U2 LIVE

“UNDER A BLOOD RED SKY”

1. GLORIA
2. 11 O’CLOCK TICK TOCK
3. I WILL FOLLOW
4. PARTY GIRL
5. SUNDAY BLOODY SUNDAY
6. THE ELECTRIC CO.
7. NEW YEAR’S DAY
8. “40”

WWW.U2.COM

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C 2008 UNIVERSAL-ISLAND RECORDS LIMITED.
THE EIGHT SONGS ON U2’S UNDER A
BLOOD RED SKY EP, WHICH WAS
ORIGINALLY RELEASED IN NOVEMBER
OF 1983, WERE ALL DRAWN FROM
SHOWS THAT TOOK PLACE DURING THE
BAND’S TOUR IN SUPPORT OF ITS
THIRD ALBUM, WAR, WHICH HAD COME
OUT EARLIER THAT YEAR.

Because the concert film, “Live At Red Rocks”, was

released at the same time (and was subtitled Under A
Blood Red Sky), it was generally believed that all the
performances on the EP derived from that show as well
– a misapprehension the band’s label was perfectly
willing to let go uncorrected.

While a careful comparison of the music on the two

sets would have revealed that only two performances
overlapped (“Gloria”, “Party Girl”), the idea that all the
songs came from Red Rocks allowed the drama and
mystery of that setting to charge the imagination of
anyone listening to the EP. Bono’s shouting out, “Hey,
this is Red Rocks!” during “Gloria”, the EP’s opening number,
only reinforced those impressions. As it happens, however,
“11 O’Clock Tick Tock” was recorded in the somewhat less
resonant location of Boston, MA, and the other five tracks
come from an August 1983 show in St. Goarshausen,
Germany.
Little matter. If the performances weren’t as undeniably
compelling as they are, no one would have cared where they
were done. Still in their early twenties, Bono, The Edge, Adam
Clayton and Larry Mullen Jr, were very much on the rise at
this moment, and they were determined for their band to rise
higher still. That meant exposing as many people as possible
to the wonders of U2’s on-stage assault. As its title would
suggest, and as such songs as “Sunday Bloody Sunday” and
“New Year’s Day” attest, War was a far more aggressive
album than either Boy (1980) or October (1981). While the
band had established a commercial foothold in the US and UK,
the widely held view of its supporters was that U2 had to be
experienced live to be truly appreciated and understood – to
be loved. War was an album perfectly suited to that purpose.
In a sense, such thinking countered the prevailing wisdom in
the music industry at the time. MTV, which launched in 1981,
was beginning to make its impact – and would soon prove a
great help in expanding U2’s audience as well. Videos were
becoming a more instantaneous, if less visceral, means of
introducing bands to new and younger audiences than the
more time-consuming method of touring. Meanwhile, a
fascination with the cool appeal of synthesizers, particularly
in the UK, had made guitar bands seem somewhat quaint.
Moreover, U2’s determination to conquer America was also
seen as naïve and old-fashioned. Hadn’t the Beatles – not that
they mattered either – done that already? And who cares
anyway? The post-punk era’s penchant for ironic detachment
hardly suited U2.
Characteristically, however, the band traveled its own path
regardless, and a live concert film was planned using the
producer and director of “The Tube,” a UK television program
on which U2 had successfully performed. Making a concert
film largely with its own money – a definite stretch for the
band at the time – had been a roll of the dice, and it
handsomely paid off. In 2004 Rolling Stone declared the
band’s Red Rocks concert one of the “50 Moments That
Changed Rock & Roll”.
As the Red Rocks film was in production, it was decided to
issue a live EP as something of a companion piece. Jimmy
Iovine, who had previously worked with Bruce Springsteen
and Patti Smith, had been ardent in his interest to produce U2,
so the band turned over the task of assembling the EP to him.
It was the beginning of the group’s long, rich relationship with
Iovine, who would go on to produce Rattle and Hum and
eventually head up Interscope Records, U2’s label.
It had been – and would always be – U2’s way to hurl itself
into the future, and then race to catch up with itself once new
boundaries had been broken. While in succeeding decades
Bono would prove mind-bogglingly adept at talking himself
into and out of rhetorical jams, U2 didn’t seem fully in control
of its message at the time of “Under A Blood Red Sky” and
“Red Rocks”. “This song is not a rebel song”, Bono insists at
the start of “Sunday Bloody Sunday”, which takes its very title
from an infamous 1972 attack on Irish protesters by the
British army. (And, of course, the song also provides the title
for this live set in one of its lyrics.)
Bloody Sunday is fraught with explosive imagery that is
dangerous even to attempt to contain within the confines of a
song – the contemporary equivalent might be something like
writing a song called “September 11, 2001”. Certainly in the
UK no one lacked an opinion about what the band might be
saying and where it stood. And the white flag Bono typically
marched with on stage with during “Sunday Bloody Sunday”
equally lent itself to a variety of interpretations, many of them
contradictory, none of them comfortable.
But the vast majority of American fans were hardly conversant
in the history of “the troubles,” and U2, ultimately, was
focused on the “terrible beauty” that William Butler Yeats
suggested might emerge from such confrontations. Whatever
their point of view, what audiences learned from engaging U2
in concert is that it is essential to care. One of the band’s
great strengths is its willingness to provoke, and no one
could leave one of the band’s shows without feeling
energized, exercised and ready to tangle with the world to
whatever end.
So along with the “Red Rocks” concert film, Under a Blood
Red Sky achieved what it set out to do – acquaint fans with
the potent force of U2 on stage. For the most part, the EP’s
eight tracks emphasize the roar of the band live, the
propulsive thrust that seems simultaneously both physical and
spiritual, a frenzied yearning for connection and transcen-
dence. The dense, inward-looking impulses of Boy and
October were jettisoned, and the songs from those albums
were invigorated by the all-or-nothing stakes that the psychic
wages of War demanded. The album depicted a world
teetering on the edge of apocalypse – morally, as well as
politically – and the urgency of the moment ignited the band
on stage. Take a moment to visualize the image of this EP’s
title: a sky rent and bleeding. “Everywhere is war”, Bob
Marley had sung a few years earlier in the Wailers’ riveting
song of the same name, and – in the Falklands, in the Polish
insurgency, in Ireland itself, and in the hearts and minds of
men and women the world over – U2 envisioned the same
fires burning.
“Enough! or Too Much,” William Blake declared in his
“Proverbs of Hell”, and that statement might well stand as
U2’s motto. The band risks going over the top, if that’s the
chance that must be taken to make sure it gets where it
wants to go, if not farther. Overshooting the mark, while not
ideal, is acceptable; falling short is not an option. Under A
Blood Red Sky provided a powerful shot of love, the quintes-
sence of what U2 is capable of delivering live. For twenty-five
years since, fans have proven ravenous for more.
Anthony De Curtis
GLORIA 11 O'CLOCK TICK TOCK I WILL FOLLOW PARTY GIRL SUNDAY BLOODY SUNDAY
I TRY TO SING THIS SONG IT'S COLD OUTSIDE I WAS ON THE OUTSIDE WHEN YOU SAID I KNOW A GIRL, A GIRL CALLED PARTY I CAN'T BELIEVE THE NEWS TODAY
I, I TRY TO STAND UP IT GETS SO HOT IN HERE YOU NEEDED ME PARTY GIRL I CAN'T CLOSE MY EYES AND MAKE IT GO AWAY.
BUT I CAN'T FIND MY FEET. THE BOYS AND GIRLS COLLIDE I WAS LOOKING AT MYSELF I KNOW SHE WANTS MORE THAN A PARTY HOW LONG, HOW LONG MUST WE SING THIS SONG?
I, I TRY TO SPEAK UP TO THE MUSIC IN MY EAR. I WAS BLIND, I COULD NOT SEE. PARTY GIRL HOW LONG, HOW LONG?
BUT ONLY IN YOU I'M COMPLETE. AND SHE WON'T TELL ME HER NAME 'COS TONIGHT
I HEAR THE CHILDREN CRYING A BOY TRIES HARD TO BE A MAN OH NO, NOT ME WE CAN BE AS ONE, TONIGHT.
GLORIA AND I KNOW IT'S TIME TO GO HIS MOTHER TAKES HIM BY THE HAND I KNOW A BOY, A BOY CALLED TRASH
IN TE DOMINE I HEAR THE CHILDREN CRYING IF HE STOPS TO THINK, HE STARTS TO CRY TRASH CAN BROKEN BOTTLES UNDER CHILDREN'S FEET
GLORIA TAKE ME HOME. OH WHY? I KNOW HE DOES ALL THAT HE CAN BODIES STREWN ACROSS THE DEAD-END STREET.
EXULTATE WHAM BAM BUT I WON'T HEED THE BATTLE CALL
GLORIA A PAINTED FACE IF YOU WALK AWAY, WALK AWAY AND SHE WON'T TELL ME HIS NAME IT PUTS MY BACK UP, PUTS MY BACK UP AGAINST THE WALL.
GLORIA AND I KNOW WE HAVEN'T LONG I WALK AWAY, WALK AWAY OH NO, NOT ME
OH, LORD, LOOSEN MY LIPS. WE THOUGHT THAT WE HAD THE ANSWERS I WILL FOLLOW. SUNDAY, BLOODY SUNDAY.
IT WAS THE QUESTIONS WE HAD WRONG. IF YOU WALK AWAY, WALK AWAY WHEN I WAS THREE SUNDAY, BLOODY SUNDAY.
I TRY TO SING THIS SONG I WALK AWAY, WALK AWAY I THOUGHT THE WORLD REVOLVED AROUND ME SUNDAY, BLOODY SUNDAY.
I, I TRY TO GET IN I HEAR THE CHILDREN CRYING I WILL FOLLOW. I WAS WRONG SUNDAY, BLOODY SUNDAY.
BUT I CAN'T FIND THE DOOR AND I KNOW IT'S TIME TO GO I WILL FOLLOW. AND SO I SING ALONG OH, LET'S GO.
THE DOOR IS OPEN I HEAR THE CHILDREN CRYING AND IF YOU DANCE, THEN DANCE WITH ME
YOU'RE STANDING THERE, YOU LET ME IN. TAKE ME HOME. I WAS ON THE INSIDE AND THE BATTLE'S JUST BEGUN
WHEN THEY PULLED THE FOUR WALLS DOWN I KNOW A GIRL, A GIRL CALLED PARTY THERE'S MANY LOST, BUT TELL ME WHO HAS WON?
GLORIA SAY SO, SAY SO I WAS LOOKING THROUGH THE WINDOW PARTY GIRL THE TRENCHES DUG WITHIN OUR HEARTS
IN TE DOMINE SAY SO, SAY SO. I WAS LOST, I AM FOUND. I KNOW SHE WANTS MORE THAN A PARTY AND MOTHERS, CHILDREN, BROTHERS, SISTERS
GLORIA PARTY GIRL TORN APART.
EXULTATE IF YOU WALK AWAY, WALK AWAY I KNOW A BOY
OH, LORD, IF I HAD ANYTHING, ANYTHING AT ALL I WALK AWAY, WALK AWAY A BOY CALLED TRAMPOLINE SUNDAY, BLOODY SUNDAY.
I'D GIVE IT TO YOU. I WILL FOLLOW. YOU KNOW WHAT I MEAN SUNDAY, BLOODY SUNDAY.
IF YOU WALK AWAY, WALK AWAY
GLORIA I WALK AWAY, WALK AWAY I THINK I KNOW WHAT HE WANTS HOW LONG, HOW LONG MUST WE SING THIS SONG?
IN TE DOMINE I WILL FOLLOW. I THINK I KNOW WHAT HE WANTS HOW LONG, HOW LONG?
GLORIA I WILL FOLLOW. I THINK I KNOW WHAT YOU WANT 'COS TONIGHT
GLORIA. I THINK I KNOW WHAT YOU WANT WE CAN BE AS ONE, TONIGHT.
YOUR EYES MAKE A CIRCLE I THINK I KNOW WHAT YOU WANT SUNDAY, BLOODY SUNDAY.
I SEE YOU WHEN I GO IN THERE I THINK I KNOW WHAT YOU WANT SUNDAY, BLOODY SUNDAY.
YOUR EYES, YOUR EYES I THINK I KNOW WHAT HE WANTS
YOUR EYES, YOUR EYES. WIPE THE TEARS FROM YOUR EYES
WIPE YOUR TEARS AWAY.
IF YOU WALK AWAY, WALK AWAY I'LL WIPE YOUR TEARS AWAY.
I WALK AWAY, WALK AWAY I'LL WIPE YOUR TEARS AWAY.
I WILL FOLLOW. I'LL WIPE YOUR BLOODSHOT EYES.
IF YOU WALK AWAY, WALK AWAY SUNDAY, BLOODY SUNDAY.
I WALK AWAY, WALK AWAY SUNDAY, BLOODY SUNDAY.
I WILL FOLLOW.
I WILL FOLLOW. AND IT'S TRUE WE ARE IMMUNE
WHEN FACT IS FICTION AND TV REALITY.
AND TODAY THE MILLIONS CRY
THE ELECTRIC CO. NEW YEAR’S DAY “40” WE EAT AND DRINK WHILE TOMORROW THEY DIE.

BOY, STUPID BOY ALL IS QUIET ON NEW YEAR’S DAY. OH, OH. OH, OH. OH, OH. I WAITED PATIENTLY FOR THE LORD. THE REAL BATTLE JUST BEGUN
DON'T SIT AT THE TABLE A WORLD IN WHITE GETS UNDERWAY. OH, MAYBE THE TIME IS RIGHT. HE INCLINED AND HEARD MY CRY. TO CLAIM THE VICTORY JESUS WON
UNTIL YOU'RE ABLE TO. I WANT TO BE WITH YOU, BE WITH YOU NIGHT AND DAY. OH, MAYBE TONIGHT. HE BROUGHT ME UP OUT OF THE PIT ON...
NOTHING CHANGES ON NEW YEAR’S DAY. I WILL BE WITH YOU AGAIN. OUT OF THE MIRY CLAY.
TOY, BROKEN TOY ON NEW YEAR’S DAY. I WILL BE WITH YOU AGAIN. SUNDAY, BLOODY SUNDAY
YOU CAN SHOUT AND SHOUT, ‘TIL YOU'RE INSIDE OUT I WILL SING, SING A NEW SONG. SUNDAY, BLOODY SUNDAY.
BUT IF YOU DON'T KNOW. I WILL SING, SING A NEW SONG.
I... WILL BE WITH YOU AGAIN. AND SO WE ARE TOLD THIS IS THE GOLDEN AGE
ELECTRIC CO. HOW LONG TO SING THIS SONG?
I... WILL BE WITH YOU AGAIN. AND GOLD IS THE REASON FOR THE WARS WE WAGE
IF YOU DON'T KNOW HOW LONG TO SING THIS SONG?
ELECTRIC CO. THOUGH I WANT TO BE WITH YOU HOW LONG, HOW LONG, HOW LONG
UNDER A BLOOD-RED SKY BE WITH YOU NIGHT AND DAY HOW LONG TO SING THIS SONG?
RED, RUNNING RED A CROWD HAS GATHERED IN BLACK AND WHITE NOTHING CHANGES
YOU PLAY FOR REAL ARMS ENTWINED, THE CHOSEN FEW ON NEW YEAR’S DAY YOU SET MY FEET UPON A ROCK
BUT THE TOY CAN FEEL THE NEWSPAPER SAYS, SAYS AND MADE MY FOOTSTEPS FIRM.
HOLDING YOUR HEAD SAY IT’S TRUE, IT’S TRUE... MANY WILL SEE, MANY WILL SEE AND HEAR.
YOU WON'T SHOUT AND WE CAN BREAK THROUGH
YOU STILL BEG THOUGH TORN IN TWO I WILL SING, SING A NEW SONG.
IF YOU DON'T KNOW WE CAN BE ONE. I WILL SING, SING A NEW SONG
THE ELECTRIC CO. I WILL SING, SING A NEW SONG.
I... I WILL BEGIN AGAIN I WILL SING, SING A NEW SONG
IF YOU DON'T KNOW. I... I WILL BEGIN AGAIN. HOW LONG TO SING THIS SONG?
ELECTRIC CO. HOW LONG TO SING THIS SONG?
IF YOU DON'T KNOW HOW LONG TO SING THIS SONG?
ELECTRIC CO. HOW LONG TO SING THIS SONG?
U2 LIVE 2008 Edition: FOR INFORMATION ON U2, WRITE TO:
U2 World Service
“UNDER A BLOOD RED SKY” PO Box 1810, Dublin 1, Ireland
Re-Mastering Directed by The Edge
email: info@numb.ie
1. GLORIA #
Album Production Managers: Steve Matthews and Candida Bottaci www.u2.com
2. 11 O’CLOCK TICK TOCK o
3. I WILL FOLLOW • Research and Archive Analysis: Cheryl Engels, Partial Productions JOIN AMNESTY INTERNATIONAL:
4. PARTY GIRL # Amnesty Ireland Amnesty UK
Sean MacBride House Human Rights Action Centre
5. SUNDAY BLOODY SUNDAY • Re-Mastering Produced by Cheryl Engels, Partial Productions 48 Fleet Street, Dublin 2, Ireland 17/25 New Inn Yard, London, EC2A 3EY, UK
6. THE ELECTRIC CO. • Re-Mastering Engineering www.amnesty.ie www.amnesty.org.uk
• by Arnie Acosta at Bernie Grundman Mastering
7. NEW YEAR’S DAY Mastering Assistance by Scott Sedillo
Amnesty USA
8. “40” • 5 Penn Plaza
Technical Support by Thomas “Beno” May New York, NY 10001, USA
www.amnestyusa.org
Original credits U2 Catalogue Re-Release Co-Ordinator:
SUPPORT AUNG SAN SUU KYI. HELP US FREE BURMA:
Nick Stewart and Associates For Freedom! For Burma! Take action!
All Titles Composed by U2 www.burmacampaign.org.uk
Thanks to Anthony De Curtis
The Burma Campaign UK
Blue Mountain Music Ltd 28 Charles Square, London, N1 6HT
Photography by Greg Wigler email: info@burmacampaign.org.uk
o Location Recording Produced by DIR Broadcasting and
Cover Design and Art Direction by Steve Averill JOIN GREENPEACE:
Recorded on the Effanel Music Mobile, Boston, Mass., In the UK: In the USA:
Packaging Design by Gary Kelly at Four5One°Creative
May 6th, 1983 www.greenpeace.org.uk www.greenpeaceusa.org
email: supporter@uk.greenpeace.org email: info@wdc.greenpeace.org
Freephone: 0800 269 065 Toll-Free: 1-800 326 0959
# Location Recording by Randy Ezratty and Gary Geller and All titles written by U2 and published by Universal Music Publishing BV,
except Blue Mountain Music Limited (UK), Mother Music (Irl)
Recorded on the Effanel Music Mobile Facility, Denver, Co., Rest Of The World:
www.greenpeace.org
June 5th, 1983. Audio Production by Steve Lillywhite. Lyrics reproduced by kind permission of the publishers
email: supporter.services@int.greenpeace.org
C 2008 Universal-Island Records Limited. Tel: +31 20 514 8150
• Location Recording courtesy of “Rockpalast 83”, FIGHT AIDS AND EXTREME POVERTY:

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WDR Television, West Germany, August 20th, 1983 Join the One Campaign: www.one.org
Visit DATA (Debt, AIDS, Trade, Africa): www.data.org
Mixed by Shelly Yakus at The Hit Factory, NYC Buy (RED): www.joinred.com
Assistant Engineering by Bobby Cohen
Mastered by Stephen Marcussen at Precision Lacquer, LA

Design by RX for The Creative Department Ltd, Dublin

Monitor Photography by Jacobus van Hespen. From “Under A Blood Red Sky”,
a “U2 at Red Rocks Associates” Production

Produced by Jimmy Iovine