Album Title
U2
Artist Icon Achtung Baby (1991)
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4:36
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4:29
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Data Complete
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Total Rating

Star Icon (6 users)

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First Released

Calendar Icon 1991

Genre

Genre Icon Pop-Rock

Mood

Mood Icon Political

Style

Style Icon Rock/Pop

Theme

Theme Icon ---

Tempo

Speed Icon Medium

Release Format

Release Format Icon Album

Record Label Release

Speed Icon Interscope Records

World Sales Figure

Sales Icon 18,000,000 copies

Album Description
Available in: Country Icon Country Icon Country Icon
Achtung Baby er det sjuende studioalbumet fra den irske rockegruppen U2. Turneén til U2s forrige album, Rattle And Hum, ble avsluttet med ordene om at bandet måtte «go away and dream it all up again». Bandet følte de hadde stivnet i sitt musikalske uttrykk og ville hente ny inspirasjon. Valget falt på Berlin og Hansa Studios, der blant andre Lou Reed og David Bowie hadde spilt inn musikk på 1970-tallet. Men oppholdet ble ikke på langt nær så fruktbart som håpet, og bandet var nær ved å oppløses.

Det som reddet bandet og albumet var sangen «One». The Edge kom opp med et alternativt riff til sangen «Mysterious Ways», men istedet for å bruke det på denne sangen skrev Bono en ny tekst om samhold. Og gruppen ble enige om å legge stridigheten til side og dra hjem til Dublin med det materialet de hadde og jobbe videre derifra.

Albumet tok U2 inn i en ny retning. Lyden av industri og et Europa i forandring preget albumet, og førstesingelen «The Fly» har av Bono blitt beskrevet som lyden av fire menn som sager ned «the joshua three». Sangene var også mørkere enn før, med temaer som hjelpeløshet og brutte forhold. Under innspillingen ble gitaristen The Edge skilt, og Bono brukte dette i tekstene sine. Men det var også med dette albumet U2 oppdaget ironien og latterliggjorde sine egne roller som pretensiøse rockestjerner. Dette lot seg best merke på den påfølgende Zoo TV-turneen.

Albumet har tilbragt tilsammen 22 uker på VG-lista, med en 4. plass som beste notering.
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User Album Review
Or how U2 reinvented themselves into something deliciously post-modern. After taking being earnest to new levels with their part-studio, part-live homage to America, Rattle & Hum in 1988, U2 realised that to keep their exalted position as 'Greatest Rock Band In The World' from up-and-coming whippersnappers such as REM, they needed to do something radically different. So, glitter, glam and irreverence replaced large hats, furrowed brows and facial hair. Working again with their production team of Brian Eno and Daniel Lanois, they created a noise that was irresistibly modern yet absolutely classic. And for a while in rock, it was impossible to escape from the spell and influence of Achtung Baby.
Recorded in Berlin and Dublin, the album feels similar in many respects to David Bowie’s Low and “Heroes”, and, in Eno, they had a direct link with the period. Opening with The Edge’s guitar squall and electronics, this dense sound is irresistible; sometimes, this creates moods rather than hummable tunes, such as on “The Fly”, “Zoo Station”, Acrobat”, yet it also contains the grandstanding stadium-sized “Even Better Than the Real Thing”, the baggy-influenced “Mysterious Ways” and arguably the greatest U2 anthem, “One”. The relentless playing down of their previous seriousness (the title was a line from Mel Brooks’ The Producers) actually made U2 even more unassailable
Later, lots of other lesser groups donned make-up and went po-mo (INXS, Deacon Blue) poorly, but under the pretence of not caring very much, U2 painstakingly crafted an album of incredible depth and texture.


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