This isn’t the kind of album I would normally seek out for listening, but the pickin’s are slim at the Koreatown branch of the Los Angeles public library, so I decided to give this one a try.
From the very beginning, this album was not what I expected. Track one begins with a slow fade-in taking two minutes before the main groove even starts. As I glance at the track listing on the back, I notice that the songs are longer than is typical for this band. Bono’s lyrics are more ambiguous and less direct than I have ever heard them. Rather then storytelling in the form of prose, he opts for shorter phrases, which are inspired by more disparate, eclectic sources. The sound is markedly different as well. Even though it contains some fundamental U2-isms, it has been infused with electronica. As I am overwhelmed by all of this, the first track passed by pretty quickly. The second song continues this unexpected trend. Again it sounds vaguely reminiscent of the Joshua Tree (ala With or Without You), albeit with more sonic experimentation. Unlike the first track, the lyrics are more straightforward. At four minutes, this track is actually the shortest. As a result, it too seemed to be fairly swift. Track three is Numb. Bono employs a radically different lyrical style, utilizing short electronic laden phrases. I don’t understand why this album did not receive more attention given its experimental nature. It is decidedly different form most of their work and this departure deserves credit. Track four sees Bono changing his vocal style, singing in a higher tone. There seems to be a new wave influence as well undoubtedly brought on by Brian Eno’s production. It should be noted that the artwork for this album is quite different as well. The CD booklet is printed with the lyrics as well as vibrant color images including overexposed close ups of television screen shots. Song number five is titled Stay (Faraway, So Close!). This is the albums most popular single, which isn’t surprising considering it sounds the most like classic U2. Even with it’s more stripped down, rock band feel it is still a decent, worthwhile listen. Even in this track, however the band employs a few tricks, utilizing an interestingly abrupt ending.
Daddy’s Gonna Pay For Your Crashed Car starts off the second half of the album. This is one of the album’s more avant-garde tracks sonically. Lyrically, the song is not easily discernable either. Track seven is Some Days Are Better Than Others. This song consists of surreal lyrics sung-spoken over a consistent groove. I enjoyed the electronic synthesizer solo (whether it was created by keyboard or guitar is anybody’s guess). I can definitely see this album alienating a lot of U2 fans with it’s forward thinking sound. Eight changes gears again with a gentler, more subdued sound including a soft guitar riff comparable to No Apologies from Nirvana’s In Utero album released the same year. I thoroughly enjoyed this calmer track. Nine is a piece titled Dirty Day. Though I don’t have the lyrics entirely figured out, the message is clearly a humanitarian one (on a U2 album? Shocked!). Unlike most critics who seem to take issue with the group’s (okay lets face it, Bono’s) political activism, I have always valued groups that use their status to call attention to the various atrocities that plague our world. The final track is The Wanderer. Yet again, U2 doesn’t disappoint in the creativity department for this album. The tack consists of Johnny Cash singing in his iconic bass voice over electronic synthesizers and background loops. In the booklet, the title is written as The Wanderer Starring Johnny Cash. By using the word ‘starring’ instead of the more typical ‘featuring’, the band further embellishes the western motif alluded to throughout this song. Cashes plain rustic voice provides a nice contrast to the modern electronic groove that supports him. This is a quite unusual ending to say the least. Of course, from this group, on this album, I would expect nothing less.
This album is a very rewarding listen. I’m not sure if I will grow to love it even more, or if its just the excitement of a new found listen. It doesn’t matter either way. What makes this album so enjoyable is that U2 takes such a large risk in exploring a new sound. Keep it mind, with a 1993 release this comes years before Madonna, Moby, or R.E.M.’s forays into electronica. U2 should be rewarded for this (critically if not commercially) and I’m surprised that this album is not cited among their best. I have always had mixed feelings about U2 believing the Joshua Tree as well as Achtung Baby to be highly overrated albums. Zooropa is such an exciting listen because, accept it or reject it, they are more experimental trying out new approaches to sonic ideas as well as lyrical ones.
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