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For the video release of this concert, see. Zoo TV Live by Released 20 November 2006 Recorded, 27 November 1993 Length 118: 31 Ned O'Hanlon chronology (2005) Zoo TV Live (2006) (2006) Zoo TV Live is a live album by the Irish band. It was released exclusively to subscribing members of, replacing on 20 November 2006. This double CD features the same material that is on the and releases, as well as one bonus track from the special, '.' Although U2's website refers to the album as ZOO2Live, the album is titled Zoo TV Live according to the actual CDs. This album was discontinued from the website for the release of in 2007. Recently for the U2.com 2012/13 subscriber offer, the album was included as part of a 'bundle' edition along with U22 and 11 instant downloads from U22.
Contents. Track listing All tracks written by U2, except where noted.
That could be anything from a jazz trumpet solo to a super groove funk thing, with no holds barred. We also programmed drum loops, or took things from sample CDs; anything to get the ball rolling. U2 arrive in the studio with very little finished material.' These sessions lasted until December 1995, and around 30–40 pieces.
Title Length 1. 'Show Opening' 3:16 2.
' (/) 1:26 8. ' 3:51 Total length: 58:46 Disc Two No. Title Length 1. 'Dirty Day' 5:39 2. ' (//) 2:44 12.
' (Bonus track recorded live at the Zoo TV Special, 29 August 1992) 3:52 Total length: 59:45 Posters This release comes with two limited edition posters (on one double-sided poster) from the ZooTV era, pictured above with the 'cover art', of which there is little except for what's on the sleeve. Certifications Region Certification /Sales Brazil Platinum 30,000.sales figures based on certification alone ^shipments figures based on certification alone Personnel. – lead vocals, additional guitar. –, backing vocals.
–, keyboards. –, backing vocals See also.
References.
. ' Released: 3 February 1997.
' Released: 15 April 1997. ' Released: 14 July 1997. ' Released: 20 October 1997.
' Released: 8 December 1997. ' Released: 8 December 1997 Pop is the ninth by Irish band.
It was produced by, and, and was released on 3 March 1997 on. The album was a continuation of the band's 1990s musical reinvention, as they incorporated, and influences into their sound. Pop employed a variety of production techniques that were relatively new to U2, including, and. Recording sessions began in 1995 with various, including, Flood, and Osborne, who were introducing the band to various electronica influences. At the time, drummer was inactive due to a back injury, prompting the other band members to take different approaches to songwriting.
Upon Mullen's return, the band began re-working much of their material but ultimately struggled to complete songs. After the band allowed to book their upcoming 1997 before the record was completed, they felt rushed into delivering it. Even after delaying the album's release date from the 1996 to March 1997, U2 ran out of time in the studio, working up to the last minute to complete songs.
In February 1997, U2 released Pop 's techno-heavy lead single, ', one of six singles from the album. The record initially received favourable reviews from critics and reached number one in 35 countries, including the United Kingdom and the United States. However, the album's lifetime sales are among the lowest in U2's catalogue, and it received only a single certification by the. Retrospectively, the album is viewed by some of the music press and public as a disappointment. The finished product was not to U2's liking, and they subsequently re-recorded and remixed many of the songs for single and compilation album releases.
The time required to complete Pop cut into the band's rehearsal time for the tour, which affected the quality of initial shows. Contents. Background and writing In the first half of the 1990s, U2 underwent a dramatic shift in musical style. The band had experimented with and and the use of on their 1991 album, and, to a greater extent, on 1993's. In 1995, the group's side-projects provided them an opportunity to delve even deeper into these genres. Bassist and drummer recorded ' in an style. The recording was nominated for the in 1997 and was an international top-ten hit.
In 1995, U2 and recorded an album, under the moniker 'Passengers'. The project included, and, among others. Bono and the Edge had written a few songs before recording started for Pop in earnest. 'If You Wear That Velvet Dress', 'Wake Up Dead Man', ' and ' were originally conceived during the Zooropa sessions.
' and ' were also partly written already. Recording and production For the new record, U2 wanted to continue their sonic experimentation from Achtung Baby and Zooropa. To do so, they employed multiple to have additional people with whom to share their ideas.
Was principal producer, having previously worked with the group as for and Achtung Baby, and co-producer of Zooropa. And Howie B were principal engineers. Flood described his job on Pop as a 'creative coordinator', saying, 'There were some tracks where I didn't necessarily have a major involvement. But ultimately the buck stopped with me. I had the role of the creative supervisor who judged what worked and didn't work.' Howie B had previously provided, treatments, and for Original Soundtracks 1. On Pop, he was initially given the role of 'DJ and Vibes' before assuming responsibilities as co-producer, engineer, and mixer.
One of his main tasks was to introduce the band to sounds and influences within electronica. The band and Howie B regularly went out to to experience club music and culture. The overall goal for the record was to create a new sound for the band that was still recognisable as U2.
U2 began work on Pop in mid-1995, collaborating with Nellee Hooper in London, France, and Ireland. In September, the band moved the recording sessions to Hanover Quay in Dublin to a studio the band had just converted from a warehouse. The studio was designed to be more of a rehearsal space more than an actual studio.
Flood, Howie B, Steve Osborne, and joined Hooper and the band there, each of them incorporating their influences and experiences in electronic dance music. Flood described Howie's influence thus: 'Howie would be playing all kinds of records to inspire the band and for them to improvise to. That could be anything from a jazz trumpet solo to a super groove funk thing, with no holds barred. We also drum, or took things from sample CDs; anything to get the ball rolling. U2 arrive in the studio with very little finished material.' These sessions lasted until December 1995, and around 30–40 pieces of music emerged during this period. Mullen, who had mostly been absent from the sessions to start a family and nurse a worsening back injury, had major surgery on his back in November 1995.
Mullen was unable to drum properly during this period, forcing U2 to abandon their usual methods of songwriting as a group but also allowing them to pursue different musical influences. Mullen admits that he was upset that the band entered the studio without him, cognizant that key decisions would be made in the early months of recording. Eno attempted to convince the other band members to wait for Mullen, but as the Edge explains, 'The thinking was that we were going to further experiment with the notion of what a band was all about and find new ways to write songs, accepting the influence, and aesthetics of dance music.
We thought, 'Let's just start with Howie mixing drum beats and see where that gets us.' ' Mullen was back in the studio three weeks after his surgery, but his back prevented him from fully dedicating himself to recording.
As he described, 'I needed a little more time to recover. But we were struggling with some of the material and for the project to move ahead, I had to put a lot of time in.' Sessions ceased temporarily in January 1996 to allow Mullen to rehabilitate. 'It was quite hard for the band to shift from having played to of other people to playing to loops of themselves.
We felt it was essential to do that, though, because you can get very lazy with. They're an easy way to get the ball rolling, but you're always in danger of sounding like some basic samples with the band on top. You're in danger of being dictated to by what's there, rather than saying: 'this is just our springboard'.'
—, on the use of samples on Pop Following Mullen's return and the sessions' resumption in February 1996, the production team of Flood, Howie B, and Hooper spent three months attempting to re-work much of the band's material to better incorporate loops and with their musical ideas from 1995. This period was a difficult one; Mullen, in particular, had to record drum parts to replace loops that Howie B had sampled without permission. Flood said, 'We took what we had and got the band to play to it and work it into their own idiom, while incorporating a dance ethic. The groove-orientated way of making music can be a trap when there's no song; you end up just plowing along on one riff. So you have to try to get the groove and the song, and do it so that it sounds like the band, and do it so that it sounds like something new.' Despite the initial difficulties with sampling, the band and production team eventually became comfortable with it, even sampling Mullen's drumming, the Edge's guitar riffs, Clayton's bass lines, and Bono's vocalisations.
Howie B sampled almost anything he could in order to find interesting sounds. He created patterns of the Edge's guitar playing, which the guitarist, having never done it before, found very interesting. Howie B explained, 'Sometimes I would sample, say, a guitar, but it wouldn't come back sounding like a guitar; it might sound more like a, because I would take the raw sound and filter it, really destroy the guitar sound, and rebuild it into something completely different.' Although sequencing was used, mostly on, guitar loops, and some percussion, it was used sparingly out of fear of becoming overreliant on it.
Nellee Hooper left the sessions in May 1996 due to his commitments to the film score. The recording sessions changed radically in the last few months, which is why Hooper was not credited on the album. By forcing the band members out of their individual comfort zones, the producers were able to change U2's approach to songwriting and playing their instruments. Mullen, in particular, was forced to do this, as he used samples of other records, sample CDs, or drums while recuperating. Although he eventually reverted to recording his own samples, the experience of using others' changed his approach to recording rhythms. During the recording sessions, U2 allowed to book their upcoming before they had completed the album, putting the tour's start date at April 1997. The album was originally planned to be completed and released in time for the 1996, but the band found themselves struggling to complete songs, necessitating a delay in the album's release date until March 1997.
Even with the extended timeframe to complete the album, recording continued up to the last minute. Bono devised and recorded the chorus to ' on, ironically enough, the last night of the album's recording and mixing. When Howie B and the Edge took the album to to be, changes and additions to the songs were still being made. During the process, Howie B was adding effects to ', while the Edge was recording for 'The Playboy Mansion'.
Of the last minute changes, the Edge said, 'It's a sign of absolute madness.' Flood says, 'We had three different mixes of 'Mofo', and during mastering in November '96 in New York, I edited a final version of 'Mofo' from these three mixes. So even during mastering, we were trying to push the song to another level. It was a long process of experimentation; the album didn't actually come together until the last few months.' Ultimately, U2 felt that Pop had not been completed to their satisfaction.
The Edge described the finished album as 'a compromise project by the end. It was a crazy period trying to mix everything and finish recording and having production meetings about the upcoming tour.
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If you can't mix something, it generally means there's something wrong with it.' Mullen said, 'If we had two or three more months to work, we would have had a very different record. I would like someday to rework those songs and give them the attention and time that they deserve.' McGuinness disagrees that the band did not have enough time, saying, 'It got an awful lot of time, actually. I think it suffered from too many cooks in the kitchen. There were so many people with a hand in that record it wasn't surprising to me that it didn't come through as clearly as it might have done. It was also the first time I started to think that technology was getting out of control.'
The band ended up re-working and re-recording many songs for the album's singles, as well as for the band's 2002 compilation. Composition.
'I thought 'pop' was a term of abuse, it seemed sort of insulting and lightweight. I didn't realise how cool it was.
Because some of the best music does have a lightweight quality, it has a kind of oxygen in it, which is not to say it's emotionally shallow. We've had to get the brightly coloured wrapping paper right, because what's underneath is not so sweet.' —Bono describing the difference between the 'surface' of the songs to 'what lies beneath'. Pop features, programming, sampling, and heavy, funky dance rhythms.
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The Edge said in U2's fan magazine Propaganda that, 'It's very difficult to pin this record down. It's not got any identity because it's got so many.' Bono has said that the album 'begins at a party and ends at a funeral', referring to the upbeat and party-like first half of the album and sombre and dark mood of the second half. According to Flood, the production team worked to achieve a 'sense of space' on the record's sound by layering all the elements of the arrangements and giving them places in the where they did not interfere with each other through the continual experimenting and re-working of song arrangements. Clayton's bass guitar was heavily, to the point that it sounded like a (an instrument utilized on 'Mofo').
The Edge wanted to steer away from the image he had since the 1980s as having an echo-heavy guitar sound. As a result, he was enthusiastic about experimenting with his guitar's sound, hence the guitar sounds on the album, achieved with a variety of, and. Bono was very determined to avoid the vocal style present on previous (especially 1980s) albums, characterized by pathos, rich timbre, a sometimes theatrical quality and his use of falsetto singing: instead he opted for a rougher, more nervous and less timbre-laden style. The production team made his voice sound more intimate, as up-front and raw as possible. As Flood explained, 'You get his emotional involvement with the songs through the lyrics and the way he reacts to the music—without him having to all the time. We only used extreme effects on his voice during the recording, for him to get himself into a different place, and then, gradually, we pulled most effects out.' .
Flood. Howie B 5:02 12. 'Wake Up Dead Man' Flood 4:52 Total length: 60:09 Bonus track (Japan) No.
Title Mixed by Length 13. 'Holy Joe' (Guilty mix) Flood 5:08 Total length: 65:17 Note. The Malaysian edition of Pop has a censored version of 'Wake Up Dead Man', omitting the word 'fucked (up)' from the song, a rare instance of the band using profanity in their music. Personnel Adapted from U2. – lead vocals, additional guitar. – guitar, keyboards, backing vocals. – bass guitar.
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– drums, percussion, programming Production. – production, keyboards. – production, keyboards, engineering, mixing. Ben Hillier – programming. – production, turntables, keyboards, engineering, mixing. – keyboards. – engineering, mixing.
– engineering. – mastering. Deborah Mannis-Gardner – sample clearance Design., Anja Grabert – photography.
– photography Charts.