{"id":38161,"date":"2004-11-12T00:00:00","date_gmt":"2004-11-12T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-unforgettable-fire\/"},"modified":"2004-11-12T00:00:00","modified_gmt":"2004-11-12T00:00:00","slug":"the-unforgettable-fire","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-unforgettable-fire\/","title":{"rendered":"The Unforgettable Fire"},"content":{"rendered":"<p>U2 had only hinted at expanding their sonic palette on 1983&#8217;s brilliant  <i>War<\/i>, with the closing song &#8220;40&#8221; showcasing a softer side that broke from the standard post-punk sound. But they were poised to break through to the big time, and it started to happen with the brilliant <i>Unforgettable Fire.<\/i><\/p>\n<p>To call this disc the link between &#8220;Sunday Bloody Sunday&#8221; and <i>The Joshua Tree <\/i>is to do it a grave disservice. This album has its own feel, a sound that can be as warm or as gray as the cover, and lyrics that hint at a broader range of topics &#8211; some spiritual, some historical, some personal. What the band loses in punk cred it makes up in sheer skill and heart.<\/p>\n<p>It&#8217;s not a stretch to say that the Edge&#8217;s familiar guitar sound began here, awash in echo and effects, propelling songs like &#8220;Pride (In the Name of Love)&#8221; beyond any of U2&#8217;s previous outings. The ringing riffs carry Bono&#8217;s vocals and a simple call-out to those who came with message of peace and who were killed because of it, most notably Jesus Christ and Martin Luther King, Jr. MLK is referenced again in a short elegy at the end of the album, a curious but effective closer.<\/p>\n<p>Imbuing the post-punk style of <i>War <\/i>with the newfound production and sound techniques results in the propulsive &#8220;Wire&#8221; and its lesser cousin &#8220;Indian Summer Sky,&#8221; both underrated album tracks. &#8220;Promenade&#8221; and &#8220;4th of July&#8221; are languid mood pieces, the latter an instrumental, while the opening &#8220;A Sort of Homecoming&#8221; has a sweeping, anthemic sound, although the lyrics don&#8217;t quite reach the heights of the sound. The only misstep is the overly long, silly and outright weird &#8220;Elvis Presley and America.&#8221; Just skip it. <\/p>\n<p>Both sides are built around twin peaks of two of U2&#8217;s best songs of all time. The first is the title track, which starts with a moody arpeggio before Larry Mullen Jr.&#8217;s drums burst forth. The song is then carried by Adam Clayton&#8217;s front-loaded bass and liquid, restrained guitar fills. Bono&#8217;s voice then cuts through: &#8220;Walk on by \/ Walk on through \/ And don&#8217;t look back.&#8221; Were it not for a bridge section that uses some cheesy synthesizer work, this would be an undisputed masterpiece; as it is, it&#8217;s simply stunning.<\/p>\n<p>But then the powerful &#8220;Bad&#8221; rolls around and you realize U2&#8217;s true potential has been realized. The song is only two chords and six minutes but it wrings as much power and majesty out of it as possible; written in memorial of a friend, Bono sings his heart out. The live version off <i>Wide Awake in America <\/i>is even better, if you can find it.<\/p>\n<p>U2 would reach even greater heights with <i>The Joshua Tree<\/i>, but where that sometimes felt like an overt attempt at success, <i>The Unforgettable Fire <\/i>effectively sublimates the original U2 sound with a new direction and comes out with a masterpiece.<\/p>\n","protected":false},"author":45,"featured_media":26867,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[5708],"rating":[5646],"class_list":["post-38161","review","type-review","status-publish","has-post-thumbnail","artist-u2","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/45"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=38161"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/38161\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/26867"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=38161"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=38161"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=38161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}