When U2 Drove the Big Cars (Best Of U2 1980-1990 B Sides - U2)

Member Name: markhobbs

Product:	Best Of U2 1980-1990 B Sides - U2
Date:	15/10/01 (94 review reads)
Rating:

Advantages: It's U2 , baby!

Disadvantages: It's a best of, baby !

I’m sorry, but I’m going to have to get it out of the way now or else I’ll be forced to bring it up in every second paragraph. I was at Slane!!!! Yes, hooray for me indeed. Ok, it’s out now, deep breath and on with the review.

This offering goes against the trend of most Best Ofs and does very nearly exactly what it says on the tin. That is to say, that this very nearly features U2’s best songs from the period in question. With U2’s latest album being very good but ultimately a bit too safe for it to be a classic (this pretty much goes against my op of the album), it’s nice to hear them when they were at their most exciting, self righteous, and lets change the world-ish.

From the bad hair days of Boy to the, er, bad hair days of Rattle and Hum, from the raw energy of I Will Follow to the gentle yearning of All I Want Is You, from the ambition to get on the Late Late Show to being bigger (and probably richer) than God, it’s been a hell of a ride. And that was before the drugs.

Pride (In the Name of Love)

Best to start off with a bang. There’s amazing energy in most U2 songs but this takes some beating. Bono really lets it out in a fashion that’s rarely matched (unless you’re Thom Yorke). He sings of Martin Luther King:
“ They took your life, but they could not take your pride”
It’s not the most sophisticated of songs but it gets something across.

New Years Day

A brilliant intro in the form of Edge’s keyboards and my favourite bass line (sounds weird doesn’t it?) set the tone for a special song. A few years ago I went a bit crazy and wrote the lyrics on all my school stuff, and listened to it about twice a day. It’s that kind of song. At times maybe the vocals are a bit early eighties, but Edges solo makes sure you don’t leave with thoughts of Gary Numan. Shudder. <
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With or Without You

Ali must be a demon in the sack if this is anything to go by. It’s the most wonderful love song, and indeed one of U2’s best moments. He sings pretty much in the same tone for the first minute and a half and then suddenly sings higher with an amazingly powerful force, and you know he means what he’s singing. An absolutely amazing piece of work.

I Still Haven’t Found What I’m Looking For

Bono always believed that this was a gospel song, and for it’s live version on Rattle and Hum made it one. He even brought in a gospel choir and battled to out sing them. But the original version on show here is more to my taste, the subtle desperation and that distinctive guitar. The inspiration for countless puns.

Sunday Bloody Sunday

This is the song that really brought them into the spotlight. It’s the first sign of the Bono to come, the Bono that campaigns for peace and change. As raw and powerful as you like, Larry Mullen’s best drumming moment and it yet again highlights the sheer talent of the man they call the Edge. The inspiration for a brilliant Steve Coogan joke.

Bad

Sorry to break a promise, but it wouldn’t be right if I didn’t mention that seeing this in the flesh was one of the high points of an otherwise dull and meaningless life. It’s a true epic, it sounds almost mystical and just plain big, if that makes sense. It’s intensely calming and relaxing.

Where the Streets Have No Name

This is a song that never fails to get you thinking along with Bono, to get you thinking about just being free and going out there and doing your thing. But when it’s over you do of course make a cup of tea and sit on your arse. Oh, well. Features probably U2’s best riff.

I Will Follow

Ah, it’s Gary Numan again. For a single off a debut alb
um it’s remarkable accomplished, it’s immediate and is a pure anthem. Somebody in the background says “1-2-3-4” and we’re straight into another classic riff. Sees Bono revealing his true neediness.

The Unforgettable Fire

One of their stranger moments, this doesn’t follow the path of most other U2 songs. There’s a lot going on, there’s a different sound in the background every few seconds. It’s a more unified sound, it’s so flowing and different.

The Sweetest Thing

And from that dark sound to this charming and poppy love song. It was written when Bono forgot Ali’s birthday, and tried to make it up to her. Not the sort of thing I normally would be into, but it’s extremely likable. The original can be heard on the b-side disc. Brilliant video too.

Desire

This is a fast and sexy song, who could fail to be aroused by the “ Desiiire” part? Uplifting and just plain good, it’s one of the highlights of the album. Bloody cool harmonica too.

When Love Comes to Town

Sure he’s one of the best blues guitarists of all time, but this was a collaboration that was never going to work, B.B. King’s voice is just too different from Bono’s for them to gel. It’s good enough I suppose, it’s just not what it could have been.

Angel of Harlem

Another upbeat and fun song, very singable too. Absolutely amazing vocals, and a great band performance. Sexy trumpet. Shows that U2 aren’t always screaming at you about Bishop Desmond Tutu, they can be fun when they want to be. For Billie Holiday.

All I Want Is You

Recently butchered by Bellefire, this sees a return to more serious business. It’s exactly as its name would suggest, a gentle love song. Good, but not vintage U2. After a minute or two, it leads us to the bonus track, October. The
beautiful piano compliments Bono’s voice perfectly, and leaves us on a high note.

The B-Sides

If you didn’t get the special edition with the best of the b-sides, console yourself with the fact that they’re b-sides. Sure, some of them are quite good, but it’s Disc 1 that you’ll constantly be coming back to.

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