Achtung Baby (Deluxe Remaster) U2

• 1 Zoo Station 04:36
• 2 Even Better Than The Real Thing 03:41
• 3 One 04:36
• 4 Until The End Of The World 04:38
• 5 Who's Gonna Ride Your Wild Horses 05:17
• 6 So Cruel 05:49
• 7 The Fly 04:29
• 8 Mysterious Ways 04:04
• 9 Tryin' To Throw Your Arms Around The World 03:53
• 10 Ultra Violet (Light My Way) 05:31
• 11 Acrobat 04:30
• 12 Love Is Blindness 04:23
• 13 Lady With The Spinning Head (UV1) 03:54
• 14 Blow Your House Down 03:31
• 15 Salomé 04:32
• 16 Even Better Than The Real Thing (Single Version) 03:41
• 17 Satellite Of Love 04:00
• 18 Who's Gonna Ride Your Wild Horses (Temple Bar Remix) 04:49
• 19 Paint It Black 03:21
• 20 Even Better Than The Real Thing (Fish Out Of Water Remix) 04:10
• 21 Mysterious Ways (The Perfecto Mix) 07:06
• 22 Night And Day (Steel String Remix) 06:58
• 23 The Lounge Fly Mix 06:28
• 24 Fortunate Son 02:40
• 25 Alex Descends Into Hell For A Bottle Of Milk / Korova 1 03:38
• 26 Where Did It All Go Wrong? 03:56
• Total Runtime 01:58:11

Info for Achtung Baby (Deluxe Remaster)

Deluxe double album Remaster-Edtion features the original album plus an additional 14 tracks including b-sides and remixes. Digitally remastered edition of the Irish quartet's groundbreaking 1991album, their seventh studio release overall. While the band had been successful before the release of Achtung Baby, nobody could predict the worldwide domination that followed. Features the hits 'Who's Gonna Ride Your Wild Horses?', 'The Fly', 'One' and 'Even Better Than The Real Thing'.

Reinventions rarely come as thorough and effective as Achtung Baby, an album that completely changed U2's sound and style. The crashing, unrecognizable distorted guitars that open "Zoo Station" are a clear signal that U2 have traded their Americana pretensions for postmodern, contemporary European music. Drawing equally from Bowie's electronic avant-garde explorations of the late '70s and the neo-psychedelic sounds of the thriving rave and Madchester club scenes of early-'90s England, Achtung Baby sounds vibrant and endlessly inventive. Unlike their inspirations, U2 rarely experiment with song structures over the course of the album. Instead, they use the thick dance beats, swirling guitars, layers of effects, and found sounds to break traditional songs out of their constraints, revealing the tortured emotional core of their songs with the hyper-loaded arrangements. In such a dense musical setting, it isn't surprising that U2 have abandoned the political for the personal on Achtung Baby, since the music, even with its inviting rhythms, is more introspective than anthemic. Bono has never been as emotionally naked as he is on Achtung Baby, creating a feverish nightmare of broken hearts and desperate loneliness; unlike other U2 albums, it's filled with sexual imagery, much of it quite disturbing, and it ends on a disquieting note. Few bands this far into their careers have recorded albums as adventurous or fulfilled their ambitions quite as successfully as U2 do on Achtung Baby, and the result is arguably their best album. (Stephen Thomas Erlewine, AMG)

Digitally remastered

U2
With its textured guitars, U2's sound was undeniably indebted to post-punk, so it's slightly ironic that the band formed in 1976, before punk had reached their hometown of Dublin, Ireland. Larry Mullen Jr. (born October 31, 1961; drums) posted a notice on a high-school bulletin board asking for fellow musicians to form a band. Bono (born Paul Hewson, May 10, 1960; vocals, guitar), the Edge (born David Evans, August 8, 1961; guitar, keyboards, vocals), Adam Clayton (born March 13, 1960; bass), and Dick Evans responded to the ad, and the group formed as a Beatles and Stones cover band called the Feedback, before changing their name to the Hype in 1977. Shortly afterward, Dick Evans left the band to form the Virgin Prunes. Following his departure, the group changed its name to U2.

U2's first big break arrived in 1978, when they won a talent contest sponsored by Guinness; the band were in their final year of high school at the time. By the end of the year, the Stranglers' manager, Paul McGuinness, saw the band play and offered to manage them. Even with a powerful manager in their corner, the band had trouble making much headway -- they failed an audition with CBS Records at the end of the year. In the fall of 1979, U2 released their debut EP, U2 Three. The EP was available only in Ireland, and it topped the national charts. Shortly afterward, they began to play in England, but they failed to gain much attention.

U2 had one other chart-topping single, "Another Day," in early 1980 before Island Records offered the group a contract. Later that year, the band's debut, Boy, was released. Produced by Steve Lillywhite, the record's sweeping, atmospheric but edgy sound was unlike most of its post-punk contemporaries, and the band earned further attention for its public embrace of Christianity; only Clayton was not a practicing Christian. Through constant touring, including opening gigs for Talking Heads and wet T-shirt contests, U2 were able to take Boy into the American Top 70 in early 1981. October, also produced by Lillywhite, followed in the fall, and it became their British breakthrough, reaching number 11 on the charts. By early 1983, Boy's "I Will Follow" and October's "Gloria" had become staples on MTV, which, along with their touring, gave the group a formidable cult following in the U.S.

This album contains no booklet.