⁣For most of the naysayers, it wasn't so much the actual music that got their collective goat as it was the way the band portrayed themselves.

“This is a song Charles Manson stole from The Beatles. We’re stealing it back.”
Those were the first words uttered by Bono in the 1988 U2 rockumentary Rattle and Hum before the band ignited a sold-out McNichols Sports Arena in Denver with a rendition of “Helter Skelter” so electric Manson himself might’ve felt its vibes through the walls of San Quentin. Thirty years later, Manson is dirt in the ground and “Helter Skelter” is 12 minutes long on the 50th anniversary edition of The White Album coming out this November. Yet the critical disdain for both the Rattle and Hum film and its chart-topping soundtrack remains the same as it ever was. Upon the release of the Jimmy Iovine-produced album (Oct. 10) and the film (Oct. 27), Rattle and Hum was met with largely complacent and downright hostile reviews.

“By almost any rock & roll fan’s standards, U2’s Rattle and Hum is an awful record,” wrote Tom Carson in The Village Voice. “But the chasm between what it thinks it is and the half-baked overweening reality doesn’t sound attributable to pretension so much as monumental know-nothingness.”
In The New York Times, Jon Pareles accused the band of trying to “grab every mantle in the Rock-and-Roll Hall of Fame” before scowling “what comes across in song after song is sincere egomania.”
“This is a mess with a mission,” wrote David Fricke in his year-end review of Rattle in the Dec. 15-29, 1988, issue of Rolling Stone. “But a mess nevertheless.”
For most of the naysayers, it wasn’t so much the actual music that got their collective goat as it was the way the band portrayed themselves to filmmaker Phil Joanou, who was only 26 when he directed Rattle and Hum (it was his second feature film behind the 1987 high school black comedy Three O’Clock High). At its root, it’s a highly stylized concert film culled from U2’s blockbuster tour in support of their breakthrough fifth LP The Joshua Tree — the album that catapulted Bono, The Edge, Adam Clayton and Larry Mullen, Jr. into a new stratosphere of superstardom. In between performances, however, were scenes of the group traversing through American cities crucial to the fabric of rock n’ roll’s history.

They went to San Francisco to play the “Save the Yuppies” concert in Justin Herman Plaza, where they dazzled the impromptu crowd with a version of “All Along the Watchtower” which served as the perfect middle ground between Bob Dylan‘s original and Jimi’s fiery takeover of the song. They visited Harlem, where they cut a gospel version of their Billboard Hot 100 No. 1 single “I Still Haven’t Found What I’m Looking For” with the New Voices of Freedom choir and caught the renowned street blues duo Satan and Adam busking on 125th St. They headed down to Memphis to visit Graceland and cut some songs at Sun Studio, including “Angel of Harlem” featuring the legendary Memphis Horns and references to Billie Holiday, John Coltrane and Miles Davis, and “Love Rescue Me,” a co-write with Bob Dylan which, along with the Daniel Lanois-produced Oh Mercy, helped many U2 fans get hip with Zimmerman. They also recorded “When Love Comes to Town” at Sun, a song that helped many young U2 fans find their way to the catalog of the song’s soulful co-captain B.B. King and such blues classics as Live at the Regal and Indianola, Mississippi Seeds.

These were the scenes that drew the ire of music critics, who were unfairly convinced that U2’s motives came from somewhere other than honest admiration and appreciation. But for a 14-year-old in 1988 in the first weeks of his freshman year of high school, Rattle and Hum — both the film and its soundtrack — proved to be an eye-opening introduction to music beyond my narrow scope of MTV and rock radio at the time. It was the first time I ever heard about A Love Supreme or experienced the string arrangements of Van Dyke Parks, who along with Benmont Tench on pump organ, provided the sweep of heartbreak that imbues the album and film’s closing number “All I Want Is You,” still very much considered U2’s greatest ballad. I never truly, honestly felt the shimmy of the Bo Diddley beat before I listened to “Desire,” a song that earns the distinct honor of being the first single to simultaneously top the mainstream and modern rock Billboard charts (and scored the group a Grammy in 1989). “God Part II” gave me a deeper appreciation for the solo work of John Lennon, particularly Plastic Ono Band, whose key track “God” U2 were responding to as Bono defends John and Yoko by taking a shot at controversial biographer Albert Goldman with the line — “I don’t believe in Goldman, his type like a curse/Instant karma’s gonna get him, if I don’t get him first.” The atmospheric beauty of “Heartland” — featuring Brian Eno on keyboards — was a perfect gateway to the more esoteric moments on The Unforgettable Fire and The Joshua Tree, especially for someone who went into the Rattle and Hum experience as something of a U2 skeptic.

RESOURCE: https://www.billboard.com/musi....c/rock/u2-rattle-and

⁣Peter Gabriel Secret World Live Full Concert - 1994 Italia
Songs list:
Come Talk To Me
Quiet Steam / Steam
Across The River
Slow Marimbas
Shaking The Tree
Blood Of Eden
San Jacinto
Kiss That Frog
Washing Of The Water
Solsbury Hill
Digging In The Dirt
Sledgehammer
Secret World
Don't Give Up
In Your Eyes

⁣Delicate Sound of Thunder is a concert film by Pink Floyd, filmed during their A Momentary Lapse of Reason Tour from 19 August 1988 to 23 August 1988 at the Nassau Coliseum in Uniondale, New York, with some additional footage from 21–22 June 1988 at the Place d'Armes of the Château de Versailles, Versailles, France. It was initially released on VHS, Video CD and Laserdisc formats. The film was nominated for a Grammy Award for Best Long Form Music Video at the 32nd Annual Grammy Awards.
The film was reissued on DVD and Blu-ray in 2019 as part of The Later Years 1987–2019 box set. This version was fully re-edited, remastered and restored from the original 35 mm film, and featured the fully remixed audio from the 2019 CD album. On 20 November 2020, a standalone version of the 2019 edit of the film was released, along with a deluxe box set containing both the DVD and Blu-Ray discs, as well as the album on CD and a 40-page booklet.
Track listing
1 "Shine On You Crazy Diamond (Part I intro)"
2 "Signs of Life"
3 "Learning to Fly"
4 "Sorrow"
5 "The Dogs of War"
6 "On the Turning Away"
7 "One of These Days"
8 "Time"
9 "On the Run"
10 "The Great Gig in the Sky"
11 "Wish You Were Here"
12 "Us and Them"
13 "Money" NTSC USA version only
14 "Comfortably Numb"
15 "One Slip"
16 "Run Like Hell"
17 "Shine On You Crazy Diamond (Parts II-V)" (audio only; end credits)
The band line-up:
David Gilmour - guitars, console steel guitar, vocals
Nick Mason - drums
Richard Wright – keyboards, piano, Hammond organ, vocals
with:
Tim Renwick – guitars, vocals
Jon Carin – keyboards, piano, programming, vocals
Scott Page – saxophones, oboe, guitar
Guy Pratt – bass, vocals
Gary Wallis – percussion, additional keyboards on "Comfortably Numb"
Machan Taylor – backing vocals, lead vocals on "The Great Gig in the Sky (third verse)
Rachel Fury – backing vocals, lead vocals on "The Great Gig in the Sky (first verse)
Durga McBroom – backing vocals, lead vocals on "The Great Gig in the Sky (second verse)
The vinyl edition of Delicate Sound of Thunder features nine additional performances not included on the original double album. This 23-track count is the same as the new double-CD set. Additionally, the three-album set is packaged in a slip case, includes a 24-page booklet and the albums are housed in poly-lined sleeves in individual album jackets. The albums are pressed on 180-gram vinyl and the tracks were remixed from the original master tapes.
Pink Floyd’s performances were taken from five August 1988 shows at the Nassau Coliseum in New York, on the heels of the release of 1987’s A Momentary Lapse of Reason – their first album after the departure of Roger Waters. The core group of David Gilmour, Nick Mason and Richard Wright was joined by Jon Carin, Tim Renwick, Guy Pratt, Gary Wallis and Scott Page, with Margret Taylor, Rachel Fury and Durga McBroom on backing vocals.
Delicate Sound of Thunder kicks off with “Shine On You Crazy Diamond, Parts 1-5” and then for the rest of the first album and Side A of the second album, there are 10 songs from Momentary Lapse of Reason. After the only song that dates to Pink Floyd’s early career, “One of These Days” from Meddle, the rest of the set features music from Dark Side of the Moon, Wish You Were Here, The Wall, and then one more song from A Momentary Lapse of Reason. There are no songs from Animals or The Final Cut.
Not only are there additional performances included on this reissue, but several tracks – “Sorrow,” “On the Turning Away,” “Comfortably Numb,” “Dogs of War,” “Another Brick in the Wall, (Part Two),” “Us and Them,” “Run Like Hell” and “Time” – feature unedited versions available now for the first time on vinyl. Occasional editing has been done to remove an ’80s-era musical gloss that sometimes marred the original performances, notably on “Money” and “Learning to Fly.”
Hearing these tracks in their remixed and in some cases dramatically changed ways, straight through on all three vinyl discs, is about the best official live album Pink Floyd audio experience – outside of the rare Pulse four-LP analog vinyl set.
Delicate Sound of Thunder is, in fact, one of only three official stand-alone live Pink Floyd albums. Pulse was released in 1995 as a four-LP or two-CD set from the tour to support The Division Bell, another post-Roger Waters project. The third is Is There Anybody Out There? The Wall Live 1980–81, released on CD in 2000. Prior to that, one disc of the 1969 double-album Ummagumma contained live material.
Neither Is There Anybody Out There? nor Pink Floyd: Live at Pompeii – originally issued in 1972 on film with a subsequent releases on DVD in 2000 and on compact disc in 2016 as part of The Early Years box – has been reissued on vinyl. Pink Floyd fans, I’m sure, would love to have all of this concert material on their turntables in the future.
There is also a wide assortment of live material from many periods in Pink Floyd’s career to draw from on the Early Years and Later Years sets that would make for excellent vinyl releases. Who knows what else lurks in the vast Pink Floyd archives? Releasing the new mix of A Momentary Lapse of Reason would be the most obvious next vinyl project that fans would love to see.

If you like it support the band buying it at : http://thearistocrats.spinshop.....com/Home/details/23

Guthrie Govan - Guitars
Brian Beller - Bass
Marco Minnemman - Drums