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With its first six albums (from Boy to Rattle and Hum), U2 wrote all sorts of songs (power ballads, arena-sized rock, straight punk, even the occasional gospel), but each had been processed through the same wall of reverb, pounding rhythm, and Bono’s messianic echo, to the point where U2 had primarily mastered-and capitalized on-its sound, not so much its soul.
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Still, the Edge’s quote hits on something crucial, right in the midst of this vulnerable time for his band. It sold 14 million copies and didn’t do much to hurt U2’s brand, but further confused whether this band-once so serious and political, at times dangerous-cared most about the message, the art, or the money. The Rattle and Hum film, which accompanied a double album of the same name, was less a follow-up to The Joshua Tree than a conscious evasion of U2’s proper next step: Designed in the Exile on Main Street mold, it shuffles messily between formulaic Americana, cover songs, and live versions of tracks released just 19 months prior. This is U2 one year removed from the incredible success of The Joshua Tree, freshly anointed as the biggest band in the world.
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“It doesn’t sound much like a gospel song the way we do it, but if you look at the lyric and the basic music, that’s exactly what it is.”
U2 THE JOSHUA TREE WALL DECOR FULL
In Phil Joanou’s 1988 documentary Rattle and Hum, U2 guitarist the Edge, né David Howell Evans, gives the backstory of “I Still Haven’t Found What I’m Looking For” before he, Bono, and a full Harlem church choir launch into a rousing live take of the song. Editor’s Note: This article was originally published on November 7, 2016.