Newsgroup: it.fan.musica.u2
Titolo: salome

Salve ragazzi!!! volevo chiedervi informazioni proprio sull'oggetto del
mess. Potete dirmi dove poter scaricare i 3 cd completi, dove posso trovare
la track list completa, ecc. ecc. insomma tutto quello che posso trovare in
rete. Vi ringrazio in anticipo ragazzi. Ciao a tutti

 mess.
Se ti può servire... ti riporto quello che avevo trovato
(non mi ricordo dove):
Salome, The Axtung Beibi Outtakes (The Achtung Baby Working Tapes)
Disk 1
1 Salome (5:59) - This song must have been most painful to evolve, since
there are more takes of it than any other on SALOME. You can virtually sing
the words to Salome' (from the CD single of Even Better Than The Real Thing)
to this take.  Perhaps it's title here still should be Got To Get Together
Now, but it's Salome' for identity purposes.  The bassline leads one to
believe this is an early form of ZOO STATION. Later also takes support this
theory.
2 Where Did It All Go Wrong? (4:11) - Here, all 4 members of U2 keep up a
frantic pace resulting in a fast, hard driving song that sounds GREAT!  It's
very repetitive, but that's the hook. It's all 4 members of U2 moving pretty
fast. The music "skips" at 2:21.
3 Where Did It All Go Wrong? (3:44) - A much more catchy version with a
cool, albeit out of place, bridge.
4 Heaven And Hell (6:48) - U2 playing the same instrumental backing as
DOCTOR DOCTOR, but with Bono singing completely different words. A great
slow song with a nice "fat" organ sound.
5 Doctor Doctor (2:36) - U2 playing the same instrumental backing as HEAVEN
AND HELL, but Bono singing completely different words. The music "skips" at
1:47, Fades out at 1:51, and back in at 1:55, and then back out again at
2:35.
6 Jitterbug Baby (3:57) - This song fades in with a bouncy guitar riff and
Bono singing in a low voice.  There's plenty of reverb on Bono and plenty of
Edge "cutting" to ensure this song being scrapped early on. The words are
quite lost in the mix.
7 Salome (9:16) - A real bridge take.  You can hear U2 take a song that
wasn't working for them and change it drastically to try and make something
out of it. The change was for a slower "less crowded" sound which results in
a bored sounding band.  Towards the end of the take you can hear the
familiar ZOO STATION-ish sounds coming forth in bursts. At 5:31 Bono sings
something that prompts Larry to drum a little faster, this in turn has The
Edge (around 6:40) changing his guitar melody.  It changes the whole sound
quite a bit!  At 7:00 Bono re-introduces lyrics from the beginning of the
song (why?), but soon calls out "We're going into the F, going down to the
F" which brings them into some place completely different.  "E minor" from
Bono changes the sound of things even further.  It seems something happens
on the spur of the moment that changes the song more than the simple chord
changes.  At 7:37 things really start coming together, so much as to prompt
Bono to say (at 7:55) "That's really great stuff, Larry Mullen."Further
toying with the song ultimately wears them own, and at 9:10 the steam runs
out very suddenly.
8 Salome (5:37) - The beginning sounds almost like a "remixed" version of
the song.  U2 seem to be taken by the idea of radically changing the songs
in an effort to spur creativity.  There's a great deal of "production" on
this take; plenty of assorted effects and sound loops. The vocals can be
heard, but it is difficult to understand much of what is being said. This
songs later evolution into ZOO STATION is most evident in this take,
especially toward the end (ie, the fuzzy booming sound at 3:14). The
familiar ZOO STATION loop of clanking bells can also be heard throughout the
song.
9a Sunset In Colors (8:49) - A loose melody, mostly instrumental with a very
bright sound.  A very good song consisting mainly of The Edge on lead
guitar.
9b Chances Away (6:08) - Demo sounding with only few words from Bono (though
he seems to know the music!).  Bono sings bits of TAKE YOU DOWN, another
song from these sessions. This is an early form of UNTIL THE END OF THE
WORLD.  The familiar riff is heard at the end of the choruses (indexed:
4:14, non-indexed: 10:22)
10 Chances Away (1:40) - Fades in for short while and then back out again.
Odd.  Perhaps there is something in this short clip that U2 wanted to keep
for future reference.
11 I Feel Free (6:35) - Both Bono and The Edge sing vocals on this track,
making it sound more planned, rather than the brainstorming session we heard
in CHANCES AWAY. Almost immediatley we hear the familiar riff from CHANCES
AWAY, only this time it is the basis of the song instead of the second half
of the chorus. This is an early form of UNTIL THE END OF THE WORLD.
Disc 2
1 I Feel Free (4:31) - A fantastic shriek from Bono at beginning. The UNTIL
THE END OF THE WORLD guitar riff is the basis for the whole song.  Vocals
are mostly Bono, but The Edge provides backup. This take is much more
free-form than Disc 1, track 12. This is an early form of UNTIL THE END OF
THE WORLD.
2 Sweet Baby Jane (2:02) - Bono sings the first verse acapella (and stammers
on a word!) in a thick 'Bongloese'.  The Edge follows him with guitar, then
they both join up. Adam comes in later.  No Drums.
3 Morning Child / Don't Turn Around (5:35) - This song is an early form of
WHO'S GONNA RIDE YOUR WILD HORSES. Bono sings "sweet morning child" a few
times then later sings "don't turn around" to the same melody. Bono asks for
lyrics! Bono tells Edge [4:17]"Say 'don't turn around' over and over again."
and The Edge creates instant backup vocals. The audio cuts to silence for
about one second at 4:48.  When it returns Bono says, "Try not to do that".
At the end of the take Bono says "That alright mates?", someone replies,
"Yeah, that was real perfect."
4 Morning Child / Don't Turn Around (4:00) - This song is an early form of
WHO'S GONNA RIDE YOUR WILD HORSES. In this take you can really hear the
acoustic guitar.  The bridge here is similar to how it turns out on the
album (only better in my opinion) Bono barely sings at all during this
bridge). Bono starts singing "morning child" towards the end of the take.
5 Morning Child / Don't Turn Around (5:09) - This song is an early form of
WHO'S GONNA RIDE YOUR WILD HORSES. Bono sings "don't say goodbye" several
times in the same melody as he sings "morning child" and "don't turn
around". Bono goes for some vocal calisthetics toward the end of the take.
6 Take Today (6:29) - Nice instrumental song with harmonica and horns.
7 Even Better Than The Real Thing (4:51) - This is pretty much an
instrumental version of EVEN BETTER THAN THE REAL THING. You can practically
sing along with this one.  The crescendo ending is fantastic, much better
than the commercial version.
8 She's gonna Turn Your Head Around (7:44) - This "version" sounds very
little like what it later evolves/changes into.  The vocals have a heavy,
plate sounding reverb.  The audio is quieter than other tracks.  It fades
out early. Bono sings "she's gonna take her chances, gonna take her chances"
to what will be the melody of "She's gonna turn your head around" He also
sings some other stuff to the same melody. Bono adlibs though much of the
song. Doesn't Larry ever get tired?
9 She's Gonna Turn Your Head Around (7:38) - There is now much less echo,
more song structure, and a normal volume level. The chorus, "she's gonna
blow your house down, she's gonna turn your head around, she's gonna blow
your house down", is now consistent. This take KICKS!
10 Back Mask U2 (5:33) - This is an early form of SO CRUEL.  The connection
becomes more evident later on. There's plenty of percussion playing
backwards behind the band.  The sound is slow and depressing. Bono mumbles
through most of the song (a la ELVIS PRESLEY AND AMERICA). Toward the end it
becomes mainly instrumental, although at x:xx we hear a line we know from SO
CRUEL.
11 She's Gonna Turn Your Head Around (7:41) - Bono says "wake up!" a lot.
The melody has changed a little bit.  Bono sings, "better wake up, better
wake up tonight, better find a new plan, better wake up tonight." to the
melody of SHE'S GONNA TURN YOUR HEAD AROUND chorus. Bono sings in a very
high pitched voice towards the end, "she's gonna blow your house down, she's
gonna turn your head around, she's gonna take you down". It's as if he
finally figured out the chorus!.
12 Take Today (6:32) - This version has Bono singing, and The Edge doing
backup.  Sounds sort of "family" like. The audio cuts to silence for about
1/10th of a second at 5:14.  Another drop out is heard at 6:28.
Disk 3
1 Someone (1:05) - This is a short clip of a song that sounds like a jam
session.  Something must be in this clip that U2 wanted to save for later
development.
2 Back Mask U2 (3:11) - This is an early form of SO CRUEL.  This is evident
not only in the percussion, but also in the general emotion of the song
(specifically, the last two lines of the take). One can really understand
what Bono is singing!
3 Acrobat (4:19) - This song is ACROBAT with slightly different words. It is
the only song that survived these sessions virtually unchanged. Bono sings
"Don't let (X) take you down", where X seems to be assorted different
things, people, etc. It's hard to actually pick any but a few out. A GREAT
guitar solo from The Edge.
4 Salome (5:56) - The bass line (reminicent of some Rolling Stones song) is
the tell-tale clue that reveales this to be an early form of ZOO STATION.
It's very difficult to distinguish any lyrics.
5 Morning Child / Don't Turn Around (5:09) - Same take as the Disc 2, Track
5, except here the beginning has been partially omitted.
6 Take You Down (5:16) - This song is an early form of LADY WITH THE
SPINNING HEAD, which later evolved into ULTRA VIOLET (Light My Way).  The
guitar solo was used again in THE FLY, and the bridge moved on to be used as
the intro to ULTRA VIOLET (Light My Way). Edge is NOT signing backup, it's
Bono!  The left and right channels are different takes of Bono singing to
the same backing music.  Each channel sounds quite different from the other,
and the two only come together in one or two places.  The vocals are not
completely isolated to the left or right channels.  In each channel you can
faintly hear the other.  During the guitar solo and bridge you can only hear
one vocal track (in both channels). Hendrix like solo, wow! A frantic
ending.  This song rips!  Much, MUCH better than the LADY WITH THE SPINNING
HEAD.
7 Going Down South (5:24) - Instrumental.  Sounds like some 'hill billy'
rock band.  All that's missing is someone on washbasin and whisky jug.
8 Salome (3:52) - This is Bono screwing around with a 12-string guitar while
the backing of Salome'(Disc 3, Track 4) is playing.  He is presumably trying
to work out something, but God only knows what.  This take becomes truly
annoying to the listener after a couple of minutes (then again it was never
meant to be LISTENED to). The pluking of strings from the 12-string can be
heard, while in later takes, you hear strumming and chord progressions.
9 Salome (13:08) - More Guitar overdubbing amounts to 13 minutes of an idea
being pounded to death from an assortment of angles with plenty of reverb.
10 Salome (6:03) - Oh God!  More guitar overdubbing, although this time it
seems more 'idea oriented'.  U2 should be given credit for being a great
band, but the process of creating a song via this method is about as
pleasant as giving yourself a root canal.
11 Salome (8:05) - The take starts with someone announcing: "Bono, 12
string...take 2".  Not much progress here.  It seems like someone is toying
with the mix during this take.  By the end of the track, the vocals and
guitar are turned down so as to make the 12 string, percussion, and bass
more prominent.
12 Salome (12:04) - This track begins with a few seconds from the previous
track (with it's percussion and bass biased mix).  Then it's onto more
12-string overdubbing.  Fades in and out a couple of times. What they were
trying to isolate is not apparent.