U2 looseness/Differerence JT and popmart

rob okorn ([email protected])
Thu, 16 Jul 1998 08:21:36 PDT

It seems some people define looseness as 'artistically wrong', they also
equate looseness with running around a stage waving a white flag when
the looseness in a musical performance is just that, the MUSICAL
looseness of the songs. Some people try to camouflage the current tame
tightness by trying to legitimize it with 'mature and more focused
energy' which demonstrates that people simply quotes from the band at
face value. In essence it's synonymous with trading passion for a tight
tamer approach, not poise. It seems some people equate looseness with
not being able to 'concentrate on the intricacies and nuance of the
song' yet even something like Joshua on Fire's 'Mothers of the
Disappeared', 'WOWY', 'MLK' demonstrate how much attention to naunce and
detail Bono and the lads pay. Throw in the excellent vocal tone with
the latter traits and you have a compelling performance that has
infinite replay value given the peak performance. The other end of the
spectrum is the Cork show in terms of it's super
looseness so they were more than capable of using different palettes.
The looseness issue resides in the fact that the Pop tracks inherently
aren't conducive to as much looseness, true, but it has also permeated
itself in the band's playing of the older songs. I guess some people
can't get enough of the popheart ''Where the Streets...', such a shame
when the rock's Hottest Ticket version is infinitely better. I'm sure
even the most fanatical popmfan will be able to decipher that but the
song comparison is the same across the board.
Looseness and spontaniety in the MUSICAL performance enhances the
performance, not slower tighter plodding down-pitched versions with
vocal nuance, texture, tone, range that is a far cry from peak levels.
People latch onto the U2 icon factor but fail to see that it's not a
reasonable facsimile.
Music evolution is great, it thwarts stagnation, but again people latch
onto the marketing and mag hype in terms of 'highly experimental'
'extreme creativity' 'innovative', I guess people accept things at face
value. What the mags or reviewers say is to an extent irrelevant if
you're objective, but the same people who use that argument use the
'experimental' excuse.
Pop's accessible sounds are closer to formulaic than anything else.
Throughout the popmart tour there would be posts like 'hey Miami is alot
better live than I thought', no kidding, guess why, because it's also
one of the loosest Pop tracks, it doesn't have the soaring melodies and
formula hoos or tame production of the other tracks.
I suppose the people who see the validity in any of my arguments will
keep them to themselves while the less objective will churn out
expletives or other lingo of that ilk in a more tamer light.

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This archive was generated by hypermail 2.0b2 on Thu Jul 16 1998 - 08:24:35 PDT