U2
The Unforgettable Fire (1984)

Ah yes, the Mullet. A lost iconic hairstyle that defined the 80’s. Bowie, Duran Duran….you name it, the biggest acts of that era had to go through that phase. But none looked more ridiculous than the U2 front man himself. Bono’s mullet was crazier than McEnroe’s on-court theatrics. But thankfully, that is not what is remembered of them in that era. Before they became the “biggest rock band in the world”, before “Beautiful Day” and before “Joshua Tree”, there was, probably THE most significant moment in U2’s career, the appointment of Brian Eno to produce “The Unforgettable Fire”.

From the interviews i’ve read, apparently it wasn’t an easy feat for the Irish lads to convince Brian to get on board. He was hesitant because the type of music they produce was completely at the opposite end of the music spectrum. But U2 was bold and feeling experimental, seeking a new sound at that point. And so, a historic creative collaboration began that grew and expanded over the next two decades. This year marks the 25th anniversary of the release of “The Unforgettable Fire” and a special edition of the album has been released. In conjunction with the release, I thought it’d be nice to revisit the album since I’ve not done so in a long time.

The songs that managed to survived through the ages from the album are the anthems like “Pride” and “Bad”, which are staples on their live sets. But the rest of it has sorta been laid to rest. So listening to the entire album again was actually quite a treat. Throughout the album, you could hear how the band and Eno stretched each other’s creativity limits. Bono’s desire to rule the stadiums with anthems were fiercely met with Eno’s persistence that they need to be more sonically inclined. That really tested the boundaries and pushed the band to see how far they were willing to transform. There was no common ground to stand on but a constant tug of war. But that is when things gets interesting. NEW and interesting things are conceived and sometimes, magic starts to happen.

Tracks like “Wire”, “Promenade” & “Elvis Presley and America” are probably some of the most experimental music U2 has attempted, but the track “Bad” is where the magic truly happens. A song about heroine addiction that ends with revelation and all the -tions you can think of, this song just builds and builds off Larry’s amazing drumming, with no real chorus or hook, relying solely on the emotion that Bono bring to the song and the end product is nothing short of a masterpiece.

But perhaps the title track “The Unforgettable Fire” is and will be the best song to pay tribute to this monumental album release back in 1984. With a beautiful melody and the most 80s sounding song off the album, this is the tune to take you back to that moment. Maybe that is why the band decided to pull this one out of the “dead catalog” and revisit it one more time on the current “360 Tour”. What a great surprise that was!

U2 – The Unforgettable Fire

A friend was kind enough to pass along a couple of tracks from the 25th anniversary rerelease of The Unforgettable Fire.

The first is Yoshino Blossom. A brilliant instrumental piece which I love a little more with each play. The caustic opening grabs you and then transforms into something that reminded me of both 3 Sunrises and Spanish Eyes for some reason. I’m not entirely sure they are appropriate but they came to mind as I listened.

I love piano on U2 tracks and there is a focus in the song on that. It adds emotion to it. The ’seagull’ sounds, for lack of a better description, bring a sense of contrast to the music. Piano is peaceful and touching while the grating of the birds works both with and against the rest of the music.

The other track I have is called Disappearing Act. Here’s the lyrics…more below…

Silence
I know I could get used to this
Cunning
Your scent is something I’m not going to miss
Excite
It’s a small price to pay for bliss
Alone
Like a painter’s dog without a bone
When there’s only one thing you need to own
And that is hunger
Hunger itself

I know we’ll pick and wrench
Your night just ripped and it is torn to shreds
From all the lovers taken to your beds
They’re empty now
And you think that you can love
And you think that you can love
And you think that you can love
Someone into home

You do your disappearing act
You do your disappearing act

Jealousy
It’s not what it’s cracked up to be
Envy
Gets you where you need to be
Alone
Rather the river than your stepping stones
Leave the graveyard before you turn to bones
I’m tragic, your comedy
Oh, baby doll
The dogs are barking, they need to be fed
All of the lepers your let in your head
Is it empty now
‘Cause you think you can love
And you think that you can love
And you think that you can love
Someone into home

The thing about the words to this are the different turns you could take. Love song. Hate song. Frustration song. But for me this is a drug song. To me this is a look at someone who had a shot, had a love and messed it all up with abuse of drugs – small price to pay for bliss…alone. Leave the graveyard before you turn to bones. And you think that you can love.

The excess and pure selfishness of the addict make it impossible to love. And they will often use sex as the definer for the relationship. But that isn’t heart. That isn’t soul. It’s artifical joy masking a whole lot of pain. And alone they will be in the end.

The title, Disappearing Act is a great name for a very decent song. Any connection to you is gone in the haze. And every time you use, you disappear a little more.

I do mean this is a very decent song. It is not Bad but it is not bad! In many ways this song seems way before its time. To me the song itself could have been written in the last 10 years instead of 25 years ago. A sign of what would come I suppose. Curious if anyone else feels that way about this song. No surprise it didn’t make UF. But I’m glad to know this song.

Both tracks add something for me. They give a view to what must have been an amazing and difficult creative process. I think it shows the path between the U2 that was and the U2 that would be. I will have a better look at this around Christmas as I am expecting gifts (from my family but thanks for offering!). I hope you who have picked this great release up will take a few minutes to share your impressions.

Been thinking this week about how, historically speaking, artists are normally slightly ahead of their audiences. In this way the artists themselves are always the ones responsible for the “progress” in the medium. Technology is driven by the market, Sports are driven by the competition, Politics are driven by the culture… but Art is driven by the artists, often to the dismay of the market/competition/culture. In this way Art plays a huge role in forming/influencing the future.

Sorry for being overly deep. I’m just really impressed with artists that take chances and intentionally move away from the comfort zone that brought them their success – pushing themselves into new areas that don’t necessarily promise the same results. Case in point: this cool interview with Brian Eno and Daniel Lanois about the making of U2’s The Unforgettable Fire.

10/25/09 UPDATE: I’m watching the Youtube live broadcast of U2’s Rose Bowl show.  I am really struck right now with how HUGE this band’s footprint is on music/culture.  It’s hard to believe one band can accomplish so much.

Taken from U2.com:

As we reported a couple of weeks ago, special formats of The Unforgettable Fire will feature bonus audio material and a DVD including music videos, a documentary and unreleased live footage from the Amnesty International Conspiracy of Hope Tour in 1986. Here’s the 16 track listing for :

The Unforgettable Fire Bonus Audio CD.

Disappearing Act
A Sort of Homecoming (live)
Bad (live)
Love Comes Tumbling
The Three Sunrises
Yoshino Blossom
Wire (Kervorkian Remix)
Boomerang I
Pride (In The Name of Love)
A Sort of Homecoming
11 O’Clock Tick Tock
Wire (Celtic Dub Mix)
Basa Trap
Boomerang II
4th of July
Sixty Seconds in Kingdom Come

As the comments on our earlier story have been suggesting, The Unforgettable Fire – with the arrival of Brian Eno and Danny Lanois in the studio – has a special place in the heart for many fans and a lot of the tracks on this bonus CD have been unavailable for a long time.

Two of the titles from those Slane Castle sessions have never been available: ‘Yoshino Blossom’, and ‘Disappearing Act’, which the band recently completed. A Sort of Homecoming and Bad are live versions, from The Unforgettable Fire Tour that were on the highly sought after collectors item EP Wide Awake in America.

The version of 11 O’Clock Tick Tock was the b-side to ‘Pride (In The Name of Love)’ while Wire (Celtic Dub Remix) was previously on 7″ vinyl given away free with NME in May 1985.

And The Unforgettable Fire DVD Collection looks like this:

The Unforgettable Fire
Directed by Meiert Avis

Bad
Directed by Barry Devlin

Pride (In The Name Of Love)
Directed by Donald Cammell

A Sort Of Homecoming
Directed by Barry Devlin

The Making Of The Unforgettable Fire – documentary
Directed by Barry Devlin

Additional Material

U2 at A Conspiracy Of Hope Concert
1. MLK
2. Pride (In The Name Of Love)
3. Bad
Recorded live at Giants Stadium, New Jersey, USA, 15th June 1986

U2 at Live Aid
1. Sunday Bloody Sunday 2. Bad
Recorded live at Wembley Stadium, 13th July 1985

Pride (In The Name Of Love) – Sepia version
Directed by Donald Cammell

11 O’Clock Tick Tock – Bootleg version
Live from Croke Park, Dublin, Ireland, 29th June 1985

Mais uma vez por aqui, trazendo pra vocês novidades que circulam pelo mundo, envolvendo um grande lançamento do material da Banda U2 em turnê ( 360º ) Confira!Mais uma vez por aqui, trazendo pra vocês novidades que circulam pelo mundo, envolvendo um grande lançamento do material da Banda U2 em turnê ( 360º ) Confira! *sdrnroll*

O U2 revelou nesta segunda-feira (28) detalhes da edição comemorativa dos 25 anos do álbum “Unforgettable Fire”. O disco, que sai no dia 27 de outubro, terá clipes e um material bônus em CD.

Nos extras estão cenas inéditas da “Amnesty International Conspiracy of Hope Tour”, de 1986, e duas gravações feitas em Slane Castle de “Yoshino Blossom” e de “Disappearing Act”, finalizada recentemente na França. Gravada em 1983 com os produtores Brian Eno e Daniel Lanois, a canção tinha o título original “White City” e foi descoberta há cerca de seis meses.

Em entrevista à Radio 1, da BBC, Bono e The Edge afirmaram que redescobriram faixas da banda enquanto trabalhavam no projeto de relançamento. As gravações foram feitas durante as sessões para o quarto disco de estúdio do U2.

O U2, que está em turnê pela América do Norte, lançou edições de luxo de “The Joshua Tree” (1987) em 2007, além dos três primeiros álbuns “Boy” (1980), “October” (1981) e “War” (1983), em 2008.

Veja as faixas que fazem parte do disco:

CD bônus de “Unforgettable Fire”:
01 – “Disappearing Act”
02 – “A Sort of Homecoming” (ao vivo)
03 – “Bad” (ao vivo)
04 – “Love Comes Tumbling”
05 – “The Three Sunrises”
06 – “Yoshino Blossom”
07 – “Wire” (Kervorkian Remix)
08 – “Boomerang I”
09 – “Pride (In The Name of Love)”
10 – “A Sort of Homecoming”
11 – “O’Clock Tick Tock”
12 – “Wire” (Celtic Dub Mix)
13 – “Basa Trap”
14 – “Boomerang II”
15 – “4th Of July”
16 – “Sixty Seconds In Kingdom Come”

“The Unforgettable Fire DVD Collection”:
01 – “The Unforgettable Fire”, dirigido por Meiert Avis
02 – “Bad”, dirigido por Barry Devlin
03 – “Pride” (In The Name Of Love), dirigido por Donald Cammell
04 – “A Sort Of Homecoming”, dirigido por Barry Devlin
05 – “The Making Of The Unforgettable Fire”, documentário dirigido por Barry Devlin
06 – “Pride (In The Name Of Love)”, versão em sepia, dirigido por Donald Cammell
07 – “11 O’Clock Tick Tock”, versão em bootleg
08 – Live from Croke Park, Dublin, Irlanda (29 de junho de 1985)

Material Adicional:

U2 em “A Conspiracy Of Hope Concert”, gravado no Giants Stadium, New Jersey, EUA, em 15 de junho de 1986:
01 – “MLK”
02 – “Pride (In The Name Of Love)”
03 – “Bad”

U2 no “Live Aid”, gravado em Wembley Stadium, em 13 de julho de 1985:
01 – “Sunday Bloody Sunday”
02 – “Bad”

The reissues are coming thick and fast this week with both Devo and the Beastie Boys. Now it’s Ireland’s greatest export, U2, releasing a special remastered edition of The Unforgettable Fire to mark it’s 25th anniversary. Announced on the band’s official website, the album will be available in four formats:

* Limited Edition Box Set: containing 2 CDs (remastered album and bonus audio CD), a DVD with live footage, documentary and videos, a 56 page hardback book with liner notes by The Edge, Brian Eno, Danny Lanois, Bert Van de Kamp and Niall Stokes, and 5 photographic prints

* 12″ vinyl format: 16 page booklet with liner notes by Brian Eno, Danny Lanois and Bert Van de Kamp

Unforgettable Fire Remastered [via RollingStone]

By Dave Gebroe

Whether it be from a priest, a rabbi, an outspoken relative, or the Almighty Bono Vox himself, my knee-jerk impulse to being preached at is exactly that: to knee that jerk, right in the groin.  Along the same lines, I also don’t look fondly upon Greenpeace pamphlets being thrust in my face as I walk into an overly expensive stadium show.  I just don’t care for activism in my rock.  None of this explains why at fifteen years old I went to see U2 on “The Joshua Tree” tour, nor does it explain why the show left me in a state of slack-jawed awe at the mystical intensity of the U2 experience.  The long and short of it is that this gaggle of stylistically-challenged Irish rockers contained the perfect level of grandstanding self-seriousness especially during the Eighties-for a zit-faced, teenage doofus like myself to truly call my own. 

No matter how many permutations they manage to force out of their once-vital band, for me the longstanding image of U2 will be their performance of “Silver And Gold” from that hot-air epic of Americana-seeking douchebaggery “Rattle and Hum.”  Dressed in a cowboy hat, of all things, Bon(z)o needles the audience with a mid-song anti-apartheid rant.  When he catches himself drawling on interminably, instead of poking fun at his own sermonizing tendencies (something at which he became more proficient during the “Achtung, Baby” era), he actually has the brass-balled audacity to implicate the audience!  “Am I buggin’ ya?  Don’t mean to bug ya.  Okay, Edge, play the blues!”  And the unintentional punch line, especially in light of the band’s obsession with uncovering the essence of what makes America tick, is that what comes rippling out of The Edge’s amps is as authentically bluesy as the theme song to “Sesame Street.”

Rewind five years and we have the dubious pleasure of bearing witness to the birth of Bono as caricature.  There he is, that quaint, mullet-sporting crusader waving a white flag and whipping up a “No more!” call-and-response with the “Live At Red Rocks” crowd.  Looking back now, I see some dude trying a little too hard to capture his place in the American spotlight after two albums hadn’t quite done the trick. 

Those albums — 1980’s “Boy” and 1981’s “October” — still stand today as powerful works from a band that hadn’t yet discovered its voice, and was all the better for it.  “War” (recorded in the summer of 1982, and released in February, 1983) was the fulcrum point at which U2 ceased to be an Echo & The Bunnymen-derived New Romantic outfit and began striving after its own sound and tackling its own messages, however weighty they tended to be.

For some strange reason, “War” is considered the high-water mark of their early work as a band.  It replaced Michael Jackson’s “Thriller” at the top of the charts, becoming the band’s first #1 album in the UK. There were three huge singles in America and the record was eventually ranked number 221 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

Objectively, “War” was U2’s worst album until 1997’s “Pop” came along.  Admittedly, the first three tracks are excellent.  The record kicks off with the martial-drum intensity of “Sunday Bloody Sunday,” then segues into atmospheric nuclear nightmare “Seconds,” and…yet another atmospheric nuclear nightmare (not to mention one of their best songs), the classic “New Year’s Day.”  At this point we’re running full steam.

The record then promptly drops off and never recovers.  “The Refugee” sounds like what might happen if Bow Wow Wow had a political conscience.  And yet, somehow, it’s even worse than that comparison implies.  “Like a Song…” was apparently intended as a response to those who believed the band was too worthy, sincere, and not “punk” enough.  Unfortunately, it’s too worthy, sincere, and un-punk to carry its message.  “Red Light” is a lame ditty about prostitution.  And so on and so forth, each tune wrapping itself around an issue and passing itself out like a pamphlet.

This might be a good time to mention that I typically try to ignore lyrics.  There are exceptions, but I have a great respect for the limitless interpretive possibilities inherent in good music.  When you take in the lyrics, it’s unavoidable that a definitive singular meaning’s going to stamp itself into concrete.  It’s like the old-time radio serial lovers who resented the advent of television; once the whole picture was available, with all the blanks filled in, the work had already been done and your imagination was no longer invited to the party. In that mode of thinking, political lyrics typically tend to be outright anathema to me. 99 times out of a hundred, it skews toward the nausea-inducing if the words are at all distinguishable. 

“And we love to wear a badge, a uniform / and we love to fly a flag / but I won’t let others live in Hell” (from “Like A Song”)

How am I supposed to get a groove on when some young rock star hopeful’s enunciating these putrid lyrics clear enough for me to hear?  Even “Two Hearts Beat As One,” ostensibly “War”’s love song reprieve from the relentless political proselytizing, kicks off like Bono forgot he was stepping away from the pulpit for a moment: 

“I don’t know, I don’t know which side I’m on / I don’t know my right from left / Or my right from wrong” (from “Two Hearts Beat As One”)

Christ, even his love songs from this era were framed in a context of political opinion.  I wasn’t surprised to learn that “New Year’s Day” started life as a love song Bono wrote for his new wife, but was promptly rejiggered into its current state as an Armageddon ditty inspired by the Polish Solidarity movement.  What an incurable romantic!

This sense of weighty grandiosity all starts with that album cover; it sports the same kid from “Boy,” but his childlike wonder’s gone the way of the dodo.  Check him out, scowling at us, admonishing us for the poor state in which we’ve left the world he’s inherited.  Hey, come on!  What the hell did I do wrong?  How did I get implicated just by picking this record up off the rack?

Like many important artists through rock and roll’s long, storied history, U2 is sensitively attuned to the tweaking of their aesthetic strategy based on what’s come just before.  But there’s something about their approach that feels more like a marketing plan than an artist’s bid for mercurial, outside-the-box thinking.  Their entire journey of “growth” can be traced back to “War.”  After this record, there was a lyrical de-emphasis in favor of ambience (“Unforgettable Fire“), followed by a maniacally grandiose lyrical re-emphasis (“Joshua Tree“), which prompted a nose-thumbing at themselves, beating the wags to the punch in their attempt to control the depth to which they were satirized (“Achtung Baby”), etc.  In retrospect, all these moves seem suspiciously calculated to keep any and all detractors of the band at bay.

There are apparently those close to U2 who feel as I do, as can be evidenced by producer Brian Eno coercing Bono to tear down his mulleted crusader image by fully improvising a set of mumbled lyrics for “Elvis Presley & America” on their next record.  Although I do dig the tune, so begat a career of low-rent about-faces designed to keep the record-buying public convinced that they were still the best damn band in the world.  The grand sum of this people-pleasing bobbing and weaving leads me to believe that they must have felt more than just a passing feeling of kinship with Sally Field as she took the stage at the 1985 Oscars and immortalized herself by admitting that, “I’ve wanted more than anything to have your respect. The first time I didn’t feel it, but this time I feel it, and I can’t deny the fact that you like me, right now, you like me!”

U2 — “Sunday Bloody Sunday,” US Festival, 1983:

     I am listening to U2’s “Vertigo” Chicago DVD right now. I have been listening to Vertigo all day. In college I went through a “Boy,” “War,” “October” phase. Before that I only knew “Best Of 1980-1990″ and 2000’s “All That You Can’t Leave Behind,” of course. This last year, “Unforgettable Fire” has been my favorite. 

     I’ve been a fan since I heard “With or Without You” when I was five and I’ve often been disillusioned with the band because I was so confused by their paradox: Christian ideals, dressing in drag, speaking out against apparthied, saying the f-word. I was 18 and finally said I am not going to bother with this confused bunch until I learn more about them. I was perplexed that a rock band could demand more of me about the world and of faith than I understood myself. Six months later my sister surprises me at the airport with U2 Slane, Ireland concert tickets. I thought we were going to Chicago. I couldn’t handle it. Bono was screaming, speaking to his native Dubliners, he proposed that a statue to Phil Lynot should be erected which later was (you can see it in Once). “This is a small island.” “Jesus, this is Judas!” I was lost. I didn’t know the names of everyone in the band. Inexcusable being that people miles away from Slane couldn’t get tickets to their “home-town” show, people who knew the life stories of Paul Hewson, David Evans, Adam Clayton, and founder Larry Mullen Jr. But that was then. It solidified me as a fan, but now I was nose to nose with my conflict. Who the hell are these guys?

     Brendan Kenelly: “If you want to serve your age, betray it.” Bono and the boys tucked this quip away and wove it into their songs, artwork, and stage-act for nine years. Nine years I had no idea what they were doing… until I discovered that quote. It started to unravel the guise but I wasn’t sold. The possibility of their being misguided was still fairly large. Then as my own prejudices gradually subsided and I began to see all their antics again through this one new piece of information, it started to make sense. Genius and geniuses.

     I can’t say enough how inspired I am by this band and its front-man. I am able to laugh at the caricature of him and am awed by its genius because he exaggerated himself and his persona to achieve just that kind of grotesque reaction. We can all laugh and cringe at that through our split fingers. We can all laugh at the bleeding heart, bespectacled, leather clad, cigar smoking, swaggering, hip thrusting, maniac because it’s absurd and ridiculous and common. Jim Carey enjoys entertaining via cautionary comedies like “Liar Liar” and “Yes Man”. Bono has vehicles just as significant when he becomes “The Fly,” “Mephisto,” and “Mirror Ball Man,” especially stinging.

     I am glad I was never able to love a band I knew nothing about. If they were tea-cup worshipers – I just needed to know and perhaps ask why. I got a lot of flack in high-school even though they weren’t tea-cup worshipers. I used to keep this small obsession close to my chest, only occasionally wearing my U2 concert shirt in public, not joining in conversations of avid, 30-something fans in line at Starbucks. Let’s face it, even though it’s always good to be a U2 fan, they mostly go to Starbucks. I have drawn graffiti on the walls of Windmill Lane Studios, I’ve eaten chicken from purportedly The Edge’s favorite pub, I own bootlegs going back to 1983, I own many singles and albums on vinyl. I’ve read the U2 by U2 autobiography sleeve to sleeve and I’m bound to read it soon again. I saw U2 when they came to my home town for the first time and I understood the visual and lyrical references this time around. I got to know my band and they came to my home town.

     I think it says something when to understand the band better you have to discover things about yourself and your faith. I’m listening today and just soaking in Bono’s “Vertigo” lyrics. He’s malleable. He’s far older than me yet far less cynical. He really believes what he’s saying. He does so much more than he talks. How is this possible? How do I get more like this? The song tells me, I suppose.

.

U2的這首歌《逍遙音樂會》曲調悠緩，歌詞卻像機關槍吐字，大半不成句。

回溯到1980年代，
那時，北愛爾蘭的掙扎因為北愛爾蘭共和軍(IRA)為了獨立和英國的游擊戰危害侵蝕一般人民的生活，
征戰的痕跡就在每個人身旁腳下，
不是自己倒下就是看著親朋好友傷亡，
就像生活在不真實的歷史記錄片裡。

本來像徵娛樂的可口可樂，撞球，足球也掩飾不了隨時可能響起的槍炮聲。
人比稻草人還脆弱，起碼稻草人不怕子彈不會流血。
本來應該是響著熱門流行樂的收音機播放的是最新傷亡記錄。
槍炮聲取代了在別的地方正肆無忌憚地播放著的音樂，在槍炮聲下要逍遙得先被毀滅，死而後已 …

宗教只能安慰失去神志前的最後一剎那，
收音機裡繼續永無止境地播放看似永無止境地的你死我傷。

在那樣支離破碎的環境裡要靠什麼才能真正得到一份清醒的精神昇華？

靠親情，靠友情，靠愛情吧！

「她是否會再回來？」

「賞我一支舞吧！
讓我今晚有所轉變﹐
繞著旋梯往上到更高的境地。」

.

Promenade — U2

Earth sky sea and rain
Is she coming back again

Men of straw, snooker hall
Words that build or destroy
Dirt dry bone sand and stone
Barbed-wire fence cut me down
I’d like to be around
In a spiral staircase
To the higher ground

And I, like a firework,
explode
Roman candle lightning lights up the sky

In the cracked streets trampled under foot
Sidestep, sidewalk
I see you stare into space
Have I got closer now
Behind the face

Oh…tell me…
Charity dance with me
Turn me around tonight
Up through spiral staircase
To the higher ground

Slide show sea side town
Coca-Cola, football radio radio radio
Radio radio radio…

—————————————–

逍遙音樂會 — U2

大地，天空，大海和大雨
她是否會再回來？

稻草人啊，撞球間，
那些可以用來建設或毀滅的文字
泥土，乾骨頭，沙石
鐵絲網刮倒了我
我是想留下來的
繞著旋梯往上到更高的境地

我呢，就像煙火
爆開
神聖的蠟燭像閃電點燃了天際

碎裂的街道
在腳下顫抖
人行道路旁
我看你注視著半空中
我是不是越過了你的表情離你近了點？

哦，告訴我吧
賞我一支舞吧
讓我今晚有所轉變
繞著旋梯往上到更高的境地

像幻燈片放映著的海邊小鎮
可口可樂，足球，收音機，收音機，收音機
收音機播放著 …

—————————————–
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Tog en halvdag ledigt igår, tänkte utnyttja vädret till att fota lite, när jag väl kom ut var himlen en djupgrå massa som inte tillät naturfotografering överhuvudtaget! Jag tappade inspirationen helt enkelt! Då jag visste innan jag åkte att jag skulle tillbringa en hel del tid i bil tog jag med mina cd-pärmar med mest gammal musik och hittade då “The unforgettable fire” med u2. VILKEN OTROLIGT BRA SKIVA!!!! Inledningsspåret skulle jag kunna lyssna på hur många gånger som helst, riktigt bra bilmusik, “a sort of homecoming”, speciellt när man sitter själv i bilen och kan gapa med hur mycket som helst!

Jag har kommit några dagar in i skilsmässoprocessen nu! Bitterheten är som bortblåst, vi har fått varsin lägenhet och vårt samliv har aldrig varit bättre än nu! Väldigt märkligt vilken åtrå som kan blossa upp!!! Vi hade ändå sex i stort sett varje dag innan vårt beslut, men nu är det kaninlikt nästan maniskt och tvångsmässigt….men rätt skönt! Nu återstår ett problem…hur berättar vi för barnen? Vi ska göra det i helgen som kommer, men hur gör man! Minsta grabben kommer att krascha, min stora kille kommer att försöka ta det coolt, men han kommer oxå att må dåligt så man måste följa upp det! Faan jag har ångest, inte bara för att berätta utan också för det där att inte träffa dem varje dag sen när vi flyttat! En sak som också är lite märklig är att jag aldrig kommer att kunna säga ett ont ord om min blivande exfru! Jag är bara inte kär i henne längre, vi har hängt ihop sen vi var 16 år och det får ju anses som rätt länge med tanke på att vi båda är över 40 nu! Jag högaktar henne och hoppas hon träffar en riktigt schysst snubbe….

Jag kan inte undanhålla er denna artikel, hur bra som helst….alla pop o rockstjärnor är inte vänster, men fan vet om detta är så mycket bättre.