In the scope of their immense body of work, U2’s sophomore album is often overlooked.
And if you ask me, it’s an absolute travesty.
October captures all the energy of Boy and juxtaposes it against a newborn social consciousness that presented a difficult crossroads for the band.
After a career of arena tours, high-profile philanthropy, Platinum records, Broadway soundtracks (remember the Spider-Man musical?), unsolicited album releases, and more hits than you can shake a stick at, it can be hard to remember that U2 was birthed out of the same scene as the Clash, Wire, Joy Division, and the Cure.
But even the most shallow listen to Boy will snap that picture into focus, simultaneously forecasting a prescient image of the iconic band that they would become.
We interrupt your regularly scheduled (er, irregularly, rather—sorry) blog schedule to go on an unscheduled, but essential deep dive. Continue reading