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| Song Title | Time | Price | ||
|---|---|---|---|---|
| Play | 1. No Line On The Horizon | 4:12 | $0.99 |  |
| Play | 2. Magnificent | 5:24 | $0.99 | |
| Play | 3. Moment Of Surrender | 7:24 | $0.99 | |
| Play | 4. Unknown Caller | 6:03 | $0.99 | |
| Play | 5. I'll Go Crazy If I Don't Go Crazy Tonight | 4:14 | $0.99 | |
| Play | 6. Get On Your Boots | 3:25 | $0.99 | |
| Play | 7. Stand Up Comedy | 3:49 | $0.99 | |
| Play | 8. FEZ-Being Born | 5:17 | $0.99 | |
| Play | 9. White As Snow | 4:41 | $0.99 | |
| Play | 10. Breathe | 5:00 | $0.99 | |
| Play | 11. Cedars Of Lebanon | 4:13 | $0.99 | |
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Customer Reviews
Most Helpful Customer Reviews
82 of 91 people found the following review helpful
Format:Audio CD
This review is for the deluxe box set. Since the cd is the same the question is whether you want to pay anywhere from 65 to 95 dollars for the extras. You get 2 posters - 1 a large reproduction of the album cover that to me has gotten boring pretty quickly. The other side of that poster and the other smaller poster show the band standing around looking serious and important as they are prone to do. There is a large sharp-looking high-quality white hardcover book with some nice pictures and an interview with the band. I've read it through once and enjoyed it, and will probably read it once or twice again before my death hopefully many years from now. I guess I bought this set primarily for the dvd by Anton Corbijn, a film that is played over the new U2 songs. Mostly it shows a man riding his motorcycle and walking. The only U2 content is the band playing Magnificent on a staticky cafe television, really too distracting to watch. I want to say that watching this dvd was as exciting as watching paint dry but I think that would be insulting to paint. I don't think I will ever watch it again, even if I live a long long time. All of these things are packed in a big mother of a box (12" x 9" x 2"). I absolutely love the NLOTH cd, but with this box set and with U2 bigger is not always better. Like with their new stadium tour called U2 360 - the band will play from a stage "in the round" so more fans can see the band (and their backsides) than would normally fit in a 60,000 person stadium. As far as the De-luxe edition it currently takes up a large space on my bookshelf, always reminding me that I could have bought the regular cd for $10. UPDATE ONE YEAR LATER 3/20/10: Another thing that bugs me about these "De-Luxe, Limited Edition, Collectors Items" is that they never are. One year later you could pick up a new copy here on amazon for $25, a third of the original price. Any collectors item or high priced deluxe edition mass produced for a major artist will NEVER go up in value.
51 of 58 people found the following review helpful
Format:Audio CD
If you want to nit-pick that this album isn't Joshua Tree or Achtung Baby, and is thus by default a steaming pile of cow manure, go right on ahead and live in your own pool of negativity. No this isn't those albums. Those are masterpieces, pure and simple.
OK, for this album just sit back, put on the head phones and soak it in. Like any U2 album, it plants a seed, sprouts, grows and matures if you listen to it more than a simple fast forward on your ipod like many shortened attention span detractors probably did. I believe it lives in the top 5 of the band's compilations. Sonically, the Edge continues to expand his boundaries. The man has given us a lifetime of musical gifts. How many other musicians can continue to create interesting music after 30 years! Bono continues to spew his classic Bono-isms. The words, poetry, and one-liners that stick in your head and make you think. I find his lyric effort the best since 1991. As usual, Clayton and Mullen Jr keep things tight and round out the experience.
My favorites?
1) Magnificent - might place in their top 10 songs. Made the hair on the back of my neck stand up. Like Streets have No Name did when I first heard it.
2) Being Born - Interesting direction in sound that I hope they explore more in the upcoming sister album.
3) Unknown Caller - Vintage U2 take on things. your personal interpretation necessary
4) I'll Go Crazy - Yeah, its got to be the first song played at the live show
5) Moment of Surrender - Might live long as one of their best. Like "One" did after AB.
I've loved this band since the War days. I can't believe they are still pumping out great music! Thank you U2!
OK, for this album just sit back, put on the head phones and soak it in. Like any U2 album, it plants a seed, sprouts, grows and matures if you listen to it more than a simple fast forward on your ipod like many shortened attention span detractors probably did. I believe it lives in the top 5 of the band's compilations. Sonically, the Edge continues to expand his boundaries. The man has given us a lifetime of musical gifts. How many other musicians can continue to create interesting music after 30 years! Bono continues to spew his classic Bono-isms. The words, poetry, and one-liners that stick in your head and make you think. I find his lyric effort the best since 1991. As usual, Clayton and Mullen Jr keep things tight and round out the experience.
My favorites?
1) Magnificent - might place in their top 10 songs. Made the hair on the back of my neck stand up. Like Streets have No Name did when I first heard it.
2) Being Born - Interesting direction in sound that I hope they explore more in the upcoming sister album.
3) Unknown Caller - Vintage U2 take on things. your personal interpretation necessary
4) I'll Go Crazy - Yeah, its got to be the first song played at the live show
5) Moment of Surrender - Might live long as one of their best. Like "One" did after AB.
I've loved this band since the War days. I can't believe they are still pumping out great music! Thank you U2!
26 of 31 people found the following review helpful
Format:Audio CD
No Line on the Horizon is an inspired and moving work. The record is imbued with the sense of urgency, passion and clarity most reminiscent of U2's 1983 release `War'. When U2 wrote `War', it had been a particularly difficult and violent time in Ireland's history, and U2's response was to tell stories about the personal journey of those caught up in the crossfire created by forces bigger than themselves. This record captures and updates that theme on a global scale, as the first decade of the 21st century has been marked by war, poverty, religious and ethnic division, economic collapse, ominous climate change, lost opportunities and an emerging hope that people can ultimately seize their own destinies, write their own future, and break away from the destructive patterns of the past. No Line on the Horizon is the right record at the right time for U2 and its audience.
Musically, U2 has drawn from its own past to create a new sound. Though not as striking a departure as Achtung Baby was from its predecessors, U2 has eclectically lifted from its own past to create a more varied and less predictable sound. U2 has incorporated more of the ambient/electronica experimentation they did on Pop, Passengers, Zooropa, Achtung Baby and the Million Dollar Hotel, through the keyboards, samples and effects of Brian Eno, Daniel Lanois and The Edge. The role of Eno as primary keyboard player has added a new dimension, complexity and power to the songs. Many of the band's jam sessions are not relegated to the cutting room floor but are incorporated into the tracks, making them longer, less predictable, and an interesting ride. Edge has retained his traditional alternative guitar rock stylings (drones, suspended chords with added 7ths and 9ths, simple note melodies, choppy staccato and echo for effect), and has also including the guitar/keyboard melodies that were a feature of Atomic Bomb (e.g., City of Blinding Lights). However, Edge has also drawn on classic rock power chords and blues based riffs to incorporate a more classic rock guitar sound into the U2 palate.
Bono has never been better as a singer or communicator, and this is perhaps his best performance from start to finish. Where Edge probably carried the last few records, on this one, he is happy to step back a little and let the band (with Eno/Lanois as effectively new band members) assert itself, and to let Bono steer the ship. However, make no mistake, the sound is unmistakably U2, and the result is a soulful modern rock opera, along the lines of Pink Floyd's The Wall, The Who's Tommy, Queen or Coldplay's Viva La Vida. Only time will tell as to where this record ranks among U2's best, but No Line on the Horizon deserves to be included in that conversation.
Now for the Songs:
1. No Line On The Horizon - A heavy rock/electronica hybrid track that is the closest that U2 has ever come to sounding like Radiohead. Adam Clayton drives this track by playing 16th notes on the bass, while Larry Mullen finds a connection with North African rhythms and his own march drumming patterns to create the mood of the track. Edge's guitar is heavily distorted playing power chords with some addition of minor key note melodies. The chorus provides the melodic break, and the middle section follows chord progressions similar to U2's arena rock sound of the last decade (e.g., Walk On, Electrical Storm). Bono screams his way through the verses like an old blues singer in hot, muggy weather. The song ends with a pretty melodic duet between Edge on guitar and Eno on keyboards. U2 have never done a track like this, and this opener is a real tone and theme setter.
2. Magnificent - An aptly named track. A song that starts out like an 80's alternative experimental track builds and explodes into a grandly majestic arena pop rock song, with a hints of a Bee Gees disco era beat, a funky/disco Clayton bass line, keyboard backing tracks reminiscent of `Lemon', Simple Minds, or U2's great 90's dance remixes (e.g., their cover of `Night and Day'), anchored by Edge's signature jangly rhythm guitar melodies (the guitar is in the mid-pickup lightly distorted tone that defined U2 in the Unforgettable Fire-Joshua Tree era). Bono sings with the confidence of a man driving a sports car that can pretty much drive itself. There is a lot of depth to this song and interesting melodic hooks. This is an instant U2 classic and probably one of their best pop songs.
3. Moment of Surrender - This track is an electronica ballad with a medium tempo dance beat in the spirit of `So Cruel' from Achtung Baby. The arrangement is sparse as Adam Clayton's bass is the track's centerpiece. His bass playing is reminiscent of the tasty licks he came up with on Zooropa and Pop. The chorus is gospel meets electronica. The line `I did not notice the passers-by and they did not notice me' stands out. Another memorable U2 anthem.
4. Unknown Caller - Edge's guitar sound is classic 1980's U2, full of jangly, echoed melodies, drones with added 7ths and really carries this song. Larry Mullen maintains his focus on the toms and keeps the track in ballad form. The verse is a hybrid of the chords of Staring at the Sun and the vocals of The Ground Beneath Her Feet. However, it's in the joyful, theatrical, imploring `take this smack in the face and wake the hell up' tone of the chorus over Edge's melodies and the pulsating rhythm section that lend a power that could make this track this generation's `Bad'. Unknown Caller is a very personal and life affirming song that feels like the emotional center of this record. Brian Eno's keyboards and the string arrangement allow Edge to handle the melodies and a great guitar solo at the end to close one of U2's most satisfying achievements.
5. I'll Go Crazy If I Don't Go Crazy Tonight - a radio friendly rock ballad with a mid-tempo, danceable beat that is reminiscent of `Walk On' or tracks from Atomic Bomb (e.g., Original of the Species), but with some interesting twists. The track was mixed by Will I Am and there is a middle section which sounds like a 70's rock opera. The thundering chorus will blow the roof off of most arenas when played live.
6. Get On Your Boots - a fast paced, subversive glam-rock single with a driving, catchy guitar riff that transforms itself into a hybrid of electronica and classic rock. It is the anti-Vertigo in that instead of using a guitar riff to write a conventional rock song, U2 hooks you with the riff and then takes you places you don't expect to go...from a flamenco influenced Spanish rock/Pulp Fiction bridge, Beatles like harmonies, to a fist pumping electronica wall of sound (`Let me in the Sound') there is nothing on the radio that sounds like this track.
7. Stand Up Comedy - U2 goes classic rock. They've never done a track like this, as the main riff and verse could be from an early Led Zeppelin or Aerosmith record. The song itself probably echoes something that Oasis might do. Comparisons aside, after a few listens, the quality of the track begins to ring through. Adam Clayton's funk bass is strong and the transitions to the bridge and chorus are somewhat unexpected and compelling. The line "Stop helping God across the road like a little old lady" is worth the price of the CD itself.
8. FEZ-Being Born - U2 veers into Peter Gabriel territory on this track, as a lengthy electronica intro with hints of North African melodies and rhythms gives way to an emphatic and grand rock song with Edge playing muffled 16th beat notes on the roots of power chords to create the sense of urgency on a long journey in tracks like `Red Rain' or `Growing Up'.
9. White As Snow - A traditional hymn reworked as a guitar based ballad with selectively lush arrangements finds singing wistfully about a soldier in Afghanistan reflecting on the far away land from which he came and the barren land in which he is. The mood is somber and it appears from the lyrics that the soldier is wounded and perhaps dying.
10. Breathe - U2 channels REM's `New Adventures in Hi Fi' as Bono talks and sings like a beat poet, and the band provide a raw, inspired rock song that has quickly became a fan favorite and a real cracker live. Breathe is one of the best rock tracks U2 has in its arsenal.
11. Cedars of Lebanon - The record closes with a quiet ballad led by Larry Mullen's rhythmic drums, Edge's clean, mid-tone rhythm guitar and Bono singing in a low tone from the perspective of a rugged, worn and weary war correspondent. The track was produced by Daniel Lanois and has the trademark soft, minor key guitar sound that he helped build in the 1980's. This is one of U2's better sounding ballads. One thinks that if Eno/Lanois had only produced `Wake Up Dead Man' from Pop, that that track would've sounded as good as this one does.
Musically, U2 has drawn from its own past to create a new sound. Though not as striking a departure as Achtung Baby was from its predecessors, U2 has eclectically lifted from its own past to create a more varied and less predictable sound. U2 has incorporated more of the ambient/electronica experimentation they did on Pop, Passengers, Zooropa, Achtung Baby and the Million Dollar Hotel, through the keyboards, samples and effects of Brian Eno, Daniel Lanois and The Edge. The role of Eno as primary keyboard player has added a new dimension, complexity and power to the songs. Many of the band's jam sessions are not relegated to the cutting room floor but are incorporated into the tracks, making them longer, less predictable, and an interesting ride. Edge has retained his traditional alternative guitar rock stylings (drones, suspended chords with added 7ths and 9ths, simple note melodies, choppy staccato and echo for effect), and has also including the guitar/keyboard melodies that were a feature of Atomic Bomb (e.g., City of Blinding Lights). However, Edge has also drawn on classic rock power chords and blues based riffs to incorporate a more classic rock guitar sound into the U2 palate.
Bono has never been better as a singer or communicator, and this is perhaps his best performance from start to finish. Where Edge probably carried the last few records, on this one, he is happy to step back a little and let the band (with Eno/Lanois as effectively new band members) assert itself, and to let Bono steer the ship. However, make no mistake, the sound is unmistakably U2, and the result is a soulful modern rock opera, along the lines of Pink Floyd's The Wall, The Who's Tommy, Queen or Coldplay's Viva La Vida. Only time will tell as to where this record ranks among U2's best, but No Line on the Horizon deserves to be included in that conversation.
Now for the Songs:
1. No Line On The Horizon - A heavy rock/electronica hybrid track that is the closest that U2 has ever come to sounding like Radiohead. Adam Clayton drives this track by playing 16th notes on the bass, while Larry Mullen finds a connection with North African rhythms and his own march drumming patterns to create the mood of the track. Edge's guitar is heavily distorted playing power chords with some addition of minor key note melodies. The chorus provides the melodic break, and the middle section follows chord progressions similar to U2's arena rock sound of the last decade (e.g., Walk On, Electrical Storm). Bono screams his way through the verses like an old blues singer in hot, muggy weather. The song ends with a pretty melodic duet between Edge on guitar and Eno on keyboards. U2 have never done a track like this, and this opener is a real tone and theme setter.
2. Magnificent - An aptly named track. A song that starts out like an 80's alternative experimental track builds and explodes into a grandly majestic arena pop rock song, with a hints of a Bee Gees disco era beat, a funky/disco Clayton bass line, keyboard backing tracks reminiscent of `Lemon', Simple Minds, or U2's great 90's dance remixes (e.g., their cover of `Night and Day'), anchored by Edge's signature jangly rhythm guitar melodies (the guitar is in the mid-pickup lightly distorted tone that defined U2 in the Unforgettable Fire-Joshua Tree era). Bono sings with the confidence of a man driving a sports car that can pretty much drive itself. There is a lot of depth to this song and interesting melodic hooks. This is an instant U2 classic and probably one of their best pop songs.
3. Moment of Surrender - This track is an electronica ballad with a medium tempo dance beat in the spirit of `So Cruel' from Achtung Baby. The arrangement is sparse as Adam Clayton's bass is the track's centerpiece. His bass playing is reminiscent of the tasty licks he came up with on Zooropa and Pop. The chorus is gospel meets electronica. The line `I did not notice the passers-by and they did not notice me' stands out. Another memorable U2 anthem.
4. Unknown Caller - Edge's guitar sound is classic 1980's U2, full of jangly, echoed melodies, drones with added 7ths and really carries this song. Larry Mullen maintains his focus on the toms and keeps the track in ballad form. The verse is a hybrid of the chords of Staring at the Sun and the vocals of The Ground Beneath Her Feet. However, it's in the joyful, theatrical, imploring `take this smack in the face and wake the hell up' tone of the chorus over Edge's melodies and the pulsating rhythm section that lend a power that could make this track this generation's `Bad'. Unknown Caller is a very personal and life affirming song that feels like the emotional center of this record. Brian Eno's keyboards and the string arrangement allow Edge to handle the melodies and a great guitar solo at the end to close one of U2's most satisfying achievements.
5. I'll Go Crazy If I Don't Go Crazy Tonight - a radio friendly rock ballad with a mid-tempo, danceable beat that is reminiscent of `Walk On' or tracks from Atomic Bomb (e.g., Original of the Species), but with some interesting twists. The track was mixed by Will I Am and there is a middle section which sounds like a 70's rock opera. The thundering chorus will blow the roof off of most arenas when played live.
6. Get On Your Boots - a fast paced, subversive glam-rock single with a driving, catchy guitar riff that transforms itself into a hybrid of electronica and classic rock. It is the anti-Vertigo in that instead of using a guitar riff to write a conventional rock song, U2 hooks you with the riff and then takes you places you don't expect to go...from a flamenco influenced Spanish rock/Pulp Fiction bridge, Beatles like harmonies, to a fist pumping electronica wall of sound (`Let me in the Sound') there is nothing on the radio that sounds like this track.
7. Stand Up Comedy - U2 goes classic rock. They've never done a track like this, as the main riff and verse could be from an early Led Zeppelin or Aerosmith record. The song itself probably echoes something that Oasis might do. Comparisons aside, after a few listens, the quality of the track begins to ring through. Adam Clayton's funk bass is strong and the transitions to the bridge and chorus are somewhat unexpected and compelling. The line "Stop helping God across the road like a little old lady" is worth the price of the CD itself.
8. FEZ-Being Born - U2 veers into Peter Gabriel territory on this track, as a lengthy electronica intro with hints of North African melodies and rhythms gives way to an emphatic and grand rock song with Edge playing muffled 16th beat notes on the roots of power chords to create the sense of urgency on a long journey in tracks like `Red Rain' or `Growing Up'.
9. White As Snow - A traditional hymn reworked as a guitar based ballad with selectively lush arrangements finds singing wistfully about a soldier in Afghanistan reflecting on the far away land from which he came and the barren land in which he is. The mood is somber and it appears from the lyrics that the soldier is wounded and perhaps dying.
10. Breathe - U2 channels REM's `New Adventures in Hi Fi' as Bono talks and sings like a beat poet, and the band provide a raw, inspired rock song that has quickly became a fan favorite and a real cracker live. Breathe is one of the best rock tracks U2 has in its arsenal.
11. Cedars of Lebanon - The record closes with a quiet ballad led by Larry Mullen's rhythmic drums, Edge's clean, mid-tone rhythm guitar and Bono singing in a low tone from the perspective of a rugged, worn and weary war correspondent. The track was produced by Daniel Lanois and has the trademark soft, minor key guitar sound that he helped build in the 1980's. This is one of U2's better sounding ballads. One thinks that if Eno/Lanois had only produced `Wake Up Dead Man' from Pop, that that track would've sounded as good as this one does.
Most Recent Customer Reviews
Great box set
I am very happy with this box set, which I gave as a gift. It includes a lot of items, not just CDs.
Published 4 months ago by TL
Amazing
Love the album, love it on vinyl. You can't beat U2 on vinyl! God Bless.
Published 21 months ago by Chadd Bryant
The definitive version of the album with some very good songs.
The packaging is a real treat and quite worth it to me, given that it comes with not only the deluxe version CD, but also a DVD, and hardcover book. Read more
Published on March 1, 2010 by Iqbal Faizer
Good CD and DVD, nice BOX set.
This U2 is a mix bag. It's something from the 90's mixed with what they did on the last records.
Published on January 18, 2010 by S. Nascimento
The King is Bare-Naked!
Sometime people try very hard to like something. A good example would be a new album by a very famous band with a long reputation. Read more
Published on December 22, 2009 by A. Hecht
U2 on the Horizon
After two albums that were more back to the roots of U2, the band has set out to explore the landscape of sound, trying to capture its infinite qualities in these bottles known as... Read more
Published on November 23, 2009 by Bernard K. Garceau III
Album much better than the singles
Maybe it's just my tastes, but I'd take No Line over any U2 album since Joshua Tree. I do have a preference for hard rock and electronica. Read more
Published on November 23, 2009 by Gregory
The Rise and Fall of the Roman Empire
It's so strange. I'm holding No Line On The Horizon in my hands, listening to the fettered sound of Bono's voice sweeping around with the Edge, Adam and Larry in a a manner... Read more
Published on September 12, 2009 by C. G. Rutherford
five years?
I have to say,five years for this? I love their music,but was highly disappointed to hear this effort by them. Read more
Published on August 30, 2009 by C. Cox
All Great Albums Take Some Time
When I first heard U2's latest album, "No Line On The Horizon", I didn't like it that much. However, when I first heard Radiohead's "Ok Computer," or Pink Floyd's "Wish You Were... Read more
Published on July 14, 2009 by M Fine
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