U2 (4 stars)
How To Dismantle an Atomic Bomb
When U2's "Beautiful Day" was released in 2000, I put the song to the test almost immediately: I played it in my car as I drove out to Blue Diamond, top volume, with the sunroof open. After a few records of Brian Eno-produced, Germanized disco, it was nice to hear U2 rediscovering its purpose: to record anthems that give everyday life a grand, cinematic feel.
How to Dismantle an Atomic Bomb graciously continues in that vein. It opens big with "Vertigo," a glorious track that finds every member of U2 playing to his strengths: the Edge chunks out his best leads in who-knows how long, Bono reaches into the top limits of his vocal range, drummer Larry Mullen Jr. and bassist Adam Clayton lay down a rhythm that feels like a succession of well-landed punches. It's one of the band's best singles.
Unfortunately, Atomic Bomb suffers the same shortcoming as many Hollywood films: The dialogue is terrible. I realize Bono is busy knocking down Third World debt, but I don't know if that's an excuse for some of the worst lyrics he's ever written. The otherwise wonderful "Miracle Drug" has Bono declaring, "Freedom has a scent / like the top of a newborn baby's head." "City of Blinding Lights" and "Yahweh" suffer similar declarations of, um, whatever it is Bono's trying to say.
Nevertheless, it's a terrific-sounding record. If Bono's lyrics grate on my ears, it could mean that I have to turn back the clock, too, back to the days when U2's records seemed to be huge walls of sound with idealistic slogans on them. They're not axioms to be lived by; they're emotional statements to be felt, preferably in a fast-moving car.
The Kleptones (4.5 stars)
A Night at the Hip-Hopera
The recording industry ain't gonna like this: Two of my favorite records of 2004—Jay-Z and Danger Mouse's The Grey Album and The Kleptones' A Night at the Hip-Hopera—are composed largely of uncleared samples. They have to be downloaded (you can easily track them down with Google or Limewire, or visit kleptones.com). By God, I won't cross the street for an American Idol winner, but I'll risk legal action to hear what the Kleptones have wrought.
It's well worth the risk. Taking the art of the mash-up to a giddy extreme, The Kleptones, a secretive pair of British DJs, have laid familiar vocal tracks by Eminem, Peaches, the late Ol' Dirty Bastard and others over tracks by Queen. ODB's "Got Your Money" snakes in and around "Another One Bites The Dust;" The Beastie Boys' "Intergalactic" mingles with "Radio Gaga;" "Slim Shady" rides again in "Bicycle Race." It's not the least bit disrespectful. In fact, I think Freddie Mercury would have loved it. Even the illegality of the venture would have appealed to him.
Once you get past the novelty factor—should take you about a minute—the grooves really kick in and the tracks seem all of a piece. The best song of the set, "Plan," is a mashing of Queen's "I'm Going Slightly Mad" and the Herbaliser's "8-Point Agenda," and works brilliantly by both parties: the Queen number takes on a relentless cast while rapper Lateef sounds damn near invincible, emboldened by his arena-rock backers. Draw on his courage and find this album if it kills you.
Eminem (4.5 stars)
Encore
Eminem remains the most articulate lyricist and talented producer in any form of popular music. But for better and worse, his favorite subject remains himself, and his favorite sounds you've pretty much heard him make before. Or, as Eminem puts it, this time out he is faced with, "Tryin' to pick up where The Eminem Show left off. But I know anything's possible, though I am not gonna top what I sold."
Actually, based on the early Nielsen Soundscan numbers, he might. But, more importantly, Encore's connection to The Eminem Show means there are few surprises here, either lyrically or sonically. Eminem still has issues with Kim ("Puke") and Kim still has issues with drugs and the courts ("Crazy in Love"). Eminem remains tortured by his childhood ("Yellow Brick Road"). No surprise his sexuality still ranges between the retarded ("My 1st Single"), the misogynistic ("Spend Some Time") and the obsessively homophobic ("Rain Man"). But, hey, he still loves his daughter ("Mockingbird"). Of course, we are updated on all his latest celebrity feuds, great and small, from The Source ("Like Toy Soldiers") to Triumph the Insult Comic Dog ("Ass Like That.") To keep it in real time, there is even a response to Michael Jackson's response to the video for the preview single, "Just Lose It" ("Em Calls Paul"). Oh, and he is still no friend to the Bush administration ("Mosh").
If you are looking for Eminem to try anything new, go elsewhere. But on the bright side, when you are the best, there are few places to go and the Encore is every bit as good as the Show.