Zooropa
Zooropa | ||||
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Studio album by | ||||
Released | 5 July 1993 | |||
Recorded | February–May 1993[a] | |||
Studio |
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Genre | Alternative rock | |||
Length | 51:15 | |||
Label | Island | |||
Producer | ||||
U2 chronology | ||||
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Singles from Zooropa | ||||
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Zooropa is the eighth studio album by Irish
U2 began writing and recording Zooropa in Dublin in February 1993, during a six-month break between legs of the Zoo TV Tour. The record was originally intended as an EP to promote the "Zooropa" leg of the tour that was to begin in May 1993, but during the sessions, the group decided to extend the record to a full-length album.[1] Pressed for time, U2 wrote and recorded at a rapid pace, with songs originating from many sources, including leftover material from the Achtung Baby sessions. The album was not completed in time for the tour's resumption, forcing the band to travel between Dublin and their tour destinations in May to complete mixing and recording.
Zooropa received generally favourable reviews from critics. Despite none of its three singles—"Numb", "Lemon", and "Stay (Faraway, So Close!)"—being hits consistently across regions, the record sold well upon release, charting in the top ten of 26 countries. The album's charting duration and lifetime sales of 7 million copies, however, were less than those of Achtung Baby. In 1994, Zooropa won the Grammy Award for Best Alternative Music Album. Although the record was a success and music journalists view it as one of the group's most creative works, the band regard it with mixed feelings.
Background
U2 regained critical favour with their commercially successful 1991 album Achtung Baby and the supporting Zoo TV Tour in 1992. The record was a musical reinvention for the group, incorporating influences from alternative rock, industrial music, and electronic dance music into their sound. The tour was an elaborately staged multimedia event that satirised television and the viewing public's overstimulation by attempting to instill "sensory overload" in its audience.[2][3] The band finished 1992 with one of their most successful years, selling 2.9 million concert tickets and reaching 10 million copies sold for Achtung Baby.[4] Their 73 North American concerts from the year grossed US$67 million, easily the highest amount for any touring artist in 1992.[5]
The group concluded the North American "Outside Broadcast" leg of the tour on 25 November 1992,
Recording and production
After handling
The group employed
Soon after the sessions commenced, Bono pushed for the band to work towards a full-length album.[7] The Edge was initially hesitant, but saw the opportunity as a challenge to quickly record an album before returning to tour and prove the band had not become spoiled by the luxury of ample recording time.[7] Additionally, Bono and the band's manager Paul McGuinness had discussed the possibility of releasing a "one-two punch" of records since the beginning of the Achtung Baby sessions.[7] In early March, U2 reached a consensus to work towards a full-length album.[14] Much like they had for the Achtung Baby sessions, the band split work between two studios at once; Adams operated a Soundtracs mixing console at The Factory, while Flood used an SSL console at the newly relocated Windmill Lane Studios.[10]
Due to the time limit, U2 were forced to write and record songs at a more rapid pace.
"Some of the ideas we started out with on Achtung Baby started to come into focus on the tour as we played around with the new stage set, the TV screens, the whole concept of a TV station on the road. We found out what it could do and then we started playing around with the imagery and the ideas that were in the airstream, gleaned from the world of advertising, CNN, MTV and so on. It struck a chord in us and the music that came out on Zooropa was very influenced by the tour. Normally it's the other way around; you put an album together and then you go off on the road and you're drawing from the album for your inspiration."
Songs originated from and were inspired by a variety of sources. "Zooropa" was the result of combining two separate pieces of music together, one of which the band discovered while reviewing recordings of tour soundchecks.[7] The verse melody to "Stay (Faraway, So Close!)" and an instrumental backing track that became "Numb" were originally from the Achtung Baby sessions.[7] "Babyface", "Dirty Day", "Lemon", and "The Wanderer" were written during the Zooropa sessions.[7][18] Country singer Johnny Cash recorded vocals for "The Wanderer" during a visit to Dublin, and although Bono recorded his own vocals for the song, he preferred Cash's version. The production crew and the band debated which version to include on the record.[19] Throughout the sessions, U2 were undecided on a unifying musical style for the release, and as a result, they maintained three potential track listings—one for the best songs, one for "vibes", and one for a soundtrack album. Bono suggested editing the best segments of songs together to create a montage.[20]
As May's "Zooropa" tour leg approached, U2 continued to record while simultaneously rehearsing for the tour. Their time limit prevented them from working on live arrangements for any of the new songs.[21] Despite the sessions' rapid pace, the album was not completed by the time they had to resume touring. Moreover, Flood and Eno had to begin work on other projects. The Edge remembers everyone was telling the group, "Well, it's an EP. You did good but there's a lot more work needed to finish some of these songs."[7] However, the band did not want to shelve the project, as they believed they were on a "creative roll" and that they would be in a completely different frame of mind if they revisited the material six months later.[10]
The group's solution was to fly back and forth between Dublin and their concert destinations for about ten days to finish recording and mixing at night and during their off-days.
In the final weeks, the band decided to exclude the traditional rock songs and guitar-driven tracks they had written in favour of an "album of disjointed, experimental pop". The Edge received a production credit—his first on a U2 record[26]—for the extra level of responsibility he assumed for the album.[27] Twenty songs were recorded during the sessions, but ultimately 10 were chosen for the final track listing.[25] One piece that was left off the record was "In Cold Blood",[28] which featured somber lyrics written by Bono in response to the Bosnian War and was previewed prior to the album's release.[29] Other tracks that were left off the album included "Hold Me, Thrill Me, Kiss Me, Kill Me", "If God Will Send His Angels", "If You Wear That Velvet Dress", and "Wake Up Dead Man". The first was later released as a single from the Batman Forever soundtrack in 1995, and the latter three were included on the band's following studio album, Pop, in 1997.
Composition
Music
With an even more "European" musical aesthetic than Achtung Baby, Zooropa is a further departure from the group's "
The Edge's guitar playing on Zooropa marks a further shift away from his trademark style, highlighted by a heavier reliance on guitar effects[31] and the songs' reduced emphasis on his guitar parts.[33] The danceable "Lemon", called a "space-age German disco" by Stephen Thomas Erlewine,[34] features a gated guitar part.[35] The distorted "Daddy's Gonna Pay For Your Crashed Car" was described by Bono as "industrial blues".[28] The instrumentation of the closing song, "The Wanderer", consists primarily of a synthesised bassline and was described by the group as resembling the "ultimate Holiday Inn band from hell". The song was sequenced as the final track because U2 wanted to end the album on a "musical joke".[36]
Similar to how the Zoo TV Tour display screens sampled video footage from television programming, a number of songs from Zooropa
The vocals on Zooropa are a further departure from U2's previous style. As Jon Pareles described, Bono "underplays his lung power" throughout the record, in contrast to his impassioned, belting vocals from past work.[30] Additionally, in songs such as "Lemon" and "Numb", Bono sings in an operatic falsetto he calls the "Fat Lady" voice.[35][39] Two tracks feature other people on lead vocals: for "Numb", the Edge provides lead vocals in the form of a droning, monotonous list of "don't" commands;[1] for "The Wanderer", country musician Johnny Cash sings lead vocals, juxtaposing the electronic nature of the song with his haggard voice.[36]
Lyrics
Bono is credited as the sole lyricist for eight of the ten songs, while the Edge received sole credit for "Numb". The duo share credits for the lyrics to "Dirty Day". Technology is a common theme on Zooropa, inspired by the group's experiences on the Zoo TV Tour. Jon Pareles wrote that the songs are about how "media messages infect characters' souls",[30] while music journalist David Browne said the songs are concerned with "emotional fracturing in the techno-tronic age".[31] Critic Robert Hilburn interpreted the album as U2 probing into what they saw as the "disillusionment of the modern age".[40]
"Zooropa" is set amongst neon signs of a brightly lit futuristic city.
"Babyface" is about a man practicing his obsessive love for a celebrity by manipulating her image on a TV recording.[28] "Lemon", inspired by an old video of Bono's late mother in a lemon-coloured dress, describes man's attempts to preserve time through technology.[35] This is reflected in lines such as, "A man makes a picture / A moving picture / Through the light projected he can see himself up close".[32] The lyrics to "Numb" are a series of "don't" commands, amidst a noisy backdrop of sounds. The Edge notes that the song was inspired by one of the themes of Zoo TV, "that sense that you were getting bombarded with so much that you actually were finding yourself shutting down and unable to respond because there was so much imagery and information being thrown at you".[35]
In contrast to the technology-inspired lyrics of many songs, others had more domestic themes. "The First Time" was Bono's interpretation of the story of the
Bono based his lyrics to "The Wanderer" on the Old Testament's Book of Ecclesiastes, and he modeled the song's character after the book's narrator, "The Preacher".[18] In the song, the narrator wanders through a post-apocalyptic world "in search of experience", sampling all facets of human culture and hoping to find meaning in life.[44][45] Bono described the song as an "antidote to the Zooropa manifesto of uncertainty", and he believes it presents a possible solution to the uncertainty expressed earlier on the album.[18]
Packaging and title
The sleeve was designed by Works Associates of Dublin under the direction of
Zooropa was named for the "Zooropa" leg of the Zoo TV Tour, which began in May 1993 while the band completed the record. The name is a
Release
Zooropa completed U2's contractual obligation to Island Records, and to PolyGram,[51] the multinational that purchased Island in 1989.[25] Although the group were free to sign a new contract elsewhere, their strong relationship with the label and its founder Chris Blackwell prompted the band to remain with Island/Polygram by signing a long-term, six-album deal in June 1993.[51] The Los Angeles Times estimated that the deal was worth US$60 million to U2,[52] making them the highest-paid rock group ever.[53] At the time, the group were cognizant of several emerging technologies that would potentially impact the delivery and transmission of music to consumers in the following years. Author Bill Flanagan speculated, "Record stores could become obsolete as music is delivered over cable, telephone wires, or satellite transmissions directly into consumers' homes." With uncertainty over the future of these technologies and the implications of entertainment and telecommunications companies merging, the band negotiated with Island that the division of their earnings from future transmission systems would be flexible and decided upon at a relevant time. U2 toyed with the idea of releasing Zooropa as an interactive audio-video presentation in lieu of conventional physical formats, but the deadline imposed by the Zoo TV Tour prevented the band from realising this idea.[54]
U2's delivery of Zooropa in late May caught PolyGram somewhat off-guard,
Zooropa was released on 5 July 1993, during the Zooropa leg of the Zoo TV Tour.
Reissues
In October 2011, Achtung Baby was reissued to commemorate its 20th anniversary; CD copies of Zooropa were included in the "Super Deluxe" and "Über Deluxe" editions of the release.[72] Continuing a campaign by U2 to reissue all of their records on vinyl, Zooropa was re-released on two 180-gram vinyl records on 27 July 2018.[73] Remastered under the Edge's direction, the reissue included two remixes to commemorate the album's 25th anniversary: "Lemon (The Perfecto Mix)" and "Numb (Gimme Some More Dignity Mix)". [74][75] Each copy includes a download card that can be used to redeem a digital copy of the album.[74] To commemorate the album's 30th anniversary, in October 2023 the group will release a limited-edition yellow vinyl pressing of the album that contains a new photo from 1993 on the inner gatefold.[76]
Reception
Critical reaction
Review scores | |
---|---|
Source | Rating |
AllMusic | [34] |
Chicago Sun-Times | [77] |
Entertainment Weekly | A[31] |
Los Angeles Times | [40] |
Music Week | [78] |
The New Zealand Herald | [79] |
Orlando Sentinel | [33] |
Pitchfork | 8.4/10[80] |
Q | [81] |
Rolling Stone | [1] |
The Village Voice | B−[82] |
Zooropa received generally favourable reviews from critics. Anthony DeCurtis of Rolling Stone wrote in his four-star review that the album was "a daring, imaginative coda to Achtung Baby" and that "it is varied and vigorously experimental, but its charged mood of giddy anarchy suffused with barely suppressed dread provides a compelling, unifying thread".[1] Spin wrote a positive review, commenting that the record "sounds mostly like a band shedding its skin, trying on different selves for size". The review said the album "has the feel of real collectivity", praising the cohesiveness of the individual band members' playing. The review concluded by saying Zooropa "indicates U2 might be worthy of whatever absurd mutations the '90s throw our way".[83] Jon Pareles of The New York Times praised the group for transforming themselves and becoming "raucous, playful and ready to kick its old habits". Pareles enjoyed the sonics and electronic effects that made the "sound of a straightforward four-man band ... hard to find", and he commented that "The new songs seem destined not for stadiums ... but for late-night radio shows and private listenings through earphones."[30] The Orlando Sentinel gave the record a rating of three-out-of-five stars, commenting, "Although U2 leans heavily on the electronic sound of contemporary dance music, the rhythm tracks on Zooropa are less than propulsive." The review said that Eno's production and the electronic flourishes made the album interesting, but that ultimately, "there's nothing especially hummable" and "the songs are not very memorable".[33]
David Browne of Entertainment Weekly gave Zooropa an "A", calling it "harried, spontaneous-sounding, and ultimately exhilarating album". Browne judged it to sound "messy" and "disconnected", but clarified "that sense of incoherence is the point" in the context of the record's technology themes. He concluded, "For an album that wasn't meant to be an album, it's quite an album."[31] Robert Hilburn of the Los Angeles Times gave the record a maximum score of four stars. In two separate articles, he said that it "captured the anxious, even paranoid tone of the Zoo TV Tour" so much so that "it stands as the first tour album that doesn't include any of the songs from the tour" and yet sounds like a "souvenir" of Zoo TV.[26][40] In a positive review, Jim Sullivan of The Boston Globe called the album a "creative stretch", noting that the band experimented more yet retained their recognizable sound. He commented that the group's "yearning anthemic reach" and "obvious, slinky pop charm" were replaced with "darker corners, more disruptive interjections, more moodiness".[63] Paul Du Noyer of Q gave Zooropa a score of four-out-of-five stars, finding a "freewheeling feel of going with the flow" throughout the album and calling it "rootless and loose, restless and unsettled". For Du Noyer, U2 sounded "monstrously tight as a performing unit and fluidly inventive as composers, so the results transcend the merely experimental".[81]
A review from
Accolades
Zooropa finished in 9th place on the "Best Albums" list from The Village Voice's 1993 Pazz & Jop critics' poll.[85] At the 36th Annual Grammy Awards, it won the award for Best Alternative Music Album.[86] In his acceptance speech, Bono sarcastically mocked the "alternative" characterisation the album received and used a profanity on live television: "I think I'd like to give a message to the young people of America. And that is: We shall continue to abuse our position and fuck up the mainstream."[87] Zooropa was also nominated for Album of the Year at the 1993 GAFFA Awards in Denmark.[88]
Commercial performance
The album performed well commercially, debuting at number one in the United States,[89] United Kingdom,[90] Canada,[91] Australia,[58] New Zealand,[69] France,[92] Germany,[93] Austria,[94] Sweden,[95] and Switzerland.[96] It also reached number one in the Netherlands,[97] Italy, Japan, Norway,[98] Denmark, Ireland, and Iceland.[99] In the US, the album spent its first two weeks on the Billboard 200 at the top spot, staying in the top 10 for seven weeks.[89] In its first week on sale, Zooropa sold 377,000 copies in the US, the group's best debut in the country to that point.[100] The album reached the top 10 in 26 countries.[101]
Despite reaching impressive peak positions, Zooropa had a shorter stay on the music charts than Achtung Baby did. In total, Zooropa spent 40 weeks on the Billboard 200,[102] 61 fewer weeks than Achtung Baby.[103] Zooropa spent 34 weeks on the UK Albums Chart, nine of which were in the top ten,[104] but it charted in the UK for 59 fewer weeks than Achtung Baby.[105]
According to
Zoo TV Tour
The band began the Zoo TV Tour in February 1992 in support of Achtung Baby. In contrast to the austere stage setups of previous U2 tours, Zoo TV was an elaborate multimedia event. It satirised television and the viewing public's overstimulation by attempting to instill "sensory overload" in its audience.
The Zooropa album was released in July 1993, halfway through the Zooropa leg of the tour. Of the 157 shows the band played during the Zoo TV Tour, approximately 30 of them were after the release of Zooropa. Many of the album's songs found permanent places in the shows' set lists. "Lemon" and "Daddy's Gonna Pay for Your Crashed Car" were performed with Bono in his
Legacy
"The songs are not classics but they are more experimental and interesting than classic pop songs. This is something we don't necessarily care to do anymore. We don't go down the road with a piece of music just because it's unusual. That's not enough for us now. We want something that's potent and some of these songs are not particularly potent."
Although the record was a success, in the years following its release, the group have regarded it with mixed feelings and rarely play its material in live performances. Bono said, "I thought of Zooropa at the time as a work of genius. I really thought our pop discipline was matching our experimentation and this was our Sgt. Pepper. I was a little wrong about that. The truth is our pop disciplines were letting us down. We didn't create hits. We didn't quite deliver the songs. And what would Sgt. Pepper be without the pop songs?"[116] The Edge said that he did not think the songs were "potent", further stating, "I never thought of Zooropa as anything more than an interlude... but a great one, as interludes go. By far our most interesting."[18] Clayton said, "It's an odd record and a favourite of mine."[35] In 2005, Bono claimed that the album's track "Stay (Faraway, So Close!)" is "perhaps the greatest U2 song".[117]
After the release of Zooropa, David Bowie praised the band, writing, "[U2] might be all shamrocks and deutsche marks to some, but I feel that they are one of the few rock bands even attempting to hint at a world which will continue past the next great wall—the year 2000."[118] In 2023, Steven Hyden of Uproxx echoed Bowie's sentiments in a 30th anniversary retrospective on Zooropa: "U2 dared to imagine something that in the present moment seems to be of little common interest: the future... I mean the future as it stood in the '90s, when people looked beyond the 20th century and envisioned a radically different world emerging from a period of political and cultural uncertainty." Hyden felt that U2 had been guided by uncertainty for the record, calling it "artistically successful in that it set out to evoke an increasingly incoherent world by making anyone who heard it also feel incoherent". He believed that unlike other alternative rock albums from 1993, Zooropa was even more relevant in 2023 than when first released, and that it had not become dated: "And that's because the world U2 thought they were commenting on in 1993 was in reality just coming into existence, and it's the world we're living in now." He added, "Above all, Zooropa summons the modern desire to unplug from the grid and reconnect with something 'real' or 'authentic.'"[119]
Edna Gundersen of USA Today said in 2002, "the alien territory of Achtung Baby and Zooropa cemented U2's relevance and enhanced its cachet as intrepid explorers".[120] Neil McCormick wrote about Zooropa, "It feels like a minor work, and generally U2 don't do minor. But if you're not going to make the Big Statement, you're maybe going to come up with something that has the oxygen of pop music."[2] In 1997, Ann Powers of Spin wrote, "Zooropa took U2 as far from the monastic mysticism of The Joshua Tree as they could go. It freed U2 from itself."[121] In 2013, the magazine published an article by Rob Harvilla that called Zooropa the album that almost killed U2's career. Harvilla referred to the album as "a weird blip best understood as a portent of the burps that followed, a mega-band dipping a big toe into murky art-rock waters before belly-flopping completely with Pop and its subsequent crass, costly, cred-depleting tour misadventures." While lamenting the band's latter-career creative output, he added: "Mark this record, then, as a celebration of a time when U2 was still musically daring; give 'Lemon' credit at least for successfully trolling you. It is the maddening, befuddling, discomfiting, somewhat ill-advised, occasionally inspired sound of very famous, very difficult men trying on some ill-fitting clothes."[122] In 2011, Rolling Stone ranked the record at number 61 on its list of "100 Best Albums of the Nineties".[123]
Track listing
All music is composed by U2
No. | Title | Lyrics | Mixed by | Length |
---|---|---|---|---|
1. | " Flood | 6:31 | ||
2. | "Babyface" | Bono | Flood | 4:01 |
3. | "Numb" | The Edge | Robbie Adams | 4:20 |
4. | "Lemon" | Bono | Flood | 6:58 |
5. | "Stay (Faraway, So Close!)" | Bono | Flood | 4:58 |
6. | "Daddy's Gonna Pay for Your Crashed Car" | Bono | Flood | 5:20 |
7. | "Some Days Are Better Than Others" | Bono | Robbie Adams | 4:17 |
8. | "The First Time" | Bono | Flood | 3:45 |
9. | "Dirty Day" | Bono and the Edge | Robbie Adams | 5:24 |
10. | "The Wanderer" (starring Johnny Cash) | Bono | Flood, Robbie Adams | 5:41 |
Total length: | 51:15 |
No. | Title | Lyrics | Remixed by | Length |
---|---|---|---|---|
11. | "Lemon" (The Perfecto Mix) | Bono | Paul Oakenfold, Steve Osborne | 8:57 |
12. | "Numb" (Gimme Some More Dignity Mix) | The Edge | Rollo, Rob D | 8:51 |
Total length: | 69:03 |
Notes
- After "The Wanderer" fades out at 4:41, a "
- The 2018 vinyl reissue splits the original album's ten tracks over sides 1–3, with the bonus tracks appearing on side 4.
Personnel
Adapted from the liner notes.[32]
U2
- Bono – vocals, guitar
- synthesisers, vocals
- Adam Clayton – bass guitar
- Larry Mullen Jr. – drums, percussion, backing vocals
Additional musicians
- Brian Eno – synthesisers, piano, arcade sounds, backing vocals, loops, strings, harmonium
- Des Broadbery – loops (tracks 2, 6, 7)
- Flood– loops (6, 10)
- Johnny Cash – lead vocals (10)
Production
|
|
Charts
|
|
Year | Title | Chart peak positions | Certifications | ||||||
---|---|---|---|---|---|---|---|---|---|
IRE [68] |
AUS [141] |
CAN [59] |
NZ
[142] |
UK
[70] |
US Mod Rock
[60] |
US Hot 100 [61] | |||
1993 | "Numb" | – | 7 | 9 | 13 | – | 2 | – | |
"Lemon" | – | 6 | 20 | 4 | – | 3 | – | ||
"Zooropa" | – | – | – | – | – | 13 | – | ||
"Stay (Faraway, So Close!)" | 1 | 5 | – | 6 | 4 | 15 | – |
| |
1994 | – | – | 14 | – | – | – | 61 | ||
"–" denotes a release that did not chart. |
Certifications and sales
‹See Tfd›Region | Certification | Certified units/sales |
---|---|---|
Argentina (CAPIF)[143] | Platinum | 60,000^ |
Australia (ARIA)[144] | 3× Platinum | 210,000^ |
Austria (IFPI Austria)[145] | Gold | 25,000* |
Brazil (Pro-Música Brasil)[146] | Gold | 100,000* |
Canada (Music Canada)[112] | 4× Platinum | 400,000^ |
France ( SNEP)[147]
|
Platinum | 300,000* |
Germany (BVMI)[148] | Gold | 250,000^ |
Japan (RIAJ)[149] | Gold | 100,000^ |
New Zealand (RMNZ)[111] | 4× Platinum | 60,000^ |
Norway (IFPI Norway)[150] | Gold | 25,000* |
Spain (PROMUSICAE)[151] | Platinum | 100,000^ |
Sweden (GLF)[152] | Gold | 50,000^ |
United Kingdom (BPI)[153] | Platinum | 300,000^ |
United States (RIAA)[108] | 2× Platinum | 2,000,000^ |
Summaries | ||
Worldwide | — | 7,000,000[154] |
* Sales figures based on certification alone. |
Notes
- ^ "Numb" basic tracks were recorded in 1990-1991 during Achtung Baby sessions
References
Footnotes
- ^ a b c d e f DeCurtis, Anthony (5 August 1993). "'Zooropa,' mon amour". Rolling Stone. No. 662. p. 63. Archived from the original on 3 May 2008. Retrieved 19 August 2020.
- ^ a b c Dalton, Stephen (November 2004). "Achtung Stations". Uncut. No. 90. p. 52.
- ^ Graham, Bill (18 June 1992). "Achtung Station!". Hot Press. Vol. 16, no. 10. Retrieved 22 April 2011.
- ^ Flanagan (1996), p. 133
- ^ Harrington, Richard (6 January 1993). "U2, Dead Top '92 Concert Sales". The Washington Post. p. C7.
- ^ "U2 ZOO TV 3rd leg: Outside Broadcast". U2Gigs.com. Retrieved 29 July 2010.
- ^ a b c d e f g h i j k l m McCormick (2006), p. 247
- ^ Scholz, Martin; Bizot, Jean-Francois; Zekri, Bernard (August 1993). "Even Bigger Than the Real Thing". Spin. Vol. 9, no. 5. Spin Media LLC. pp. 60–62, 96.
- ^ a b c Flanagan (1996), p. 183
- ^ a b c d e f g Tingen, Paul (March 1994). "ROBBIE ADAMS: U2's Achtung Baby & Zooropa". Sound on Sound. Archived from the original on 5 July 2015. Retrieved 8 January 2010.
- ^ McGee (2008), p. 158
- ^ Graham (2004), p. 51
- ^ Deevoy, Adrian (September 1993). "I Had Too Much To Dream Last Night". Q. No. 84.
- ^ McGee (2008), p. 159
- ^ a b Flanagan (1996), pp. 183–190
- ^ a b Calhoun, Scott (26 July 2013). "THE @U2 INTERVIEW: FLOOD". atu2.com. Archived from the original on 26 October 2020. Retrieved 26 October 2020.
- ^ Fielder, Hugh (October 1993). "New 'Zooropa' Revue". Pulse!.
- ^ a b c d e f g h McCormick (2006), p. 249
- ^ Flanagan (1996), pp. 223–224
- ^ Flanagan (1996), p. 195
- ^ Flanagan (1996), pp. 227–228
- ^ a b Tyaransen, Olaf (4 December 2002). "Closer to the Edge". Hot Press. Vol. 26, no. 23. Retrieved 26 April 2011.
- ^ Tyaransen, Olaf (25 March 2009). "30 remarkable years: Why McGuinness has been good for U2". Hot Press. Vol. 33, no. 5. Retrieved 22 April 2011.
- ^ Stokes (2005), p. 116
- ^ a b c Verna, Paul; Duffy, Thom (12 June 1993). "U2 Re-Inks With Island; 9th Album To Bow July 6". Billboard. Vol. 105, no. 24. pp. 12, 76.
- ^ a b Hilburn, Robert (12 September 1993). "It's A Global Thing With U2". Los Angeles Times. sec. Calendar, p. 3. Retrieved 6 May 2011.
- ^ Flanagan (1996), p. 230
- ^ a b c d e Jackson, Joe (2 June 1993). "The Magical Mystery Tour". Hot Press. Vol. 17, no. 10. Retrieved 6 May 2011.
- ^ Flanagan (1996), pp. 201–203
- ^ a b c d e f Pareles, Jon (4 July 1993). "A Raucous U2 Moves Farther Out on a Limb". The New York Times. sec. Arts and Leisure, p. 22. Retrieved 8 October 2009.
- ^ a b c d e f Browne, David (9 July 1993). "Music Review: Zooropa". Entertainment Weekly. No. 178. Retrieved 29 July 2010.
- ^ a b c d e f g h Zooropa (Media notes). U2. Island Records. 1993. 314-518 047-2.
{{cite AV media notes}}
: CS1 maint: others in cite AV media (notes) (link) - ^ a b c d Gettelman, Parry (23 July 1993). "U2, Zooropa". Orlando Sentinel. p. 22. Retrieved 15 October 2010.
- ^ All Media Network. Retrieved 10 December 2009.
- ^ a b c d e f g McCormick (2006), p. 248
- ^ a b Stokes (2005), p. 122
- ^ Gill, Andy (1 July 1993). "ROCK / Albums: Take the Cash and run: Andy Gill on the latest from U2: is it their most adventurous recording yet? Plus a single Sugarcube". The Independent. Archived from the original on 7 May 2022. Retrieved 14 December 2009.
- ^ Stokes (2005), p. 118
- ^ Jackson, Joe (August 1993). "Bono vs. The Beast". Musician.
- ^ a b c Hilburn, Robert (4 July 1993). "The Unpredictable Fire Burns On". Los Angeles Times. sec. Calendar, p. 56. Retrieved 12 August 2010.
- ^ a b Stokes (2005), pp. 111–112
- ^ Stokes (2005), p. 120
- ^ Stokes (2005), p. 121
- ^ Givens, Ron (9 August 1993). "Picks and Pans Review: Zooropa". People. Vol. 40, no. 6. p. 24. Retrieved 17 September 2014.
- ^ Stockman (2005), p. 115
- ^ a b c d "U2 × 5 Hidden Things". Amp Visual. 3 December 2012. Archived from the original on 6 October 2014. Retrieved 17 September 2014.
- ^ a b de la Parra (2003), pp. 160–161
- ^ "U2 × 5 Logos". Amp Visual. 7 March 2012. Archived from the original on 10 October 2014. Retrieved 17 September 2014.
- ^ Flanagan (1996), p. 265
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{{cite book}}
: CS1 maint: numeric names: authors list (link