April 17, 200817 yr Author :lol: and I'm the Queen of England :P Well, you're about the same age as Lizzie. And you look like her. :unsure: http://i29.tinypic.com/f1d05.jpg Edited April 17, 200817 yr by Jupiter9
April 17, 200817 yr Author *wonders if I should reveal I'm Lord Nelson.....* :rolleyes: I'm Flora MacDonald :smoke:
April 18, 200817 yr I´m just http://i10.photobucket.com/albums/a122/jagobo/ET20Lifesize20Replica20CU20Web.jpg Edited April 18, 200817 yr by Queen Sheba
April 18, 200817 yr Well, you're about the same age as Lizzie. And you look like her. :unsure: http://i29.tinypic.com/f1d05.jpg I look stunning in that blue outfit don't ya think ^_^
April 19, 200817 yr :lol: I didnt think you could buy brollies like that anymore but then again, I am the Queen of England, I had that one made especially ^_^ :blink: back on topic now :P I thought this album was being released in May?
May 23, 200817 yr Author http://www.u2.com/news/index.php?mode=full&news_id=2223 22.05.2008 Boy, October, War: Remastered U2’s first three albums have been re-mastered and will be released by Universal on July 21st. Following the re-mastered release of The Joshua Tree last year, Edge has now overseen the re-mastering of Boy (1980), October (1981) and War (1983). All three have been re-mastered from the original audio tapes. Each album will be released as a standard single disc, a deluxe double version including a disc of b-sides, live tracks and rarities, and an LP version pressed on 180gm virgin vinyl. The packaging on all three titles has been restored and expanded, with new liner notes for each record, previously unseen photos and full lyrics. More as we get it.
June 1, 200817 yr Author http://www.u2.com/news/index.php?mode=full&news_id=2224 'Boy' Remastered: All You Need to Know Speed of Life, Saturday Night and Cartoon World are among the rare and previously unreleased tracks featured in the reformatted edition of the band's first album, Boy. The album, set for release in July, will come in three formats - the remastered single CD, a deluxe format including a bonus CD of b-sides, live tracks and rarities, and the vinyl format. A 16 page booklet features unseen photos, lyrics and liner notes from Paul Morley. Edge, who has overseen the remastering of the album, has contributed notes on the bonus material. Here's the detail on the formats, tracklistings and bonus material. Standard format: A single CD with re-mastered audio and restored packaging. Includes a 16 page booklet featuring previously unseen photos, full lyrics and new liner notes by Paul Morley. Tracklisting: 1. I Will Follow 2. Twilight 3. An Cat Dubh 4. Into The Heart 5. Out Of Control 6. Stories For Boys 7. The Ocean 8. A Day Without Me 9. Another Time, Another Place 10. The Electric Co. 11. Shadows And Tall Trees. Deluxe format: A standard CD (as above) and a bonus CD including b-sides, live tracks and rarities. Also includes a 32 page booklet with previously unseen photos, full lyrics, new liner notes by Paul Morley, and explanatory notes on the bonus material by The Edge. Tracklisting: 1. I Will Follow (Previously Unreleased Mix) 2. 11 O'Clock Tick Tock 3. Touch 4. Speed Of Life (Previously Unreleased Track) 5. Saturday Night (Previously Unreleased Track) 6. Things To Make And Do 7. Out Of Control 8. Boy-Girl 9. Stories For Boys 10. Another Day 11. Twilight 12. Boy-Girl (Live at The Marquee, London) 13. 11 O'Clock Tick Tock (Live at The Marquee, London - Previously Unreleased Version) 14. Cartoon World (Live at The National Stadium, Dublin - Previously Unreleased Track) Vinyl format: A single album re-mastered version on 180gram vinyl with restored packaging. Tracklisting: 1. I Will Follow 2. Twilight 3. An Cat Dubh 4. Into The Heart 5. Out Of Control 6. Stories For Boys 7. The Ocean 8. A Day Without Me 9. Another Time, Another Place 10. The Electric Co. 11. Shadows And Tall Trees.
June 1, 200817 yr Author http://www.u2.com/news/index.php?mode=full&news_id=2225 October Remastered: All You Need To Know This just in: details of the formats and tracklistings of the remastered edition of October, released in July. Standard format: A single CD with re-mastered audio and restored packaging. Includes a 16 page booklet featuring previously unseen photos, full lyrics and new liner notes by Neil McCormick. Tracklisting: 1. Gloria 2. I Fall Down 3. I Threw A Brick Through A Window 4. Rejoice 5. Fire 6. Tomorrow 7. October 8. With A Shout 9. Stranger In A Strange Land 10. Scarlet 11. Is That All Deluxe format: A standard CD (as above) and a bonus CD. Bonus CD includes b-sides, live tracks and rarities. Also includes a 32 page booklet with previously unseen photos, full lyrics, new liner notes by Neil McCormick, and explanatory notes on the bonus material by The Edge. Tracklisting: 1. Gloria (Live at Hammersmith Palais, London) 2. I Fall Down (Live at Hammersmith Palais, London) 3. I Threw A Brick Through A Window (Live at Hammersmith Palais, London) 4. Fire (Live at Hammersmith Palais, London) 5. October (Live at Hammersmith Palais, London) 6. With A Shout (Richard Skinner BBC Session) 7. Scarlet (Richard Skinner BBC Session) 8. I Threw A Brick Through A Window (Richard Skinner BBC Session) 9. A Celebration 10. J. Swallo 11. Trash, Trampoline And The Party Girl 12. I Will Follow (Live at Paradise Theatre, Boston) 13. The Ocean (Live at Paradise Theatre, Boston) 14. The Cry/Electric Co. (Live at Paradise Theatre, Boston) 15. 11 O’Clock Tick Tock (Live at Paradise Theatre, Boston) 16. I Will Follow (Live From Hattem, Netherlands) 17. Tomorrow (Bono & Adam Clayton, Common Ground Remix) Vinyl format: A single album re-mastered version on 180gram vinyl with restored packaging. Tracklisting: Side One 1. Gloria 2. I Fall Down 3. I Threw A Brick Through A Window 4. Rejoice 5. Fire Side Two 1. Tomorrow 2. October 3. With A Shout 4. Stranger In A Strange Land 5. Scarlet 6. Is That All?
June 1, 200817 yr Author http://www.u2.com/news/index.php?mode=full&news_id=2226 War Remastered: Tracklisting and Formats And War too: here's the detail on the tracklisting and formats for the reformatted edition of War, on release in July. Standard format: A single CD with re-mastered audio and restored packaging. Includes a 16 page booklet featuring previously unseen photos, full lyrics and new liner notes by Niall Stokes. Tracklisting: 1. Sunday Bloody Sunday 2. Seconds 3. New Year’s Day 4. Like A Song… 5. Drowning Man 6. The Refugee 7. Two Hearts Beat As One 8. Red Light 9. Surrender 10. "40" Deluxe format: A standard CD (as above) and a bonus CD. Bonus CD includes b-sides, live tracks and rarities. Also includes a 32 page booklet with previously unseen photos, full lyrics, new liner notes by Niall Stokes, and explanatory notes on the bonus material by The Edge. Tracklisting: 1. Endless Deep 2. Angels Too Tied To The Ground (Previously Unreleased Track) 3. New Year’s Day (7” single edit) 4. New Year’s Day (USA Remix) 5. New Year’s Day (Ferry Corsten Extended Vocal Mix) 6. New Year’s Day (Ferry Corsten Vocal Radio Mix) 7. Two Hearts Beat As One (Long Mix) 8. Two Hearts Beat As One (USA Remix) 9. Two Hearts Beat As One (Club Version) 10. Treasure (Whatever Happened to Pete The Chop) Vinyl format: A single album re-mastered version on 180gram vinyl with restored packaging. Tracklisting: Side One 1. Sunday Bloody Sunday 2. Seconds 3. New Year’s Day 4. Like A Song... 5. Drowning Man Side Two 1. The Refugee 2. Two Hearts Beat As One 3. Red Light 4. Surrender 5. "40"
June 22, 200817 yr Author http://www.u2.com/news/index.php?mode=full&news_id=2234 'Teeming with wide awake wonder...' Author and critic Paul Morley, who's followed U2 since their earliest shows in the UK, when he was a writer on the NME, has written the liner notes for the reformatted release of Boy which arrives next month. We got hold of an exclusive advance extract. ‘… everything they have gone on to do and be features the afterglow of Boy, an album teeming with wide awake wonder. U2 mixed something passionate, Irish and dashing, something a little starry eyed and roguish, with the austere, blazing British post-punk sound that had emerged in January 1978 once Johnny Rotten had formed Public Image Limited, Howard Devoto had formed Magazine and Warsaw had become Joy Division. U2 may have started out as a hearty mini showband gaily playing Peter Frampton, and then after punk covering the zonked pop maniacs Ramones, but The Edge got the hang of the guitarist he wanted to be by listening to the New York new wave sonic symbolists Television and the savagely articulate simplicity of early Siouxsie and the Banshees. By 1978, once punk inspired guitarists who couldn’t quite play or who could but didn’t want to repeat traditional and therefore reactionary, oppressive riffs and licks started to experiment with their tone and sound, a whole different way of playing the guitar emerged. It was less Keith Richards and Pete Townsend and more the Phil Manzanera and Robert Fripp who would play on records featuring and/or starring the sensual theorist Brian Eno as he channelled the Velvet Underground through an Anglosurrealistic fascination with chance, repetition and drone. It was the gaunt, primitive garage guitar of Lenny Kaye accompanying the divine, derelict New York visions of Patti Smith, it was the meticulous cryptic interference that made Can distant avant relations of the Velvets. The questing, abstract post punk guitarists - Keith Levene of Public Image Limited, Bernard Sumner of Joy Division, John McGeoch of Magazine and Siouxsie and the Banshees, Andy Gill of Gang of Four, Martin Bramah of the Blue Orchids, Alan Rankine of the Associates,Will Sergeant of Echo and the Bunnymen – patched together their idea of a new iconoclastic rock guitar playing by following the route laid down from Can to Television, from the Velvets to the Banshees, from the Eno Roxy to the Eno Bowie. This was the introspective but ebullient, alienated but driving, freedom seeking guitar that The Edge took into U2, and then all over Boy, and then, eventually, around the future of the world, a stinging, crystalline, scenic guitar that came from the blues via LaMonte Young, the Spiders from Mars, New York punk and Krautrock rather than Clapton, Jones and Page. Because of this guitar, and the way the producer of the Banshees and XTC, and now U2, Steve Lillywhite, put it top of the Boy bill, up above Larry’s dancing marching drums and Adam’s gripping, adamant bass, even above the grave, categorical arrival of Bono, when the album came out it fitted into the literate post punk scheme of things as defined by Magazine, Joy Division, Public Image, Monochrome Set, the Associates and Gang of Four. U2 may have identified with the armed and pseudo-dangerous Clash, the splenetic and distinctly rebel Irish Stiff Little Fingers, the spectacularly anxious and insidious Joy Division and the naïve, impressionable kid punk Skids, and temporarily muzzled in the background there were always the gospels according to Bruce, Bob and Van - but Boy was more than anything sonically and emotionally related to the swashbuckling, edge of reason extravagance of the Associates and their Affectionate Punch album. Just like the serenely magnificent Scottish Associates, and their lavish, unfettered singer Billy McKenzie, U2 had a soft spot for the epic, and a fondness for the ceremonial brilliance, the posing show business intelligence, of Bowie, and his addiction to fresh ideas, new methods and fresh new starts. There’s Bowie in Boy – the way certain sparkling, awestruck songs end with such melodramatic finality, the lurking, deadpan Man Who Sold The World bass, the lusty glam bam drums, the exultant soaring into the skies to make a point, or simply to make a moment, which is sometimes the point – and there’s always been Bowie in the way U2 try so much never to be the same thing twice, even if it means dressing up, wearing masks, changing their mind, veering off course, joining the circus, starting again, making enemies, breaking hearts, losing the plot, questioning themselves, and in the end having to do the same thing twice on the way to starting again.’ Taken from Paul Morley’s liner notes accompanying the reformatted release of Boy.
June 24, 200817 yr :cheer: available to pre order now http://www.play.com/Music/CD/4-/5508653/Boy/Product.html http://www.amazon.co.uk/Boy-Remastered-U2/...553&sr=8-30 various prices :blink: ones a deluxe edition :w00t:
July 1, 200817 yr Author From http://www.u2.com/news/index.php?mode=full&news_id=2236 'Two wheels over the edge of the cliff...' In his sleeve notes for the forthcoming remastered release of October, Edge remembers a 'desperate struggle to communicate against the odds'. Next month, remastered releases of Boy, October and War, U2's first three studio albums, go on sale. Each release comes with bonus tracks, rare photography and new liner notes. This extract comes from Edge's notes recalling the period leading up to the release of October in September 1981. 'Within the space of a year we had released our first studio album Boy, toured around the known world playing numerous small gigs and doing radio and press interviews and made it home to start work on the fabled “difficult second record”. We were spent and running a bit scared. The now famous missing lyrics, stolen from a dressing room in Portland, didn’t help our sense of foreboding. We knew we were less than totally secure at Island Records having had a modest hit with I Will Follow, and we knew that we had very few new songs of merit. We did what we always do at times of crisis; we went into a huddle and partly out of necessity and partly out of an instinct to return to familiar surroundings we went back to where we started, to Mount Temple School, to try and write some material in the weeks running up to the first studio session. In a small basement room, next to the boiler house of the old Victorian school building, we set up our gear and tried to craft a few musical ideas that we could later develop into songs. Many of the parts and basic arrangement ideas for the October album came together here. These rehearsals were difficult and tense and I remember many arguments. Although Steve Lillywhite had made it clear that he never worked with a band more than once we persuaded him to produce this album, so when we went into Windmill Studios we at least had a familiar face behind the mixing desk. Steve’s unfailing optimism and can-do attitude became a hugely important resource. It was obvious to everyone that we were driving with two wheels over the edge of the cliff, and it drew from us, and particularly Bono, a level of creativity that we had not seen before. Half-baked musical ideas that we started working on in the morning would be finished songs by the evening. Vocal melodies and sections of final lyric would be composed in real-time on the microphone. This was stream-of-consciousness songwriting. Listening back now, I am amazed at where we got to with this approach, but out of this experience we learned techniques of writing that we still use today. This creative fight for survival also became the overarching theme of the record. Faith versus fear, the desperate struggle to communicate against the odds....'
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