“F— this”: The U2 song The Edge claimed was recorded completely wrong
Arguably one of the most renowned rock bands in the world, U2 are responsible for hits like ‘With or Without You,’ a track which earned them their first number one hit on the Billboard Hot 100. But what sets them apart is their attempt at constantly playing around with their sound, for better or worse, but always looking forward. Initially starting in the late 1970s with a post-punk tone, by the ’90s they were experimenting with both their image and music, and to critical acclaim, especially on records like Achtung Baby, which featured more distorted riffs and electronic beats.
Artists constantly find themselves having to reinvent themselves, and this isn’t just limited to looking beyond the bounds of genre. Some of your favourite artists look to enter new eras of their career, sometimes to keep listeners engaged or maybe just out of their love for the craft. One of the most notable examples is Bob Dylan and his venture from folk to electric. Something that defines the big ‘greats’ of music is a willingness to step outside comfort zones, and even genre, to produce new music that changes with the times or at least keeps up. And, given the constant evolution of U2, it’s clear they value innovative ideas that can help the progression of their music.
So, how does one record a song “completely wrong”? Perhaps by changing our idea of what sounds an instrument should be able to make? Or maybe using musical equipment in a way that hasn’t yet been done. Jimmy Page grabbing a bow to play guitar, anyone?
Then there’s U2’s The Edge, also known as David Howell Evans, who has contributed to many timeless classics for the band. With no shortage of experience, he’s been with them since their formation in 1976, earning him nearly 50 years with the group. He once explained his willingness to push boundaries and the importance of musical experimentation using the process of effing around and finding out.
“The guitar sound for ‘The Fly’ came from basically saying, ‘F— this, I’m just seeing what happens if I just completely do the wrong thing here,” he said. And it worked, the single reached number one on the Billboard Alternative chart and has remained a fan favourite on the band’s setlist ever since. The Edge pushed the guitar to create a more distorted sound, very different from his usual chiming notes. It feels more abrasive, almost like there was no determined place for where the song could go; the instruments guided it to a new outcome.
He pointed out, “I think to find really interesting sounds, it’s important to find ways to abuse the technology; I never think about using effects, you know what I mean? To me, it’s like I want to create an amazing sound, and the effects are part of that.”
It’s obvious that what resulted from The Edge’s attitude was a new sound that became a distinctive aspect of ‘The Fly’ and the band itself. But it was born out of his willingness to try new things, to not get too comfortable in the direction they were heading as a band. Their attitude towards making Achtung Baby was creating something they hadn’t before. They used processed sounds, drum machines and synthesisers and embraced industrial and electronic music.
Compared to Joshua Tree, where you had the feeling as though you were standing in an American desert, Achtung Baby has a more urban European feel to it. While some fans tend to prefer their favourite artists’ earlier music, the kind that made them fall in love with them in the first place, that’s not the case here for U2. They try to create music that challenges them, which couldn’t possibly be the same music they started out making. By constantly evolving, they’ve made sure there’s something in their discography for everybody.
