By 1988, U2 had conquered just about everything in front of them. The Joshua Tree had made them international superstars, and suddenly they had the freedom to chase the music that had influenced them. Blues, gospel, soul, and early rock and roll were all on the itinerary. Released October 10, 1988, Rattle and Hum documented that fascination through concert recordings, new studio material, and collaborations with some of the musicians who helped create those sounds.
But could U2 explore the roots of American music without losing what made them U2?
“Desire” suggests they could. Larry Mullen Jr. kicks things off with a Bo Diddley-inspired beat, Adam Clayton locks into the rhythm, and The Edge abandons his familiar shimmering guitar textures for a short, dirty riff. Bono sounds unusually loose, nearly stumbling over his own words in places. There’s little room for decoration, and the song benefits from that economy.
“Angel of Harlem” heads further into American soul. Recorded at Sun Studio in Memphis, the song features the Memphis Horns and pays tribute to Billie Holiday. The brass gives the chorus its lift, while Clayton and Mullen settle into a relaxed groove. The Edge plays around the horns instead of competing with them. Bono sounds comfortable here, singing with an ease that isn’t always associated with his more dramatic performances.
The collaboration with B.B. King on “When Love Comes to Town” provides another interesting contrast. King’s guitar phrases are economical and deliberate, often answering the vocals with only a handful of notes. U2 supplies a harder rock foundation, and Bono delivers his lines with considerably more urgency than King. Neither approach disappears into the other. You can hear two musical generations working through the same song.
The live material complicates things.
U2 had become a formidable concert band, but Rattle and Hum occasionally struggles to capture that experience without adding something unnecessary. “Bullet the Blue Sky” benefits from the concert setting. Clayton repeats a menacing bass figure while Mullen maintains a steady, deliberate beat. The Edge’s distorted guitar cuts across the rhythm, and Bono interrupts the song with spoken passages that make an already confrontational performance even more theatrical.
That theatrical side doesn’t always help. Bono’s introduction to “Helter Skelter” places a grand declaration in front of a song that hardly needs one. The performance has plenty of energy, but the commentary draws attention away from the musicians.
The live “I Still Haven’t Found What I’m Looking For” gets much closer to what the project was chasing. Joined by the New Voices of Freedom gospel choir, U2 allows the familiar chorus to expand through layered harmonies and call-and-response singing. Bono shares the vocal space, and the song’s spiritual searching gains another dimension. The arrangement reveals how naturally gospel influences already existed within U2’s songwriting.
Elsewhere, the band explores those connections more quietly.
The Edge takes lead vocals on “Van Diemen’s Land,” singing over a spare acoustic arrangement that allows the historical subject to speak plainly. “Love Rescue Me,” written with Bob Dylan, moves through country and gospel territory, with Bono delivering a weary vocal over an unhurried accompaniment. Both songs give the album some welcome breathing room.
“God Part II” heads in the opposite direction. Clayton’s bass and Mullen’s drums establish a tight, insistent rhythm beneath The Edge’s jagged guitar. Bono fires off references to fame, money, and rock mythology, including a pointed response to John Lennon’s “God.” There’s something interesting about hearing a singer known for sweeping statements question the machinery surrounding celebrity.
Then “All I Want Is You” closes the record with one of its most direct pieces of songwriting. The Edge repeats a simple guitar figure while Bono gradually raises the emotional intensity. The arrangement grows around them, eventually giving way to an extended string passage. After so much musical exploration, the album ends with U2 doing something they already understood remarkably well.
So, could U2 embrace American musical traditions without losing their identity? Absolutely, although Rattle and Hum also reveals the awkwardness of trying to document that discovery. “Desire,” “Angel of Harlem” and “I Still Haven’t Found What I’m Looking For” demonstrate how those influences could strengthen the band’s existing sound. The distractions come when U2 starts explaining the significance of what they’re doing. The music makes the connection clearly enough on its own.
Written by Rob Joncas for DeadNoteMedia.
Artist information and music courtesy of the band.
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