Vertigo
U2
Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands of the '80s. They were rock & roll crusaders during an era of synthesized pop and heavy metal, equally known for their sweeping sound as for their grandiose statements about politics and religion. The Edge provided the group with a signature sound by creating sweeping sonic landscapes with his heavily processed, echoed guitars. Though The Edge's style wasn't conventional, the rhythm section of Larry Mullen, Jr. and Adam Clayton played the songs as driving hard rock, giving the band a forceful, powerful edge that was designed for arenas. And their lead singer, Bono, was a frontman with a knack of grand gestures that played better in stadiums than small clubs. It's no accident that footage of Bono parading with a white flag with "Sunday Bloody Sunday" blaring in the background became the defining moment of U2's early career -- there rarely was a band that believed so deeply in rock's potential for revolution as U2, and there rarely was a band that didn't care if they appeared foolish in the process.
During the course of the early '80s, the group quickly built up a dedicated following through constant touring and a string of acclaimed records. By 1987, the band's following had grown large enough to propel them to the level of international superstardom with the release of The Joshua Tree. Unlike many of their contemporaries, U2 were able to sustain such popularity in the '90s by reinventing themselves as a postmodern, self-consciously ironic, dance-inflected pop/rock act, owing equally to the experimentalism of late-'70s Bowie and '90s electronic dance and techno. By performing such a successful reinvention, the band confirmed its status as one of the most popular bands in rock history, in addition to earning additional critical respect.
With its textured guitars, U2's sound was undeniably indebted to post-punk, so it's slightly ironic that the band formed in 1976, before punk had even reached their hometown of Dublin, Ireland. Larry Mullen, Jr. (born October 31, 1961; drums), posted a notice on a high-school bulletin board asking for fellow musicians to form a band. Bono (born Paul Hewson, May 10, 1960; vocals), The Edge (born David Evans, August 8, 1961; guitar, keyboards, vocals), Adam Clayton (born March 13, 1960; bass), and Dick Evans responded to the ad, and the teenagers banded together as Beatles and Stones cover band called the Feedback. They then changed their name to The Hype in 1977. Shortly afterward, Dick Evans left the band to form the Virgin Prunes, and the group changed names once again, this time adopting the moniker of U2.
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U2's first big break arrived in 1978, during the members' final year of high school, when they won a talent contest sponsored by Guinness. By the end of the year, The Stranglers' manager, Paul McGuinness, had seen the band play and offered to manage them. Even with a powerful manager in their corner, the band had trouble making much headway, and they failed an audition with CBS Records at the end of the year. In the fall of 1979, U2 released their debut EP, U2 Three. The EP was available only in Ireland, where it topped the national charts. Shortly afterward, they began to play in England, but they failed to gain much attention away from home.
U2 scored one more chart-topping single, "Another Day," in early 1980 before Island Records offered the group a contract. Later that year, the band's full-length debut, Boy, was released. Produced by Steve Lillywhite, the record's sweeping, atmospheric but edgy sound was unlike most of its post-punk contemporaries, and the band earned further attention for its public embrace of Christianity; only Clayton was not a practicing Christian. Through constant touring, including opening gigs for Talking Heads, U2 was able to take Boy into the American Top 70 in early 1981. October, also produced by Lillywhite, followed in the fall, and it became their British breakthrough, reaching number 11 on the charts. By early 1983, Boy's "I Will Follow" and October's "Gloria" had become staples on MTV, which, along with their touring, gave the group a formidable cult following in the U.S.
Released in the spring of 1983, the Lillywhite-produced War became U2's breakthrough release, entering the U.K. charts at number one and elevating them into arenas in the United States, where the album peaked at number 12. War had a stronger political message than its predecessors, as evidenced by the international hits "Sunday Bloody Sunday" and "New Year's Day." During the supporting tour, the band filmed its concert at Colorado's Red Rocks Amphitheater, releasing the show as an EP and video titled Under a Blood Red Sky. The EP entered in the U.K. charts at number two, becoming the most successful live recording in British history. U2 had become one of the most popular bands in the world, and their righteous political stance soon became replicated by many other bands, providing the impetus for the Band Aid and Live Aid projects in 1984 and 1985, respectively.
For the follow-up to War, U2 entered the studios with co-producers Brian Eno and Daniel Lanois, who helped give the resulting album an experimental, atmospheric tone. Released in the fall of 1984, The Unforgettable Fire replicated the chart status of War, entering the U.K. charts at number one and reaching number 12 in the U.S. The album also generated the group's first Top 40 hit in America with "(Pride) In the Name of Love," a tribute to Martin Luther King, Jr. U2 supported the album with a successful international tour, highlighted by a show-stealing performance at Live Aid. Following the tour, the band released the live EP Wide Awake in America in 1985.
While U2 had become one of the most successful rock bands of the '80s, they didn't truly become superstars until the spring 1987 release of The Joshua Tree. Greeted with enthusiastic reviews, many of which proclaimed the album a masterpiece, The Joshua Tree became the band's first American number one hit and their third straight album to enter the U.K. charts at number one; in England, it set a record by going platinum within 28 hours. Generating the U.S. number one hits "With or Without You" and "I Still Haven't Found What I'm Looking For," The Joshua Tree and the group's supporting tour became the biggest success story of 1987, earning U2 the cover of respected publications like Time magazine. U2 decided to film a documentary about their American tour, recording new material along the way. The project became Rattle & Hum, a film that was supported by a double-album soundtrack that was divided between live tracks and new material. While the album Rattle & Hum was a hit, the record and film received the weakest reviews of U2's career, with many critics taking issue with the group's fascination with American roots music like blues, soul, country, and folk. Following the release of Rattle & Hum, the band took an extended hiatus.
U2 reconvened in Berlin in 1990 to record a new album with Eno and Lanois. While the sessions for the album were difficult, the resulting record, Achtung Baby, represented a successful reinvention of the band's trademark sound. Where they had been inspired by post-punk in the early career and American music during their mid-career, U2 delved into electronic and dance music with Achtung Baby. Inspired equally by late-'70s Bowie and the Madchester scene in the U.K., Achtung Baby was sonically more eclectic and adventurous than U2's earlier work, and it didn't alienate their core audience. The album debuted at number one throughout the world and spawned Top Ten hits with "Mysterious Ways" and "One."
Early in 1992, the group launched an elaborate tour to support Achtung Baby. Dubbed Zoo TV, the tour was an innovative blend of multimedia electronics, featuring a stage filled with televisions, suspended cars, and cellular phones. Bono devised an alter ego called The Fly, which was a knowing send-up of rock stardom. Even under the ironic guise of The Fly and Zoo TV, it was evident that U2 were looser and more fun than ever before, even though they had not abandoned their trademark righteous political anger. Following the completion of the American Zoo TV tour in late 1992 and preceding the launch of the tour's European leg, U2 entered the studio to complete an EP of new material that soon became the full-length Zooropa. Released in the summer of 1993 to coincide with the tour of the same name, Zooropa demonstrated a heavier techno and dance influence than Achtung Baby and received strong reviews. Nevertheless, the album stalled at sales of two million and failed to generate a big hit single. During the subsequent Zooropa tour, The Fly metamorphosed into the demonic MacPhisto, which dominated the remainder of the tour. Upon the completion of the Zooropa tour in late 1993, the band took another extended break.
During 1995, U2 re-emerged with "Hold Me, Thrill Me, Kiss Me, Kill Me," a glam rock theme to Batman Forever that was produced by Nellee Hooper (Björk, Soul II Soul). Later that year, they recorded the collaborative album Original Soundtracks, Vol. 1 with Brian Eno, releasing the record under the name The Passengers late in 1995. It was greeted with a muted reception, both critically and commercially. Many hardcore U2 fans (including drummer Larry Mullen, Jr.) were unhappy with The Passengers project, and U2 promised their next album, to be released in the fall of 1996, would be a rock & roll record.
The album took longer to complete than usual, ultimately being pushed back to the spring of 1997. During its delay, a few tracks, including the forthcoming first single "Discotheque," were leaked, and it became clear that the new album was going to be heavily influenced by techno, dance, and electronic music. When it was finally released, Pop did indeed bear a heavier dance influence, but it was greeted with strong initial sales and a few positive reviews. Demand for the album lessened in the following months, however, and Pop ultimately became the band's least popular album in over a decade. In late 1998, the group returned with Best of 1980-1990, the first in a series of hits collections issued in conjunction with a reported 50 million dollar agreement with Polygram. Included in the comprehensive track list was a remixed version of "Sweetest Thing," originally released as B-side in 1987, which charted well in multiple countries.
Three years after the mediocre response to Pop, U2 teamed up with Eno and Lanois once again to release All That You Can't Leave Behind in fall 2000. The album was heralded as a return to form, melding the band's classic sound with contemporary trends. It topped charts around the world, reached number three in America, earned Grammy Awards for the singles "Beautiful Day" and "Walk On," and became the band's biggest-selling record in years. (The Elevation tour that followed also brought U2 a hefty paycheck.) Steve Lillywhite, producer of the early-'80s landmarks Boy, October, and War, returned to the helm for U2's next record, How to Dismantle an Atomic Bomb. Released in November 2004, it hit the top of the Billboard charts and quickly gained platinum status. The album also garnered eight Grammy Awards, including Album of the Year, Rock Album of the Year, and Song of the Year (for "Sometimes You Can't Make It on Your Own," which Bono had written for his father). U2 were inducted into the Rock & Roll Hall of Fame in early 2005 and launched an international tour soon after, selling out arena venues in the U.S. and outdoor stadium shows abroad. The Vertigo Tour became the highest-grossing tour of 2005; by the time the entire tour concluded in late 2006, its gross of $389 million had made it the second most successful tour ever.
U2 returned to the drawing board in 2006 by partnering with veteran rock producer Rick Rubin. Two songs from those sessions appeared on the compilation U218 Singles, but the remaining material was ultimately scrapped. The band then turned to longtime friends Brian Eno, Daniel Lanois, and Steve Lillywhite, all of whom helped shape the sound of U2's 12th studio effort. Entitled No Line on the Horizon, the album was originally slated to appear in October 2008, although the release date was ultimately pushed back to March 2009.
U2 started their 360 tour in June 2009 were they performed in the middle of arenas and stadiums so fans could get a new experience when seeing them live. They were also scheduled to perform at the 40th Glastonbury festival but Bono injured his back forcing them to pull out of their headline slot as well as many dates in North America.
Albums:
Sources: artistdirect.com
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Gentle Giant
After a musical upbringing, encouraged by their father, three Shulman brothers, Phil, Derek and Ray, gravitated towards the R&B scene that was starting to make an impact in the early 1960’s. Derek and Ray formed a band and encouraged their elder brother to join, calling themselves at various times The Howling Wolves and The Roadrunners. After a while, their sound developed and became more soul based. To reflect this transformation, they changed their name again. As lead singer, Derek became Simon Dupree and the backing band, including both his brothers, The Big Sound.
Now singed to EMI, a number of unsuccessful releases followed until, in 1967, the single “I See The Light” just scraped into the top 50. As with many bands around this time, the burgeoning psychedelia sound was seen to be an attractive way forward and although reluctant, Simon Dupree And The Big Sound were pushed by both label and management to follow this perceived profitable trend. Their next release, "Kites" became one of the hits of the “Summer Of Love” perfectly capturing the “vibe” of the time, this beautifully produced slab of psychedelic pop remains one of the most evocative and integral tracks of the era. An album “Without Reservations” was released shortly after to very minor success and the follow up single “For Whom The Bell Tolls” also failed to make the same impact as “Kites”.
Upset and frustrated by the musical corner they had been pushed into and considering themselves to be a soul band, they called the bluff of the record industry and released a single under the pseudonym “The Moles” which received considerable airplay. The joke backfired when rumours began to circulate that the band were in fact The Beatles when Syd Barrett of Pink Floyd eventually revelled the true identity, disappointment across the industry was rife and both The Moles and Simon Dupree disbanded.
After a break of six months and despite the desire to return to their R&B roots, the new band they were to form was to be a huge jump away from their somewhat simplistic roots. Now able to flex their musical muscles and put their instrumental education and skills to good effect, Gentle Giant was launched in 1970. First recruiting Gary Green and Kerry Minnear, both multi instrumentalists and, in the case of Minnear, a graduate from the Royal College Of Music, they then added Martin Smith from the Big Sound on drums.
Signing to the recently launched “Vertigo” label, which became home for many Progressive Rock bands, they released their fist album, "Gentle Giant", in 1970. This keyboard heavy debut with its complex time changes highlighted the bands many influences from classical, medieval, jazz and, rock . Containing fine harmonies and interplay from the vast array of instruments, it is perhaps too reliant on showcasing the new sounds of synthesiser and Mellotron as on the track “Alucard” The nine minute “Nothing At All”, with fine soulful vocals and heavy guitar is wrecked by a drum solo and discordant keyboards, but, when reigned in with self –discipline, as with the more traditional rock of “Why Not” the album is overall an impressive and brave first effort.
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1971 saw the second release; “Acquiring The Taste” was a huge leap forward. Considerably more experimental and adventurous, you must first get over the pretentious sleeve notes proclaiming the desire to “expend the frontiers of popular music” before the first track and the first highlight. “Pantagruel’s Nativity” sets the tone for the album with its blend of instruments, this time complimenting and not conflicting with each other. The vocals are gentler and have an almost choral feel and the production is clear. Comparisons with the lighter side of King Crimson are inevitable. However, the songs of Gentle Giant are always structured and accessible.
Following the release of “Acquiring The Taste”, Martin Smith left and was replaced by Malcolm Mortimore who recorded with the band for the next album, 1973’s “Three Friends” Inevitably, a concept album, it is one of the bands simpler efforts but still contains all the usual qualities associated with the band. The final, title track is the standout with some superb guitar underpinning some fine organ and vocals.
Following a motorcycle accident, Mortimore was forced to leave the band and was replaced by John Weathers, who had previously played in the Grease Band and with Graham Bond’s Magic. In late 72, this line up released “Octopus” What had gone on before had only been a build up to this. This was the band at its peak and would be the album that established the sound of Gentle Giant. Drawing heavily on medieval and classical influences with tracks such as “Raconteur Troubadour” yet still hitting a harder edge with “A Cry For Everyone” and “Knots” which in extended form would become staples of their live show. With its Roger Dean cover the album is a Prog Rock Classic!
Eager to promote this well received release, the band had first to fulfil a US tour. Remarkably they were to support Black Sabbath! This totally inappropriate pairing understandably resulted in poorly received sets and would have dramatic repercussions as a frustrated and discouraged Phil Shulman had had enough and left the band. Deciding to continue as a five piece, they recorded “In A Glass House” in 1973 and “The Power And The Glory” the following year, both concept albums. Still showing an experimental desire, tracks like “An Inmates Lullaby” and “Proclamation” are unusual and beautifully played. “Freehand” came next and proved to be their most commercially successful release to date making the US Top 50 and rewarding the band for simplifying the sound reflected in the tracks “On Reflection” and “Time To Kill”.
By the time of the release of “Interview” and the live double “Playing The Fool” in 1976 a decline in the bands output had begun. Although only gradual, some of the inventiveness had disappeared. Following the release of “Missing Piece” and “Giant For A Day”, they relocated to the USA and the resulting “Civillian” was recorded in 1979 but these all fell short of the high standards previously reached.. These final three albums were a last shot at the sort of stardom enjoyed by the likes of Yes and Genesis and craved by some members of the band. When success did not materialise, the band split in the summer of 1980 and have so far resisted any temptation to reform as Gentle Giant although various members do come together from time to time as Three Friends and Rentle Giant.
Derek Shulman swapped sides and worked for Polygram and Mercury and became president of ATCO and Roadrunner records.
Ray Shulman went into production and records soundtracks for TV and adverts.
Phil Shulman retired from music but helps his son Damon with his music career.
Martin Smith died in 1997 aged 50
Kerry Minnear runs Alucard music, which handles Gentle Giants royalties.
Malcolm Mortimore has continued to work as a session musican.
John Weathers played with Man for many years.
Gary Green continues to play in the USA.
Never achieving great commercial success, their reputation ensures that they remain big players in the Prog Rock world. Gentle Giant had an original and instantly recognisable sound. By placing themselves on the esoteric side of rock, they sit comfortably along with the influential Canterbury rock scene along side the likes of Caravan, Egg, Gong and Hatfield And The North. Never compromising, their first five albums remain high points of the genre and should be in every prog fans collection.
The track here is the live “The Advent Of Panurge” taken from a rare American radio broadcast from 1975.
Roger Gibbens
This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com
