The Unforgettable Fire [Box]

Performer: U2
Artist: Brian Eno; Daniel Lanois
Engineer: Daniel Lanois; Kevin Killen; Brian Eno
Producer: Daniel Lanois; Brian Eno
Distributor: Universal Distribution

Notes: U2: Bono (vocals); The Edge (guitar, keyboards, vocals); Adam Clayton (bass); Larry Mullen, Jr. (drums). Additional personnel: Paul Barrett (synthesizer); Brian Eno, Daniel Lanois. Recorded at Slane Castle, County Meath and Windmill Lane Studios, Dublin, Ireland. Personnel: Daniel Lanois, Brian Eno (vocals). Liner Note Authors: Daniel Lanois; Brian Eno. This single is U2's second from 1983's The Unforgettable Fire and was released with nine different tracks on six different worldwide versions. The Unforgettable Fire takes its name from a painting exhibition by survivors from the Hiroshima and Nagasaki bombings at the Chicago Peace Museum, which U2 had visited in 1983. This ultra rare U2-shaped picture disc was limited to 2,000 copies. It is believed that this version has the title track and the live version of "A Sort of Homecoming" from their November 15, 1984, Wembley Stadium performance. ~ JT Griffith This single is U2's second from 1984's The Unforgettable Fire and was released with nine different tracks on six different worldwide versions. The Unforgettable Fire takes its name from a painting exhibition by survivors from the Hiroshima and Nagasaki bombings at the Chicago Peace Museum, which U2 had visited in 1983. This cassette single was released in Canada and Australia with the title track, a sound check version of "A Sort of Homecoming" from their November 15, 1984 Wembley Stadium performance, and the three B-sides. the B-sides are outtakes from the album sessions: "Love Comes Tumbling," "The Three Sunrises," and "Bass Trap." ~ JT Griffith In many ways, U2 took their fondness for sonic bombast as far as it could go on War, so it isn't a complete surprise that they chose to explore the intricacies of the Edge's layered, effects-laden guitar on the follow-up, The Unforgettable Fire. Working with producers Brian Eno and Daniel Lanois, U2 created a dark, near-hallucinatory series of interlocking soundscapes that are occasionally punctuated by recognizable songs and melodies. In such a setting, the band both flourishes and flounders, creating some of their greatest music, as well as some of their worst. "Elvis Presley and America" may well be Bono's most embarrassing attempt at poetry, yet it is redeemed by the chilling and wonderful "Bad," a two-chord elegy for an addict that is stunning in its control and mastery. Similarly, the wet, shimmering textures of the title track, the charging "A Sort of Homecoming," and the surging Martin Luther King, Jr. tribute "Pride (In the Name of Love)" are all remarkable, ranking among U2's very best music, making the missteps that clutter the remainder of the album somewhat forgivable. ~ Stephen Thomas Erlewine With a title inspired by an exhibition of paintings by Hiroshima and Nagasaki survivors, THE UNFORGETTABLE FIRE confirmed U2 as one of a handful of bands able to tackle such vast and emotive subjects with dignity and musical integrity. There are few artists capable of writing about religion, war, race, politics, and life with such ferocity and global commercial success. 'Pride (In The Name Of Love)', an elegy for Martin Luther King, was a breakout hit, and every track--wrapped in the Edge's impressionistic guitar splashes--reveals a quartet hungry for the world stage. The production by Brian Eno and Daniel Lanois was a taste of things to come.

Q (10/96, p.189) - 5 Stars - Indispensable - "...the making of THE UNFORGETTABLE FIRE witnessed the first signs of a remarkable chemistry between an artfully analytical producer and a peak-of-powers group....simply sounds timeless..."

U2's Bono was one of the few real rock heroes of the 1980s, leading the Irish band to international recognition with a charged, political approach to music. The band's early efforts brought a stadium-size presence to post-punk, with Bono's expressive vocals and the Edge's distinct guitar lines interacting seamlessly with the rhythm section of bassist Adam Clayton and drummer Larry Mullen, Jr. In 1987, U2 broke through to superstardom with THE JOSHUA TREE, a grand culmination of their '80s sound. In the 1990s, however, the band very purposefully deflated that epic image, simultaneously adding ambient, dance, and electronica touches on 1991's ACHTUNG BABY. Mining that vein for much of the decade, U2 kicked off the 21st century with a triumphant return to form that was embraced by new and longtime fans alike.

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