly masterpiece of an album, but until the 90s, all of them were great. My heart belonged to U2, my head R.E.M.
There. After 3,000 words of introspection, I feel better, at least.
Previous posts:
For me, it’s very true. While I’ve stuck with REM through the lean years, panning the occasional gem from the pebbles… I never loved Bono. I can think of about three U2 songs I wouldn’t immediately turn off if they came on the radio… and if it was the video, I’d have to turn those off too.
Still, it’s always interesting to hear another perspective.
Dude, if you haven’t memorized High Fidelity yet, watch/read tonight. You late at night with the MP3s — just like the Rob character rearranging the LPs autobiographically.
Remember: it’s not what you’re like, but what you like…
Rock on.
I actually found Achtung Baby very enjoyable and Ultraviolet–one of the albums tracks–is one of my all-time favs.
I think you can love both R.E.M. and U2 for two reasons:
They have longevity. Their music is still popular and enjoyable years later. They’ve survived.
Both groups are best when working together and not solo. All too often bands break up and the lead singer or other members go solo (Darn you, Natalie Merchant!) R.E.M. floundered, stumbled, lost their way after Bill Berry left the group. And I honestly can’t ever imagine Bono, Edge, Adam, or Larry ever really succeeding musically without their other band members. Granted, R.E.M. apparently has found their direction again with the new CD which I haven’t heard yet, but look how long it took them! And since I haven’t heard the CD yet, I’m not sure I’ll be convinced that they are indeed back.
I, too get chill bumps every time Where the Streets Have No Name begins. Both of those groups are so significant to me because attached with their songs are memories of mine from the times in my life where I was going through so much…Joshua Tree pretty much covered my entire high school years. But then Out of Time came along my freshmen year at Auburn and helped me through one of the toughest times and Best times of my life!! For that I will forever be indebted to REM; however, my true love is U2. I mean, come on…BONO!
@Andy:
If you only knew how anal I get with the tagging – every song with a star rating, making sure each song has the correct year, and that doggone genre rating. I mean, what’s R.E.M.? Alt-rock? College rock? Folk rock? Adult alternative? Jangle pop?
I love that book, BTW. That is me.
Im REM all the way… I love U2, I hate Bono with a passion. His arrogance and self worshiping have ruined U2 for me. Michael Stipe was never like that. Michael Stipe is so humble, he takes his lyrics on stage with him because he forgets it. REM does what U2 could never do… come out, play the songs, not move around to much and leave… and still leave the audience extremely satisfied. Im a huge can of Automatic for the People muself.. The Sidewinder Sleeps Tonite is the best song of all time in my oppinion. All U2 songs sound the same to me. I could swear Edge only has one intro…
Thats another thing, being humble will get you far. I mean, how are you going to change your name to The Edge? I couldnt never see Michael changing his name to The Stipe… He was fine with his name, never tried to mess around with it. For me its not just the music, its the attitude. REM loves what they do. They are humble about it. They are TRUE musicians. I think they are probably the only band in the world that I would agree with this statement: They do NOT do it for the money or the fame.
Its noble of Bono and U2 to try get across messages trying to help people, but when the douche filter is being clogged by you, there isnt a real way for this to happen.
REM ALL THE WAY!
Actually Thomas, Michael is his middle name. His first name is John but I don’t know when he started going by it. If it was before college then your statement is still correct.
Funny how completely differently one can perceive the same music. I was getting bored with U2 around the time of the Joshua Tree, and electrified by Achtung Baby. Still enjoyed Zooropa and Pop, and then they kinda dropped off my radar again.
Re. R.E.M., I agree with Monster being one of their lesser albums, but I would also firmly put Green in that area, along with Reveal. I’ll also disagree that they didn’t find their sound after Berry’s departure – R.E.M. has always moved from one sound to the next. In this case they were forced to do so, and much as they had a crap time making that album (as they did with Fables), pearls did come out of it. Up was a departure, but is a rare album that is not short of defenders. You pointed out “At My Most Beautiful”, one of several songs that could not have appeared on other albums.
I liked it when U2 stretched new muscles with Achtung Baby, and I like it when R.E.M. does the same – sometimes in ways that I like (e.g. Up) and sometimes I don’t (e.g. Monster, Green). And I know when R.E.M. does an album like Around The Sun (which I wouldn’t put at the bottom of their catalogue, but about third or fourth from the bottom), they are straining to create something new and different. That album’s primary sin was that it didn’t have a single rock song or satisfying pop song on it. Even Up had Lotus and Walk Unafraid.
And let’s face it – the bottom of R.E.M.’s or U2’s catalogue is still pretty high…
I can’t stand Bono (and I’m Irish!). How you think he’s a better singer than Michael Stipe is beyond me. Stipe could sing a pizza menu and evoke emotions in the listener,compared to ‘one tone Bono’. REM also have Mike Mills,seriously is there any instrument be can’t turn his hand too? Edge is a fine guitarist but I agree with the guy who said it’s all the same sound from him. REM are extremely humble,they’ve never developed egos (stipe drives a volvo!),compared to the ego that is known as Bono. U2 have sold more records simply because if the scale of touring they do,they’ve also got a large PR drive behind em and they do the whole ‘big music video thing’. Bono would swap his mother for a payout,they’ve sold out years ago,whereas REM famously turned down Windows millions to use ‘Its the end of the world’ in a commercial. Most importantly the songs are better. Finally re; the contract,well REM are now out of contract so who knows what will happen. I hope they continue,the music world would be worse off without em.