Does anybody want the new OOTS remix? I've got it and can upload it if wanted.

 

I'd love it - can you upload it please!! That would be great

A preview for the 3D movie, that trailer has been kicking around for a few months now.

 

Still have no idea how would it become 3d

I'd love it - can you upload it please!! That would be great

 

 

*Link Removed*

^We're not supposed to post links to music in the WoM section.

 

Has anyone got a decent version of Instant karma? not the youtube audio . .

 

(if possible) please!

 

Charity single, can't upload it.

That Instant Karma is out tomorrow (18 months in the planning).

Are you going to buy it?

May do if I see it for sale.

 

I'm not sure if I will be heading for Andover tomorrow evening after work, as there isn't a lot out this week.

I like having a job now because I can buy cds and not worry about it. :)

 

I probably won't buy the cd though just because there are so many artists on it I don't really like.

What is the track listing for it?

Here is the wikipedia link for the tracklisting.

 

http://en.wikipedia.org/wiki/Instant_Karma:_The_Amnesty_International_Campaign_to_Save_Darfur#Track_listing

Regina Spektor

Black Eyed Peas

Avril Lavigne

Lenny Kravitz

Corinne Bailey Rae

Christina Aguilera

 

*vomits*

*holds out bucket*

*vomits my lungs out*

I think I will give it a miss.

haha you guys are funny:laugh3:

I think Im out of control till the Popmart comes out

unbeaten... great band...

Interview with Edge about new album??

 

 

Close to The Edge (by Hot Press)

 

It was bound to happen: U2 have lit out for Interzone. 15 years after

shooting the "Mysterious Ways" video in Fez, the third largest city in

Morocco, the band have fetched up there again, conducting speculative

songwriting sessions for their next album, with Daniel Lanois and Brian Eno

operating as collaborative players rather than producers.

 

The quartet have always set much store in the importance of location as a

crucial influence on the recording of their music. Unforgettable Fire was

hatched in the echoey halls and stairwells of Slane Castle. Achtung Baby

took shape (or refused to take shape) in Hansa by the Wall in Berlin, the

chilly Nazi ballroom that incubated albums by Iggy, Bowie, Nick Cave, the

Gun Club and Depeche Mode. Pop, by contrast, was informed by the tropical

humidity and hot colours of Miami.

 

So when the Edge downs tools in his Killiney home and interrupts a spot of

recording for a HOTPRESS 30th anniversary retrospective chat, he's still

buzzing from his sojourn to Morocco, a liminal space that for thousands of

years has served as both port and portal, a haven for criminals, spies and

all manner of outsider artists, including George Orwell, Tennessee Williams,

Paul Bowles and William Burroughs.

 

Rolling Stone Brian Jones also made a pilgrimage there in 1968, and with the

help of Brion Gysin recorded an album's worth of music by the Master

Musicians of Joujouka (described by Burroughs as "a thousand year old rock

'n' roll band"). The Stones themselves revisited there for "Continental

Drift" in 1989. More recently, the city has hosted the World Sacred Music

Festival every year.

 

"It's Africa, but it feels like a different part of Africa," Edge says.

"This is not a new culture, this is thousands of years old. In fact in Fez

they have the oldest university in the world, established somewhere in the

eighth century, which gives you some idea of how old that city is. And the

way the architecture operates, everything is inside the city walls. The souk

is kind of the market, but the Medina is full of little tiny streets just

about wide enough for a donkey with a basket on its back, no way could you

get a car down there. It's a totally different scale and approach to

building, which has been like that for over a thousand years. Depending on

where you are, you could get lost for weeks."

 

Which, presumably, was the very point of the expedition...

 

Peter Murphy: To begin at the beginning -- can you remember when the first

issue of HOTPRESS appeared in 1977?

 

The Edge: Actually, I remember when it was given away free at Macroom, 'cos

I happened to be there at the Rory Gallagher concert, it was handed around

at the gig. I think Rory might have been on the cover, so at first it was

like, "What's this, is it some kind of promotional material?" And then I

realised, "Oh God, it's a new magazine, how cool." I wish I'd kept my first

copy, but I think it probably got lost on the way home.

 

Most of the influential music writers of the time, like Nick Kent and

Charles Shaar Murray and Lester Bangs, were miles away in London and New

York. Did it make much difference to have a local forum for writers to

document what was going on in Ireland?

 

I think it made a huge difference in that it kind of legitimised the local

scene. Seeing something in print is proof that you actually exist outside of

your own head, that there is something you're part of, something going on,

subcultural as it might be. It was real. HOTPRESS was very important in

making it real, not just for us but a lot of bands that came out around that

time looking for gigs and support slots from visiting bands, busy in

rehearsal rooms across the city, working on songs, arguing about whether

it's cool to wear a skinny tie or what length your hair should be. I don't

know if it was coincidence, but HOTPRESS arrived just in time to be the

mouthpiece, the narrator I suppose, for the scene as it came together.

 

People think of 1977 as a sort of punk Year Zero, but there were still a

real proliferation of California-style country rock bands and cocaine

cowboys.

 

I think we would have seen things in fairly stark, monochrome terms. We were

still quite affectionate about some of the bands from the previous

generation, but this was Maoism, the cultural revolution. Anything that drew

its influences from pre-'77 was operating in a completely different world to

us. I didn't throw out my Rory Gallagher or Horslips records by any means, I

still listened to them and loved them, but we were drinking from a different

water source, totally. The bands that we would have been in competition

with, I suppose, or shared the same scene with, were DC Nien, the Prunes,

the Atrix, Revolver. And I suppose the Radiators were the first local punk

band, and their influences were even more interesting than a lot of the

English punk bands in some ways, because they were drawing from Can and Iggy

Pop and the Stooges and the MC5. People in journalism refer to those acts,

but I think a lot of the bands from the U.K. were all trying to be the New

York Dolls and the Rolling Stones mixed together, they weren't really aware

of the German thing.

 

The Radiators also had a literary sensibility, with songs like "Kitty

Rickets" and "Faithful Departed" harking back to Joyce and Behan.

 

Yeah, for sure. There was sophisticated stuff going on. And like a lot of

so-called provincial music, there was often a lot more to it than the music

that was getting the big headlines in London.

 

U2's relationship with HOTPRESS journalists like Bill Graham and Neil

McCormick seemed quite close and informal.

 

In those days particularly, we would kind of befriend all of the journalists

who would cover the band, and often times we'd just meet them for coffee.

Bill and Neil were mates in that sense, and some of the U.K. journalists,

the early ones that covered the live shows. It was true of our fans as well.

There were few enough of them, so we got to know them personally and on many

occasions they slept on the floor of our rooms if they were on the road with

us. Different times.

 

To what extent did you use Bill Graham as a sounding board?

 

Bill was very important to us from the beginning. The story is pretty well

known that he recommended we talk to one Paul McGuinness, who was a friend

of Bill's. We'd meet him from time to time and play him some stuff, and in a

very touching way he would mentor us, give us records to listen to that he

felt were important for us to hear, stuff that maybe we hadn't come across

before. And I think he filled a certain kind of almost big brother role with

the band, and we certainly appreciated all his advice and consideration.

 

A lot of his writings on the band took quite a contrary stance. When you

were getting it in the neck over Rattle and Hum, he was still insistent

about the possibilities of U2 and the blues. Conversely, when everyone was

hailing Achtung Baby as a radical reinvention, he was by no means fully

convinced.

 

Yeah, Bill certainly considered himself very discerning on every level with

music. He wasn't necessarily impressed with what he considered as the pose,

or the way that music was sometimes put across. In fact, I remember at Dark

Space, the 24-hour punk rock concert in The Project, I can't remember the

name of the band who were headlining, they were from the U.K., but Bill was

looking at this act with me and he just turned around and said, "This is

just London fashion. There's nothing in this. It's just a higher developed

sense of pose, that's the only thing this has over what's going on in

Dublin."

 

And he was right, there wasn't much to it really. I mean, in those days

stance was important, but Bill always wanted to see through that, to see

what was actually going on. I think Achtung Baby is a great record, so he

may not have given it its due at the time, but I think he was always a

little wary of anything that was coming at him with a big backstory. He just

wanted to know what was under the hood, he didn't really care about the

body, the shape.

 

Strangely enough, he seemed much more on board with the Zoo TV concept.

 

People might think that it was an aberration -- I think it was probably a

necessary thing to go through, but it was probably the extent of that

particular pendulum swing. That was the question at the time: "Is there any

way back from Zoo TV and Achtung Baby?" It's a lot of people's favourite U2

record. It might be my favourite U2 record. But you could say we've kinda

come back from that brink and created a sort of middle ground of subject

matter and theme. But it also gives us the license to go out there again if

we want to.

 

On the Elevation and Vertigo tours you revisited songs from Boy: "An Cat

Dubh," "Electric Co," "Out of Control," "I Will Follow." Did the young U2

have anything to teach the older U2?

 

Well, I was amazed at how sophisticated some of that first record was

musically. Of course in those days we wrote songs in a very organic way,

music often first, then melodies and then lyrics. But we instinctively would

reach for things we felt the music needed, key changes and strange

modulations that we wouldn't really have understood. But now, looking back,

the sheer quantity of innovative ideas on that record is pretty amazing. We

were actually quite taken aback when we looked at it afresh. Some of the

songs have survived better than others, I'm not sure we'd want to put a

whole set from Boy in our show, but there's incredible vitality and life to

those songs, and that counts for an awful lot.

 

One thing I think it did was capture a sense of the band as an intense,

gangly adolescent. Even if parts of it are a bit fumbling and gauche, that's

probably the point.

 

Yeah, I think it was the Village Voice who said, "After this record this

band should break up, because they'll never ever do anything as interesting

as this." (Laughs) And for all the reasons you just said, everything about

it was kind of searching, and missing the mark, spectacularly in some

places, but it all kinda added up to the telling of a certain story, and it

did that very eloquently.

 

I imagine you watched with some bemusement in recent years as bands like

Interpol and Bloc Party and Arcade Fire mined that wintery early '80s

European sound.

 

Yeah, it was amazing to realise two or three years ago that that particular

moment in time when we were coming through had suddenly become the new

zeitgeist for the rock 'n' roll alternative underground. It made me go back

again and listen to Siouxsie & the Banshees, Joy Division and the

Associates, and I can see the appeal. The blues was so overused and trodden

into the ground as a form, and these were chords and progressions and

melodic ideas that were devoid of any of that influence. In a sense, if you

were to say what that movement was about, it's like rock 'n' roll without

the blues, without the American influence. I think the German scene was

probably a huge influence on us second hand, 'cos we would have been

listening to Eno and Magazine and groups that were listening to Can and Neu.

 

Location has always been crucial to U2 records. You were in Fez for a couple

of weeks recently.

 

Yeah, we just got back.

 

Is this your latest psycho-geographical adventure, trying to channel the

atmosphere of a place into the music?

 

I think it is. It was one of those ideas that wouldn't go away. Bono

suggested it a good while ago. He throws out ideas a lot, and a lot of them

do not necessarily get met with the greatest enthusiasm. I would probably be

the one most ready to go for it, Adam is fairly easygoing, Larry is hard to

persuade a lot of times. In this case, to everyone's amazement, Larry pretty

early on went, "I think there's something to this; it sounds like a good

idea."

 

So we talked to Brian Eno and Danny Lanois about possibly coming and writing

with us, which is a new thing, and also to our amazement they both said,

"Yeah, great, love to." So we set off to Morocco and set up in a small Riad,

which is like a hotel built around a central courtyard, and spent a couple

of amazing weeks working with Brian and Danny.

 

We were there during a festival of sacred music in Fez, so we saw some

amazing artists. It's all stuff that just takes you out of your comfort

zone, and we seem to thrive in that situation, where expectations are really

disregarded and you're there to explore and discover new things.

 

Can you describe some of the music you heard there?

 

Because North African music didn't end up going to America, it's actually

like this twist on African music. The music that went to America was from

West Africa, Mali and places like that, you can still go there and hear the

roots of the blues and other R&B sounds, the Chuck Berry guitar thing,

that's still alive and kicking, it originated from there.

 

So when you go to Morocco, it's a whole different set of beats and rhythms

and ideas. I mean, they could really lay claim to the whole trance music

phenomenon. That's been going on there for centuries, the drumming and the

groove would keep going, sending everyone into a kind of trance state. And

for musicians like ourselves, whose exposure is to mostly U.K. and American

music, it is incredibly inspiring to hear this totally fresh and different

set of roots and influences. And there's huge variety as well, it's not like

it's just one thing, there's all kinds of different folk musics, but they're

all incredibly rhythmic and they all have their very distinctive beats and

sounds. So there's a lot for us there really, it's a very rich culture.

 

I imagine being in an alien environment also reinforces the group mind.

 

As Danny would say, anywhere that takes us away from home is a good thing as

far as he's concerned, because the distractions of being in Dublin are a

problem if you're trying to really concentrate on something.

 

How different is it having Brian Eno and Daniel Lanois contribute as

musicians?

 

Well, they've always chipped in on the playing front, so in that sense it's

not so radical, but I think having it being a joint project has changed the

emphasis slightly, and I have to say the chemistry that operates between the

six of us is extraordinary. It's the four, it's the U2 thing, but it's given

another twist with Brian and Danny.

 

Are these songwriting sessions for a U2 album or an extra-curricular

endeavour?

 

It's a U2 project, and one of the luxuries we've afforded ourselves is not

to have to think about exactly what it will be or how it'll be finished or

when it'll be released. Right now, we're so enjoying the idea of making

music for the sake of making music that we want to keep that going as long

as is financially possible. And of course, at some point we'll have to sit

down and say, "Well, what have we got; is this one record, two records? Or

is it a 12 inch single?" (Laughs). Then take it from there.

Awesome! new Popmart dvd soon :dance:

anyone heard that Bono have "something" with Penelope Cruz:angry: i saw the news today... but i think the news is bullshit!!!

what a bullshit

they work together for charity, i think it's totally been taken out of context by the media, like most things. this is bono they're talking about.

 

...

 

 

making music for the sake of making music...

that's the U2 way! :nice: looking forward to it!

That instant karma, songs for darfur got a 1 out of 5 star review in September's issue of Uncut.

 

It has some good songs on it, but mixed between those good songs are dodgy covers.

Funny thing is that these so called journalists forgot to say that Ali and his two daughters were there as well :rolleyes:

The problem is U2 is that when they release their new album, people will say it's not as good as album X.

 

I heard rumours of a re-release of Pop, but with it re-recorded.