Imagine walking into your living room and all your stuff is there, but itBԪַs different. The sofa has moved, the bookcase is leaning on a different wall and the framed photos have swapped locations. ThatBԪַs the feeling you get listening to U2BԪַs new album.
BԪַSongs of SurrenderBԪַ is a BԪַreimaginingBԪַ of 40 songs from the Irish quartetBԪַs deep catalogue, cleverly presented from BԪַOneBԪַ to BԪַ40.BԪַ Think of it as a thrilling home makeover.
BԪַI want to tear down the walls that hold me inside,BԪַ Bono sings in the new BԪַWhere the Streets Have No NameBԪַ BԪַ lyrics that perfectly fit this sonic experiment. This version of the song is virtually unrecognizable from the one the band made famous in 1987.
ThatBԪַs the point of this exercise led by Bono and The Edge. BԪַOnce we surrendered our reverence for the original version, each song started to open up to a new authentic voice of this time,BԪַ The Edge writes in the liner notes.
There are triumphs and a few fumbles, but thereBԪַs a growing realization that the architecture of these songs is strong indeed, even with some new lyrics. The new BԪַVertigoBԪַ has Middle Eastern instrumentations, while an acoustic guitar-driven BԪַSunday Bloody SundayBԪַ sounds more like something from a coffeehouse open-mic night than a strident arena-ready demand. But theyBԪַre both still gorgeous.
Some might even be improvements. One of the bandBԪַs earliest hits BԪַ BԪַ11 OBԪַClock Tick TockBԪַ BԪַ is smoother, slower and cleaner than the original. And would you believe the new BԪַThe Miracle (Of Joey Ramone)BԪַ might be better than the one on BԪַSongs of InnocenceBԪַ?
Many reworkings are relatively straight-forward, like BԪַCedarwood Road,BԪַ BԪַPeace on Earth,BԪַ BԪַBadBԪַ and BԪַI Will Follow.BԪַ Most have a stripped-down feel, which gives BonoBԪַs voice little shelter amid moody keyboards or choppy acoustic guitar. BԪַEvery Breaking WaveBԪַ is cinematic, like something that should run over the end credits when an anguished drama has faded to black.
BԪַI Still HavenBԪַt Found What IBԪַm Looking For,BԪַ gets a cowboy vibe and unexpected honky-tonky electricity. BԪַDesireBԪַ has Bono high in his falsetto against a strummy dulcimer and the effect is hypnotic.
BԪַGet Out of Your Own WayBԪַ is remade as a Mumford & Sons tune, in a good way, and the new BԪַStuck in a MomentBԪַ is a folkish prayer, the structure holding. The new BԪַOneBԪַ is a little marred by a choir effect, but it is such a beautiful song that it could be remade as a punk tune and it would still sparkle.
Listening to the new BԪַSometime You CanBԪַt Make It On Your OwnBԪַ is like running into an ex who is barely recognizable. The reworked BԪַWith or Without YouBԪַ has an air of antiseptic menace.
One effect of the album is to put BonoBԪַs lyrics under a spotlight, making his words and imagery more pronounced. The new BԪַOrdinary LoveBԪַ emerges like a tone poem, the new BԪַInvisibleBԪַ reveals deeper pain than originally sang.
Some donBԪַt work, as when the grimness of BԪַRed Hill Mining TownBԪַ is undercut by horns, effectively remaking it into a defanged childrenBԪַs song. The new BԪַBeautiful DayBԪַ is not an improvement over the original; it has been made lounge-y and meandering, despite some nifty new lyrics.
In a new BԪַPride (In the Name of Love),BԪַ BonoBԪַs voice has been harnessed and tamed, losing the originalBԪַs stridency and anger. And the new BԪַ40BԪַ BԪַ with Bono appropriately arguing BԪַI will sing a new songBԪַ BԪַ has been made limp and passive.
If youBԪַre not a U2 fan, this collection will not convince you to embrace them. If you are a mega-fan, you will marvel at their mutability. And if you are a casual fan, you must admire a band willing to get in its own way.
BԪַMark Kennedy, The Associated Press