Published on Mar 17, 1998
Isn’t it a natural for me to review an Irish band today? The
Chicago River is dyed green (though it always seems to have that
slimey color, so why bother dying it?), everyone I know is Irish
for a day, and depending when you’re reading this, I’ve had
anywhere from two to ten beers in celebration. (Of course, I’m
writing this the Monday before — I don’t think I’d be conscious
enough to write anything in English afterwards.)
U2 have made it their point in the ’90s to confuse and confound
critics and fans alike. After finally grabbing the brass ring on
The Joshua Tree (and documenting their tour on
Rattle And Hum), Bono and the boys did a major u-turn by
going towards ambient-noise rock on
Achtung, Baby — only to gain quite a bit more success.
As if almost to say, “Okay, you thought you could handle change?
Handle
this
!” U2 came out in 1993 with
Zooropa, more of a techno album than a rock work. Sure
enough, some fans went screaming for the exits — too bad, ’cause
if you allow this album to grow on you, it proves itself to be
quite good.
The first single “Numb” was a wake-up call in and of itself —
holy crow, that’s The Edge handling the lead vocals! Who woulda
thunk it? (Actually, seeing how well he held his own on “Van
Diemen’s Land” off
Rattle And Hum, this should have come as no surprise.) Even
the heavily-synthesized sound failed to harness the impetus that U2
now had.
The title track captures the mood of U2 perfectly — both a
mockery and rejection of the commercial world, “Zooropa” starts off
with a nice, lopping rhythm — only to turn into almost a dance
number that explodes in fury. It’s a great feeling — I always look
forward to that cymbal crash in the whooping keyboard work.
Likewise, the trance/dance that is “Lemon” is almost instantly
addictive — though on this one, I will admit it was dragged out a
little too long at almost seven minutes in length.
There still are some remnants of the old U2 that the
nouveau fans fell in love with. “Stay (Faraway, So Close!)”
is a return to a rock-like feel in a slower-tempo number that will
feel more natural to some fans. Likewise, “Dirty Day” sounds like a
merging between the early U2 and their techno phase — and it
sounds more natural than you might expect.
The true surprise on
Zooropa comes courtesy of Johnny Cash, who takes over the
lead vocal role on the closing song “The Wanderer.” Some people
have pegged this performance as the key to Cash’s recent comeback
and garnering of Generation-X’s interest in his work. Whatever the
case, Cash was almost born to sing this track, and U2 even makes
Cash sound somewhat happy — scary, isn’t it?
There are a few clunkers on
Zooropa – “Daddy’s Gonna Pay For Your Crashed Car” and “Some
Days Are Better Than Others” really fall flat — but for the most
part, the album holds up well to yet another stylistic change from
U2.
The only real problem with
Zooropa is that this one takes a couple of listens to truly
appreciate. The first listen will most likely freak the listener
out a bit, especially if they’ve been raised on a diet of “Pride
(In The Name Of Love)” and “I Still Haven’t Found What I’m Looking
For.” For them,
Zooropa will be a hard slap in the face — but that effect
passes quickly.
U2 took a major chance when they unveiled
Zooropa on an unsuspecting public — and to those who could
appreciate the album for what it was, that chance was worth the
risks.