![]() ![]() Featuring a unique rhythmic groove and an echoing chord progression, it certainly sounds nothing like gospel on the surface. I Still Haven’t Found What I’m Looking ForĪ spiritual anthem that takes an honest look at faith and doubt, this track may be the most heartfelt gospel song ever written. Conservative… it would seem that “Streets” was written for a turbulent twenty first century. It would be hard to point to a more divisive time in recent American history, given our present struggles. Lyrically, this track dives deep into religious, economic and political division, all converging into a world where peace, love and unity gather together in a small, unknown village in the developing world, where economic status and political backgrounds are irrelevant. Featuring Edge’s infinite sustain guitar, Adam’s pounding bass line and Larry’s unconventional percussive beats, the song sounds like nothing that has ever been produced before. “Where The Streets Have No Name” is a staple for the band’s incredible live shows, as anyone who has attended a U2 concert knows. The following is a track-by-track examination of the eleven cuts that took the world by storm in the late 80’s, and that still pack a powerful punch today. But little did they know it would hold up to 30 years of political, social, and musical history. Most people agree that it was an instant classic. As I reflect on its relevance 30 years on, I can’t help but think that the album was ahead of its time in so many ways.įrom cinematic album photography by Anton Corbijn to Edge’s often-copied, groundbreaking six-string styles to Bono’s soaring vocals, this album caught the ears of the whole world, landing U2 on the cover of Time magazine in 1987. It launched the quartet into mega-stardom and was critically acclaimed by the pundits. It was U2’s breakout album, topping the charts in more than 20 countries. That’s mature adulthood for most people, but this record was mature from birth. In 2017, The Joshua Tree turns 30 years old. This sound was deep, haunting, and lyrically dripping with symbolic imagery. They weren’t singing about bubble gum teen crushes or hot cars. ![]() ![]() There weren’t any self-indulgent drum solos. Their sound was unique… something immediately recognizable as all their own. Despite the endless possibilities of musical expression that could produce an infinite number of tonal sequences, most of the songs I heard on the radio at that time in history could be boiled down to the surface level, L.A.-based glam-rock sound being generated by groups like Van Halen, Poison, or Motley Crue.īut that summer, American top 40 radio began playing several tunes from a Dublin-based group who had formerly been pigeon-holed into punk and college formats. In the summer of 1987, American pop music all sounded the same to me. ![]()
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