Songs Of Innocence is the worst thing U2 has ever done. Far more self-indulgent than Passengers, the idea of the now 50-something Bono singing about being a teenager and getting into music could either be amazing or terrible. It wasn't amazing.

When it was given, for free, to anyone with an iTunes account, very few people were happy about it. Iggy Pop mentioned that Bono was "giving away music before it can flop, in an effort to stay huge."

While I haven't loved every album U2 has ever put out, this was the first one that I listened to and couldn't remember a single thing about a single song. Like most of the people this album was inflicted on, I forgot about it completely until the release of their next album, when I decided to see if there was anything salvagable. And there is. Between the two albums, there is a single album's worth of story that I'm interested in.

When Bono and / or U2 team up with rappers, it usually doesn't go well. Not as bad as KRS-One & REM's woeful "Radio Song", but Bono & Wyclef's "New Day" definitely didn't make this discography. But, somehow, the Kendrick Lamar / U2 combination delights me. "American Soul" is a great start to the album, mostly because of Lamar's intro. I've said this many times about 21st century U2 lyrics: they're stupid. In this case, they seem to be falling back on the worst part of Rattle & Hum, trying to make a statement about America without actually saying anything.

"Summer Of Love" is a sweet ditty about the Syrian Civil War. Sometimes describing U2 songs makes my brain hurt.

If you liked The Beach Boys' "Barbara Ann", you might be puzzled by why U2 has stolen it for "California (There Is No End To Love)". It's a weird choice, but after the absolute blandness of most of the Songs Of Innocence album, I'm ok with weird choices.

"XXX" is actually a Kendrick Lamar song with U2 reprising the hook from "American Soul". I like it as a callback. Also, Kendrick Lamar was producing more interesting music in 2018 than U2 was.

Bono singing about singing is a tired trope in U2 lyrics. Yea, Bono, you're a singer. WE KNOW. He does it again in "The Showman". The song is means to be self-depricating, but at this point in the band's career, when they've been doing self-depricating songs about performing for over twenty years, it's a tough sell. But I do like the chorus. And I cut about a minute out of it.

"Trouble" is one of the few songs saved from the culling of "Songs Of Innocence". Lykke Li's vocals are much of the reason why. Technically, the name of this song is "The Troubles" but I never head the s in troubles so I've been mistitling it since it came out. I'm not fixing it now.

The production on the intro, and the jangly The Joshua Tree era guitars are most of the reason why "Raised By Wolves" also makes it off of Songs Of Innocence. The story about a carbombing in Dublin when Bono was a teen is brought home by him calling out the license plate of the car used to set the bomb.

"The Little Things That Give You Away" is highly edited, and is the beginning of what's essentially one long medley of tracks about lightness and dark. My version of this album, Sometimes, takes its title from the refrain in the second half of this song.

Another ... song ... about ... how Bono ... loves ... his wife. *prolonged sigh* "Song For Someone" continues the light and dark medley and sets up a chorus refrain for later in the medley.

"Blackout" is the first actual rocking song from the album that isn't actually a Kendrick Lamar song. It's the first track I heard from their most recent album, and, apart from the very silly Paul Simon-esque "50 Ways To Leave Your Lover" name inclusion, I quite like it. This is part of the album they retooled to reflect Brexit and Trump. It's not as stinging as it hopes it is.

Almost dying is terrifying. "The Lights Of Home" do draw you, mothlike, to Bono's experience in a way most of his recent songs don't, as he sings about wanting to stay alive for his family. There's also a killer sample from Haim's "My Song 5".

"Get Out Of Your Own Way" brings back the heartbeat drums from "Beautiful Day" helping to reinforce the feeling that this whole album is a coda for the band. If No Line On The Horizon was a reprise of their 80s output, Sometimes is a reprise of their 21st century output. I'm sad there isn't an analogue for their 90s catalogue.

Closing out the medley is "There Is A Light", which brings back the chorus from "Song For Someone" and continues the whole light/dark motif.

"Red Flag Day" is a poppy song about ... the Syrian Refugee crisis ? What the fuck, Bono? It's a catchy song that I didn't fully examine until this post. What an odd tone for the song.

"Love Is Bigger Than Anything In Its Way" is a nice closer for this U2 discography. It's an All That You Can't Leave Behind style anthem that could close out a concert, "40" style, with the audience singing the "oh-oh-oh-oh-ohhhh-oh" part as the band leaves the stage.

That's it. That's as far as U2 has gone so far. And there's some speculation that Songs Of Experience is the final full U2 album. I think that would be fine. But I'll be here, ready to see what's worth listening to from any future releases.

Every album U2 has released since the turn of the millennium have touted the album as " a return to the classic sound". As if Achtung Baby, Zooropa, and Pop were So Terrible that the only way U2 could redeem themselves would be to go back and release another The Joshua Tree. I enjoy that their best 21st century work (which is much fewer and far between than their 90s output) is instrumentation that you can imagine from the 1980s but engineering and production techniques that they learned in the 90s.

All that said, No Line On The Horizon could absolutely be the album that followed The Joshua Tree, and that would be great.

I mentioned in the description of All That You Can't Leave Behind that the best intro track U2 has done in the 21st century was "Vertigo", but "City Of Blinding Lights", which I've used as the first track for this reimagined album, is the most "Where The Streets Have No Name" song U2 have created in twenty years. It's not derivative, it just has the same basic structure. And I love it.

There are four different songs that went into the creation of "Fez (Being Born)", and they come together to form a very Unforgettable Fire style song, with the let me hear the sound motif being laid down for a later appearance on the album. 

"If I Don't Go Crazy Tonight" is the type of 21st century pop rock ballad U2 have been continuously writing. I think this is their greatest success at that attempt. The lyrics are the generic bumper sticker wisdom that Bono has been jotting down since Achtung Baby but it doesn't feel as stilted as it often did on All That You Can't Leave Behind.

I heard a different mix of "Breathe" at some point before No Line On The Horizon came out, and I did Not enjoy it. But they apparently remixed it "80 times" during the album's creation. Well, good work. I much prefer the album version of the song. The guitar and the bass line are all Achtung Baby, the piano is very October, and the vocals are super All That You Can't Leave Behind.

Bono's favorite lyrics from "Miracle Drug" are freedom has the scent / like the top of a newborn baby's head. I think that speaks a lot to why I prefer the music of latter-day U2 to their lyrics. The story behind the song is actually extremely cool, but I didn't know about that until after I finished typing the last sentence. It's about a kid they went to school with who was paraplegic. When doctors discovered a drug that allowed him to move one muscle in his neck, they created a device that attached to his head that allowed him to type. He then became an acclaimed poet. I like the song, but wish it was as cool as the story behind it.

I put a super abbreviated version of "Smile", as I do enjoy one of the verses, but it's mostly just repetitive and cloying. So I've fixed that.

When I did a different version of this album a few years ago, I accidentally included "Standup Comedy" and not "If I Don't Get Crazy" because I'd confused them in my head. It was a happy accident, as I've grown to like the 70s lofi rock style of the chorus.

"Magnificent" is straight up my favorite song from 21st century U2. It was their second single from the album, and I had Loathed "Get On Your Boots", I feared the album was going to be terrible, but then FNX started playing this track, and I was relieved. I adore the fuzzy guitar info, and the lyrics. Yes, they're still self-help bumper stickery, but my first cry / it was a joyful noise totally won me over.

"Original Of The Species" is a nice cool-down song after "Magnificent". If I were to do another pass at editing this album, I would chop this in half, as I love the instrumentation, but the lyrics are totally forgettable.

Similar to "Magnificent", when I heard the intro to "All Because Of You", I was hooked. The lyrics make me laugh. I like the sound of my own voice (we know Bono, we know) / I didn't give anyone else a choice (say more) / an intellectual tor-toise (what?)

"Unknown Caller" could have easily been from The Unforgettable Fire. Its lyrics are not great, but I enjoy the sound of the vocals over the track.

"Neon Lights' just sounds like it was made to bridge "Unknown Caller" to the next track. I enjoy its brevity. I had no idea it was a Kraftwerk cover until I started researching this reimagined album.

"The Hands That Built America" should never have been a single. I imagined it was used well in Gangs Of New York, but I've never had any desire to see it. This is another track that I'd edit further if I were going to redo this album.

The soaring chorus of "Always" is the highlight of the song. Another recut of this album, and this track would just be bridge/chorus/bridge/chorus without the underwhelming verses.

The unexpected duet with Green Day to cover The Skids's "The Saints Are Coming" as well as the folk song "The House Of The Rising Sun" was a song I never knew I wanted. I enjoy the combination of the band, even if it's somewhat surprising to me that Green Days guitars would be the driving force of the song, and not The Edge's.

I mentioned how much I loathed "Get On Your Boots" when it was released as the lead-in single to the album. It's maybe the stupidest song they've recorded. But I've drastically cut it, so that it's mostly a one minute song to bring back the let me hear the sound refrain. And the guitar is fuzzy and great.

The title track, "No Line On The Horizon" has Bono earnestly screeching the lyrics with a little wooooah wooooah wooooah wooooah that makes me smile.

Another contender for "This could have been released on The Unforgettable Fire" is "Moment Of Surrender". The wailing vocals here, make for an interesting tilt to this album, as Bono's voice starts the album in his playful occasional falsetto pop style but it becomes increasingly desperate as the album goes on. He really wants you to listen to his lyrics as the album gets ... not deeper per se ... further.

"Moment Of Surrender" fades perfectly into "White As Snow", a simple, almost country song. But about snow. I'm no expert on country music, but off the top of my head, I can't think of any country song that involve snow, unless they're Christmas covers.

On another album "One Step Closer" could be a closer. But I enjoy that it is the title of the penultimate song.

Choose your enemies carefully, 'cause they will define you /Make them interesting 'cause in some ways they will mind you / They're not there in the beginning but when your story ends /Gonna last with you longer than your friends is a great close to the album. The subdued "Sunday Bloody Sunday" drumbeat in the background, and the sample of Brian Eno and Harold Budd's "Against The Sky" make this a haunting lullaby about war. It would have been an interesting final ever U2 track. They could have gone out, artistically if not commercially, as relevant and fondly remembered as any band could hope for. Unfortunately, they followed this up with the free iTunes album that will be very, very briefly touched on during the final installment of the U2 Reimagined Discography.

I have a friend who was also a huge U2 fan in the late 90s, and slowly cooled off in the 21st century. The kind of friend who, the first time we hung out, overheard me turning down plans with another person by saying "Sorry, I have a friend visiting." and asked, mostly sincerely, "We're friends now?" The two of us saw U2 during what must have been the second leg of their No Line On The Horizon tour. We weren't whelmed. It was no fault of the band. The venue saw them at was terrible. The sound was atrocious, and we barely got their in time, due to traffic.

This friend claims that All That You Can't Leave Behind is the last album they enjoy. Though they enjoy it semi-ironically.

I actually think most of All That You Can't Leave Behind is ... not very good. U2's return to their old style of playing was overdue, but it came out too sentimental to me. There were some songs I loved, a few I liked, and some I never listen to. In contrast, there are a bunch of songs on How To Dismantle An Atomic Bomb that I never listen to, a couple that I like, and a few that I love.

Therefore, this album is actually a combination of those two albums, plus some non-album tracks. There will be no How To Dismantle An Atomic Bomb in this discography, but fear not, as you'll see from the first couple of tracks, some of the album did survive.

"Vertigo" is the best 21st century opening song U2 has come up with. Sure, it got way overplayed, since it was iTunes's theme song for 2005. They even made a red U2-filled iPod, which I would have bought except ... I already had all those songs on my iPod. Some of Vertigo's lyrics are somewhat silly but the second verse is killer, and I love Edge's guitar work on this clear improvement of "Elevation".

"Sometimes You Can't Make It On Your Own" is another song that's actually from How To Dismantle An Atomic Bomb. I enjoy the whole song, but it's Bono's wannabe operatic lift of Can you/hear/me/when I/sing/You're the reason I sing that makes this one of my favorites. The whole vibe of this song feels like what All That You Can't Leave Behind was reaching for. I also like that its ending jangle is actually the beginning jingle of the next track.

I've chosen the Orbit version of "Electrical Storm", as the "Band Version" is boring. I love the echo and the effects burying the guitar in the mix. This was, by far, the highlight of Best Of 1990-2000 B-Sides for me.

Oh, hey, look, it's actually a song from the original version of the album. "Walk On" begins by announcing that love (the subject of the last song) is not an easy thing / the only baggage you can bring / is all that you can't leave behind. Hey! That's the name of the album! One of the two self-help singles from this album that I enjoy, this song got overplayed a bit when 9/11 gave it a bit too much resonance. But, like many of the songs on the original All That You Can't Leave Behind album, it's actually a song for Michael Hutchence, the lead singer of INXS who hung himself.

I edited "Peace On Earth" so long ago that I don't remember what I excised from it, or why. I think it just dragged. It's a perfectly find radio edit length ditty but five minutes of it is Too Much. So, here's a shorter cut.

"Beautiful Day" is in contention for my favorite U2 song. When I heard it, in advance of the album, I was confident that I was going to love this album. I was wrong. But it was a fun, optimistic month or so. The heartbeat drums are probably A Bit Much for some people, but I love them.

Another track I chopped the fuck down was "New York". There's two whole verses where Bono does the thing where he tries to sing an octave lower than he's capable of. So *thwack*, that section of the song is gone, we go direct to Bordering On Falsetto Bono. I also cut "Bono calls out different ethnicities for dumbass reasons." So this version of the song is Much Shorter.

I mentioned that "Vertigo" is sort of an improved version of "Elevation". I didn't mean to imply that "Elevation" is bad. I quite like the buzzy guitars, and falsetto backgrounds. Though I could do without his occasional "scatting". I still think this approach to guitars is an interesting way for the band to incorporate their Achtung Baby / Zooropa / Pop sensibilities while still making the songs sound more like early U2.

My cross-fade into "A Little While" is not my best work. This is another song where the sunny guitar riff is my favorite part of the song. The lyrics are ... there. It's another song for his wife. Yea, yea, we get it Bono, you love your wife that you met in high school. Good for you. Write her better songs.

"Window In The Skies" was a single from U2's U218, their Greatest Hits From Their Previous Greatest Hits albums. But with two new singles (the other one is on the next album). I was surprised I liked it, as it came pretty quickly on the heels of How To Build An Atomic Bomb.

I adore the abrupt and dirty opening of "Love And Peace", even if I'm exhausted by Bono singing generic songs about peace. Without The Edge and Adam Clayton, this would be a super wimpy Bono ballad. As it is, I like it more than most of the rest of the tracks from How To Build An Atomic Bomb.

Summery guitar again lulls the album into "Kite", another self-help song, but one whose lyrics I actually quite like. It segues really nicely into "Wild Honey", a weird little song that lyrically doesn't fit on to any U2 album. It's a fun departure.

I almost didn't include "Stuck In A Moment You Can't Get Out Of", as it's another self-help song that got super played during the months after 9/11. It doesn't have the resonance for me that the other singles do, but I do like the chorus, and the way it climbs out of itself near the end.

The final track is actually a live track of Bono with The Coors singing "When The Stars Go Blue" from a VH1 special. I really enjoy the way Bono's vocals blend with The Coors. It also fits my weird Ryan Adams fandom, where I only like him when he's singing covers, and I only like his original music when it is being covered by someone else. I also included it because I couldn't figure out how to end the album, so ... umm ... here's an applause fadeout.

If Zooropa had a lukewarm reception, and the world who bothered to notice the Passengers EP gave it a raised eyebrow, then the Pop album tanked.  I was in a band when Pop came out, and I remember the guiatrist saying "I know you're a big U2 fan, but NOBODY likes Pop. Tell me you don't like Pop."

I like Pop. It's marketing was odd. The live tour conceit was at best a stretch, at worst stupid and indulgent. The songs could have had better mixes, but ... I liked them. But I liked them in such a way that this is the first of two albums that I've majorly remixed. Cutting out entire verses of songs, using alternate takes, tracking down the vocal tracks and instrumental tracks and remixing them. But, in the end, I quite like the album I ended up with.

U2 remixed M's "Pop Muzik" as a B-side to "The Last Night On Earth". It's a much better intro to this album than "Discotheque", and because the instrumentation is so similar, it flows right into the album version of "Mofo", so my version Popmart opens with this "Mofo (Pop Muzik Remiks)". What can I say, I love albums that start with a slow build and then screeching guitars.

I debated following this up with the Allen Ginsberg version of "Miami", where he gleefully reads the lyrics while Bono songs. It's a bit much. And since he already appears on my version of The Joshua Tree, I decided to just use the album version of Miami. It's lyrically ridiculous, but I like the beat, and after the incredibly stupid you know some places are like your aunty / but there's no place like, I really enjoy Bono's screeching Miami!

Bubbling up at the end of that track is the single mix of "If God Would Send His Angels". The album track is severely lacking in the weird engineering decisions that make this an album, as opposed to a collection of unfinished songs. The single version also benefits from flipping the choruses, and adding a new set of lyrics where Bono "scat" on the album version.

A bright build out of the previous song brings us to "Last Night On Earth". I've never understood why this was a single. It's a perfectly fine album track, but it's not catch enough for radio play. Even though it's not one of my favorite tracks on the album, I haven't done any work on it. It appears just as it did on the original.

Leonard Cohen's "Hallelujah" is such an overplayed song to cover. Jeff Buckley's cover is, of course, the gold standard. But, I have to confess, this version by Bono from the mostly atrocious Tower Of Song tribute album, is the first time I ever heard the song. It will never be The Greatest Cover Of The Song. I don't think I'd ever just listen to the song on its own (though I did in the 90s), but it fits really well on to the Popmart album, and I still have a nostalgic enjoyment of the track, even if Bono has publicly apologized for ever recording it.

"The Playboy Mansion" is another track with ridiculous lyrics. It's sort of a much less impactful "Zooropa" with a stupid conceit at the center (getting into the Playboy Mansion). It's dumb dumb dumb. But I love the warmth of the guitar on the track. It feels as Florida as "Miami".

A B-Side to "Staring At The Sun", "North & South Of The River" is in contention for my favorite song from the album. It's co-written and originally recorded with Irish folk musician, Christy Moore, but I enjoy the bubble popping Popmart version. It's a super melodramatic teenage love song song by Bono who was in his early two-hundreds when he recorded this.

Another B-Side that I like more than a bunch of songs from the original album, there are two very different mixes of "Holy Joe": The Guilty Mix and The Garage Mix. I've chosen The Garage Mix because it sounds dirtier. And I like this song filthy. I think I prefer the alternate lyrics from The Guilty Mix, but I'm willing to sacrifice them for Bono's desperate sounding vocals under the overmixed guitar and drums.

The Monster Truck Mix of "Staring At The Sun" is such an improvement over both the album version of the song, and the "new version" recorded for Greatest Hits 1990 - 2000, that I can't even listen to the other versions. I love the driving beats, the breakdowns, and the repetitive chaotic ending. It's a toss-up between this, "North & South Of The River", and "Please" for my favorite track from this album. I just think that if the band was going to play at making a Euro Dance album, they should have taken it as far as possible.

The White Album is my favorite Beatles album. I was in no way disappointed to listen to U2 covering "Happiness Is A Warm Gun". I've chosen The Gun Mix, from the "Last Night On Earth Single" to include here. Like "Hallelujah", my nostalgia for the original version helps propel it on to the album. It's not an amazing cover, but I appreciate that it doesn't, in any way, stay faithful to the original.

When U2 sat down to figure out which tracks to put on The Best Of 1990-2000, they decided to remix most of the tracks from Pop. This was a wise decision. I've chosen that album's version of "Gone", as it has a cleaner vocal mix, and more consistent guitars. I also much prefer the operatic climax of this version to the original.

"Please" is a track which I've heard several remixes of, and enjoyed all of them. I've stuck with the original album version here. I remember, when it came out, there was a documentary narrated by Dennis Hopper called "A Year In Pop", and he talks about how he was waiting for U2 to finally record something as timeless and important as "Sunday Bloody Sunday", and how "Please" is that song. It's not. I love the song, but it's not going on Rolling Stone's 500 Best Songs Of Classic Rock any time soon.

I used to hate "If You Wear That Velvet Dress". I debated not putting it on to this album. Bono's vocals are so low that he can't quite hit any of the notes. I don't know why I've grown to like that. But I like it in an almost ironic way. It's a bad song. It's almost album track on The Million Dollar Hotel Soundtrack bad. But buried this deep on the album, it amuses me. And the chorus is ... fine.

I very unironically love "Do You Feel Loved". Its chorus is the part of this album that most gets stuck in my head when I'm not deliberately thinking of U2.

Now that the album is almost over, it's time for the original album's intro track, which was also their lead single. I remember, to celebrate the album's release, MTV played every U2 video from "A Celebration" to whatever the final single from Zooropa was ("Lemon", maybe?), followed by the debut of "Discotheque". I enjoyed the cheesiness of both the video and the song. I've included the original album version because it just begs for people to do deliberately stupid dance moves to it. Look you know you're chewing bubblegum / you know what it is / but you still want some.

The close to the original album, and my interpretation is definitely Wake Up Dead Man, which is basically a new set of lyrics slapped over a "Numb", "Zooropa", and a couple of tracks from the Salome Sessions. I'm not a big proponent of Jesusy songs, but a plea to Jesus from a believer who is having a hard time keeping faith works for me. That it pisses off Christian Rights buffoons is an added bonus.

Track Listing:

1. Mofo (Adam Stone's Pop Muzik Remix)
2. Miami
3. If God Would Send His Angels (Single Version)
4. Last Night On Earth
5. Hallelujah (from Tower Of Song)
6. The Playboy Mansion
7. North & South Of The River
8. Holy Joe (The Garage Mix)
9. Staring At The Sun (Monster Truck Mix)
10. Happiness Is A Warm Gun (Gun Mix)
11. Gone (New Mix from Best Of 1990-2000)
12. Please
13. If You Wear That Velvet Dress
14. Do You Feel Loved?
15. Discotheque
16. Wake Up Dead Man

If you're wondering what the most pretentious U2 album of all-time is, it's the non-U2 album Passengers, where frequent collaborators and producer, Brian Eno, is a full-time member of the band. The conceit of the album, that U2 have put together their favorite non-album tracks from various soundtracks on one collection ... only they're actually movies that U2 didn't actually do the soundtrack to .. or, more deviously, the supposed movie doesn't even actually exist ... is pretty cool.

The addition of Eno and Lanois also make this album an anomaly within U2's evolution, because you can hear that it definitely comes after Zooropa, but it also kind of sounds like it comes after No Line On The Horizon, which didn't come out for another twenty-four years.

But most of the album is completely underwhelming. There's no hits. They don't play any of these songs at concerts. But I still like enough of these tracks to keep it as an EP.

I really enjoy the way the opening track, "Slug" falls like rain before we get the bubbly, almost Pop like bubbly percussion, interweaved with the clearly Zooropa guitars. It really sounds like a video game soundtrack before the lyrics kick in, when it clearly becomes a U2 song. It's another Bono list poem. A whole song about avoiding responsibility! Doing the things you didn't want to do.

Things I wasn't looking forward to doing? Re-editing "Elvis Ate America". It's my favorite of the many, many, many U2 songs idolizing Elvis Presley. I like many of the lyrics, but as the track started, I remembered "Ooooh, there's a line that absolutely needs to be cut out of this or I can't listen to it." But it turned out that I made that edit several years ago. I cut out an entire verse, ridding the most offensive as well as the dumbest lyrics in the song. My favorite lyrics? Elvis: don't mean shit to Chuck D. Truth. And Elvis ate America before America ate him.

 Brian Eno is the lead vocalist for the very Brian Eno-y track "A Different Kind Of Blue". This really sounds more like it belongs on a Brian Eno album with special guests U2.

The only single from the album, Miss Sarajevo, features Luciano Pavarotti on vocals. I remember buying this album in college, and putting it into my sleek, state of the art 5 CD changer. At some point in the first few songs, my roommate came in, and when this track was over, he said "I never realized how wussy Bono's voice was until he tried to sing a song with Luciano Motherfucken Pavarotti." Then he impersonated Bono's wispy Here she comes in a steady decrescendo. Bono claims this is one of his favorite songs from his catalog. It is not even my favorite song from this EP, but it's an interesting divergence from the rest of the album.

From Eno to Pavarotti to The Edge, there's a wide range of white, European vocals on this album. This song is a far cry from "Numb". You can definitely hear here how similar his voice is to Bono's. I like his falsetto better, though.

Wait. Now Adam Clayton is on vocals? And he, also, sounds kind of like Bono? Man, this band has spent entirely too much time together.

Another song that sort of drips in, this time with very un-U2 like percussion, is "Always Forever Now". I love the slow build here. The title, being the only lyrics, could have been cut, and this would have been a fun instrumental that sounds like it would have been right at home on Achtung Baby.

Closing out the album is a track from an actual movie, Ghost In The Shell, with the distorted vocals of Holi being chopped up and screwed into the background before Eno, Bono and Edge come in as sort of a chorus at the end.

Here's the actual track listing from, by far, the shortest album (eight tracks, thirty-three minutes) in the discography:

1. Slug
2. Elvis Ate America
3. A Different Kind Of Blue
4. Miss Sarajevo
5. Corpse (These Chains Are Too Long)
6. Your Blue Room
7. Always Forever Now
8. One Minute Warning