Deep Cuts: The 20 Best U2 Songs You’ve Never Heard

When tasked with the (admittedly) enviable job of listing twenty U2 songs that you’ve never heard – of course, you probably have heard them, but the title is good – I was tempted to just save time by naming the middle four tracks off the last three albums, and work from there!
With careful retainer I deemed this to be barely homely beggarly, and besides the task at hand is to list twenty of the best U2 songs that the reviewer has possibly never learn, which rules those aforementioned middle album tracks out .
From the beginning it was obvious that U2 had more grandiose ambitions than some of its peers, and in fact the four members had achieved megalomania by their late 20s. It was what the band did after this that was most interesting. U2 surprised their fans, and the musical environment as a hale, with the commission the band took in the nineties. A travel that the fans gladly followed, and where even the most cynical, critics of U2 jumped on board. This was a isthmus primed for experiment, and destined to be one of the all-time greats. This was art, both in the studio and on the road ( ZOO TV ), and I ’ ll chew over that writing the three singles to promote the liberation of an album was far from their heed .
unfortunately from 2000s All That You Can’t Leave Behind, this travel ended, as the ambition to retain the title as ‘The Biggest Band In The World ‘ pre-occupied army for the liberation of rwanda besides much of the band members ’ minds than was necessity. Fuelling this ambition was the stress to write the ‘ individual, ’ and this author believes that the middle section of the last three U2 records is a result of this. Having said all of that, there are capital moments on each record since 2000, with 2015 ’ sulfur Songs of Innocence a latter standout in their repertory.

But for me, U2 ’ s race of albums in the nineties – Achtung Baby, Zooropa, Passengers Original Soundtracks 1 and Pop – is up there with the Stones ’ prevail of Let It Bleed, Sticky Fingers and Exile on Main Street and The Beatles ’ Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour and The White Album – bands at the peak of their enormousness !
anyhow, where were we ? Yes, Deep Cuts: The 20 Best U2 Songs That You Never Heard .
20. Boy/Girl (1979)
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The b-side of the Three acquittance, effectively the individual for Out Of Control with Boy/Girl and Stories for Boys on the b-side. Released in 1979, the tracking order was voted by the listeners of Dave Fanning ’ s radio usher. I ’ ve included this song, as the early two tracks are available on their debut album ( albeit newfangled recordings ), so this was a real rarity before the age of the Internet. Sounds a little like a band still uncertain of themselves, but aren ’ t we all at 18 ?
19. Another Day (1980)
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The single following Three, I ’ ve included strictly for the selfish reasons that I own an original 7 ”, with the sleeve and liner notes designed by Bono. Similar to Boy/Girl, there is a sound of uncertainty from the band, a sonic fragility that was ironed out when it came to the first album Boy and producer Steve Lillywhite. Seems like they were trying excessively hard to find a ‘ hook ’ with this one, although I still love it .
18. Window In The Skies (2006)
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This was released to promote the compilation album U218 Singles. It didn ’ triiodothyronine gain much traction upon its release, although it did come with a pretty cool video, but it was a new management for U2 at this meter. Produced by Rick Rubin, it exudes the classic ’60s fathom, but more like a song The Beatles might have given to Cilla Black rather than release themselves. I loved it, particularly as it is driven by a 6/8 all in, which was unchartered district for U2 .
17. Mercy (2010)
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Written during the How To Dismantle An Atomic Bomb sessions in 2004, it wasn ’ t my favored U2 menstruation but this track may have warranted inclusion ahead of All Because Of You or Love And Peace Or Else. It ’ s U2 at their most anthemic, which may piss some off but it ’ s a big track. Did not formally see the light of day until it was included on 2010 ‘s Wide Awake In Europe .
16. Luminous Times (1987)
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The Joshua Tree was an interest menstruation for U2 ’ s creative output. obviously the band were off to a winner with a record that was about to shift fifteen million copies, but some of the cuts from this album reveal a band delving less into the great american english landscape, and more into a tradition much closer to home plate, where Van Morrison was a much an determine as Raymond Carver – Walk To The Water is an example. Luminous Times is somewhere wholly different. The b-side to With Or Without You, it stems from The Joshua Tree sessions and sounds like how I would imagine Elvis doing a blanket of She’s The One from Bruce ’ sulfur 1975 album Born to Run. It ’ s the closest they ’ ve come to the E Street Band, just with fewer instruments .
15. Alex Descends Into Hell For a Bottle of Milk (1991)
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This is the b-side to T he Fly. Aside from a contribution to the Red, Hot & Blue compilation album in 1990, this was the first base modern music from U2 since Rattle and Hum. In one step, the band went from Angel of Harlem to this ! I plainly had no idea what was going on, but it was the first footprint to true greatness for U2. Listen to it, and you ’ ll know what I mean .
14. Love Comes Tumbling (1985)
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Released as the b-side to The Unforgettable Fire single in 1985, Love Comes Tumbling captures the ambient and atmospheric sound that U2 was creating during The Unforgettable Fire time period. A new passing for the set at the fourth dimension, this was the beginning of the long and fruitful relationship with Brian Eno and Daniel Lanois. More than any track that actually made the album, Love Comes Tumbling is a snapshot of what is to come from U2 some seven years late. Metronomic and sparse, it exudes a melancholy that I ’ m not sure was intentional, and save for some chancy bass ‘ slaps ’ from Adam ( a ( thankfully ) ephemeral phase that Adam went through during this time period ), it ’ s a big illustration of a band learning modern things with their instruments .
13. The Three Sunrises (1985)
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besides from The Unforgettable Fire sessions, it can be found on the Wide Awake in America EP that was released in 1985 ( only as an import in the UK and Ireland ), which besides includes Love Comes Tumbling. It ’ s a foreign song with a amusing middle-eastern vent from Edge ’ mho guitar, its spiritual quality helped by Bono ’ s lyrics ( are they always anything else ? ). Again it sits absolutely with the new departure the isthmus was going for, but was even a little ‘ far-out ’ for inclusion on the album .
12. Where Did It All Go Wrong? (1992)
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The b-side to 1992 ‘s Even Better Than The Real Thing, this is the sound of a band having playfulness. An wellbeing, poppy tuneful little ditty. Recorded in Dublin in 1990, its ‘ throw-away ’ feel probably prevented it from good consideration for Achtung Baby, but I love it .
11. Holy Joe (1997)

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first hear when U2 launched Pop with a live performance for the media in a Greenwich Village Kmart ( lingerie section ) in 1997, it ’ s a ’60s manner begrimed count which is wholly at odds to what the Pop album is. An odd thing to do, but a great birdcall that showed up late as the b-side to Discotheque .
10. I Fall Down (1981)
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OK, so I ’ ve included an album racetrack on this tilt ( in fact I will include two all in all ). I ’ megabyte doing this, as I don ’ metric ton believe that this birdcall gets the recognition it deserves. Taken from the underestimate October album in 1981, to me this has constantly sounded like a classic single but was never released as such – it probably may have helped with sales of this record. Showcasing Edge ’ s skills on the piano, and his song writing credentials, it is fabulous, with a Celtic air and a drive beat from Larry Mullen. It besides has a laughably great melody, I love this song .
9. Hallelujah Here She Comes (1988)
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The b-side to Desire, this track sits perfectly with the american roots period that U2 was going through in the recently 80s. like to something George Harrison may have written in the early 70s, it is an acoustic, state sung with a simple but effective tenor drum rut from Larry .
8. The Wanderer (1993)
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U2 has explored the trope of a spiritual travel on many occasions ; it could be argued that the ring made a career of it ! The Wanderer is the piéce de résistance of that particular travel, a post-apocalyptic ride through a barren landscape, where the generator questions the function of God is this modern world. It ’ s a futuristic country birdcall that closes Zooropa, and as it is slightly at odds with the respite of the record, it absolutely sums up that whole album. And how do you blend the old with the new ? Get Johnny Cash to sing it !
7. God Part II (The Hard Metal Dance Club Mix) (1989)
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Akin to Sympathy For The Devil meeting the ‘ Madchester ’ scene of the recently 80s/early 90s, this remixed version of the Rattle And Hum original actually gives the hearer a glance of how U2 would approach the adjacent decade. The original is good, but the remix is great. Exploiting samples and dispersing with the criterion rock structure, it ’ sulfur even possible to dance to this. Something U2 was not known for in 1989 .
6. Your Blue Room (1995)
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From the Passengers album Original Soundtracks 1, this is a cinematic, trippy and black bile masterpiece. The behind, metronomic rut allows U2 ( and Brian Eno ), the space to venture into territories that were undiscovered previously, even with Zooropa. I love this commemorate, and Bono ’ sulfur vocal operation is absolutely understated, whilst showcasing his singular falsetto. It even has Adam on vocals. honestly, go back and listen to this, it ’ sulfur fantastic .
5. Night And Day (1990)
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Yes this is the Cole Porter classic, separate of the Red, Hot and Blue AIDS benefit compilation album, where contemporary artists covered Cole Porter greats. Released in 1990, it is the bridge between Rattle And Hum and Achtung Baby. Bono ’ mho frequently quoted “ we ’ rhenium gon na go away and dream it all up again, ” from the Point Depot gigs during the 1989 Lovetown Tour left fans contemplating the bands death, but his prophetic words that night in Dublin now made sense. This was U2, but it wasn ’ metric ton ! A brilliant re-worked version of a authoritative, it exudes a confidence and assures the audience that the band was going to come second with something special .
4. The Ground Beneath Her Feet (2000)
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With words by Salman Rushdie, The Ground Beneath Her Feet had an unstable origin, prevented from being a individual secrete by U2 ’ mho commemorate company, it made it onto the Million Dollar Hotel soundtrack before finally finding a home as a bonus track on All That You Can’t Leave Behind imports. It ’ s the best track on the album, a melancholy masterpiece exploiting sparse atmospherics, with Larry ’ s standard drum machines off setting his play as Bono delivers a vulnerable, pleading style vocal music before it opens out into an great outro. Should be considered one of U2 ’ randomness greats .
3. Dirty Day (junk day) Remix (1997)
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An industrial power station of a tune, the b-side to Please from the Pop album. This could be considered an strange choice, but it showcases the band ’ s willingness to embrace remix culture, dancing, industrial sonic spaces and besides shows how you can always improve a song – this betters the original Dirty Day from Zooropa .
2. Salomé (1992)
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The top 3 on the list are all b-sides, cuts from U2 ’ sulfur nineties period, no storm there I suppose. Salomé was recorded during the Achtung Baby sessions and released on the cadmium individual for Even Better Than The Real Thing. This was merely U2 ’ s most arouse period, embracing dance, the Madchester picture, samples and new engineering. Salomé belongs to this menstruation, but was actually a sparse sung than its contemporaries. It embraces ’70s funk, like a soundtrack to a Tarantino movie, lots of tuneful second vocals and even the word ‘ shake. ’ The band sounded fresh, like they were having playfulness. This was U2, but not as we know them !

1. Lady With The Spinning Head (1991)
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This was the closest U2 came to the aforesaid nineties ‘ Madchester ’ view, propelled by Larry ’ s Stone Roses-style beatnik ( but as constantly without the busy interruptions ). For the first gear time we besides hear the groove that Adam has in him – the nineties will be his ten. The anthems were reduce on the ground for U2 during this menstruation, and they were the better for it. sonic experiment, bright melodies, lots of Edge spill the beans, it was a brilliant period, and the fact that this racetrack didn ’ t make the concluding dilute for Achtung Baby, illustrates to us how great that record was .

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