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Hearing the whole album later was an awakening for me. Bono's voice was so pure, and the words he sang rang with a passion and sincerity I'd not heard before. The Edge's guitar was shimmering and majestic. The song was like nothing else I'd heard. U2 was on a rooftop, breaking into "Where the Streets Have No Name."
![u2 the joshua tree poster u2 the joshua tree poster](https://ih1.redbubble.net/image.1299744119.6411/st,small,845x845-pad,1000x1000,f8f8f8.jpg)
The streets of Los Angeles were filled with people, all gawking skyward. But at some point I looked up and saw what looked like a breaking news event.
#U2 the joshua tree poster tv#
I was at a friend's house and the TV was on. My first exposure to The Joshua Tree was an accident. Much or most of it was bursting with a nauseating array of cheesy, synth-driven beats and melodies.īy 1987 I was used to tuning everything out. It was an exaggerated sensibility that worked its way into music as well, particularly in the production. Overly bright colors and space-age cuts were the fashion, with bright plastic jewelry and hairdos blown to gravity-defying heights. The radio was playing Air Supply's "All Out of Love" and Christopher Cross' "Ride Like the Wind." It felt like everything that could be done had been done, leaving us with mawkish pop and hammy hair metal bands. By the time we lurched into the 1980s it felt like we were out of creative milestones. I've often envied Boomers for coming of age during the creative explosion of the '60s and '70s. It was six feet by four feet and hung grandly on my wall all through college.įrom 1980 to 1989 I bought a lot of '60s and '70s music but only two albums that were actually released in the '80s. I've only owned one rock poster my entire life and it was for U2's Joshua Tree.