On “War,” U2 are a lot less lyrically polished and musically accessible than they are on, say, “The Joshua Tree” or “All That You Can’t Leave Behind.” They still have some rough edges. But there’s much to be appreciated here. I suggest that to fully experience this album, play it loud and listen carefully to all of the great sounds being produced by The Edge’s guitar. You won’t be disappointed.
War is only one of many topic addressed on this album. After waxing religious throughout their second album, “October,” U2 got political for the first two tracks of this, their third. “Sunday, Bloody Sunday” is a classic anthem about the Troubles in Northern Ireland. You’ve probably been living under a soundproof rock for the past 20 years if you’ve never heard it. “Seconds” is about nuclear tension in the age of the Cold War.
“New Year’s Day” was one of my least-favorite famous U2 singles for a long time. It’s grown on me since then, but it still isn’t among my all-time faves. It’s good to hear The Edge tickle the ivories, though. He should do so more often.
“Like a Song” rocks as hard as U2 ever have. Its crashing minor chords and pounding drums make for a noisy, frantic atmosphere. Its underdeveloped lyrics do effectively convey a general sense of conviction and defiance. This is one of the best tracks on “War.”
U2 try to connect to their supposed punk roots with angry, shouted backing vocals on “The Refugee.” Ultimately, they don’t make very convincing punks. The lyrics on this one preface these Irishmen’s future obsession with America.
“Two Hearts Beat as One” is a great song. Adam Clayton contributes a driving bass line and The Edge uses his percussive guitar strumming to add to the groove. Topically, this is a rare straight-up love song for U2. Apparently Bono got married while making this album, and this song is about his new wife. They’re still together today, which is pretty remarkable for a marriage in the entertainment industry. Perhaps the most moving thing about the song is the part where Bono, never one to be at a loss for words, admits he’s having difficulty expressing his feelings: “I try to spit it out, I try to explain, the way I feel, oh yeah…”
U2 uses female backup singers on “Red Light” and “Surrender.” I think the experiment was largely successful, but apparently Bono didn’t feel inclined to share the microphone on future albums. Lyrically and musically, these two have a more glitzy and urban feel, and you can really tap your feet to them. This territory would be revisited on “Achtung Baby.”
The album closes with "40," a slower and softer track lyrically based upon a Biblical verse. On “Sunday, Bloody Sunday,” Bono sang “how long must we sing this song?” as an angry query about the continuing cycle of violence in Northern Ireland. On "40," the phrase is repeated as more of a quiet meditation or prayer. It makes for a peaceful ending to one of U2’s noisiest and most chaotic albums.
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