Pop is the ninth studio album by Irish rock band U2, released in March 1997. The album was a continuation of the band's 1990s reinvention, as they pursued a new musical direction by combining alternative rock, techno, dance, and electronica influences. The album employs a variety of production techniques relatively new to U2, including sampling, loops, programmed drum machines, and sequencing. The Japanese Version of Pop with One Extra Track- 'Holy Joe' (Guilty Mix).
The Best of 1990–2000 is the second greatest hits compilation album by Irish rock band U2. The album was released on 5 November 2002 by Island Records, except in the United States where the album was released on the Interscope label as a single-disc CD compilation. The Best of 1990–2000 & B-Sides was released on the same day with a second disc featuring 14 of the b-side singles released from 1990 to 2000 and a bonus DVD with a trailer for the album and three other segments.
All That You Can't Leave Behind is the tenth studio album by rock band U2. Following the mixed reception to their 1997 album, Pop, All That You Can't Leave Behind represented a return to a more conventional sound for the band after they experimented with alternative rock and dance music in the 1990s. U2 brought back producers Brian Eno and Daniel Lanois who had produced a number of the band's previous albums.
Achtung Baby is the seventh studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 18 November 1991 on Island Records. Achtung Baby is one of U2's most successful records; it received favourable reviews and debuted at number one on the US Billboard 200 Top Albums, while topping the charts in many other countries. Rolling Stone ranked the record at number 63 on its 2012 list of "The 500 Greatest Albums of All Time".
From the outset, U2 went for the big message – every song on their debut album Boy sounds huge, with oceans of processed guitars cascading around Bono's impassioned wail. It was an inspired combination of large, stadium-rock beats and post-punk textures. Without the Edge's echoed, ringing guitar, U2 would have sounded like a traditional hard rock band, since the rhythm section and Bono treat each song as an anthem. Of course, that's the charm of Boy: all of its emotions are on the surface, delivered with optimistic, youthful self-belief, yet the unusual, distinctive guitar textures give it an unexpected tension that makes it an exhilarating debut. The songs may occasionally show some weakness – the driving "I Will Follow," the dark "An Cat Dubh," and the shimmering "The Ocean" stand out among the sonic textures – yet the band's musical and lyrical vision keep Boy compelling until the finish.
In many ways, U2 took their fondness for sonic bombast as far as it could go on War, so it isn't a complete surprise that they chose to explore the intricacies of the Edge's layered, effects-laden guitar on the follow-up, The Unforgettable Fire. Working with producers Brian Eno and Daniel Lanois, U2 created a dark, near-hallucinatory series of interlocking soundscapes that are occasionally punctuated by recognizable songs and melodies…
Opening with the ominous, fiery protest of "Sunday Bloody Sunday," War immediately announces itself as U2's most focused and hardest-rocking album to date. Blowing away the fuzzy, sonic indulgences of October with propulsive, martial rhythms and shards of guitar, War bristles with anger, despair, and above all, passion…
U2 sounded so confident and assured on their debut that perhaps it was inevitable they would stumble slightly on its follow-up, October. The record isn't weaker than its predecessor because it repeats the formula of Boy. It's because the band tries too hard to move forward…
The Joshua Tree is the fifth studio album by rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 9 March 1987 by Island Records. In contrast to the ambient experimentation of their 1984 release The Unforgettable Fire, on The Joshua Tree U2 aimed for a harder-hitting sound within the limitation of conventional song structures. The album is influenced by American and Irish roots music, and depicts the band's love–hate relationship with the United States, with socially and politically conscious lyrics embellished with spiritual imagery. Rolling Stone magazine ranked the album at number 27 on their 2012 list of "The 500 Greatest Albums of All Time", calling it "an album that turns spiritual quests and political struggles into uplifting stadium singalongs".
Passengers is a collaboration between U2 and Brian Eno, so it should come as no surprise that the music on Original Soundtracks 1 is an extension of U2's last album, Zooropa. Under Eno's influence, the group incorporates more ambient electronic soundscapes, which unravel over the course of the album. In fact, Original Soundtracks 1 sounds more like a Brian Eno album than a U2 release, except when the band's knack for anthemic pop songwriting shines through every once and a while.