Digital Booklet - Under a Blood Red Sky [Remastered]

C 2008 UNIVERSAL-ISLAND RECORDS LIMITED.

WWW.U2.COM

U2 LIVE “UNDER A BLOOD RED SKY”

1. GLORIA2. 11 O’CLOCK TICK TOCK

3. I WILL FOLLOW4. PARTY GIRL

5. SUNDAY BLOODY SUNDAY6. THE ELECTRIC CO.7. NEW YEAR’S DAY

8. “40”

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THE EIGHT SONGS ON U2’S UNDER ABLOOD RED SKY EP, WHICH WASORIGINALLY RELEASED IN NOVEMBEROF 1983, WERE ALL DRAWN FROMSHOWS THAT TOOK PLACE DURING THEBAND’S TOUR IN SUPPORT OF ITSTHIRD ALBUM, WAR, WHICH HAD COMEOUT EARLIER THAT YEAR.

Because the concert film, “Live At Red Rocks”, wasreleased at the same time (and was subtitled Under ABlood Red Sky), it was generally believed that all theperformances on the EP derived from that show as well– a misapprehension the band’s label was perfectlywilling to let go uncorrected.

While a careful comparison of the music on the twosets would have revealed that only two performancesoverlapped (“Gloria”, “Party Girl”), the idea that all thesongs came from Red Rocks allowed the drama andmystery of that setting to charge the imagination ofanyone listening to the EP. Bono’s shouting out, “Hey,

this is Red Rocks!” during “Gloria”, the EP’s opening number,only reinforced those impressions. As it happens, however,“11 O’Clock Tick Tock” was recorded in the somewhat lessresonant location of Boston, MA, and the other five trackscome from an August 1983 show in St. Goarshausen,Germany.

Little matter. If the performances weren’t as undeniablycompelling as they are, no one would have cared where theywere done. Still in their early twenties, Bono, The Edge, AdamClayton and Larry Mullen Jr, were very much on the rise atthis moment, and they were determined for their band to risehigher still. That meant exposing as many people as possibleto the wonders of U2’s on-stage assault. As its title wouldsuggest, and as such songs as “Sunday Bloody Sunday” and“New Year’s Day” attest, War was a far more aggressivealbum than either Boy (1980) or October (1981). While theband had established a commercial foothold in the US and UK,the widely held view of its supporters was that U2 had to beexperienced live to be truly appreciated and understood – tobe loved. War was an album perfectly suited to that purpose.

In a sense, such thinking countered the prevailing wisdom inthe music industry at the time. MTV, which launched in 1981,was beginning to make its impact – and would soon prove agreat help in expanding U2’s audience as well. Videos werebecoming a more instantaneous, if less visceral, means ofintroducing bands to new and younger audiences than themore time-consuming method of touring. Meanwhile, afascination with the cool appeal of synthesizers, particularlyin the UK, had made guitar bands seem somewhat quaint.Moreover, U2’s determination to conquer America was alsoseen as naïve and old-fashioned. Hadn’t the Beatles – not thatthey mattered either – done that already? And who caresanyway? The post-punk era’s penchant for ironic detachmenthardly suited U2.

Characteristically, however, the band traveled its own pathregardless, and a live concert film was planned using theproducer and director of “The Tube,” a UK television programon which U2 had successfully performed. Making a concertfilm largely with its own money – a definite stretch for the

band at the time – had been a roll of the dice, and ithandsomely paid off. In 2004 Rolling Stone declared theband’s Red Rocks concert one of the “50 Moments ThatChanged Rock & Roll”.

As the Red Rocks film was in production, it was decided toissue a live EP as something of a companion piece. JimmyIovine, who had previously worked with Bruce Springsteenand Patti Smith, had been ardent in his interest to produce U2,so the band turned over the task of assembling the EP to him.It was the beginning of the group’s long, rich relationship withIovine, who would go on to produce Rattle and Hum andeventually head up Interscope Records, U2’s label.

It had been – and would always be – U2’s way to hurl itselfinto the future, and then race to catch up with itself once newboundaries had been broken. While in succeeding decadesBono would prove mind-bogglingly adept at talking himselfinto and out of rhetorical jams, U2 didn’t seem fully in controlof its message at the time of “Under A Blood Red Sky” and“Red Rocks”. “This song is not a rebel song”, Bono insists atthe start of “Sunday Bloody Sunday”, which takes its very titlefrom an infamous 1972 attack on Irish protesters by theBritish army. (And, of course, the song also provides the titlefor this live set in one of its lyrics.)

Bloody Sunday is fraught with explosive imagery that isdangerous even to attempt to contain within the confines of asong – the contemporary equivalent might be something likewriting a song called “September 11, 2001”. Certainly in theUK no one lacked an opinion about what the band might besaying and where it stood. And the white flag Bono typicallymarched with on stage with during “Sunday Bloody Sunday”equally lent itself to a variety of interpretations, many of themcontradictory, none of them comfortable.

But the vast majority of American fans were hardly conversantin the history of “the troubles,” and U2, ultimately, wasfocused on the “terrible beauty” that William Butler Yeatssuggested might emerge from such confrontations. Whatevertheir point of view, what audiences learned from engaging U2in concert is that it is essential to care. One of the band’s

great strengths is its willingness to provoke, and no onecould leave one of the band’s shows without feelingenergized, exercised and ready to tangle with the world towhatever end.

So along with the “Red Rocks” concert film, Under a BloodRed Sky achieved what it set out to do – acquaint fans withthe potent force of U2 on stage. For the most part, the EP’seight tracks emphasize the roar of the band live, thepropulsive thrust that seems simultaneously both physical andspiritual, a frenzied yearning for connection and transcen-dence. The dense, inward-looking impulses of Boy andOctober were jettisoned, and the songs from those albumswere invigorated by the all-or-nothing stakes that the psychicwages of War demanded. The album depicted a worldteetering on the edge of apocalypse – morally, as well aspolitically – and the urgency of the moment ignited the bandon stage. Take a moment to visualize the image of this EP’stitle: a sky rent and bleeding. “Everywhere is war”, BobMarley had sung a few years earlier in the Wailers’ rivetingsong of the same name, and – in the Falklands, in the Polishinsurgency, in Ireland itself, and in the hearts and minds ofmen and women the world over – U2 envisioned the samefires burning.

“Enough! or Too Much,” William Blake declared in his“Proverbs of Hell”, and that statement might well stand asU2’s motto. The band risks going over the top, if that’s thechance that must be taken to make sure it gets where itwants to go, if not farther. Overshooting the mark, while notideal, is acceptable; falling short is not an option. Under ABlood Red Sky provided a powerful shot of love, the quintes-sence of what U2 is capable of delivering live. For twenty-fiveyears since, fans have proven ravenous for more.

Anthony De Curtis

GLORIA

I TRY TO SING THIS SONGI, I TRY TO STAND UPBUT I CAN'T FIND MY FEET.I, I TRY TO SPEAK UPBUT ONLY IN YOU I'M COMPLETE.

GLORIAIN TE DOMINEGLORIAEXULTATEGLORIAGLORIAOH, LORD, LOOSEN MY LIPS.

I TRY TO SING THIS SONGI, I TRY TO GET INBUT I CAN'T FIND THE DOORTHE DOOR IS OPENYOU'RE STANDING THERE, YOU LET ME IN.

GLORIAIN TE DOMINEGLORIAEXULTATEOH, LORD, IF I HAD ANYTHING, ANYTHING AT ALLI'D GIVE IT TO YOU.

GLORIAIN TE DOMINEGLORIAGLORIA.

11 O'CLOCK TICK TOCK

IT'S COLD OUTSIDEIT GETS SO HOT IN HERETHE BOYS AND GIRLS COLLIDE TO THE MUSIC IN MY EAR.

I HEAR THE CHILDREN CRYINGAND I KNOW IT'S TIME TO GOI HEAR THE CHILDREN CRYINGTAKE ME HOME.

A PAINTED FACEAND I KNOW WE HAVEN'T LONGWE THOUGHT THAT WE HAD THE ANSWERSIT WAS THE QUESTIONS WE HAD WRONG.

I HEAR THE CHILDREN CRYINGAND I KNOW IT'S TIME TO GOI HEAR THE CHILDREN CRYINGTAKE ME HOME.

SAY SO, SAY SOSAY SO, SAY SO.

I WILL FOLLOW

I WAS ON THE OUTSIDE WHEN YOU SAIDYOU NEEDED MEI WAS LOOKING AT MYSELFI WAS BLIND, I COULD NOT SEE.

A BOY TRIES HARD TO BE A MANHIS MOTHER TAKES HIM BY THE HANDIF HE STOPS TO THINK, HE STARTS TO CRYOH WHY?

IF YOU WALK AWAY, WALK AWAYI WALK AWAY, WALK AWAYI WILL FOLLOW.IF YOU WALK AWAY, WALK AWAYI WALK AWAY, WALK AWAYI WILL FOLLOW.I WILL FOLLOW.

I WAS ON THE INSIDEWHEN THEY PULLED THE FOUR WALLS DOWNI WAS LOOKING THROUGH THE WINDOWI WAS LOST, I AM FOUND.


YOUR EYES MAKE A CIRCLEI SEE YOU WHEN I GO IN THEREYOUR EYES, YOUR EYESYOUR EYES, YOUR EYES.


PARTY GIRL

I KNOW A GIRL, A GIRL CALLED PARTYPARTY GIRLI KNOW SHE WANTS MORE THAN A PARTYPARTY GIRLAND SHE WON'T TELL ME HER NAMEOH NO, NOT MEI KNOW A BOY, A BOY CALLED TRASHTRASH CANI KNOW HE DOES ALL THAT HE CANWHAM BAMAND SHE WON'T TELL ME HIS NAMEOH NO, NOT ME

WHEN I WAS THREEI THOUGHT THE WORLD REVOLVED AROUND MEI WAS WRONGAND SO I SING ALONGAND IF YOU DANCE, THEN DANCE WITH ME

I KNOW A GIRL, A GIRL CALLED PARTYPARTY GIRLI KNOW SHE WANTS MORE THAN A PARTYPARTY GIRLI KNOW A BOYA BOY CALLED TRAMPOLINEYOU KNOW WHAT I MEAN

I THINK I KNOW WHAT HE WANTSI THINK I KNOW WHAT HE WANTSI THINK I KNOW WHAT YOU WANTI THINK I KNOW WHAT YOU WANTI THINK I KNOW WHAT YOU WANTI THINK I KNOW WHAT YOU WANTI THINK I KNOW WHAT HE WANTS

SUNDAY BLOODY SUNDAY

I CAN'T BELIEVE THE NEWS TODAYI CAN'T CLOSE MY EYES AND MAKE IT GO AWAY.HOW LONG, HOW LONG MUST WE SING THIS SONG?HOW LONG, HOW LONG?'COS TONIGHTWE CAN BE AS ONE, TONIGHT.

BROKEN BOTTLES UNDER CHILDREN'S FEETBODIES STREWN ACROSS THE DEAD-END STREET.BUT I WON'T HEED THE BATTLE CALLIT PUTS MY BACK UP, PUTS MY BACK UP AGAINST THE WALL.

SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.OH, LET'S GO.

AND THE BATTLE'S JUST BEGUNTHERE'S MANY LOST, BUT TELL ME WHO HAS WON?THE TRENCHES DUG WITHIN OUR HEARTSAND MOTHERS, CHILDREN, BROTHERS, SISTERSTORN APART.

SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.

HOW LONG, HOW LONG MUST WE SING THIS SONG?HOW LONG, HOW LONG?'COS TONIGHTWE CAN BE AS ONE, TONIGHT.SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.

WIPE THE TEARS FROM YOUR EYESWIPE YOUR TEARS AWAY.I'LL WIPE YOUR TEARS AWAY.I'LL WIPE YOUR TEARS AWAY.I'LL WIPE YOUR BLOODSHOT EYES.SUNDAY, BLOODY SUNDAY.SUNDAY, BLOODY SUNDAY.

AND IT'S TRUE WE ARE IMMUNEWHEN FACT IS FICTION AND TV REALITY.AND TODAY THE MILLIONS CRYWE EAT AND DRINK WHILE TOMORROW THEY DIE.

THE REAL BATTLE JUST BEGUNTO CLAIM THE VICTORY JESUS WONON...

SUNDAY, BLOODY SUNDAYSUNDAY, BLOODY SUNDAY.

THE ELECTRIC CO.

BOY, STUPID BOYDON'T SIT AT THE TABLEUNTIL YOU'RE ABLE TO.

TOY, BROKEN TOYYOU CAN SHOUT AND SHOUT, ‘TIL YOU'RE INSIDE OUTBUT IF YOU DON'T KNOW.ELECTRIC CO.IF YOU DON'T KNOWELECTRIC CO.

RED, RUNNING REDYOU PLAY FOR REALBUT THE TOY CAN FEELHOLDING YOUR HEADYOU WON'T SHOUTYOU STILL BEGIF YOU DON'T KNOWTHE ELECTRIC CO.

IF YOU DON'T KNOW.ELECTRIC CO.IF YOU DON'T KNOWELECTRIC CO.

NEW YEAR’S DAY

ALL IS QUIET ON NEW YEAR’S DAY.A WORLD IN WHITE GETS UNDERWAY.I WANT TO BE WITH YOU, BE WITH YOU NIGHT AND DAY.NOTHING CHANGES ON NEW YEAR’S DAY.ON NEW YEAR’S DAY.

I... WILL BE WITH YOU AGAIN.I... WILL BE WITH YOU AGAIN.

UNDER A BLOOD-RED SKYA CROWD HAS GATHERED IN BLACK AND WHITEARMS ENTWINED, THE CHOSEN FEWTHE NEWSPAPER SAYS, SAYSSAY IT’S TRUE, IT’S TRUE...AND WE CAN BREAK THROUGHTHOUGH TORN IN TWOWE CAN BE ONE.

I... I WILL BEGIN AGAINI... I WILL BEGIN AGAIN.

“40”

I WAITED PATIENTLY FOR THE LORD.HE INCLINED AND HEARD MY CRY.HE BROUGHT ME UP OUT OF THE PITOUT OF THE MIRY CLAY.

I WILL SING, SING A NEW SONG.I WILL SING, SING A NEW SONG.HOW LONG TO SING THIS SONG?HOW LONG TO SING THIS SONG?HOW LONG, HOW LONG, HOW LONGHOW LONG TO SING THIS SONG?

YOU SET MY FEET UPON A ROCKAND MADE MY FOOTSTEPS FIRM.MANY WILL SEE, MANY WILL SEE AND HEAR.

I WILL SING, SING A NEW SONG.I WILL SING, SING A NEW SONGI WILL SING, SING A NEW SONG.I WILL SING, SING A NEW SONGHOW LONG TO SING THIS SONG? HOW LONG TO SING THIS SONG? HOW LONG TO SING THIS SONG? HOW LONG TO SING THIS SONG?

OH, OH. OH, OH. OH, OH.OH, MAYBE THE TIME IS RIGHT.OH, MAYBE TONIGHT.I WILL BE WITH YOU AGAIN.I WILL BE WITH YOU AGAIN.

AND SO WE ARE TOLD THIS IS THE GOLDEN AGEAND GOLD IS THE REASON FOR THE WARS WE WAGETHOUGH I WANT TO BE WITH YOUBE WITH YOU NIGHT AND DAYNOTHING CHANGESON NEW YEAR’S DAY

U2 LIVE“UNDER A BLOOD RED SKY”

1. GLORIA �

2. 11 O’CLOCK TICK TOCK �

3. I WILL FOLLOW •4. PARTY GIRL �

5. SUNDAY BLOODY SUNDAY •6. THE ELECTRIC CO. •7. NEW YEAR’S DAY •8. “40” •

Original credits

All Titles Composed by U2

Blue Mountain Music Ltd

� Location Recording Produced by DIR Broadcasting and Recorded on the Effanel Music Mobile, Boston, Mass.,May 6th, 1983

� Location Recording by Randy Ezratty and Gary Geller and Recorded on the Effanel Music Mobile Facility, Denver, Co., June 5th, 1983. Audio Production by Steve Lillywhite.

• Location Recording courtesy of “Rockpalast 83”,WDR Television, West Germany, August 20th, 1983

Mixed by Shelly Yakus at The Hit Factory, NYC Assistant Engineering by Bobby CohenMastered by Stephen Marcussen at Precision Lacquer, LA

Design by RX for The Creative Department Ltd, Dublin Monitor Photography by Jacobus van Hespen. From “Under A Blood Red Sky”,a “U2 at Red Rocks Associates” Production

Produced by Jimmy Iovine

2008 Edition:

Re-Mastering Directed by The Edge

Album Production Managers: Steve Matthews and Candida Bottaci

Research and Archive Analysis: Cheryl Engels, Partial Productions

Re-Mastering Produced by Cheryl Engels, Partial ProductionsRe-Mastering Engineeringby Arnie Acosta at Bernie Grundman MasteringMastering Assistance by Scott SedilloTechnical Support by Thomas “Beno” May

U2 Catalogue Re-Release Co-Ordinator:Nick Stewart and Associates

Thanks to Anthony De Curtis

Photography by Greg Wigler

Cover Design and Art Direction by Steve AverillPackaging Design by Gary Kelly at Four5One°Creative

All titles written by U2 and published by Universal Music Publishing BV,except Blue Mountain Music Limited (UK), Mother Music (Irl)

Lyrics reproduced by kind permission of the publishers

C 2008 Universal-Island Records Limited.

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www.u2.com

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Digital Booklet - Under a Blood Red Sky [Remastered]