1. Elevation (Influx Mix) 
2. Fast Cars (Jacknife Lee Mix) 
3. Get On Your Boots (Fish Out Of Water Mix) 
4. Vertigo (Trent Reznor Remix) 
5. Magnificent (Falke Radio Mix) 
6. I’ll Go Crazy If I Don’t Go Crazy Tonight (Live U2360 Remix) 
7. Beautiful Day (David Holmes Remix) 
8. Starting At The Sun (Monster Truck Remix) 
9. Happiness Is A Warm Gun (Danny Saber Mix) 
10. Get On Your Boots (Justice Remix) 
11. City Of Blinding Lights (Hot Chip 2006 Remix) 
12. If God Will Send His Angels (Grand Jury Mix) 
13. Starting At The Sun (Brothers in Rhythm Ambient Mix)

Running to 60 minutes, this limited edition remix collection was released exclusively to U2.com subscribers in 2010. Featuring 13 tracks remixed by some of the world's leading DJs and producers. Artificial Horizon stretching from If God Will Send His Angels (from 1997's 'Pop') to Get On Your Boots (from 2009's 'No Line On The Horizon') and includes three never-before released tracks: I'll Go Crazy If I Don't Go Crazy Tonight (Live U2360 Remix); City Of Blinding Lights (Hot Chip 2006 Remix); and Get On Your Boots (Fish Out Of Water Mix); as well as two tracks with very restricted previous release: 'Staring At The Sun (Brothers in Rhythm Ambient Mix) and Magnificent (Falke Radio Mix). ---u2.com

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01. Intro 
02. Breathe 
03. No Line On The Horizon 
04. Get On Your Boots 
05. Magnificient 
06. Beautiful Day 
07. Mysterious ways 
08. I Still Haven't Found What I'm Looking For 
09. Angel Of Harlem (w/ guest-musicians from the audience) 
10. Faraway So Close 
11. Unknown Caller 
12. The Unforgettable Fire 
13. City Of Blinding Lights 
14. Vertigo 
15. I'll Go Crazy If I Don't Go Crazy Tonight 
16. Sunday Bloody Sunday > 
17. Pride (In The Name Of Love) > 
18. MLK > 
19. Walk On 
20. Desmond Tutu speech > 
21. Where The Streets Have No Name 
22. One 
23. Ultraviolet (Light My Way) 
24. With Or Without You 
25. happy birthday to Nelson Mandela 
26. Moment Of Surrender

Olympiastadion, Berlin (Germany) July 18, 2009

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CD 1 :

1. Where The Streets Have No Name
2. I Still Haven't Found What I'm Looking For
3. With Or Without You
4. Bullet The Blue Sky
5. Running To Stand Still
6. Red Hill Mining Town
7. In God's Country
8. Trip Through Your Wires
9. One Tree Hill
10. Exit

CD 2 :

1. Luminous Times (Hold On To Love)
2. Walk To The Water
3. Spanish Eyes
4. Deep In The Heart
5. Silver And Gold
6. Sweetest Thing
7. Race Against Time
8. Where The Streets Have No Name (Single Edit)
9. Silver And Gold (Sun City)
10. Beautiful Ghost/Introduction To Songs Of Experience
11. Wave Of Sorrow (Birdland)
12. Desert Of Our Love
13. Rise Up
14. Drunk Chicken/America

Bass – Betty Dalton 
Drums – Duke Dalton
Guitar – Luke Dalton 
Harmonica – Bono
Tambourine, Rhythm Guitar [Additional], Omnichord – Daniel Lanois
Vocals, Guitar – Alton Dalton
Backing Vocals – Brian Eno, Daniel Lanois, The Edge

It’s hard to say much about U2’s The Joshua Tree that hasn’t been said before. A standout album in a standout year (1987 would also see such releases as Pink Floyd’s A Momentary Lapse of Reason, Def Leppard’s Hysteria and Guns N’ Roses’ Appetite for Destruction, just to name a few), The Joshua Tree is universally recognized as one of the finest albums ever recorded by critics and fans alike. Twenty years later, the album that launched U2 from promising young political rockers to the biggest band in the world has not diminished one iota in its beauty or power.

The 20th anniversary deluxe edition of The Joshua Tree consists of two CDs accompanied by a hardbound book with essays by Bill Flanagan (on the album’s place in U2’s development as a band) and The Edge (on The Joshua Tree sessions and the history behind the new songs on Disc 2). Disc 1 contains the original Joshua Tree album remastered in its entirety. Intimately familiar with the original CD from countless listening over the years, I can honestly say that the music has never sounded better. From the very beginning of the first track, “Where the Streets Have No Name”, I heard a distinct improvement in audio clarity and overall quality.

Disc 2 maintains the crystal-clear audio on a collection of songs initially recorded during The Joshua Tree sessions but not included on the album, for whatever reason. Some of these have been heard before, such as the single edit of “Where the Streets Have No Name” and several B-sides included on Disc 2 of the limited edition version of The Best of 1980-1990: “Walk to the Water”, “Spanish Eyes”, “Sweetest Thing”, “Luminous Times (Hold On To Love)” and “Silver and Gold” (the latter better known for the live rendition on Rattle and Hum). Also included is an alternate version of “Silver and Gold”, “Silver and Gold (Sun City)” that appeared on the 1985 benefit album Sun City – Artists United Against Apartheid, featuring Keith Richards, Ron Wood and Steve Jordan.

The other songs are decidedly more rare: two are B-sides never before put out on an album (“Deep in the Heart” and “Race Against Time”); one (“Beautiful Ghost/Introduction to Songs of Experience”) only appeared in The Complete U2 collection on iTunes; and the five remaining are released here for the very first time.

Collected together, these rare tracks are somewhat of a mixed bag. Overall, Disc 2 lacks the musical cohesiveness of Disc, although there is much to like here. What catches one off guard is how some of these songs feel like they belong on the band’s latter albums. On the one hand you have my personal favorite, “Rise Up”, which would fit seamlessly on The Joshua Tree; another, “Desert of Love”, also has a Joshua Tree sensibility, albeit somewhat more raw, as if the track hasn’t been finished. On the other hand, “Deep in the Heart” falls somewhere between The Joshua Tree and Achtung Baby in style, while “Beautiful Ghost” and the pseudo-ambient “Race Against Time” sound sonically more appropriate for Pop or Zooropa. The moody piano-driven “Wave of Sorrow” skews even more recent, as if it belongs on All That You Can’t Leave Behind or How to Dismantle an Atomic Bomb (initially left unfinished during The Joshua Tree sessions, “Wave” was finally completed for this collection, although the only new element is the vocal track). The last song may be the most unique of all; “Drunk Chicken/America”, with spoken word by Allen Ginsberg, is unlike any other song on either disc. Unfortunately, it is also the weakest. While the funky beat has potential, it’s paring with Ginsberg’s spoken word just doesn’t click.

Listening to the other tracks from The Joshua Tree sessions, one is left with the impression that synchronicity was in the air when U2 picked the songs for the original Joshua Tree album, nailing every choice perfectly and, in the process, crafting a rock music masterpiece. ---Steve 'Frosty' Weintraub, collider.com

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1. Zoo Station 
2. Even Better Than The Real Thing 
3. One 
4. Until The End Of The World 
5. Who's Gonna Ride Your Wild Horses 
6. So Cruel 
7. Fly, The 
8. Mysterious Ways 
9. Tryin' To Throw Your Arms Around The World 
10. Ultra Violet (Light My Way) 
11. Acrobat 
12. Love Is Blindness

Or how U2 reinvented themselves into something deliciously post-modern. After taking being earnest to new levels with their part-studio, part-live homage to America, Rattle & Hum in 1988, U2 realised that to keep their exalted position as 'Greatest Rock Band In The World' from up-and-coming whippersnappers such as REM, they needed to do something radically different. So, glitter, glam and irreverence replaced large hats, furrowed brows and facial hair. Working again with their production team of Brian Eno and Daniel Lanois, they created a noise that was irresistibly modern yet absolutely classic. And for a while in rock, it was impossible to escape from the spell and influence of Achtung Baby.

Recorded in Berlin and Dublin, the album feels similar in many respects to David Bowie’s Low and “Heroes”, and, in Eno, they had a direct link with the period. Opening with The Edge’s guitar squall and electronics, this dense sound is irresistible; sometimes, this creates moods rather than hummable tunes, such as on “The Fly”, “Zoo Station”, Acrobat”, yet it also contains the grandstanding stadium-sized “Even Better Than the Real Thing”, the baggy-influenced “Mysterious Ways” and arguably the greatest U2 anthem, “One”. The relentless playing down of their previous seriousness (the title was a line from Mel Brooks’ The Producers) actually made U2 even more unassailable

Later, lots of other lesser groups donned make-up and went po-mo (INXS, Deacon Blue) poorly, but under the pretence of not caring very much, U2 painstakingly crafted an album of incredible depth and texture. ---Daryl Easlea, BBC Review

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01. I Will Follow - 3:34
02. Twilight - 4:18
03. An Cat Dubh - 4:46
04. Into The Heart - 3:27
05. Out Of Control - 4:11
06. Stories For Boys - 3:01
07. The Ocean - 1:33
08. A Day Without Me - 3:11
09. Another Time, Another Place - 4:33
10. The Electric Co. - 4:47
11. Shadows And Tall Trees - 4:32

Personnel:
- Bono (Paul David Hewson) – lead vocals
- The Edge (David Howell Evans) – guitar, backing vocals
- Adam Clayton (Adam Charles Clayton) – bass
- Larry Mullen Jr. (Lawrence Joseph Mullen, Jr.) – drums

From the outset, U2 went for the big message -- every song on their debut album Boy sounds huge, with oceans of processed guitars cascading around Bono's impassioned wail. It was an inspired combination of large, stadium-rock beats and post-punk textures. Without the Edge's echoed, ringing guitar, U2 would have sounded like a traditional hard rock band, since the rhythm section and Bono treat each song as an anthem. Of course, that's the charm of Boy: all of its emotions are on the surface, delivered with optimistic, youthful self-belief, yet the unusual, distinctive guitar textures give it an unexpected tension that makes it an exhilarating debut. The songs may occasionally show some weakness -- the driving "I Will Follow," the dark "An Cat Dubh," and the shimmering "The Ocean" stand out among the sonic textures -- yet the band's musical and lyrical vision keep Boy compelling until the finish. --- Stephen Thomas Erlewine, allmusic.com

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1. Vertigo 
2. Miracle Drug 
3. Sometimes You Can't Make It on Your Own 
4. Love and Peace or Else 
5. City of Blinding Lights 
6. All Because of You 
7. Man and a Woman 
8. Crumbs from Your Table 
9. One Step Closer 
10. Original of the Species 
11. Yahweh

Bass Guitar – Adam Clayton
Drums, Percussion – Larry Mullen Jr
Guitar – The Edge
Vocals – Bono 
+
Backing Vocals – The Edge, Bono, Larry Mullen
Synthesizer – Jacknife Lee, Brian Eno
Percussion [Additional], Synthesizer [Additional] – Carl Glanville
Piano, Keyboards, Vocals [Additional] – The Edge
Pedal Steel Guitar – Daniel Lanois
Mandolin – Daniel Lanois

After 13 albums which have sold over 140 Million copies do U2 matter any more? And, more importantly, does a band that has been around for 25 years have the drive to produce another great album? In U2's case the answer is a resounding 'Yes'. I believe a certain Larry Mullen won't allow the band to fade away or to start making dull music. He formed the band and I have the sneaking suspicion he'll be the one to finish it as well.

U2 have never stood still. Musically, everything is absorbed, weighed, modified and if it doesn't fit, discarded. The experimentation of Achtung Baby and the blues of Rattle And Hum testify to that. At the core of the band remains a white hot honest desire to be bigger and better than anyone else. They want to create work that they'll remain proud of for years to come. In How To Dismantle An Atomic Bomb, the band has returned to a mixture of original raw rock and the epic sweep of The Unforgettable Fire.

Opener "Vertigo" is a summary of the album in one 3 minute hit. This is a sophisticated piece of work dressed up as a rock-out single. Old sounds, new sounds, the bass right up in your face - they've taken all that is U2 and distilled it. It's brilliant. And that level of craft permeates throughout the whole album. There are some genuinely breathtaking moments - "Sometime You Can't Make It On Your Own", with Bono writing about his father, "City Of Blinding Lights" and the beautifully simple "A Man And A Woman". Overall there's a confidence and energy that pushes this release well beyond their competitors and their previous work.

The range of sounds, emotions and joy pumped into How To Dismantle An Atomic Bomb make it hard to resist. There are no surprises here and no sudden left turns. They've stuck to what they know and I'm not going to argue with the results. This will be an album I'll come back to and cherish.

Great artists remain relevant regardless of the time and U2 are still great artists working at the peak of their powers. ---Mike Hales, BBC Review

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1 	No Line On The Horizon 	4:12
2 	Magnificent 	5:24
3 	Moment Of Surrender 	7:24
4 	Unknown Caller 	6:03
5 	I'll Go Crazy If I Don't Go Crazy Tonight 	4:14
6 	Get On Your Boots 	3:25
7 	Stand Up Comedy 	3:50
8 	FEZ – Being Born 	5:17
9 	White As Snow 	4:41
10 	Breathe 	5:00
11 	Cedars Of Lebanon 	4:13

Bass Guitar – Adam Clayton
Drums, Percussion – Larry Mullen Jr
Guitar, Vocals – Danny Lanois
Guitar, Vocals, Piano – The Edge
Loops [Rhythm Loops], Programmed By, Synthesizer, Vocals – Brian Eno
Piano [Additional], Electric Piano [Fender Rhodes], Keyboards – Terry Lawless
Vocals, Guitar – Bono
+
Keyboards [Additional] – Bono, Terry Lawless, Will.i.am
Cello – Caroline Dale
Violin – Cathy Thompson
French Horn – Richard Watkins
Percussion [Additional] – Sam O'Sullivan
Soprano Vocals [Boy Soprano] – Louis Watkins

Like all of U2's best work there's a schism at the heart of their 12th studio album. It's the polarity between the hedonistic and the profound; the thin line between the general and the particular: rock and a very hard place. Their very lucrative humanitarianism may stick in the craw of many, but this skill allows them to make important points about all our lives while never forgetting to move our collective booties.

Much of No Line On the Horizon examines the state of the planet from the viewpoint of victims and witnesses. White As Snow sets a traditional air beneath a tale of an Afghanistan where, ''only poppies laugh under a crescent moon''. World citizenry is reflected in uber-cool, William Gibson-style lyrics on Breathe (''16th of June, Chinese Stocks are going up, And I'm coming down with some new Asian virus''). Only in Unknown Caller's dreadful ''Force quit and move to trash'' lines does the hi-tech metaphor card get overplayed.

There's plenty to rejoice about here. Not only is old mucker Steve Lillywhite back at the desk on several tracks, resurrecting the days of War, but the Edge's guitar also returns to the glory days on the title track as well as the hilariously titled I'll Go Crazy If I Don't Go Crazy Tonight; with the echo pedal set to 11. Add to these the massed ''oh, ohs'', and this at least feels like a classic; even if a lack of obviously hummable tunes makes it more of a grower than an instant hit.

The symbiotic relationship with Brian Eno (and Daniel Lanois) seems to have reached the point of imperceptibility. From the musical box sprinkles on the chugging title track to the midway palate cleanser FEZ-Being Born's cut-up first half, the touch may be light but it's now as much a part of their sound as Larry's rattling toms or Adam's one-note runs.

Get On Your Boots sounds unnervingly like U2 doing a Muse impersonation. Not necessarily a bad thing but, as on Pop, it sounds odd when U2 sound like followers rather than leaders. But it would be unrealistic to expect a band at the wrong end of a 30-year career to be as lithe as they once were.

There are at least two classics here. The closing Cedars Of Lebanon is a beautifully weary tale told by a journalist in the Middle East; while conversely Stand Up Comedy is a rowdy, grand gesture urging you to ''stand up for love'' as only U2 can. It also contains one of Bono's greatest lines in "stop helping God across the road like an little old lady''.

It seems that faith is what still drives these men: the faith in music to convey an important message and faith in the power of faith itself. But overall No Line On The Horizon proves that U2 really still have faith in themselves. ---Chris Jones, BBC Review

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A1 	Gloria 	
A2 	I Fall Down 	
A3 	I Threw A Brick Through A Window 	
A4 	Rejoice 	
A5 	Fire 	
B1 	Tomorrow 	
B2 	October 	
B3 	With A Shout (Jerusalem) 	
B4 	Stranger In A Strange Land 	
B5 	Scarlet 	
B6 	Is That All?

Bagpipes [Oillean Pipes], Bodhrán – Vincent Kilduff
Bass – Adam Clayton
Drums – Larry
Guitar, Piano – The Edge
Vocals – Bono 

October proves that even the mighty U2 were subject, long ago, to the difficult second album syndrome. During its recording both Bono and The Edge left the band temporarily, the album's original lyrics were pilfered before recording could commence, and this while the band were still on a very limited budget. As such it stands as a testament to the four-piece's tenacity, if not to their ability to judge their audience's tastes.

October concerns itself in the main with things spiritual. All band members except Adam Clayton were avowed Christians and at this point the singer and guitarist still held doubts as to whether one could rock and get up close and personal with Jesus (hence the temporary exit). In the end they decided it was possible and as a result the album isn't shy with its references to rejoicing and exultation. The album's only hit, Gloria, even came complete with a Latin liturgical chorus. It was all fuel to the fire of detractors who objected to such bare-faced sanctimoniousness. Luckily material such as I Threw A Brick Through A Window and the title track, bolstered by Steve Lilywhite's production, was still in a class of its own.

The aforementioned lost lyrics caused tension as the studio meter was ticking while they had to be improvised/remembered, but this also led to some intriguing subconscious trickle-through. It was only later, he admitted, that Bono realised that Tomorrow was about the death of his mother.

Sonically the band was in a holding pattern. The widescreen textures that were to lift the next opus, War, were learned by a resolute approach to touring where, despite, the poorer sales of this album, the band kept the flame of their burgeoning fan base alive. October remains their least favourite offering, but still stands as a fine document of a band finding its legs. ---Dennis O'Dell, BBC Review

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1.- I wanna be around. With Tonny Bennet
2.- Don't give up (africa). With Alicia Keys
3.- When Love Comes To Town. With B.B. King
4.- Do they know it's christmas time. With Fredie Mercury
5.- When the stars go blue. With The coors
6.- Under my skin. With Frank Sinatra
7.- Sgt Pepper lonely hearts club band. With Paul Mc Cartney
8.- Can't Help Falling In Love (Righteous Brothers Cover)
9.- Paint It Black (Rolling Stones Cover)
10.- What's going on. With Cold Play
11.- The saints are coming. With Green day
12.- Miss Sarajevo. With Luciano Pavarotti
13.- One. With Mary Jane Blige.
14.- Stand by me. With Bruce Springsteen
15.- Never let me go. With The MDH Band
16.- Im the Walrus. With Secret Machines
17.- Slide Away. With Michael Hutchence
18.- Creep (acoustic live). With Radiohead

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1. A Sort Of Homecoming 
2. Pride (In The Name Of Love) 
3. Wire 
4. The Unforgettable Fire 
5. Promenade 
6. 4th Of July 
7. Bad 
8. Indian Summer Sky 
9. Elvis Presley And America 
10. MLK

Bass – Adam Clayton
Drums – Larry Mullen
Guitar, Keyboards, Vocals – The Edge
Synthesizer [Fairlight] – Paul Barrett
Vocals – Bono
Vocals [Additional], Instruments, Other [Treatments] – Eno, Lanois

The Unforgettable Fire was the right record at the right time. U2 had ended their first phase of flag-waving sincerity with the live mini-album Under A Blood Red Sky and its accompanying long-form video, Live At Red Rocks. Their preceding album, War, was a self-assured update of their early melodic template of spiky rock and searing anthems.

Instead of repeating their formula they enlisted the production skills of ex- Roxy Music polymath Brian Eno and young Canadian Daniel Lanois. Island boss Chris Blackwell tried to dissuade the group from using the duo, but they pressed ahead. Enrolling Eno brought the band a credibility they may never have gained; in turn, they gave Eno his largest audience ever.

The nagging insistency of opener, A Sort Of Homecoming, signals this new direction – all slightly out-of-focus, sketchy, yet strangely beguiling. However, instead of the producers trying wholesale to meddle with the existing formulas, both parties enhanced each other's work, which added a looseness and ambiance to the groove. This is none more evident than on the title track, which has a sleek suppleness to it, as previously unheard on their work, while still unmistakably being U2. However, they knew not to alienate too much – the album's first single, Pride (In The Name Of Love), is still arguably U2's greatest stadium sing-along.

It was ostensibly promoting this album that U2 played their most important gig ever, Live Aid, showcasing the resolutely uncommercial Bad – a song about heroin addiction that Bono has described as being Van Morrison crossed with German electronica – the band became, alongside Queen, the talking point of the day.

U2 would never be the same again. Although often overshadowed by its successor, The Joshua Tree, The Unforgettable Fire is a record of great, moving beauty. ---Daryl Easlea, bbc.co.uk

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