Ill Be With You Again U2 Lyrics

1983 studio album by U2

War
Studio album by U2
Released	28 February 1983 (1983-02-28)
Recorded	September–November 1982
Studio	Windmill Lane, Dublin
Genre	Rock, post-punk
Length	42:03
Characterization	Island
Producer	Steve Lillywhite
U2 chronology
October (1981) War (1983) Under a Blood Cherry-red Sky (1983)
Singles from State of war
"New year's Day" Released: i Jan 1983 "Two Hearts Beat every bit 1" Released: 21 March 1983[1] "Dominicus Bloody Sunday" Released: 21 March 1983[ii] "40" Released: Baronial 1983

War is the third studio album by Irish stone band U2. It was produced by Steve Lillywhite, and was released on 28 February 1983 on Isle Records. The album is regarded as U2's beginning overtly political album, in part because of songs like "Dominicus Bloody Dominicus" and "New year", as well as the championship, which stems from the band'southward perception of the world at the time; lead vocalist Bono stated that "war seemed to be the motif for 1982."^[3]

U2 recorded the album from September–Nov 1982 at Windmill Lane Studios with Lillywhite producing, the grouping's third sequent album made at the studio with the producer. While the central themes of U2'south previous albums Boy and Oct were adolescence and spirituality, respectively,^[four] War focused on both the concrete aspects of warfare, and the emotional after-furnishings.^[iii] Musically, it is also harsher than the ring's previous releases. The album has been described as the record where the band "turned pacifism itself into a crusade."^[five]

War was a commercial success for the ring, knocking Michael Jackson's Thriller from the top of the UK charts to become the band's showtime number-one album there. It reached number 12 in the United states of america and became the ring's first gold-certified album in that location. State of war received generally favourable reviews, though it was poorly received past some British critics. The group supported the album with the State of war Tour through the end of 1983. In 2012, the album was ranked 223rd on Rolling Rock 'due south list of "The 500 Greatest Albums of All Time".^{[half dozen]}

Recording [edit]

In Baronial 1982, Bono and Ali honeymooned in Jamaica. Information technology has been noted that information technology was not a typical honeymoon, every bit Bono reportedly worked on the lyrics for the upcoming album. The lyrics to "New year'due south Day" had its origins in a dear song Bono wrote for his wife,^[7] but the song was reshaped and inspired by the Polish Solidarity movement.^[eight] The band began recording the album in September 1982 at Windmill Lane Studios in Dublin with producer Steve Lillywhite, their third consecutive tape at the studio with the producer.^[9]

The album'south opener, "Sun Encarmine Lord's day", an ardent protest song, stems from a guitar riff and lyric written past the Edge in 1982. Following an argument with his girlfriend, and a menstruation of doubt in his own vocal-writing abilities, the Edge – "feeling depressed... channeled [his] fear and frustration and self-loathing into a piece of music."^[10] Early versions of the song opened with the line, "Don't talk to me about the rights of the IRA, UDA".^[10] Afterwards Bono had reworked the lyrics, the band recorded the vocal. The opening pulsate blueprint before long developed into the vocal'southward hook. A local violinist, Steve Wickham, approached the Edge i morning at a jitney cease and asked if U2 had any demand for a violin on their next album. In the studio for only half a day, Wickham'due south electrical violin became the last instrumental contribution to the song.^[10]

During the sessions for "Dominicus Bloody Dominicus", Lillywhite encouraged drummer Larry Mullen, Jr. to utilize a click track, but Mullen was firmly confronting the thought. A take a chance meeting with Andy Newmark (of Sly & the Family Stone) – a drummer who used a click rail religiously – changed Mullen's mind.^[x] Mullen used the click track to stay in time for other songs on the album.^[11] Mullen said of the album in a 1983 interview, "I think the drumming has always been pretty uncomplicated, I don't think it needs to be flashy. For State of war I utilize a click rail, something I haven't used before, it's a way of keeping fourth dimension in my headphones. When I listened to the music in time with the click track I knew I had to bring it down to the real basics. Hopefully for the adjacent LP it volition exist more complicated, I'll move on. I think of it equally a musical progression for myself because I learned a lot recording this anthology, simply virtually my own style and that's what I wanted to do. I think there is a definite style on War where there isn't on the previous albums."^[11]

Three of the tracks featured bankroll vocals by the Coconuts, of Kid Creole and the Coconuts. In the words of Steve Lillywhite, "they only happened to exist in Dublin on tour, so we hung out with them and they came in and sang on 'Surrender'. So it was sort of random – this serious Irish gaelic rock band having the Coconuts on their album."^[12]

The studio version of "40" was recorded during the terminal hours of the recording sessions in November 1982. Bassist Adam Clayton had already left the studio, and the 3 remaining band members decided they did non have a adept vocal to end the anthology.^[xiii] Bono, the Edge, and Mullen Jr. quickly recorded the song with the Edge playing both the guitar and bass parts. Bono called the vocal "xl" as he based the lyrics on Psalm 40. In live versions of the song, the Border and Clayton switch roles, equally Clayton plays guitar and Edge plays the bass.

Composition [edit]

The sound of War is arguably harsher than that of the band'southward other albums. A major reason for this is that the Edge uses far less delay and echo than in previous and subsequent works.^[fourteen]

War opens with the protest song "Sunday Bloody Sunday". The song describes the horror felt by an observer of The Troubles in Northern Ireland, specifically Bloody Sunday. Already a departure from the themes of innocence and spirituality displayed on the group's first ii albums, "Sunday Encarmine Sunday" introduces the album with a startling, military-esque drum beat by Larry Mullen, Jr., a fuming solo by the Edge that segues into staccato bursts reminiscent of automobile gun fire, and pointed lyrical couplets such as: "And today the millions weep / We eat and drinkable while tomorrow they die." The anthology as a whole is more than straight than the ambience October. Bono said in 1983,

A lot of the songs on our last album were quite abstract, but War is intentionally more straight, more specific. Just y'all tin can all the same accept the championship on a lot of different levels. We're not just interested in the physical aspects of war. The emotional effects are but as of import, 'the trenches dug within our hearts'. People have become numb to violence. Watching the television, it's hard to tell the departure between fact and fiction. One minute you see something being shot on The Professionals, and the next y'all run across someone falling through a window after being shot on the news. 1 is fiction and one is real life, but we're becoming so used to the fiction that nosotros go numb to the real thing. State of war could exist the story of a broken home, a family at state of war.^[3]

"Sun Bloody Sunday" is considered to exist among the greatest political protest songs,^[xv] and has remained a staple of U2's live concerts in the years since.^[sixteen]

"Seconds" is a song near nuclear proliferation, and the possibility that Armageddon could occur by an blow.^[7] The track contains a sample from the 1982 documentary Soldier Girls.^[17] The Edge sings the get-go 2 stanzas, making information technology one of the rare occasions on which he sings lead vocals.^[7]

In standing the political motif of the album, "New year's day'southward Day" is well-nigh the Polish solidarity movement.^[7] In 2004, Rolling Stone placed it equally the 435th greatest song of all fourth dimension.^[18] The vocal remains a staple of the band's live set, and is their third-nearly ofttimes performed song behind "I Will Follow" and "Pride (In the Name of Dearest)".^[19]

"Like a Song…" was intended every bit a message to those who believed that the band was too worthy, sincere and non "punk" enough.^[7] Bono speculated that the song'southward punk attitude would have made more sense in the 1950s and 1960s, as opposed to the "dressing upward" of the genre in the early 1980s.^[vii] "Similar a Vocal…" was only played live in one case.^[20]

"Drowning Man" is the fifth track on the album. Its sound is a departure from the other tracks in State of war as it is a quiet, atmospheric song heavily influenced past the work of the Comsat Angels.^{[ citation needed ]} It was never performed live, although there are besides unconfirmed reports that it was performed at a concert in 1983.^[21]

Other songs concern topics such equally prostitution ("Crimson Calorie-free") and dear ("Two Hearts Beat as One").

Release [edit]

The album was offset released on 28 February 1983. The original cassette release contains the entire album on each side.

Packaging and title [edit]

The album was titled War for several reasons; in 1982, Bono said, "War seemed to be the motif for 1982," adding that "Everywhere you lot looked, from the Falklands to the Middle Due east and South Africa, there was state of war. By calling the album War we're giving people a slap in the face up and at the same time getting abroad from the cosy paradigm a lot of people have of U2."^[3] The Edge said that "It'south a heavy title. Information technology's blunt. It'due south not something that's safety, so it could backfire. It's the sort of subject matter that people tin can really take a dislike to. Only we wanted to take a more dangerous grade, wing a bit closer to the wind, so I think the title is appropriate."^[3] The boy on the encompass is Peter Rowen (brother of Bono'southward friend, Guggi). He also appears on the covers of Male child, Three, The Best of 1980–1990, Early Demos and many singles. Bono described the reasoning backside the cover: "Instead of putting tanks and guns on the cover, we've put a child'south face. War tin also be a mental thing, an emotional matter between loves. It doesn't have to be a physical thing."^[three]

Singles [edit]

In January 1983 (1983-01), "New year's day's Twenty-four hours" was released internationally equally the album's lead unmarried. The single reached the top ten in the UK, and was the first release by the ring to chart on the Billboard Hot 100. In March 1983, "Ii Hearts Vanquish every bit I" and "Sunday Bloody Sunday" were released as singles in dissimilar regions. "Ii Hearts Beat every bit One", a single in the US, UK, and Australia, reached number xviii on the UK Singles Chart; "Sunday Bloody Dominicus", released in Federal republic of germany and kingdom of the netherlands, reached number 3 on the Netherlands' charts. "40" was not released every bit a commercial single, but rather equally a promotional single in Germany.

Reception [edit]

Contemporary professional ratings

Review scores
Source	Rating
Albuquerque Journal	7/10[22]
Miami Herald	Pick[23]
Orlando Sentinel	[24]
Philadelphia Daily News	[25]
Rolling Rock	[4]
The Village Voice	B+[26]
The Windsor Star	A−[27]

In a favourable review in Rolling Rock, J. D. Considine said, "the album's musical strengths are largely the production of well-honed arrangements and carefully balanced dynamics". He added, "the songs hither stand up upwards confronting anything on the Clash's London Calling in terms of sheer impact, and the fact that U2 can sweep the listener upwards in the same sort of enthusiastic romanticism that fuels the band'due south one thousand gestures is an impressive feat. For once, not having all the answers seems a bonus."^[four] Critic Dave Marsh said that despite non "match[ing] the pure chilling intensity" of Boy and Lillywhite's production not giving the guitars enough prominence, War was a "solid set". He complimented War for its "passion and commitment" and potent songs, calling it "as good as whatsoever mail-new wave rock around". He concluded, "It's rare to come across a ring sustain such mettlesome behavior through three albums and even so wind upwardly on the brink of stardom."^[25] Robert Christgau of The Hamlet Voice wrote that "the mortiferous European virus that'south always tainted this band turns out to exist their characteristic melodic device", adding, "The Edge becomes a tuneful guitarist by the unproblematic expedient of non soloing, and if Bono has too many Gregorian moments his confidence withal carries the music."^[26] Dan Kennedy of the Orlando Lookout said that on State of war the group "more clearly define its philosophical opinion" and that below the sense of despair on the surface is a "vocalization of hope that flies in the face of most rock postures".^[24]

Brett Milano of The Boston Globe chosen War an "album of tension and conflict", with a "riveting opening" in "Sunday Bloody Sunday" and "i of the year's nigh affecting honey songs" in "Ii Hearts Trounce as 1". He said the "arrangements are models of invention" and that the Edge'southward "expressive guitar is still the middle of U2's sound". Milano found the only weakness to be the "anti-climactic acoustic songs" that close each side.^[28] In a review published in the Albuquerque Journal, Rick Shefchik said, "The arrangements on this precocious immature band's tertiary album are brighter than before", giving their politically motivated songs a "pop sound they one time seemed to be fugitive".^[22] Beak Ashton of the Miami Herald chosen War ane the yr's best records and said it was the band'southward "nigh consistent album nonetheless, full of plaintive lyrics and fiery guitar work" and a rhythm section that "sharpened noticeably" since October. He complimented the lyrics for never being heavy-handed despite touching on "revolution, life in the age of The Bomb, love and faith".^[23] Philip Smith of The New Zealand Herald commended the band's maturing sound and labeled the anthology "a classic". He ended his review, "So U2 have set up out to make a big statement on a bailiwick close to the Irishmen's hearts – and they have succeeded."^[29] Terry Atkinson of the Los Angeles Times was disappointed by the "gradual dissolution of [U2'] sound" and found that only the two songs that "hold to the group'due south established style" ("Sunday Bloody Sunday" and "New year's day'south Day") were "thoroughly satisfying". The review concluded, "In trying to escape formula, U-2 too often loses the battle, but this willingness to effort the new, added to its still-bracing basic thrust, indicates how distinctive the band is even in failure."^[xxx]

Several reviews were negative in the United Kingdom. Gavin Martin of NME fabricated a parallel between 1980'due south Boy and War, stating that "where Boy shone and flowed War is tedious and static, and where Boy propelled lucid pellets of fire and imagination War cranks out bare liberal sensation"; he felt that after the single "New Year's Twenty-four hours", which he considered as "their finest single since "I Will Follow", War "declines quite dramatically", ultimately calling the album "another case of rock music'southward impotence and decay".^[31] Sounds shared a similar point of view, recognising that the two singles were "by far the strongest tracks" on War, but that "for the remainder, they are a (dejected sounding) mixture of the incomplete, the experimental (in the simplest sense) and the obviously sub-standard."^[32] By contrast, Liam Mackie of Hot Printing in the ring'due south native Republic of ireland said that State of war "totally eclipses" the group's kickoff two albums and called information technology a "major leap frontwards, conceptually and technically". He praised the "resourcefulness and imagination" of the Edge's guitar playing and said the anthology "offers watertight evidence of the band's standing as a genuinely original force in gimmicky music".^[33]

State of war was a commercial success, condign U2's first number-one album in the United kingdom of great britain and northern ireland and supplanting Michael Jackson's Thriller at the top of the charts. The album placed sixth on The Village Vox's 1983 twelvemonth-stop Pazz & Jop critics' poll.^[34]

War Bout [edit]

In support of the anthology, the band began touring on one December 1982. The first month of shows, referred to every bit the "Pre-State of war Bout", preceded the anthology'due south release and the bulk of the tour, and was meant to showcase and examination the new songs in a live setting.^{[35] [36]} The War Tour proper began on 26 February 1983 and lasted until 30 November of that year. In total, the ring played 110 gigs in Europe, the US, and Japan to promote War.^[37] Over the course of the tour, the band began to play progressively larger venues, moving from clubs to halls to arenas.^[38] Bono attempted to appoint the growing audiences with theatrical, ofttimes dangerous antics, climbing scaffoldings and lighting rigs and jumping into the audience.^[39] The sight of Bono waving a white flag during performances of "Sunday Bloody Sunday" became the tour'southward iconic image.^[40] The band played several dates at big European and American music festivals,^[41] including a operation at the US Festival on Memorial Solar day weekend for an audience of 125,000 people.^[42] The group'due south 5 June 1983 concert at Red Rocks Amphitheatre on a rain-soaked evening was singled out by Rolling Stone as ane "50 Moments that Changed the History of Rock and Roll".^[43] The show was recorded for the concert video Live at Red Rocks and was 1 of several concerts from the tour captured on their alive album Nether a Blood Ruby Sky.^[44] Both releases received extensive play on the radio and MTV, expanding the band'south audition and showcasing their prowess every bit a alive act.^[43] During the tour, the group established a new tradition by closing concerts with "40", during which the Edge and Clayton would switch instruments and the band members would get out the stage one-by-one as the crowd connected to sing the refrain "How long to sing this song?".^{[45] [46]} The War Tour was U2'due south start profitable tour, grossing about $ii million.^[47]

Legacy [edit]

Retrospective professional ratings

Review scores
Source	Rating
AllMusic	[48]
American Songwriter	[49]
The Austin Chronicle	[50]
The A.V. Social club	A−[51]
Chicago Tribune	[52]
Entertainment Weekly	B+[53]
Pitchfork	viii.9/x[54]
Rolling Rock	[55]
The Rolling Stone Album Guide	[56]
Select	5/5[57]

In 1989, State of war was ranked number xl on Rolling Stone 'southward listing of "The 100 Greatest Albums of the '80s".^[58] In 2003, the magazine ranked War 221st on its list of "The 500 Greatest Albums of All Time", describing information technology as "the ring's well-nigh overtly political album... charged with explosive, passionate guitar stone".^[59] An updated version of the list in 2012 re-ranked the album at number 223.^[6] Slant Magazine ranked War 94th on its list of the "All-time Albums of the 1980s."^[threescore]

According to Treble writer Jeff Terich, War served as "a triumphant close to [U2's] postal service-punk trilogy" and "the dividing line between U2, the young Dublin new wave human action and U2, the heroic stadium rock band".^[61] In a dissenting analysis, Bob Stanley believed the ring had really deviated from post-punk's regionalism and rejection of pop music universality to progressive levels of international success. He went on to write that, beginning with State of war, "it became increasingly hard to tell what U2 stood for, or what their purpose was – their vastness and their complete avoidance of detail made them hard to read, let solitary love. One day someone volition explain to Bono that popular is always more expressive when it is trying to mend a cleaved centre than when it's trying to salvage the world."^[62]

Track listing [edit]

All tracks are written by U2.

Side i

No.	Title	Length
1.	"Dominicus Bloody Sunday"	4:38
2.	"Seconds"	3:09
three.	"New year's Mean solar day"	v:37
four.	"Like a Vocal..."	iv:48
5.	"Drowning Man"	iv:12

Side two

No.	Title	Length
1.	"The Refugee" (produced by Pecker Whelan)	3:40
two.	"2 Hearts Beat as Ane"	iv:00
3.	"Ruby-red Light"	3:46
4.	"Give up"	five:34
v.	"twoscore"	2:36
Total length:		42:03

In 1993, Mobile Fidelity Audio Lab remastered the album from the original analog primary tapes and released information technology on a 24kt gold plated CD. The original master recording has slightly dissimilar running times:^[63]

• "Seconds" runs iii:22, adding xi.5 seconds in the suspension section (beginning at approx. 2:01)
• "New Year's Day" runs five:38, leaving in the ane measure before the guitar interruption (beginning at approx. 3:27)
• "Similar a Song..." runs 5:00, extending the playout department (beginning at approx. four:45)

2008 remastered edition [edit]

Post-obit the remastered re-release of The Joshua Tree in 2007, information technology was rumoured that the band would as well remaster and re-release War, along with the albums Male child and October.^[64] This was confirmed past U2.com on 9 Apr 2008 (2008-04-09).^[65] The remastered album was released on 21 July 2008 (2008-07-21) in the Uk, with the Usa version post-obit it the next day. It was released in three different formats:^[65]

1. Standard format: A single CD with re-mastered sound and restored packaging. Includes a sixteen-folio booklet featuring previously unseen photos, total lyrics and new liner notes by Niall Stokes. The 10-tracks match the previous release of the anthology.
2. Palatial format: A standard CD (every bit in a higher place) and a bonus CD. Bonus CD includes b-sides, alive tracks and rarities. As well includes a 32-page booklet with previously unseen photos, full lyrics, new liner notes past Niall Stokes, and explanatory notes on the bonus material by the Edge.
3. Vinyl format: A unmarried album re-mastered version on 180 gram vinyl with restored packaging.

Bonus CD [edit]

All tracks are written by U2.

No.	Title	Original release	Length
1.	"Endless Deep"	"Sunday Bloody Lord's day" and "2 Hearts Shell as Ane" singles	2:58
2.	"Angels Too Tied to the Ground"	Previously unreleased outtake from "State of war" sessions	3:34
3.	"New year'southward Day" (vii" single edit)	"New Year's Day" single	three:56
four.	"New year's Twenty-four hours" (USA remix)	"Two Hearts Beat out as One" single	4:31
five.	"New Twelvemonth's 24-hour interval" (Ferry Corsten extended song mix)	Previously unreleased	9:42
half dozen.	"New Year'due south Day" (Ferry Corsten vocal radio mix)	Previously unreleased	4:37
7.	"Two Hearts Beat as Ane" (Long mix)	"Two Hearts Shell every bit One" promotional unmarried	five:56
8.	"Two Hearts Vanquish every bit One" (U.s.a. remix)	"Two Hearts Beat as One" single	iv:24
9.	"Two Hearts Beat as Ane" (Club version)	"Two Hearts Beat every bit One" single	5:43
10.	"Treasure (Whatever Happened to Pete the Chop)"	"New Year's Day" single	3:24
11.	"I Threw a Brick Through a Window / A Solar day Without Me" (Live from Werchter -- iv July 1982)	"New Year's Day" unmarried	half-dozen:58
12.	"Burn" (Live from Werchter -- 4 July 1982)	"New year'south Twenty-four hours" single	3:46
Total length:			59:28

Personnel [edit]

U2

• Bono – lead vocals, guitar
• The Edge – guitar, piano, lap steel guitar, backing vocals, lead vocals on "Seconds" (bass guitar on "40"; uncredited on the album)
• Adam Clayton – bass guitar (except "40")
• Larry Mullen Jr. – drums and percussion

Additional personnel

• Kenny Fradley – trumpet on "Cerise Calorie-free"
• Steve Wickham – electric violin on "Dominicus Encarmine Sunday" and "Drowning Homo"
• The Coconuts: Cheryl Poirier, Adriana Kaegi, Taryn Hagey, Jessica Felton – backing vocals on "Like a Song...", "Red Light", and "Surrender"

Charts [edit]

Certifications [edit]

See also [edit]

• List of covers of U2 songs – Drowning Man
• List of covers of U2 songs – Like a Vocal...
• U2 discography

References [edit]

Footnotes

1. ^ Sams, Aaron; Kantas, Harry. "U2 – "Two Hearts Beat as One" Single". U2songs.com . Retrieved 1 April 2016.
2. ^ Sams, Aaron; Kantas, Harry. "U2 – "Sunday Bloody Sunday" Single". U2songs.com . Retrieved 1 Apr 2016.
3. ^ ^{a b c d eastward f} Thrills, Adrian (26 Feb 1983). "War & Peace". NME. Archived from the original on 17 July 2011. Retrieved 7 November 2007.
4. ^ ^{a b c} Considine, J. D. (31 March 1983). "War". Rolling Stone. No. 392. Retrieved 30 December 2010.
5. ^ Reynolds (2005), p. 367
6. ^ ^{a b} Wenner, Jann Southward. (ed.) (2012). "The 500 Greatest Albums of All Time". Rolling Stone. No. Special Collectors Result. ISBN978-7-09-893419-6 . Retrieved xx June 2012.
7. ^ ^{a b c d eastward f} Stokes (2005)
8. ^ Hilburn, Robert (8 August 2004). "Where Arts and crafts Ends and Spirit Begins". Los Angeles Times. section Calendar, p. E1. Retrieved 12 August 2011.
9. ^ Parkyn, Geoff (March 1985). "The Producer: Steve Lillywhite". U2 Mag. No. fourteen.
10. ^ ^{a b c d} McCormick (2006), pp. 135–139
11. ^ ^{a b} "Larry Mullen Interview". atu2. White Lucy. one April 1983. Retrieved v June 2017.
12. ^ "U2's producer reveals studio secrets". BBC News. xviii July 2008. Retrieved 12 Baronial 2011.
13. ^ Barrett, Annie (22 November 2004). "On the Border". Amusement Weekly . Retrieved 12 August 2011.
14. ^ Hutchinson, John (September 1986). "U2'due south Leading Edge". Musician: 33 – via Stone's Backpages.
15. ^ VH1 Editors (2004). VH1's 25 Greatest Political Protestation Songs (Television series). VH1 television.
16. ^ U2gigs.com. "U2 on Tour - played songs: Dominicus Bloody Dominicus". Retrieved 7 March 2008.
17. ^ "Seconds by U2". Songfacts.com. Retrieved 14 January 2008.
18. ^ "500 Greatest Songs of All Fourth dimension: U2, 'New year's Day'". Rolling Stone. 7 April 2011. Retrieved 5 June 2017.
19. ^ "All songs U2 ever played in concert". U2gigs.com. Retrieved 12 March 2008.
20. ^ "Similar a Song". U2gigs.com. Retrieved 12 March 2008.
21. ^ "1983-06-03: Table salt Palace Associates Hall - Table salt Lake City, Utah, USA". U2gigs.com. Retrieved 19 July 2008.
22. ^ ^{a b} Shefchik, Rick (29 April 1983). "Record Reviews". Albuquerque Journal. p. C-2.
23. ^ ^{a b} Ashton, Bill (24 Apr 1983). "Wrapping up stone, jazz and land releases for Apr". Miami Herald. p. 2L.
24. ^ ^{a b} Kennedy, Dan (15 June 1983). "U2's political phonation loud and clear in 'War'". Orlando Lookout man. p. E-iii.
25. ^ ^{a b} Marsh, Dave (iv June 1983). "U2 Quartert Comes Up a Winner in This 'War'". Philadelphia Daily News. p. 14.
26. ^ ^{a b} Christgau, Robert (28 June 1983). "Christgau's Consumer Guide". The Hamlet Vocalization . Retrieved 24 September 2015.
27. ^ Shaw, Ted (7 May 1983). "Pop – U2: War (Isle-WEA)". The Windsor Star. p. C6.
28. ^ Milano, Brett (24 March 1983). "Records: Trash from Kings/Ennui from Cross/One-Man Synth Pull a fast one on/Mahler Woes". The Boston Globe. sec. Calendar, p. 10.
29. ^ Smith, Philip (23 May 1983). "Review: War". The New Zealand Herald . Retrieved 16 March 2021.
30. ^ Atkinson, Terry (three April 1983). "U-2 Declares 'War' and Loses". Los Angeles Times. sec. Calendar, p. 57.
31. ^ Martin, Gavin (26 February 1983). "Run Ashore On Stone". NME.
32. ^ "Boxing-Fatigued". Sounds. 26 February 1983.
33. ^ Mackie, Liam (xviii February 1983). "Blood on the Tracks". Hot Press. Vol. vii, no. 3. Retrieved 16 March 2021.
34. ^ "The 1983 Pazz & Jop Critics Poll". The Village Voice. 28 February 1984. Retrieved 11 March 2011.
35. ^ "U2 tour details". U2Tours. 1 January 2000. Retrieved 29 February 2008.
36. ^ "@U2 Podcast, Edition four-two "The @U2 Warcast". atU2. 29 February 2008. Archived from the original on 23 Apr 2008. Retrieved 29 Feb 2008.
37. ^ McGee (2008), pp. 63–64, 66, 72
38. ^ de la Parra (2003), p. 42
39. ^ Lambert, Paul, "U2: Keeping the Faith with Unforgettable Fire", The Wall Street Periodical, 2 April 1985. In Bordowitz (ed.), The U2 Reader, pp. 44–47.
40. ^ Block, Adam (ane May 1989). "Bono Bites Back". Mother Jones . Retrieved eighteen June 2010.
41. ^ Snow (2014), p. 56
42. ^ Jobling (2014), p. 107
43. ^ ^{a b} Cave, Damien; et al. (24 June 2004). "U2's Risk at Cherry Rocks". Rolling Stone. No. 951. p. 146.
44. ^ Jobling (2014), pp. 108–111
45. ^ Graham (2004), pp. 20–21
46. ^ McCormick (2006), p. 142
47. ^ Jobling (2014), p. 112
48. ^ Erlewine, Stephen Thomas. "State of war – U2". AllMusic. All Media Network. Retrieved thirty December 2010.
49. ^ Atkinson, Brian T. (1 September 2008). "U2 > Boy, October, War". American Songwriter . Retrieved 17 November 2021.
50. ^ Bertin, Michael (thirty March 2001). "U2: State of war (Island)". The Austin Relate . Retrieved seven February 2011.
51. ^ Hyden, Steven (28 July 2008). "U2". The A.V. Club . Retrieved 24 September 2015.
52. ^ Kot, Greg (6 September 1992). "You, Too, Can Hear The Best Of U2". Chicago Tribune . Retrieved three December 2015.
53. ^ Wyman, Bill (29 November 1991). "U2's Discography". Entertainment Weekly . Retrieved 24 September 2015.
54. ^ Tangari, Joe (24 July 2008). "U2: Male child / October / War". Pitchfork . Retrieved 30 December 2010.
55. ^ Fricke, David (seven August 2008). "War (Reissue)". Rolling Stone . Retrieved 17 November 2021.
56. ^ Considine, J. D.; Brackett, Nathan (2004). "U2". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Anthology Guide (4th ed.). Simon & Schuster. pp. 833–34. ISBN0-7432-0169-8.
57. ^ Griffiths, Nick (September 1991). "U2: War". Select. No. fifteen. p. 82.
58. ^ "100 Greatest Albums of the 80's". Rolling Stone. No. 565. xvi November 1989.
59. ^ Blashill, Pat; DeCurtis, Anthony; Edmonds, Ben; et al. (11 December 2003). "War: U2". Rolling Stone. No. 937. p. 144.
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Bibliography

• de la Parra, Pimm Jal (2003). U2 Live: A Concert Documentary (Updated ed.). London: Bus Press. ISBN0-7119-9198-7.
• Jobling, John (2014). U2: The Definitive Biography . New York: Thomas Dunne Books. ISBN978-1-250-02789-4.
• McGee, Matt (2008). U2: A Diary. London: Bus Printing. ISBN978-one-84772-108-2.
• Reynolds, Simon (2005). Rip It Upwards and Start Over again: Postpunk 1978–1984. Penguin Books. ISBN0-14-303672-six.
• Snow, Mat (2014). U2: Revolution . New York: Race Point Publishing. ISBN978-1-937994-99-0.
• Stokes, Niall (2005). U2: Into the Center – The Stories Behind Every Song. New York: Thunder'due south Mouth Press. ISBNane-56025-765-2.
• U2 (2006). McCormick, Neil (ed.). U2 past U2 . London: HarperCollins. ISBN0-00-719668-7.

External links [edit]

• War on U2.com

floresunearithe55.blogspot.com

Source: https://en.wikipedia.org/wiki/War_%28U2_album%29

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