"Salomé" song lyrics by U2

Salomé” is an intriguing and experimental piece from the  Achtung Baby sessions, emblematic of U2’s dive into sensuality, excess, and the darker recesses of human desire. As a B-side to “ Even Better Than The Real Thing,” the track captures the hedonistic and ironic tone that pervades the Achtung Baby era, embracing themes of seduction, power dynamics, and transgression.

The title immediately evokes the biblical and literary figure of Salome, whose story has been mythologized as a symbol of dangerous female allure and destructive power. U2’s lyrics play with this archetype, blurring lines between desire and danger, surrender and control. 

The narrator is entranced by the titular Salome, whose dance becomes a metaphor for both liberation and manipulation. This interplay of attraction and submission aligns with the broader themes of Achtung Baby, where relationships are fraught with tension and ambiguity.

The repeated plea, “Shake it, Salome,” conveys both exhilaration and desperation. It speaks to a yearning for something primal, uninhibited, and transformative—a kind of ecstasy that teeters on self-destruction. In this, the song mirrors the album’s thematic exploration of human frailty and the costs of indulgence.

The story’s biblical origins provide a backdrop for U2’s exploration of desire and the darker sides of human nature, consistent with the more experimental and sensual tones of the Achtung Baby album.

"Salomé" song lyrics by U2

Baby please
Baby please don't go
I got eyes to feed, they want skin and seed
Now don't make me crawl
Baby please
Baby don't bite your lip
Give you half what I've got if you untie the knot
It's a promise

Salomé x 4

Yeah, yeah, yeah

Baby please
Baby, what's that tune
Well, I heard it before when I crawled from the door
And my blood turned blue
Baby please
Baby please slow down
Baby, I feel sick
Don't make me stick to a promise

Salomé
Salomé
Salomé
Salomé
Salomé
Salomé

I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you

Baby please
I got to get you
Got to, got to get you
Baby don't sing yet
I got to get you
Got to, got to get you
Won't you dance for me
I got to get you
Got to, got to get you
Beneath the cherry tree
I got to get you
Got to, got to get you
Won't you swing down low
I got to get you
Got to, got to get you
I got to get you
Got to, got to get you
Please
I got to get you
Got to, got to get you
Baby please say yes
I got to get you
Got to, got to get you
Baby don't go away
I got to get you
Got to, got to get you
Don't spill any of your precious love
I got to get you
Got to, got to get you

Shake it, shake it, shake it Salome x 8

Salome

I got to get you
Got to, got to get you

The imagery in “Salomé” draws heavily from its namesake’s legendary dance of the seven veils, symbolizing revelation, seduction, and the power of concealment. This duality—what is seen versus what is hidden—reflects Achtung Baby’s preoccupation with masks, deception, and the fragmentation of identity. Salome’s dance in this context becomes a metaphor for peeling away layers, whether in personal relationships or broader truths.

"Salomé" was included on Melon: Remixes for Propaganda, a fan club-only compilation released in 1995. Specifically, it appeared as the "Salomé (Zooromancer Remix)", a reimagined and extended take on the original B-side.

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'Dreaming With Tears In My Eyes' Song Lyrics by U2

U2’s rendition of “Dreaming with Tears in My Eyes,” a classic originally popularized by Jimmie Rodgers, is a poignant journey through heartbreak and longing. 

Here, Bono channels the sorrow of unrequited love, breathing new life into lyrics that speak to timeless themes of loneliness and betrayal. The lines, “Though you have broken each promise / And yesterday's dreams are untrue,” cut with a palpable sense of loss and disillusionment, laying bare the vulnerability of a broken heart. By focusing on these raw emotions, the song places listeners in the shadow of love turned bitter, allowing Bono’s voice to resonate with the universal ache of lost dreams.

Performed by Bono and Larry for the Songs of Jimmie Rodgers tribute album, this cover leans into U2’s talent for distilling emotional truths. 

The contrast between sunny skies and shadows of loneliness in the lyrics underscores a painful irony—the brightness of memory tarnished by sorrow. This duality amplifies the song's melancholic tone, blending the simplicity of Rodgers’ original with U2’s distinct emotional intensity. 

As Bono sings of sunshine fading into sorrow, he captures the gut-wrenching isolation of heartbreak, rendering “Dreaming with Tears in My Eyes” an evocative tribute to enduring sadness and the haunting echoes of love lost.

'Dreaming With Tears In My Eyes' Song Lyrics by U2

My heart is longing for you, love
I cared for you more then you knew
Though you have broken each promise
And yesterday's dreams are untrue

Alone, I'll be yearning tomorrow
When sunshine brings memories of you
My sunshine will turn into sorrow
As I dream of the love we once knew

Why should I always be lonesome
When sunny and blue are the skies
While shadows and loneliness linger
I'm dreaming with tears in my eyes

Why did you promise me sweetheart
Never to leave me alone
Yesterday's sunshine is faded
Your love wasn't true like my own

Alone, I'll be yearning tomorrow
When sunshine brings memories of you
My sunshine will turn into sorrow
As I dream of the love we once knew

Why should I always be lonesome
When sunny and blue are the skies
While shadows of loneliness linger
I'm dreaming with tears in my eyes

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'Oh, Berlin' lyrics by U2 from the Achtung Baby recording sessions

"Oh Berlin" is a song from U2's Achtung Baby recording sessions in 1990-1991, which took place primarily at Hansa Studios in Berlin, Germany. The band was in the midst of a significant transition during this time, both musically and personally. 

After the success of The Joshua Tree and side step of Rattle and Hum, U2 felt the need to reinvent themselves, and the Berlin sessions were pivotal in that shift toward a more experimental sound, embracing alternative rock, industrial influences, and electronic music.

"Oh Berlin" was one of several songs that the band worked on during these sessions but ultimately left unfinished or unreleased on Achtung Baby. Berlin, the city itself, had deep symbolic meaning for U2 during the making of this album. 

The Berlin Wall had just fallen in 1989, marking the end of the Cold War, and the city became a symbol of reunification, freedom, and transformation—mirroring the themes that would later emerge in the album. U2 wanted to capture the atmosphere of this historic moment, but "Oh Berlin" didn't make the final cut, as other tracks like "One" and "The Fly" better represented the emotional and sonic direction they were aiming for.

It's no surprise that U2 wrote a song about Berlin as that's where a lot of recording for the album took place - indeed Zoo Station is so named after a train stop in the city!

Other releases from that time include Down all The Days and Blow Your House Down.

'Oh, Berlin' lyrics by U2

Hasse, hasse, hasse, hasse

White snow turning to slush
A festival of brown in the city of my crush
If you walk around, you can step inside
Köthner Straße achtunddreißig

Oh Berlin
Who could think they would find you by just looking
Oh Berlin
How many of us hide in you
Oh Berlin
To think I could know you by your name

To stare and not be stared
To look and not be seen
To feel new feelings
Rather than understand where you've just been
Fame, huh

Oh Berlin
Who could they would find you by just looking
Oh Berlin
When you flap your angel wings
Oh Berlin
To think that I could know you by your name

Chasing the ghosts of our heroes
Lou Reed, David Bowie, Iggy, Wim Wenders, Rilke
To change location rather than change yourself
To ask for directions rather than ask for help
To remain always a true friend

Oh Berlin
Who could think they would find you by just looking
Oh Berlin
When you flap your angel wings
Oh Berlin
To think that I could know you by your name

Who, if I cried out, would hear me among the angelic orders
And even if one to suddenly take me to its heart
I would vanish into its stronger existence
For beauty is nothing but the beginning of terror
That we are still able to bear and we revere it so
Because it calmly disdains to destroy us
Every angel is terror

Every angel is terror
Oh Berlin
Every angel is terror
Every angel is terror
Who would think they could find you by just looking
Every angel is terror
Every angel is terror
Oh Berlin
How many of us hide in you
Oh Berlin
To think that I could know you by a single name

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'A Room At The Heartbreak Hotel' song lyrics by U2

"A Room at the Heartbreak Hotel" by U2 paints a vivid picture of emotional isolation and the complexities of heartbreak. 

The song dives into themes of longing, loss, and the sense of being trapped in a place where emotional wounds are both felt and lived. The "Heartbreak Hotel" metaphorically represents a mental space, a liminal zone between desire and despair, where the protagonist finds themselves in a cycle of yearning that never quite leads to closure. 

The room becomes a symbol of personal exile, a place where past relationships and unresolved feelings linger, creating a suffocating environment of emotional stasis. The lyrics blend melancholy with a dark sensuality, reflecting the paradox of being drawn to something that is ultimately painful, a space where love and hurt are inextricably intertwined

Given the bluesy roots that U2 were trying to lay down on Rattle and Hum, Heartbreak Hotel is probably a reference to the popular Elvis song as well.  

'A Room At The Heartbreak Hotel' song lyrics by U2

From where I stand
I can see through you
From where you're sitting, pretty one
I know it got to you

See the stars in your eyes
You want the truth but you need the lies
Like Judy Garland, like Valentino
You give your life for rock and roll, uh huh

Stand
We're on the landslide of love
You got everything you want,
And what you need you give away

For a primitive love and a ride on the mystery train
A primitive love
A room at the heart, heartbreak hotel
A room at the heartbreak, heartbreak hotel
A room at the heartbreak, heartbreak hotel

You say it's love, it's not the money
You let them suck your life out like honey
Turning tricks, you're on the street
Selling your kisses so bittersweet

I love it, yeah
Buy me again
I want to know pretty baby
I want to know
The price is too hard to pay

A primitive love and a ride on the mystery train
A primitive love
A room at the heart, heartbreak hotel

A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel
A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel
A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel
A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel

Hallelujah, said halle-hello to ya
Said hallelujah

A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel
Halle, halle, halle, hallelujah
Halle, halle, halle, hallelujah
A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel
Halle, halle, halle, hallelujah
Halle, halle, halle, hallelujah
Halle, halle, halle, hallelujah
Halle, halle, halle, hallelujah
A room at the heartbreak, the heartbreak
The heartbreak hotel, hotel

-

"A Room at the Heartbreak Hotel" was originally released as a B-side to U2's 1989 single "Angel of Harlem," part of the Rattle and Hum era. The song didn’t feature on the main album but was included as an additional track, reflecting U2’s tradition of offering deeper cuts and experimental pieces on B-sides e.g. The Lady With the Spinning Head. 

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'Deep in the Heart' Song Lyrics by U2

Deep in the Heart," a B-side to I still Haven't Found What I'm Looking For from U2's The Joshua Tree era, delves into themes of longing, loss, and intimacy. The lyrics paint a vivid picture of separation and yearning, with lines like "Angel, everything is gonna be alright," suggesting both reassurance and an acknowledgment of emotional distance. The use of "angel" evokes a spiritual or idealized connection, underscoring the depth of the narrator's feelings.

The song’s imagery shifts between personal and symbolic, blending the earthly and the ethereal. References to darkness, sleepless nights, and shadows suggest a sense of isolation and inner turmoil. The recurring focus on "deep in the heart" reflects an emotional core, where love and despair coexist. This phrasing emphasizes how profoundly the narrator’s experiences are felt, resonating in the innermost parts of their being.

Though not as well-known as U2's more prominent works, the lyrics of "Deep in the Heart" stand out for their raw emotional honesty. They explore the vulnerability of relationships and the struggle to bridge emotional gaps, making it a quietly poignant reflection on human connection and the complexities of love. 

The track fits within U2's broader lyrical canon, where themes of longing and searching are central.

Deep in the Heart Lyrics by U2

Angel, everything is gonna be alright
Angel, everything is gonna work out tonight
Thirty years old, sweet as a rose
Every petal of her wafer thin
Love will make you blind, creep up from behind
Get you jumping out of your skin
Angel, it's sink or swim

Deep in the heart
Deep in the heart of this place
Deep in the heart
Deep in the heart of this place

Door is closed behind me now
The window is sealed to shut out the light
Green as the leaves and the cure of the nettle sting
Do your homework, it'll work out right

Deep in the heart
Deep in the heart of this place
Deep in the heart
Deep in the heart of this place

The scent of cedar, I can still see her
You can't return to the place you never left
Angel, we'll make it work out tonight
Angel, I wanna be home tonight
Door is closed behind me now
The window is sealed, to shut out the light
Green as the leaves the cure of the nettle sting
Do your work and you'll work out right

Deep in the heart
Deep in the heart of this place
Deep in the heart
Deep in the heart of this place

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'Are You Gonna Wait Forever' song lyrics by U2

Are You Gonna Wait Forever was the b-side from U2's Vertigo single off the How to Dismantle An Atomic Bomb album.

This song was dropped from the album as All Because of You ended up sharing the same musical sensibilities - in a similar way to how Lady With The Spinning Head from the Achtung Baby recording sessions is very similar to The Fly.

U2's "Are You Gonna Wait Forever?" is a compelling exploration of personal transformation, urging listeners to seize the moment and confront both internal and external obstacles. The lyrics reflect a journey toward clarity, with the protagonist realizing that the barriers in their life are dissolving, signaling a path forward ("All the obstacles in my way... are disappearing every day"). 

This shift is accompanied by a call to action, captured in the repeated question, "Are you gonna wait forever?" which emphasizes the need to act before opportunities slip away. 

The song speaks to the importance of confronting past silences and missed chances ("Getting out from under my bed... gonna say the things I should have said"), while also warning against the distractions of superficiality and societal pressures that can lead to compromising one's dreams ("Don't trade your dreams for some small change"). As the refrain intensifies, the urgency builds, suggesting that the moment for change is not distant but present ("Or is it now, now, now?"). 

Ultimately, the song challenges the listener to pursue truth and authenticity, refusing to wait indefinitely for a better life or deeper meaning.

'Are You Gonna Wait Forever' song lyrics by U2

All the obstacles in my way, now
Are disappearing every day, now
I'm getting closer
We're getting closer to home
It won't be long until the summer comes

Are you gonna wait forever?
Are you gonna wait forever?

Getting out from under my bed, now
I'm going to say the things I should have said, now
Getting closer
Getting closer to what's true
Gonna find myself in you

Are you gonna wait forever?
Are you gonna wait forever?
Are you gonna wait forever?
Are you gonna wait forever?

There's no one there behind their eyes
They're in the business, beautiful lies
We'll keep the promise
'Cause we don't know how to break it
The furniture you can rearrange
Don't trade your dreams for some small change
Guard the flame, or better leave it naked

Are you gonna wait forever?
Are you gonna wait forever?
Are you gonna wait forever?
How?
Are you gonna wait forever?
How, how long, how long?
Or is it now, now, now?
Or is it now?

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Down All The Days lyrics by U2

Down All The Days lyrics by U2

Released as part of the celebrations of the twenty year anniversary of one of U2's best albums, Achtung Baby. If you liked this song, you should check out U2's Blow Your House Down which was released at the same time.

Down all the Days Lyrics by U2.

My eyes are black
They've seen the glory
My ears are shut
They've heard the storm
My legs are weak
From so much stumbling

Down all the days
Down all the days

My lips are dry
They've tasted water
My spirit high
I hardly touch the ground
My heart is heavy
It hears the distant firing

Down all the days
Down all the days
Down all the days
Down all the days
Down all the days
Days, days
Down all the days
Days, days

I love to talk
Days, days
Can you leave me some it to hug
Days, days
Can you hold me now
Days, days
I love her hug
Days, days
Days, days
Days

The skyline's in the cloud
Throw down some winds now
Right now I'm only here to see me
Come down whenever you want to see me
Right on a phone, the holy rose
Someone in the street's on fire
And I am weary, worthy
Wounded, all wrong
I love thee, to hold thee
I love thee

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Everybody Loves A Winner lyrics U2

Everybody Loves A Winner lyrics U2

A left over from the Achtung Baby recording sessions, the song was released to celebrate the 20th anniversary of what were arguably U2's richest recording sessions (any session that One or Love is Blindness falls out of must be rich!)


Lyrics:


Once I had fame
I was full of pride
Well, there were a lot of friends
Always by my side

But my luck ran dry
Now my friends begin to hide

Everybody loves a winner
Everybody loves a winner
When you lose, you lose alone

Everywhere I turned
There was a hello and a smile
I never thought they'd be gone
After a while

Oh, that big road ran down
And the smiles turned to frowns

Everybody loves a winner
Everybody loves a winner
But when you lose, you lose alone

Hands to heaven that I would be true
To get back that love
There's nothing I wouldn't do
But I learned and I lost
And now I paid the cost

Everybody loves a winner
Everybody loves a winner
Everybody loves a winner
But when you lose, you lose alone

U2 also released Blow Your House Down and Down all the Days 

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Where did it all go wrong lyrics by U2

Where did it all go wrong lyrics by U2

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Near the Island lyrics U2 Deluxe achtung baby

Near the Island is an instrumental track from the Achtung Baby sessions. It has no lyrics !

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"Heaven And Hell " song lyrics U2 from Achtung Baby session leftovers

From the Achtung Baby recording sessions, Heaven and Hell was a non album track released along with Blow Your House Down to and Oh, Berlin to celebrate the 20th Anniversary of the album. 

The lyrics explore the collapse of a once-idealized love, now disintegrating under the weight of its own contradictions. Bono’s voice, seemingly oscillating between raw vulnerability and bitter resignation, tells a story of romantic disillusionment. The imagery evokes a sacred-profane tension, where love’s purity (“Like an angel on some stained-glass”) clashes against the raw, carnal realities of the relationship (“Dirty boy, dirty girl having a dirty laugh”). 

The duality of "heaven and hell" becomes a metaphor not just for the shifting emotional landscape between two lovers, but for the very nature of intimate relationships, where moments of divine connection often crumble into something more grotesque and disappointing. In these lyrics, Bono wrestles with the tension between the sacred ideal and the messy human experience—flirting with religious imagery while plumbing the depths of personal failure.

Conceptually, this theme of love’s dichotomy resonates with two other key tracks from Achtung Baby: "Love Is Blindness" and "So Cruel." 

In "Love Is Blindness," Bono grapples with love as a destructive force, wrapped in yearning and desperation, with the refrain suggesting a kind of willful ignorance to its darker undertones. Similarly, "So Cruel" portrays a love caught between pleasure and pain, where emotional cruelty becomes part of the seductive dance.

Together, these songs, including "Heaven and Hell," form a triptych that interrogates the nature of love as both salvation and damnation. They explore how lovers, in their quest for transcendence, can end up bound and bleeding, searching for meaning in the spaces between devotion and destruction. The layers of religious and carnal imagery woven throughout these lyrics reinforce U2's broader fascination with dualities—heaven and hell, angelic ideals and fallen realities, constantly intertwining in the space of human relationships.

"Heaven And Hell " song lyrics U2 from Achtung Baby session leftovers

You used to think I was something special
You haven't thought that in a while
You liked the company of my inner devil
'Cause my inner devil could make you smile

Like an angel on some stained-glass
Not some relic from the recent past
With your pale breasts and your fresh wound
And your eyes to heaven with your hands bound

I thought you'd find me when you went looking
In truth, you'd have to be there to look around
How come the honeysuckle isn't sucking
And I got a bee sting walking on the ground

Did our brass bead become a mud bath
A dirty boy, dirty girl having a dirty laugh
I saw you coming, I had you covered
Till you discovered

That we're heaven, heaven, heaven and hell
Heaven, heaven, heaven, heaven and hell

Picnick table and a china cup
We had an airbed that was all stuffed
Now it's room 64 at the chateau
Ask the front desk where does your love go

Is it to heaven, heaven, heaven or to hell
Is it to heaven, heaven, heaven or hell
Baby, we're heaven, heaven, heaven, heaven and hell

-

Achtung Baby is steeped in biblical references and hellish imagery, reflecting U2’s exploration of moral dualities and the darker side of human experience. Throughout the album, Bono’s lyrics are laced with religious allusions, invoking heaven, hell, angels, and devils as metaphors for love, betrayal, and inner conflict. 

In "Until the End of the World," for instance, the betrayal of Christ by Judas is recast as a narrative of personal treachery, while "The Fly" channels the voice of a fallen angel, offering a cynical perspective on truth and morality. This fascination with biblical themes culminated during the Zoo TV Tour, where Bono embodied the persona of MacPhisto, a devilish character clad in gold horns and white makeup. 

Through MacPhisto, Bono gave voice to the seductive and corrupting aspects of fame, power, and desire, amplifying the album’s recurring motifs of temptation, sin, and redemption. By merging the sacred and the profane, Achtung Baby becomes not just a meditation on personal relationships, but a broader commentary on the human condition, echoing the struggle between salvation and damnation.

-

Check out Down all the Day's lyrics as well!

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'Blow Your House Down' song lyrics by U2

Blow Down Your House was released by Irish Rockers U2 to celebrate the 20th Anniversary of their classic album, Achtung Baby. The song was from the recording sessions of that album but to that point never shared with the world. 

Burn Your House down features all the familiar sonic elements of Achtung Baby - Edge riffs, arpeggios, slide guitar, backing vocals and lyrics that feature a woman as a central character that's being out of control - kind of like The Lady with the Spinning Head

'Blow Your House Down' song lyrics by U2

You've been along this road so many times
Nothing should be a surprise to you
Seen every premeditated crime
From every possible point of view

Why, if it's so wrong, does it feel so right?
Why, oh I've got your gun?
Do I want you tonight?

She, she's gonna blow your house down
She's gonna turn your head around
She's gonna blow your house down

What of chaos is the thing you crave
Is it the taste of self-inflicted pain
And what of losing is your drug of choice
Is it what keeps you coming back again

Why, if it's so wrong, does it feel so right

She, she's gonna blow your house down
She's gonna turn your head around
She's gonna blow your house down

She blow your house down
She's gonna turn your head around
She's gonna blow your house down

Run fast, fast as you can
Run fast, fast as you can
Fast, fast as you can
Run as fast, fast as you can
Fast as you can
Run as fast, fast as you can

The wave, it have its
She was saving it
What makes you think you can
Oh, they're craving
Deals for breaking
Your old devil's hands

She, she's gonna blow your house down
She's gonna turn your head around
She's gonna blow your house down

She gonna blow your house down
She's gonna turn your head around
She's gonna blow your house down

-

The lyrics convey a sense of urgency and emotional rawness, suggesting a confrontation with the fragility of both personal identity and the connections we forge with others. Bono’s poignant imagery of "blowing your house down" serves as a metaphor for dismantling the facades we build to protect ourselves, exposing the chaos and vulnerability that lie beneath. 

This metaphor reflects a desire for authenticity and a recognition that true intimacy often requires the deconstruction of superficial barriers. The song captures a tumultuous emotional landscape, resonating with listeners who have experienced the tumult of love and the fear of losing oneself in the process. 

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Q Magazine Achtung Baby U2 Lyrics Covers Song Lyrics

Q Magazine U2 Covers Song Lyrics from Achtung Baby

Q Magazine has arranged for a selection of fabulous artists to record an album of covers from U2's Achtung Baby. This is to celebrate the re-issue of U2's Achtung baby for the 20th Anniversary.

Here's the track list. Clicking on the song title will take you to the lyrics of the song.

"Zoo Station" visited by Nine Inch Nails
"Even Better Than the Real Thing" covered by U2 (Jacques Lu Cont Mix)
"One" performed by Damian Rice
"Until the End of the World" sung by Patti Smith
"Who's Gonna Ride Your Wild Horses" broken in by Garbage
"So Cruel" recorded by Depeche Mode
"The Fly" swatted by Gavin Friday. Post Modern Irony Intended.
"Mysterious Ways" moved by Snow Patrol
"Tryin' to Throw Your Arms Around the World" tackled to the ground by The Fray
"Ultraviolet (Light My Way)" lit up by The Killers
"Acrobat" riffed out by Glasvegas
"Love Is Blindness" monstered by Jack White

Glasvegas is apparently doing a song ....

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List of U2 B-sides and Song Lyrics

List of U2 B-sides and Lyrics

When a band records an album, they often have a selection of songs that don't make the final cut but they are good enough to be released in some form and historically they've been added as a B-side as support to the A-side of a single release.

U2's B-sides offer a treasure trove of musical gems that, while not always in the spotlight like their hit singles, have garnered a significant following among fans and hold a special place in the band's extensive discography. These tracks often showcase U2's willingness to experiment and explore different musical terrains, providing a deeper look into their creative process and artistic range.

One of the most celebrated B-sides in U2's catalog is "The Three Sunrises," featured on the "Wide Awake in America" EP. This song, with its uplifting melody and evocative lyrics, captures the ethereal sound that U2 was experimenting with in the mid-1980s. Its spiritual undertones and atmospheric quality make it a standout track that resonates with the band’s signature style.

"Spanish Eyes," a B-side to "I Still Haven't Found What I'm Looking For," is another fan favorite. This track exudes a more relaxed, romantic vibe, differing from the more politically charged songs of the "The Joshua Tree" era. Its melodic simplicity and heartfelt lyrics showcase a different facet of U2's songwriting, one that embraces love and intimacy.

"Sweetest Thing," originally a B-side to "Where the Streets Have No Name," later gained prominence when it was re-recorded and released as a single for the 1998 compilation album "The Best of 1980–1990." This song is known for its catchy melody and is reportedly written by Bono as an apology to his wife for missing her birthday. Its charm and sincerity have made it a beloved track among fans.

"Lady With the Spinning Head," the B-side to "The Fly," is notable for its energetic rhythm and experimental sound. This track is a fascinating listen as it contains elements that would later be developed into three other songs: "The Fly," "Ultraviolet (Light My Way)," and "Zoo Station," showcasing the band's creative process.

"Salomé," a B-side of "Even Better Than the Real Thing," is revered for its raw energy and rock-driven sound. This track captures the band's adventurous spirit during the early 1990s, a period marked by sonic experimentation and a departure from their earlier style.

"Hallelujah Here She Comes," a B-side to "Desire," is another notable mention. It blends blues influences with the band’s rock sensibilities, creating a track that is both soulful and dynamic.

U2's B-sides are not mere afterthoughts; they are an integral part of the band's musical journey. These tracks allow fans to explore the lesser-known aspects of U2's repertoire, offering a more comprehensive understanding of their artistic evolution. For many fans, these B-sides are not just additional songs but essential pieces that complete the U2 puzzle, showcasing the band’s versatility and depth.

U2 B-sides List - alphabetical

A Room at the Heartbreak Hotel
B-side on the 'Angel of Harlem' single released in December 1988.

Alex Descends Into Hell For A Bottle Of Milk / Korova 1
B-side on 'The Fly' single, October 1991.

Always
B-side on 'Beautiful Day' single, October 2000.

Are You Gonna Wait Forever?
B-side on 'Vertigo' single, November 2004.

Ave Maria (Jacknife Lee Mix)
B-side on 'Sometimes You Can't Make it On Your Own' single, February 2005.

Beat On The Brat
From 'We're a Happy Family', a tribute album to The Ramones. February 2003.

Big Girls Are Best
B-side on 'Stuck in A Moment' single, January 2001.

"Boomerang II" from The Unforgettable Fire's Pride, September 1984.

Boy/Girl
A track on U2's very first single 'Three', October 1979.

Can't Help Falling In Love (Triple Peaks Remix)
B-side on 'Who's Gonna Ride Your Wild Horses' single, August 1992.

Dancing Barefoot cover by Patti Smith
B-side on 'When Love Comes to Town' single, April 1989.

Deep In The Heart
B-side on 'I Still Haven't Found What I'm Looking For' single, May 1987.

Everlasting Love by Robert Night
B-side on 'All I Want is You' single, June 1989.

Fortunate Son by CCR
B-side on 'Who's Gonna Ride Your Wild Horses' single, August 1992.

Hallelujah Here She Comes
B-side on 'Desire' single, September 1988.

Happiness is a Warm Gun (The Gun Mix) by John Lennon
B-side on 'Last Night on Earth' single, July 1997.

Holy Joe
B-side on 'Discothèque' single, February 1997.

Johnny Swallow
B-side on 'Fire' single, July 1981.

Lady with the Spinning Head
B-side on 'One' single, March 1992.

Love Comes Tumbling
B-side on 'The Unforgettable Fire' single, October 1984.

Luminous Times (Hold on to Love)
B-side on 'With or Without You' single, March 1987.

Neon Lights
B-side on 'Vertigo' single, November 2004.

North and South of the River
B-side on 'Staring at the Sun' single, April 1997.

Paint It Black (cover of the Rolling Stones)
B-side on 'Who's Gonna Ride Your Wild Horses' single, August 1992.

Race Against Time
B-side on 'Where the Streets Have No Name' single, August 1987.

Salomé
B-side on 'Even Better Than the Real Thing' single, June 1992.

Satellite of Love a cover of the song by Lou Reed.
B-side on 'One' single, March 1992. U2 would againt visit Lou Reed's songs on The Million Dollar Hotel Soundtrack album.

Silver and Gold
B-side on 'Where the Streets Have No Name' single, August 1987.

Slow Dancing
B-side on 'Stay (Faraway, So Close!)' single, November 1993.

Spanish Eyes
B-side on 'I Still Haven't Found What I'm Looking For' single, May 1987.

Summer Rain
B-side on 'Beautiful Day' single, October 2000.

Sweetest Thing (The Single Mix)
Released as a single in 1997. Originally a b-side on 'Where The Streets Have No Name' single, 1987.

The Three Sunrises
B-side on 'The Unforgettable Fire' single, October 1984.

Touch
B-side on '11 O'Clock Tick Tock' single, May 1980.

Tower of Song
B-side on 'Window in the Skies' single, January 2007. From the movie 'Leonard Cohen: I'm your Man'.

Trash, Trampoline and the Party Girl
B-side on 'A Celebration' single, March 1982.

Treasure (Whatever happened to Pete the Chop)
B-side on 'New Year's Day' single, January 1983.

Two Shots of Happy, One Shot of Sad
B-side on 'If God Will Send His Angels' single, December 1997. Written by Bono and The Edge for Frank Sinatra to sing, he declined. Sinatra's daughter Nancy eventually gave it a shot.

Unchained Melody by made famous by The Righteous Brothers
B-side on 'All I Want is You' single, June 1989.

Walk to the Water
B-side on 'With or Without You' single, March 1987.

Where Did It All Go Wrong
B-side on 'Even Better Than the Real Thing' single, June 1992.

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Mother of Pearl Lyrics by U2

Mother of Pearl Lyrics by U2

This is a place holder post in case U2 do actually release this song on Songs of Ascent.

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The Sacred Heart of Malibu lyrics by U2

The Sacred Heart of Malibu lyrics by U2

This is a place holder post based on the chance that The Sacred Heart of Malibu will be released by U2

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I'll Believe Her When She Sings lyrics by U2

'I'll Believe Her When She Sings' song lyrics by U2

This is a place holder post based on speculation this is a song name by U2. Mentioned in 2011, the song has never been heard of again. Possibly a song U2 worked on and then abandoned in favour of other tracks.

It could make an appearance on Songs of Experience but we doubt it.

Consider this a foot note in the song creation process.

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'No Line on the Horizon' album song lyrics by U2

No Line on the Horizon was the follow-up to  How to Dismantle an Atomic Bomb, a considerable challenge given the millions of copies sold and the numerous Grammy Awards won by that album. Building on the 'comeback' success of All That You Can't Leave Behind, U2 had once again solidified their status as the world's most popular rock band.

 

The world was ready for more. 

So they put on their sexiest boots and gave us No Line on the Horizon. 

The album wells from a cauldron of personal and cultural turbulence, encapsulating both the band’s restless spirit and the zeitgeist of a world grappling with existential uncertainty. 

The album was recorded during a period of upheaval, following the global financial crisis and amid Bono’s intense involvement in humanitarian efforts to reduce third world country debt. This context imbued the music with a sense of urgency and introspection, echoing the uncertainties of the times while probing deeper into the themes of faith, doubt, and the search for meaning.

The band’s signature blend of spirituality and skepticism comes to the fore, as they muse on the idea of limitless horizons—both in the physical sense and in the realms of personal growth and self-discovery. This quest for understanding permeates the entire album, as tracks like "Magnificent" and "Moment of Surrender" grapple with the dualities of hope and despair, faith and disillusionment, ultimately seeking a balance between the two.

Central to No Line on the Horizon is the thematic exploration of connectivity and isolation in an increasingly fragmented world. The song "Get On Your Boots" serves as a manifesto of sorts, urging listeners to embrace action and activism in the face of apathy. With its infectious riff and pulsating rhythm, the track contrasts with the more meditative tones of "White As Snow," which reflects on themes of loss and redemption. 

'No Line on the Horizon' album song lyrics by U2

• No Line on the Horizon
• Magnificent
• Moment of Surrender
• White As Snow
• Unknown Caller
• I'll go Crazy if I don't go Crazy Tonight
• Get On Your Boots
• Stand Up Comedy
• Fez - Being Born
• Breathe
• The Cedars of Lebanon

The moments and meanings that inspired No Line on the Horizon's lyrics

The song “No Line on the Horizon” emerged from Larry Mullen Jr.'s experimentation with various drum beats, which long time U2 producer Brian Eno sampled and manipulated, allowing the rest of the band to layer their sound over these rhythms. The lyrical concept conveys a place "where the sea meets the sky," embodying themes of infinity and optimism that Bono emphasized from the beginning. In contrast, “Magnificent” begins with a synthesizer line from Eno and aims for a euphoric feel, drawing on a melody crafted during jam sessions. Daniel Lanois described its lyrical setting as reminiscent of 1950s New York, channeling a character akin to jazz legend Charlie Parker.

“Moment of Surrender,” recorded in one take, is noted for its gospel influences and aligns with the band’s vision of creating "future hymns." The song features a drug addict experiencing a crisis of faith, paralleling the character in “Unknown Caller,” who battles suicidal thoughts amid cryptic text messages while seeking drugs. The simplicity and immediacy of “Moment of Surrender” underscore its emotional weight, reflecting the band's creative exploration during the Fez sessions.

During the same recording period, “I’ll Go Crazy If I Don’t Go Crazy Tonight,” initially titled "Diorama," evolved through collaborative reworking, incorporating themes inspired by Barack Obama’s campaign. “Get On Your Boots” stems from a driving guitar riff by The Edge and addresses the tension of family vacations amid the realities of war, evoking a rapid tempo that contrasts with the more reflective tracks. In “Stand Up Comedy,” the song's multiple iterations illustrate the band's dynamic creative process, while the chorus's self-referential lyrics offer a mix of humor and critique.

“White as Snow,” based on the hymn "Veni, veni, Emmanuel," poignantly narrates a dying soldier's last thoughts in Afghanistan. Meanwhile, “Breathe,” intentionally set on June 16 to honor James Joyce's Ulysses, underwent extensive reworking before finding its final form. The band’s lyrical choices in both songs reveal deep introspection, with “Cedars of Lebanon” reflecting a journalist’s perspective on war, its melody evoking the atmospheric sounds reminiscent of U2's earlier work, and its final verse serving as a condemnation of the Iraq War.

We wonder what kind of filter replacement part for a dryer Bono would use if he needed to fix his drier?

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U2's B-Side "Spanish Eyes" lyrics

U2's "Spanish Eyes" b-side lyrics

Spanish Eyes was the b-side to the very popular single from The Joshua Tree, I Still Haven't Found What I'm Looking For. 

Similar to how U2 usually only play One Tree Hill when they perform in NZ, Spanish Eyes is generally only played in Spain.

The meaning in Bono's lyrics is suggestion that the Irish have Spanish heritage in their ancestry (whether DNA based or not). Bono is really making a simple love song with a focus on eyes, as is custom for many songs.

Spanish Eyes Lyrics

Hey, hey, baby hang on
Baby hang on

Hang to your heart
Beat tight like a drum set
Hang on to your love
See it shine like a song
Hey, hey, baby hang on

Our love it shines like rain
In those spanish eyes, spanish eyes

Hey, hey, here she comes
Comes in colours
You know she gonna turn the daylight on
Cause I love the way you talk to me
And I love the way you walk on me
And I need you
More than you need me
Our love, shines like rain
In those spanish eyes, spanish eyes

Across the world
For green and gold
It's those spanish eyes
That get me home
Home again

Hey, hey, baby hang on
Hey, hey, you know that
The night is young
Dazzled by lights that
Shine in your eyes
I'm standing in the shadows
And wait for the night
Forever in fever
Forever in heat
You pick me up to put me out on the street

Hey, hey, baby hang on, hang on
Hey, hey, baby hang on, hang on
Cause I love the way you talk to me
And I love the way you need me
And I need you

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'All That You Can't Leave Behind' song lyrics by U2

Following the muddled experiment that was Pop (that's not to say it lacked good songs!), U2 returned to their 'classic' sound of bass, drums and guitar for All That You Can't Leave Behind.

This approach to songwriting won many U2 fans back and the album became their most successful in over a decade, selling over 12 million copies and winning a truck load of Grammy awards.

The album represents a meaningful lyrical journey that blends introspection, social commentary, and a return to the more straightforward rock roots that first brought the band into the limelight. 

The album, coming after the more experimental phases of the 1990s, can be seen as a reflection on life’s essentials – the things that truly matter and that we carry with us. The lyrics throughout the album are imbued with a sense of maturity, a contemplation of life’s deeper meanings, and a reconnection with their core values.

Following the 911 attacks in America, the lyrics of the songs took on new meaning for many American U2 fans which contribute to the album's success.

With its themes of resilience, hope, and human connection, the album resonated deeply during a time of collective grief and shock. Songs like "Beautiful Day" and "Walk On" took on new meaning as they echoed the emotions of a nation grappling with loss, uncertainty, and the need for healing. "

Walk On," in particular, became an anthem for endurance, with its message of moving forward despite heartbreak and devastation. The album’s underlying tone of empathy, strength, and optimism provided comfort to those who sought emotional refuge during the tragedy, making U2’s music not just a soundtrack, but a source of encouragement and unity. 

'All That You Can't Leave Behind' album song lyrics by U2

1. "Beautiful Day"
2. "Stuck in a Moment You Can't Get Out Of"
3. "Elevation"
4. "Walk On"
5. "Kite"
6. "In a Little While"
7. "Wild Honey"
8. "Peace on Earth"
9. "When I Look at the World"
10. "New York"
11. "Grace"

UK, Australia and Japan bonus track:

12. "The Ground Beneath Her Feet"

B-sides and studio session songs

• Are You Gonna Wait Forever + Neon Light B-side on 'Vertigo' single
• Big Girls Are Best -'Stuck in A Moment' single
• Levitate - a song from the sessions.
• Always - was a finished song til the band reworked it into Beautiful Day.

The album's opening track, "Beautiful Day," sets the tone with its optimistic outlook. The lyrics encourage finding beauty and hope in the midst of chaos and adversity, reflecting a theme of resilience and the ability to see the silver lining in every situation. This song, like much of the album, is a reminder of the power of perspective and the importance of appreciating life's simple pleasures.

In contrast, "Stuck in a Moment You Can't Get Out Of," inspired by the suicide of INXS frontman Michael Hutchence, deals with themes of regret and the pain of loss. 

The song acts as a hypothetical argument with a friend who's in a dark place, urging them to realize that their current struggles are not the defining moment of their life. 

"Kite," another notable track, is laden with metaphors about change, loss, and letting go. It is often interpreted as Bono's reflection on his own mortality and the eventual need to let go of his children as they grow up. This song, like others on the album, balances personal introspection with universal themes, resonating with listeners at different stages of life.

"Walk On," dedicated to Aung San Suu Kyi and her struggle for freedom in Myanmar, is an anthem of perseverance and courage in the face of injustice. The lyrics, "You're packing a suitcase for a place none of us has been/A place that has to be believed to be seen," speak to the journey of faith and the belief in a better future, echoing the album's motif of hope and resilience.

What are the numbers on the cover of all that you can't leave behind?

The numbers on the cover of U2's All That You Can’t Leave Behind (2000) are J33-3, displayed on the digital departure board in the backdrop of the album artwork, which was photographed in the Charles de Gaulle Airport in Paris. 

These numbers are a subtle biblical reference to Jeremiah 33:3, a verse from the Old Testament that reads: "Call to me and I will answer you and tell you great and unsearchable things you do not know." This verse reflects the album's themes of faith, searching, and connection, echoing the spiritual and introspective nature of many of its tracks.

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"The Million Dollar Hotel" film soundtrack Lyrics by U2

The soundtrack for The Million Dollar Hotel is a rich and eclectic album, heavily influenced by the involvement of U2, particularly Bono, who played a significant role both in the film's conception and its music. 

Directed by Wim Wenders, the movie centers around a group of misfits in a downtown Los Angeles hotel, and the music mirrors its melancholic and atmospheric tone. Bono co-wrote the story for the film and took an active part in shaping the soundtrack, blending U2's signature sound with experimental and atmospheric elements that match the film's offbeat and noir-esque narrative. 

The album is not just a collection of songs but a concept-driven body of work that encapsulates the mood of the movie, balancing ethereal, dark tones with occasional bright, soulful melodies. It reflects the emotional landscape of the characters in the film, making it a vital component of the storytelling.

U2’s involvement goes beyond Bono's behind-the-scenes role. The album features three U2 tracks: "The Ground Beneath Her Feet," "Stateless," and a remix of "The First Time." 

"The Ground Beneath Her Feet," co-written by Bono and Salman Rushdie (based on a passage from Rushdie’s novel of the same name), stands out as one of the emotional anchors of the film and soundtrack. This song merges U2’s signature style with an otherworldly feel, making it a poignant moment within the film’s score. 

"Stateless" is another key contribution, a haunting, introspective track that blends ambient rock with a dreamlike quality, fitting well within the overall sonic landscape. The remixed version of "The First Time" takes on a more subdued, reflective tone compared to the original version on U2's 1993 Zooropa album, further adding to the contemplative, downbeat mood of the soundtrack.

The soundtrack also brought in an impressive array of other musicians who added their distinctive talents to the album. Daniel Lanois, a longtime U2 collaborator and renowned producer, was heavily involved, contributing to both the production and performance notably his slide guitar. 

Brian Eno, another frequent U2 collaborator, also made contributions, bringing his ambient sensibilities to the soundtrack’s more experimental moments. The involvement of Jon Hassell, a jazz trumpeter known for blending world music with ambient and electronic influences, added to the album's unique fusion of sounds, enriching the sonic palette. 

The Million Dollar Hotel Soundtrack Lyrics:

1. "The Ground Beneath Her Feet"
2. "Never Let Me Go"
3. "Stateless"
4. "Satellite of Love"
5. "Falling at Your Feet"
6. "Tom Tom's Dream"
7. "The First Time"
8. "Bathtub"
9. "The First Time" (Reprise)
10. "Tom Tom's Room"
11. "Funny Face"
12. "Dancin' Shoes"
13. "Amsterdam Blue (Cortége)"
14. "Satellite of Love" (Reprise) 

15. "Satellite of Love"
16. "Anarchy in the USA"

The relationship between U2 and director Wim Wenders is one of mutual artistic respect and fruitful collaboration, spanning several decades and multiple projects. Their partnership began in the early 1990s, when U2 contributed the song "Until the End of the World" to Wenders' 1991 film of the same name. 

This marked the start of a creative synergy that would see U2 become a regular feature in Wenders' work. The band’s atmospheric and emotionally charged music fit perfectly with Wenders’ cinematic style, which often explores existential themes and human connections. Their collaboration deepened in Faraway, So Close! (1993), with U2 providing the track "Stay (Faraway, So Close!)"—one of their most poignant ballads. 

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U2's Passengers - 'Original Soundtrack Vol 1' - Lyrics + thematic meaning

U2's Passengers: Original Soundtracks 1 (1995) stands as one of the band’s most enigmatic releases, blurring the lines between reality and imagination, mainstream and avant-garde.

Continuing the groove of U2's grammy award wining Zooropa, and collaborating under the moniker "Passengers" with longtime producer Brian Eno, U2 ventured into experimental territory that marked a stark departure from their rock identity. This album presents itself as a series of soundtracks for films that don’t exist, an abstract conceit that speaks to the band's willingness to challenge their own creative boundaries.

Bono described Passengers as a record “full of possibilities,” a conceptual work meant to evoke cinematic emotions without the visual cues, allowing the music to dictate an internal narrative. Thematically, the album is awash in dreamlike exploration, conjuring a sense of wandering through liminal spaces where time, place, and meaning are deliberately elusive.

Passengers: Original Soundtracks 1 is U2 at their most experimental, a project that strips back their signature rock bravado, delving instead into ambient textures and haunting lyricism with Brian Eno at the helm. The album isn’t about anthems but atmospheres, offering a series of meditative vignettes that feel like soundtracks to imagined films. 

 

Album cover art was from Teodor Rotrekl

One of the standout tracks, “Miss Sarajevo,” features the unmistakable voice of Luciano Pavarotti and anchors the album’s fragmented conceptual framework with a potent commentary on the Yugoslav Wars of the 1990s. Inspired by a documentary of the same name, the song juxtaposes beauty with brutality, much like the conflict itself.

Bono’s vocals reflect a yearning for peace, but what truly defines the track is the haunting tenor of Pavarotti, whose operatic interlude elevates the song beyond mere protest, transforming it into a hymn of humanity.

Thematically, “Miss Sarajevo” fits within Passengers’ larger meditation on human fragility, as the song reaches for the profound question of how beauty can survive in the midst of destruction. Here, U2 doesn't provide answers—they reflect, question, and ultimately leave listeners to grapple with the emotional tension between suffering and hope.

U2's Passengers - Original Soundtrack Vol 1 - Lyrics + thematic meaning

1. "United Colours"
2. "Slug"
3. "Your Blue Room"
4. "Always Forever Now"
5. "A Different Kind of Blue"
6. "Beach Sequence"
7. "Miss Sarajevo"
8. "Ito Okashi"
9. "One Minute Warning"
10. "Corpse (These Chains are Way too Long)"
11. "Elvis Ate America"
12. "Plot 180" Hypnotize
13. "Theme from The Swan"
14. "Theme from Let's Go Native"

Note: songs 1 and 12,13,14 have no lyrics.

Passengers isn’t just political or emotional commentary; it’s an exploration of sound as a vehicle for stories untold. Tracks like “Slug” and “Your Blue Room” eschew the traditional verse-chorus-verse structure in favor of textures and atmospheres that feel cinematic in scope.

“Your Blue Room,” in particular, is a meditation on intimacy and distance, a theme that U2 frequently revisits in their work, but here it’s submerged in ambient soundscapes that feel both infinite and claustrophobic. 

The song’s whispered vocals and minimalist orchestration suggest a space of contemplation, where the ordinary moments of life—its fears, desires, and uncertainties—are rendered with the gravitas of a film score. Passengers is more than an album; it’s an invitation to suspend the ordinary and immerse in a soundscape where imagination fills the gaps left by an absent narrative.

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U2's Zooropa album song lyrics

I think Zooropa was the first U2 album I ever bought.

I vaguely recall having heard Numb on what was then called 93 FM and thinking it sounded pretty cool. Then on a trip later to Taupo with my Dad and brothers I saw a poster with all the song titles on it and it looked awesome and dangerous unlike say the Roxette album we listened to on the way to Taupo.

Soon after I bought the album and my musical journey with U2 began.

Anyways you didn't come here for the memories of a teenager, you came for the lyrics of Zooropa, a Grammy award winning album that featured a monotoned The Edge, an amazing vocal track by the late and great Johnny Cash and some fantastic Brian Eno keyboard magic on Lemon.

Zooropa was a quick companion piece of sorts to Achtung Baby. 

Lyrically, Zooropa expanded on many of the Achtung Baby tours' themes of media over-saturation, technology, and of course love.

U2's Zooropa lyrics:

1. "Zooropa"
2. "Babyface"
3. "Numb" (The Edge on lead vocal)
4. "Lemon"
5. "Stay (Faraway, So Close!)"
6. "Daddy's Gonna Pay for Your Crashed Car"
7. "Some Days Are Better Than Others"
8. "The First Time"
9. "Dirty Day"
10. "The Wanderer"

Extra for Experts

Hold Me, Kiss Me, Kill Me, Thrill Me was also written during the recording sessions for Zooropa, however it was considered to different from the other songs to warrant a place on the album and somehow it found its way onto the Batman Forever movie soundtrack.

The creative process for "Zooropa" was notably unconventional, as it largely took place during the breaks in the "Zoo TV Tour," which was itself a groundbreaking and highly theatrical production. This tour, with its multimedia extravagance, was a sensory overload, reflecting the band's fascination with the rapidly evolving media landscape and the post-Cold War cultural shifts. Immersed in this high-energy, technologically saturated environment, U2 began to experiment with new sounds and themes, leading to the creation of "Zooropa."

 The album is characterized by its experimental edge, incorporating electronic music elements and a more avant-garde approach compared to their previous work. This period of creativity was marked by a sense of immediacy and spontaneity, as the band took advantage of the touring momentum. They often recorded in makeshift studios set up in various locations along the tour, capturing the kinetic energy and chaotic spirit of the time. 

The result was an album that not only extended the aesthetic of "Achtung Baby" but also pushed the boundaries of U2's sound, reflecting the band's ongoing evolution and willingness to explore new artistic territories.

Themes of Zooropa's lyrics

The album is steeped in themes of technological saturation, media overload, and the existential disquiet of a rapidly changing world. It encapsulates the anxiety and excitement of an age increasingly dominated by television, advertising, and the burgeoning influence of the internet. This is vividly portrayed in tracks like "Zooropa" and "Numb," which lyrically and sonically capture the sensory overload of the media landscape. 

The album also delves into the uncertainties of European identity and unity in the post-Berlin Wall era, a theme poignantly explored in the song "Stay (Faraway, So Close!)," which juxtaposes personal longing with broader geopolitical changes. Moreover, "Zooropa" grapples with existential themes of doubt, disillusionment, and the search for meaning, particularly in songs like "The First Time" and "The Wanderer," featuring Johnny Cash. 

These tracks question traditional values and beliefs in a world increasingly defined by consumerism and superficiality. The album's experimental sound, blending rock with electronic and avant-garde elements, underscores its thematic exploration of disorientation and the search for authenticity in an age of overwhelming information and relentless change, making "Zooropa" a compelling snapshot of its time and a thought-provoking commentary on the human condition in the modern era.

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