The lyrics oscillate between seemingly superficial commentary and subtle critiques of materialism and moral ambiguity. Lines such as “It’s not what I want, it’s what I need” encapsulate a tension between desire and necessity, parodying the justifications often made for indulgence.
The invocation of "Holy Joe" as a central figure suggests both a mocking nod to moral superiority and a critique of the self-righteous tendencies lurking in modern aspirations for authenticity. This juxtaposition of satire and sincerity reflects the spirit of Pop, a record that revels in irony while probing deeper truths.
The "Guilty Mix" of "Holy Joe" wraps these themes in a playful, dance-inflected arrangement, emphasizing the song’s irreverence and energy. The repetitive calls of “Come on, come on, come on, be good to me” serve as a mantra that underscores the insatiable nature of modern longing, whether for validation, indulgence, or connection.
Lyrics like “Having the best time of anybody’s life, closer than ever to everybody’s wife” amplify the tongue-in-cheek tone, painting a picture of overstated self-indulgence and relational absurdity. The track leans into a self-mocking persona, reveling in its contradictions and reinforcing its critique of how people navigate the intersection of personal desires and societal expectations.
No, really I try
You know it's hard sometimes
True and hard working too
Working it up to get to see you
Sham sham sham shampoo
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe
Please, don't make me say please
To champagne and ice cream
It's not what I want, it's what I need
Precocious, just a little precocious
Expialidocious, yeah yeah yeah
Devotion and some appreciation
A little heavy rotation looks good on me
You know it's not hard
I can think of a lot harder, oh yeah
Just wanted the moment to last a little longer, yeah
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe
Having the best time of anybody's life
Closer than ever to everybody's wife, oh yeah
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on, come on
Be good
Here it comes, here it comes
Holy Joe
"Holy Joe" holds a distinctive place in U2’s history as a Pop-era B-side performed live only once, during a promotional event for the PopMart tour on February 12, 1997, at a Kmart in New York City. The venue itself—a budget-conscious retail chain—was a deliberate, tongue-in-cheek nod to the consumerist themes central to Pop and its satirical embrace of commercial culture.
By choosing to play "Holy Joe" in this context, U2 underscored the song’s playful irony and critique of , aligning it with the bold conceptual ethos of the era.
The invocation of "Holy Joe" as a central figure suggests both a mocking nod to moral superiority and a critique of the self-righteous tendencies lurking in modern aspirations for authenticity. This juxtaposition of satire and sincerity reflects the spirit of Pop, a record that revels in irony while probing deeper truths.
The "Guilty Mix" of "Holy Joe" wraps these themes in a playful, dance-inflected arrangement, emphasizing the song’s irreverence and energy. The repetitive calls of “Come on, come on, come on, be good to me” serve as a mantra that underscores the insatiable nature of modern longing, whether for validation, indulgence, or connection.
Lyrics like “Having the best time of anybody’s life, closer than ever to everybody’s wife” amplify the tongue-in-cheek tone, painting a picture of overstated self-indulgence and relational absurdity. The track leans into a self-mocking persona, reveling in its contradictions and reinforcing its critique of how people navigate the intersection of personal desires and societal expectations.
"Holy Joe" (Guilty mix) Song Lyrics by U2
I, I'm a humble guyNo, really I try
You know it's hard sometimes
True and hard working too
Working it up to get to see you
Sham sham sham shampoo
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe
Please, don't make me say please
To champagne and ice cream
It's not what I want, it's what I need
Precocious, just a little precocious
Expialidocious, yeah yeah yeah
Devotion and some appreciation
A little heavy rotation looks good on me
You know it's not hard
I can think of a lot harder, oh yeah
Just wanted the moment to last a little longer, yeah
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Here it comes, here it comes
Holy Joe
Having the best time of anybody's life
Closer than ever to everybody's wife, oh yeah
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on
Be good to me
Come on, come on, come on, come on, come on
Be good
Here it comes, here it comes
Holy Joe
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"Holy Joe" holds a distinctive place in U2’s history as a Pop-era B-side performed live only once, during a promotional event for the PopMart tour on February 12, 1997, at a Kmart in New York City. The venue itself—a budget-conscious retail chain—was a deliberate, tongue-in-cheek nod to the consumerist themes central to Pop and its satirical embrace of commercial culture.
By choosing to play "Holy Joe" in this context, U2 underscored the song’s playful irony and critique of , aligning it with the bold conceptual ethos of the era.
Its singular performance adds to the track’s mystique, reflecting its role as a deep cut tied to the moment rather than a recurring live staple. This one-off live rendition captures U2’s ability to blend art and commerce with a wink, embodying the experimental spirit that defined their late-1990s reinvention.
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