I have a running argument with a friend about the order of songs on an album. Is there some sort of overall mood deliberately created by the artist by a particular sequence of songs, or is the ordering simply random? POP's first trio of tunes captures that "driving-on-freeway-en-route-to-downtown-night-out-on-town" feel when you subconsciously step on the gas and well on your way to either a speeding ticket or with any luck, only a warning. "Discotheque" is the logical starting point - yes, U2 too can create a fine dance tune - akin to the Cure's Friday I'm In Love (1992), causing much dismay to many short-sighted hard core followers who may have been expecting Joshua Tree 2. U2 evolve just like us all so I have a hard time subscribing to that view. The tempo on the can't miss future single "Do You Feel Loved" grooves along with some aptly placed synth layers. 808 State would be proud of the pulsating "Mofo", with Bono's distorted vocals and urbane background noise candy (I can actually see the traffic lights and off-ramps when I listen to this one) that churns along successfully with Clayton's bass. My only jab against Mofo, my fave track on POP, is its length (5:49), which is about 5 minutes shorter than I would have liked. The album mellows out with the forgettable "If God will Send his Angels", not to mention killing my drive into town. OK, so I gotta pick up a friend and get gas - that's 5 minutes at least. "Staring at the Sun" and its acoustic nature is less electronic than Mofo, but fails to establish any mood. I'm back on the road with "Last Night on Earth" humming along, followed by the contemplative, self-absorbing lyrics and rich textures of "Gone", which sounds like it belongs on Achtung Baby (1991) - U2's best all-round studio release. Bono's attempt at rappin' and talkin' and yellin' on "Miami", the lamest track this side of the Backstreet Boys is at best comic relief. The downward spiral continues when the band tries too hard to achieve a jazz/blues ambience with the "Playboy Mansion". The seductive "If You Wear that Velvet Dress" is a better effort than the previous tracks, and "Please" continues that mood with lyrical depth more typical of vintage U2. The last track, "Wake Up Dead Man" is nothing special, and is an apt title as I've fallen asleep at the wheel after the album fails to return to its high energy trio, easily the highlights of POP. So the album is quite a tease, and I am content to format my CD-ROM at home to replay the first three over and over. Did The Edge have any fun recording this one though?

Back to Larry's Home Page