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U2 News » "Get On Your Boots" richtiger Name der neuen Single

Nun ist es auch endlich amtlich, dass die erste Single aus dem Album 'No Line On The Horizon' 'Get On Your Boots' heißen wird, und nicht wie schon oft geschrieben 'Get Your Boots On' oder 'Sexy Boots'. In 'Alan's Music Geek Blog' erzählt Alan Cross, Moderator, Programmdirektor und Chefkurator von ExploreMusic, wie er zum erstem Mal die neue Single  gehört hat. Seine Eindrücke könnt ihr hier (Link) lesen. Desweiteren verdichten sich die Gerüchte aus vielen Quellen, dass man den Song zum ersten Mal (offiziell) am 19. Jänner 2009 hören können wird.

"Get On Your Boots” – A First Listen

Sunday, January 11, 2009

"Got it. 3pm?"

That was all, Paul, the record rep from
Universal and fellow U2 fan, had to say.  A highly-encrypted, heavily
watermarked digital copy of the first single from No Line on the Horizon had arrived in Canada.

For the last 20-plus years, a first listen to
anything from a U2 album has always been surrounded by much ritual and
security.  The first place I got to hear The Joshua Tree in 1987 was at
the now defunct McLaughlin Planetarium in Toronto. 

As the opening drone of "Where the Streets Have No Name Swelled,” the
lights went down and the stars came out.  When the Edge’s guitar began
to chime, the whole sky started to rotate.  It was a spectacular
introduction to what would become a career-defining introduction.

Achtung Baby was a more low-key
affair with a record company representative came in and played it for
everyone—but not before we are treated to pizza and beer.  "The Fly”
kind of confused us at first. 

This was the same band that gave us The Joshua Tree?  What’s with all
these new sounds?  It took a little while to get used to this version
of U2, but now many (including me) believe that Achtung remains the band’s best record.

Zooropa arrived with no notice
whatsoever.  It just…showed up on day in May 1993. Bands and labels
could pull those kinds of surprises before the Internet.  Funny that I
can’t remember the first single. I think it was "Numb,” but I’m not

The unveiling of Pop was a much
bigger deal with a satellite-delivered press conference from (of all
places) a K-Mart in NYC. But all the hype couldn’t convince us that
"Discotheque” was what all had been waiting for. 

U2 fans hoped that there’d be something better on the album. There wasn’t. At least the PopMart tour was interesting.

Just after Labour Day 2000, Paul brought in "Beautiful Day” from All That You Can’t Leave Behind on a CD-R, something that was still kind of new.  I remember being relieved that U2 had decided to sound like U2 again.

I didn’t like "Vertigo” the first time I
heard it. It was late August 2004 and Paul brought the CD-R to an
industry golf tournament. He made me wait all eighteen holes before we
sat in my car and listened to the song four times in a row. 

It took another month before I began to get it. It’s now one of my
three all-time U2 favourites (for the record, the other two are "Zoo
Station” from Achtung Baby and the live version of "Bad” from Wide Awake in America. The long version of "All I Want Is You” and "40” aren’t bad, either.)

Now it was time to hear where the band was going in Year 33 (!!!) of their career.

Paul showed up in the office holding an
unassuming, unlabeled CD-R at 3:01. By 3:04, we had all heard the first
sample of U2 v2009.

I only got to hear "Get On Your Boots” (NOT
"Sexy Boots” or "Get Your Boots On,” as reported earlier) so forgive
the lack of detail. But here’s what I can tell you:

There are some new sounds that could only
come from an Eno/Lanois production, which left me with a feeling
similar to what I experienced when I heard "The Fly” for the first

This is NOT a back-to-basics guitar/bass/drums track like "Vertigo” or
even "Beautiful Day.” There’s some definite sonic evolution going on

It does rock. To find the last time a first
single was a ballad, you have to go all the way back to "With Or
Without You.”  That worked out all right, but I can’t imagine U2 doing
that again in the prevailing musical environment. 

Bono manages to rhyme "submarine” with "gasoline” and says something about "don’t talk to me about the state of nations.”  

There’s a portion of the melody that somehow
reminds me of the cadence of the verses in Elvis Costello’s "Pump It
Up,” but as I write this, I’m not completely sure. Still, part of the
song reminded me of…something else. 

Did I like it?  I didn’t hate it—but I need
to hear it more before I really make up my mind about what I think
about….anything to do with the song. 

Like so many U2 songs—especially ones
produced by an Eno/Lanois/Lilywhite nexus—it’s filled with far more
subtleties and complexities that anyone can hear with one listen. I
need to examine it, ponder upon it and otherwise live with it. 

But that’s the cool thing about U2. There’s
just so much THERE there that it can take a while to sort through it
all. Suffice it to say, however, that if you’re a U2 fan, you’ll be

If the song isn’t on the radio by the end of
this week, I’ll be shocked.  I first heard bits of "How to Dismantle an
Atomic Bomb” from a broadcast on a Croatian radio station. There was a
leak at the record pressing plant and somehow this dude got himself a
big scoop.

Tomorrow, I’ll tell you why that was a dumb, dumb move.

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