‘It was like giving birth’: Andy Barlow on producing new U2 record Songs Of Experience

The follow-up to 2014’s Songs Of Innocence is out on Friday, December 1
DANIEL GUMBLE

Raising the bar: Andy Barlow

Producer, mixer and sound engineer Andy Barlow has spoken exclusively to PSNEurope about his production work on new U2 album Songs Of Experience and how he also became the legendary rock outfit’s live sound design consultant.

Released Friday, December 1, Songs Of Experience is U2’s 14 studio album and is the follow up to 2014 album Songs Of Innocence. Already being hailed by critics as one of the band’s best records in years, Songs Of Experience sees U2 incorporate the many talents of some of the most revered producers in the game, including Barlow, Jacknife Lee, Ryan Tedder, Steve Lillywhite and Jolyon Thomas.

Barlow’s relationship with U2, however, extends beyond the confines of the studio, having served as live sound design consultant for some the band’s notoriously spectacular shows.

Here, Barlow tells us how he wound up hitting the road with one of the biggest rock bands of all time, what it’s like to work with Bono in the studio and why making Songs Of Experience was “like giving birth”…

You’ve been working exclusively with U2 for the past two years as producer and mixer and as a consultant on sound design for their live tour. How did that come about?

Becoming their live sound design consultant happened quite casually. I was on tour with them as producer and Bono said, There are a few things we need help on including our walk-on music, would you be interested in helping us? And a few days later he said, You’re one of the live creative team now, and that was it. Because I’m an artist as well, and been on stage lots of times, I guess I was the obvious candidate to try out for it. Bono feels that when you are in the studio and the red light comes on, you are more forced to come out with ideas because that red light is on. So writing and recording on tour, in dressing rooms, backstage, the red light isn’t on and ideas flow much more effortlessly.

Tell us about the live role. The band are known for their spectacular live shows – were their any particularly unusual requests or challenges?

I’d never done the live role before and it’s a really long show. U2’s live show is over 2 hours long, and on some gigs it would be extremely demanding on Bono’s voice. Their schedule was pretty gruelling so I needed to step in and help. I would think about set list sequencing and change keys to spare his voice, listen to his voice on every section and speak to him about which parts were most demanding on his vocal chords, change the running order and find new ways of singing parts of the song. The extremes from low baritone to falsetto is much more of a strain on his vocals than anything else, so it was about looking at that and lessening the intervals and placing them differently on the live set so that we could get through the show without his voice deteriorating. Bono needed creative ways to retain his vocal power, and he was to be able to finish the yearlong tour around the world.

You produced five tracks on the new record. What was that process like?

It was bit like giving birth. The thing about U2 is if you think you know what it’s like to produce bands, working with U2 would confuse you because they do things completely differently to everyone else. For example, usually you have to win the trust of the musicians before they let you get stuck in with directing, but Bono from the first moment was without ego. He is more open to new ideas than anyone that I’ve ever worked with. When Bono would come in, he would come in with a verse, then another verse, then another verse, and I’d record all of them and Bono would then say, It’s up to you, you pick the one you like’.

Trying to write and record an album while rehearsing for shows is hard for a band, but as we progressed, it spearheaded the whole creative tsunami that followed. When we got to LA, after the tour we started to get a lot done. We were in Rick Rubin’s studio and everyone was focussed on the record. Being on the road, you can get each member for just a few minutes at a time, and we’re in a dressing room where there is not enough space to record as a band. So I would be piecing individual pieces of a jigsaw puzzle, rather than having the overview of recording together as a band. Apart from Ireland, LA was the first time properly that we could record the band all together.

Talk us through the gear and the studio you used to make those tracks?

We had a large UAD rig, they really like everything to be plugged in and ready to play, so every morning we would sound check guitars, keys and bass, which means having a lot of inputs. I would un-mute a channel and it would be ready to record. On the UAD rig I’ve got every plugin that it comes with. Bono really loved singing in front of speakers with a SM58, this would be run into a Universal Audio 6176, into an UAD Apollo interface via a Manley Vari Mu compressor. The drums would go into Neve 5024 Mic pre amps. I’ve been monitoring on Genelec and PMC monitors. Guitars would come into me from The Edge’s amps via Royer ribbon microphones and SM57s. Bass I would take with Adam [Clayton’s] Vintage Ampeg recorded with a Shure SM7 mic via an L2 Compressor. For The Edge’s vocals, we did lots of them again handheld, with a Telefunken M80 microphone, again via a Neve Mic pre, which worked really well on his voice.

How involved were the band on the technical side of things in the studio? How involved is Bono in mic selection, mixing etc?

They don’t give a damn, they are very happy to take my lead! The Edge is very technical and is always coming up with signal path changes and effects and processing his guitar in different ways and is a genius at it. But the band didn’t get involved in the technical side of things really; they left it to me to choose the technical equipment So they could focus on the creativity

How much pressure and expectation is there going into the studio with a band the size of U2?

Everyone on their team is the best at what they do, so it does set the bar very high. The band were extremely busy, so sometimes I only got them for an hour a day, so there would be a lot of my interpretation to get a feel for how the band felt for how I was progressing when they came in for the next session. I felt some pressure, mostly from myself for wanting to excel at it and not get lost. There was a lot of heightened pressure, not so much from them, but the enormity of working with a band on their scale.


https://www.psneurope.com

U2 to buy Hanover Quay site

U2 are to buy the site where they recorded many of their best-selling albums after the Dublin Docklands Development Authority (DDDA) agreed to sell it for about €450,000.

The authority forced the band to sell its old riverfront studio on Hanover Quay for an undisclosed price in 2002 to allow public amenity works relating to the development of the Grand Canal Harbour area. As part of that deal the authority promised the band the top two floors of the 32-storey tower it was planning to build on an adjacent quay, a project that was subsequently put on hold.

The authority said in a statement issued on Tuesday that in light of its imminent dissolution and the recent approval by An Bord Plenala for the North Lotts and Grand Canal Planning scheme, it would not be proceeding with a proposed compulsory purchase order of 16 and 18 Hanover Quay.

It said that Jones Lang LaSalle, acting on behalf of U2, was to acquire the authority’s interest in the site at 16 Hanover Quay.

The historic site is where U2 recorded many of their best-known albums.

http://www.irishtimes.com/

Bono and U2 on Why They Released a Free Album on iTunes

The band members tell TIME how they came up with the release of "Songs of Innocence"



Bono doesn’t view his songs as children—they’re more like parents.

“They tell you what to do, they tell you how to behave,” the U2 singer told TIME. “These songs, we worked quite hard on them over the years, and we really didn’t want—they really didn’t want them to be ignored.”

The best way to get the world’s attention? Give the album, for free, to all 500 million iTunes users. The unique release of their latest album, Songs of Innocence, was announced at Apple’s event on Sept. 9.

In the video above, the members of U2 explain how the first album release of its kind came about.

http://time.com/

Rare U2 recordings from 1980 go up for auction

A rare U2 live recording and audio from an interview are set to go up for auction.

The recordings come from an early concert from the band, which took place at the Vera venue in Groningen, Holland on October 16, 1980. The live recording is made up of four songs, and the previously unheard interview audio is 15 minutes long and consists of frontman Bono and guitarist The Edge discussing their plans for the band. 

Stockport's Omega Auctions have said that the interview includes quotes from the pair in which they say: "We don't like England". They also show their ambitions for the group, commenting: "U2 wanna be the biggest group in the world." In addition they add their thoughts on the United States, saying: "America is sick and wounded and has a lot of bad groups".

The sale takes place on May 30 and the recordings are expected to sell for £1,000. The recordings also come with previously unpublished photos, shown above, which come complete with copyright, as does the interview audio. However, the live recording is being sold as an artefact and is therefore for personal use only. 

A spokesperson for U2 recently denied that the band have pushed back the release date of their 13th studio album to 2015. Investigations by Billboard suggested that the band would now be releasing their new LP next year. It reported that the band had booked further studio time with producers Paul Epworth and Ryan Tedder, who would join the project's main producer Danger Mouse. 

Speaking to The Guardian, a spokesperson for the band flatly denied the claims, saying: "U2's album is planned for this year (2014), is still on track and touring plans haven’t been confirmed yet."

http://www.nme.com/

U2 ‘recording’ new album in famous Crouch End studios

Bono and The Edge with staff from Spiazzo

Rumours are rife that world famous rock band U2 has descended on Crouch End to record their new album at the iconic Church Studios. The Dublin-based band is believed to be recording at the venue in Crouch Hill, taken over by British producer Paul Epwoth in October.
 It is thought the foursome are working with Mr Epworth, the co-writer of Adele’s Oscar-winning Bond theme tune, on their 13th studio album, due to be released later this year. Lead singer Bono, guitarist The Edge and drummer Larry Mullen have also been spotted dining at Spiazzo in The Broadway over the last few weeks.
 According to staff, who could not resist asking the stars to pose for a snap, they have been feasting on T-bone steak, pizza, pasta and enjoying “lots of wine”.
 Manager Marcel Ritelli said the band members have been causing quite the stir, adding: “It’s been nice and pleasurable to have them here.”

http://www.hamhighbroadway.co.uk/

Best in years, says Gavin after early listen to new U2 album

“I’ve heard the new album and it certainly is a development. U2 turns corners very quickly and what hits you is how fresh it sounds. With Edge involved, there is still plenty of guitar”.

“They asked me what I thought and I told them I really liked it. It’s definitely their most exciting release since Achtung Baby.”

BONO'S pal Gavin Friday has claimed that U2's upcoming album is their "most exciting release since Achtung Baby".

Friday (54) has been given an exclusive listen months ahead of its release. He has been described as a "consultant" by U2 – and he is very much giving a thumbs-up for their 13th album.

"I've heard the new album and it certainly is a development. U2 turns corners very quickly and what hits you is how fresh it sounds. With Edge involved, there is still plenty of guitar," Gavin told the Herald.

"They asked me what I thought and I told them I really liked it. It's definitely their most exciting release since Achtung Baby."

Although the Finglas-born neighbour and life-long friend of Bono came up with the title of early U2 single 11 O'Clock Tick Tock, Gavin revealed he had not made any suggestions for song titles on the new U2 record. "U2 have plenty of their own ideas for song titles," he said. "I'm planning on releasing two albums myself next year, one electronica, the other more guitar-orientated."

A long time supporter of the Dublin Samaritans, Gavin was speaking to launch a new Active Listening seminar next Monday, July 22 at 112 Marlborough Street, Dublin, at 8pm.

The Dublin Samaritans can be contacted on 1850 60 90 90, text 087 260 90 90 or by email at jo@samaritans.org.

http://www.herald.ie

Legendary Dublin studio issues tape appeal

The young U2 made many of their albums in Windmill Lane

Dublin's Windmill Lane where U2 recorded parts of their albums Boy, War and The Joshua Tree are calling on all past artists to claim the tapes which include pre-digital recordings by the likes of AC/DC, The Chieftains, U2 and The Spice Girls.

Over the years these master tapes have begun deteriorating and are taking up valuable space as the studio goes through expansion.

The studio, which was set up in 1978 by engineer Brian Masterson, was originally used by traditional musicians before U2 began working there in 1980. Windmill has since relocated from its small quayside setting to Dublin's Ringsend Road and is now owned by Pulse Recording College. However, the old studio is still a site of pilgrimage for fans visiting the much-graffitied "U2 wall."

"We're appealing to any artists who've worked here using two-inch multitrack tapes to come in and reclaim them because we're in the process of disposing of these tapes," Ian Brady of Pulse told RTÉ Ten.

"There's a lot of stuff here of huge historical interest by the likes of U2, Riverdance, AC/DC and The Chieftains but the tapes can weight tonnes and they occupy valuable space. It they're not reclaimed, they will be disposed of."

Brady adds that the studio is encouraging all enthusiasts and fans to drop in and pay a visit for their last chance ever see the significance of these nostalgic pieces all in one place.

"Disposal will commence on May 7th, and we urge any interested parties who wish to claim their tapes to contact us before that date." he says.


http://www.rte.ie/

Another Band Returns! U2 New Album Sessions Started Months Ago

They never could keep out of the limelight for very long. With David Bowie announcing a shock return, Irish rockers U2 have opted to steal some of the returning legend's thunder by revealing to The Sun that they themselves are also back in the studio with a new album on the way. The multi-million selling group haven't been away for nearly as long as the Thin White Duke, or even pop stars Destiny's Child and Justin Timberlake, both who revealed their long-awaited comebacks last week. Their last album was 2009's No Line On The Horizon, whilst the group were touring as recently as 2011.

Nevertheless, the announcement that they're to return will provide yet more fuel for a 2013 that's musical year is already ablaze with anticipation. “U2 have been back and they’re really in fine fettle" the group's front man Bono told The Sun. "They’re mad for it at the moment and they really want to make a new record. And they don’t care if it takes ten years – they don’t care if it never happens again, they just want to get it right." So that wasn't a definite on whether their new album - the group's 13th - would see the light of day this year, but it certainly sounds like they're getting on with it.

For many fans of the band, it'll be a relief to see Bono back behind the microphone doing his day job, with many getting increasingly exasperated at the singer's move into the political arena. The band have also faced accusations of tax evasion in recent years, though it's something that they've always vehemently denied.


http://www.contactmusic.com

The Story Behind The Warwick Adam Clayton Reverso Signature Bass

The Warwick Adam Clayton Reverso Signature Bass, used by Adam during the 360° tour is a true eye-catcher. Surely some of you noticed this specific bass, not only in the opening sequence of the 2010 shows with Return of the Stingray Guitar, but also during other songs throughout the show.

But what is the story behind this unusual model? Was it custom-made in accordance with Adam’s individual demands? What is a collaboration between an artist and an instrument designer like? U2tour.de got the answers to these and similar questions by the instrument manufacturer itself, the German company Warwick GmbH & Co Music Equipment KG.

Warwick was founded in 1982 by Hans-Peter Wilfer, whose father had previously been involved in the manufacturing of instruments for decades, and who gained a lot of success and intimate knowledge of creating guitars with his company Framus that he had started in 1946 (in 1995, Framus became a part of Warwick). Utilising this enormous know-how within the family, Warwick very quickly achieved great success. As early as the mid-1980s, Warwick built a bass model for John Entwistle, bass player in The Who. Other Warwick endorsers include Jack Bruce (Cream), Robert Trujillo (Metallica) or Bootsy Collins, to name-drop a few. Originally starting out with a range of three models, Warwick is now producing an extensive selection of products with more than 40 different basses, guitars and components. For Warwick’s 30th anniversary this September, an Open House Day was held featuring many Framus Artists. Adam Clayton had been invited but had to cancel at short notice, as he was busy with other commitments.

Marcus Spangler is Warwick’s quality control and product manager, as well as its instrument designer. He started building guitars in his father’s carpentry workshop at an early age, and eventually his hobby turned into his profession. He has worked for Warwick as product manager for five years, and is now responsible for, amongst other roles, new designs and supporting and providing advice to Warwick endorsers. He took some time out to give U2tour.de an extensive overview of their collaboration with Adam Clayton, as well as the field of instrument manufacturing.

U2tour.de: How did you come to work with Adam Clayton in the first place? Who approached who?

Warwick: Adam was looking into the story of John Entwistle, The Who’s bassist, who had endorsed Warwick and who had his own Buzzard Signature Bass. This was how Adam discovered Warwick. However, all the instruments that Adam normally plays are completely different from the ones that Warwick creates. You will find differences regarding the wood types and other features. Adam generally plays very classical basses that have been on the market since the 1950s and 1960s. And they have not truly changed since then. Warwick basses have constantly been advanced and are fairly modern regarding their electronics or pickups.


U2tour.de: And how did you get in contact eventually?

Warwick: Dallas Schoo wrote to my boss (Hans-Peter Wilfer, founder and managing director of Warwick) saying that Adam had been occupied with John Entwistle’s history just then, and that he would be interested in trying out a John Entwistle bass. My boss obviously answered that, of course, Adam could try that bass and any other Warwick instruments. At that time, they were recording the album for the 360° tour, No Line on the Horizon. The instruments were sent to U2’s studio. And the funny thing was, Dallas said that Adam agreed to try out the Buzzard Bass, but my boss said, "Well, if he is going to try out the Buzzard bass, we could send him all the other instruments too”. So about 15 basses were sent to the studio for Adam. There was only Dallas with Adam and The Edge in the studio at the time. And Dallas was very busy because he had to set up everything on his own. He thought there was only one Buzzard Bass coming in from Germany, which he would tune and then everything would be ready. However, then 15 instruments arrived (laughs). Of course, Adam wanted to try out every single one of them. Edge told Dallas to tune it this way and that way … and then Adam came up and said he wanted to try the next one … Consequently, Dallas was constantly hectic. He had to unpack every single bass, tune it, and adjust it for Adam. This was a huge task. Afterwards, Dallas told me that this had been crazy!
As I said, Adam then played the Buzzard Bass. There are also some videos around where you see him playing the Buzzard, or the Stryker model. He also used that bass to record a song for the album, but I don’t remember exactly which one. Anyhow, after that, Adam’s interest in Warwick had been thoroughly reinforced.
Adam then wrote to my boss saying that everything was quite good; however, the basses would not really sound the way he was used to. He asked whether Warwick could possibly build something similar to a Fender Jazz Bass or a Fender Precision Bass, the basses he actually played. Well, my boss’s answer was "If Adam wants to play a Fender, he should go to Fender, he would get what he wanted there. But should he like to play a Warwick, we would be glad to build a Warwick according to his requests. But we won’t build a Fender bass.” Dallas later told me that, when reading this, Adam asked whether Hans-Peter Wilfer was now angry with him [laughs], as there is certainly a little bit of competition and rivalry in our market. But our reaction awakened his interest, and this is how our collaboration started.

U2tour.de: Well, this kind of self-confidence is certainly understandable.

Warwick: Yes, sure. We were just being honest and Adam said that we were the first company to react this way. Other companies probably would have said, "We’ll build whatever you’d like ". But we had the balls and said ‘NO’. I think this probably impressed him a bit and then we started our collaboration. We first worked on a Streamer Model using various wood types, and we slightly extended the body. Yet these modifications were discarded. Adam had the idea to use the Stryker, which he had actually quite liked but which did not have exactly the sound he was looking for.

U2tour.de: And at that point you started developing a new model?

Warwick: Yes. We asked Adam whether we could build a Signature Model for him and he liked the idea. So this is how the story of the Adam Clayton Reverso actually started. And if you know the Stryker ... it looks like the Explorer guitar played by The Edge. Adam immediately came up with the brilliant idea to flip the bass vertically, to reverse it, to create something completely new. However, we couldn’t transfer everything 100%. If you only reversed the instrument's shape you would not be able to play the high frets, as the horn would stick out too far. This would not have worked. So, we consequently had to modify the body as well. Starting off by sending basic sketches until the feedback was ok, we then built a plywood sample, which was merely a flat board. This sample showed the basic shape and the size, enabling you to review the size of the model. That’s what we sent to Adam.

U2tour.de: This is slightly surprising. I thought that you first had a look at what technical and, in particular, sound requirements were necessary and then later adapted the design to these.

Warwick: You can incorporate all technical variables into an instrument later on. At first everything is about basic construction - will the design work at all? This is why we sent out the templates, and it was important to Adam to find out what the instrument looked like when wearing it. As I said earlier, we sent some templates to him, he chose a certain body, and we built the first prototype, which he certainly tested the sound of. Some things were still not quite right for him, so we tested various woods. Most of the time, the problem is that musicians do not really know the exact sound they are looking for. They can neither define it nor say, "Listen, let’s build it from this particular wood, include this particular pickup and these particular electronics." It just doesn’t work like that. Everybody hears differently and tastes differ. Adam then said, "I like this feature in this model, this one in that model ..." and we tried to incorporate everything into this one model.

U2tour.de: Did you communicate directly with Adam?

Warwick: At the very beginning, I agreed all features with Stuart Morgan, Adam's technician. We then sent over our first prototype and Stuart replied, "See, this part here isn’t so good, Adam doesn’t like it. And this, neither. And this ..." And then you build the next model. This is how it slowly grows. You change the pickups, send over new pickups and ask them, "Please test this pickup. What do you think of it? And what about these tone controls?" This is how, step by step, a new instrument is created.

U2tour.de: How long did the process take from the initial idea to the final instrument?

Warwick: Altogether, it took about one and a half years until everything was 100% perfect.

U2tour.de: And this whole process took place during and after the recording sessions for No Line on The Horizon and the preparations for the tour?

Warwick: Yes, that is correct. After finalizing the shape, we created several Reversos with varying knob layouts. Some fans found out that there was something being developed and asked themselves, "What kind of electronics is Adam using now? What is inside this bass?" There are several photos showing Adam using the bass, sometimes with four knobs, then three, later two, and then in the final version the bass had three knobs again. We ultimately completed development and production of the bass in the summer of 2009, right at the beginning of the 360° tour, and this is when Adam visited us on our premises in Markneukirchen.

U2tour.de: When exactly did that happen and how did it come up?

Warwick: It was the day before the concert in Berlin (18th July 2009). We had invited him several times prior to that, and had let him know that he was always welcome. Very famous musicians usually visit some time or another, if you are lucky, but definitely not that early in a working relationship. Adam, however, really wanted to visit our company and have a look around to see what exactly we do. So he rather spontaneously visited us whilst on his way to Berlin. He landed in Hof, the airport closest to our premises, roughly half an hour's drive away and I picked him up there. We showed him our production site, discussed a few topics, and then handed over the first instruments i.e. the Reverso bass and also a Streamer Stage II. And by then he had to leave for Berlin.

U2tour.de: And when was this Reverso first used? Did you have a chance to see that?

Warwick: As early as in Berlin the following day. This is rather unusual as musicians usually test the instrument first, and if it’s not 100% perfect, they do not play it in public. Only when everything is as desired, you hit the stage with it. Adam, however, wanted to try the bass right away. And we were there in Berlin. Adam specifically took some time out for us. He came to the VIP lounge before the show only for Warwick, for me and Jonas Hellborg, our Warwick bass player, to have a little chat with us. It was really cool that he did that. Then after the show, they usually leave the stage and hop into their cars right away, so there’s no chance to talk to them

U2tour.de: Was that your only opportunity to see the bass live on stage?


Warwick: No, Adam invited us to their gig in Frankfurt one year later (10th August 2010). We got into a huge traffic jam on our way there. We were stuck there three kilometers away from the stadium for one and a half hours. That really was a disaster, as we couldn’t get to the stadium in time to talk before the concert. But then we received a message from U2’s management saying that it was unfortunate that it hadn’t worked out, but that Adam still wanted to talk to us after the show, as this was the sole reason we had come in the first place. As it was all really short notice, we were told to wait at the steps leading down to the stage. We were brought to the stage, U2 left the stage, and we went along with them, quickly said hello to Adam and then he went. But I give him huge credit, I have to say, for taking time nevertheless and being like "Hey, then let’s just do it this way, otherwise you guys would have come here for nothing.” Well it certainly shows how he appreciates us for building the instruments. He didn't have to do this. Taking time for us despite their tight schedule was really a nice gesture.

U2tour.de: Seeing the bass live in action at such large concerts like U2 360° or watching the recordings later on must be really great for you, right?

Warwick: Yes, sure. However, it’s not like there’s just me or only one guitar manufacturer involved in building the instrument, but a whole production team. And of course, these people are highly motivated when they see a popular artist playing their work on stage, being able to say that they were part of the manufacturing process. It does make people proud.

U2tour.de: I totally understand that! What is working with Adam like? How do you communicate?

Warwick: For the most part we communicate via e-mail but he also calls us every now and then. As I mentioned earlier, he once visited us in Markneukirchen, and we met at the two concerts. Working with Adam is really great fun, because he knows exactly what he wants. He is fastidious but very nice, not at all snobbish, and a really pleasant guy. And he has also got a good sense of humour. We had a great conversation during our trip from the airport, he was telling lots of stories about his life as a musician. We certainly didn’t get bored.

U2tour.de: That really sounds like a very pleasant collaboration on every level. Will it continue? Any plans on, e.g. further developing the Reverso?


Warwick: Nothing fixed as of now. We are working on a model that has not been developed specifically for Adam, but we have him in mind during the development process. It’s a model we think he’d like. It will be sent to Ireland within the next few weeks so he can check it out. But this isn’t a new collaboration yet. We’re just asking whether Adam is interested in trying the instrument. And should he like it, we will be pleased to go on working on that project together.

U2tour.de: Thank you very much, Marcus, for taking the time to answer our questions in detail, and for granting us a look behind the scenes of the development and manufacture of instruments!


Published by u2tour.de
Interview by: Sabine Schieweck
Translation from German by: Christoph Beller, Hanna Pallua and Sabine Schieweck with Cathal McCarron
Published with kind permission from: Principle Management Ltd. Dublin & Warwick GmbH & Co Music Equipment KG, Markneukirchen
http://u2tour.de

U2 back in town with wall-to-wall support at studio

Bono checks out U2 fans' graffiti at their Hanover Quay studio in Dublin yesterday

U2 were back in town yesterday to record part of the band's newest studio album at their Hanover Quay studio.

U2 frontman Bono was spotted signing autographs for fans outside the band's Dublin studio, where many of their best-selling albums were recorded after the band bought the studios in the early 1990s.

He even took time to pose next to some of the graffiti left on the studio walls by fans of the band.

He later attended the opening of an exhibition of art by his niece, Leah Hewson, at the KTcontemporary gallery in Donnybrook.

www.independent.ie

The Trabants are Back!!!

U2 + Berlin+ Trabants

U2 have been seen in Berlin , apparently recording videos. They were reportedly spotted in the Hansa studios (Edge tweeted a photo) ,the famous studios where Achtung Baby was recorded, shooting pictures and probably making a video.  The song "One" was heard being rehearsed. Up to now , they are just speculations but with what Adam had anticipated about Glastonbury and the possible remasterization of AB (in November the album will be 20 years old!), it seems the band is in the mood for some oldies.Even the infamous Trabants appeared on scene!

Adam yesterday outside restaurant in Berlin 

www.u2tour.de/

Unimpressed with first sight of U2

Chris Blackwell, founder of Island Records, has admitted he was not a fan of U2 when he first saw them live in a London pub.

The label boss was reminiscing in a wide-ranging interview with US radio network NPR's show 'Weekend Edition' on Saturday (Dec. 18),Blackwell said: "I didn't love the music. It was a little rinky-dink, but I believed in them."

Thankfully for the Irish group, Blackwell followed with his instinct and signed them, sticking with them through some lean times until they secured global fame. Nowadays, though, the industry veteran mourns the loss of identity for today's labels.

"I don't know what record labels there are now that mean what they used to be to me when I was a fan," he said. "For example, Blue Note Records was a guarantee of quality. They signed great musicians, and they recorded them absolutely brilliantly. That can happen when you're independent. When it's a major company, they can't do that in the same way. It's changed really a great deal, because also people don't even see a label."

For new artists, Blackwell advises they show patience and own rights to their music. "They can sell their music; they can market themselves on the Web. Takes a long time, because it's sort of going bit by bit, but they can promote their concerts and they can gather email addresses or Facebook pages ... and grow like that," he said. "They don't need to give that up to a record label, which happened in the old days."

http://music.aol.co.uk

Wide Awake in Europe

Three-song release part of Black Friday push

U2 will issue a limited edition three-track live EP, "Wide Awake in Europe," including a previously unreleased song, as an exclusive item for independent record stores on Nov. 26.

Top-selling Irish band's piece will be the key title for "Back to Black Friday," an indie retail event mounted by the organizers of the annual Record Store Day. Nearly 1,400 stores participated in RSD in April this year.

Promotion is designed to build traffic at indie outlets on the Friday following Thanksgiving, the day Christmas shoppers typically crowd mass merchants and mall chain stores.

Limited to 5,000 copies, U2's 12-inch vinyl release will include a version of the concert favorite "Mercy," recorded live in Brussels on Sept. 21. Set will also feature "I'll Go Crazy If I Don't Go Crazy Tonight" (cut in Dublin in July 2009) and "Moment of Surrender" (captured in September in Paris).

Possible cover according to Vintage Vinyl

www.variety.com///www.vvinyl.com

Back in Studio?

Dave Hollister (former member of the R&B quartet BLACKstreet and several solo albums) posted on his Twitter that he's .... "in the studio working with U2! Man I'm excited! Bono baby!!!!!!!!!!!!"

Later he answered  a fan that  he's working on "All I Want" and "Grace."

Presumably "All I want is you"... So let`s wait for the mix of Hollister and U2 for a near future...