The 50 Greatest U2 Songs from Epinions.com

What are your Top 10 U2 tunes? I'll list mine soon but below is a list of the Top 50 from epinions.com.

50-41
40-31
30-21
20-11
10-1


As anyone who's read through several of my epinions probably already knows, I am a self-professed U2 addict. I have been for as long as I can remember, and I probably always will be. And since I must have heard every song the band has released hundreds of times now, I figured this list was long overdue.

I'm taking the advice I received when I released a list of the 50 best albums of the new millennium to write five separate epinions, each with ten songs. After all, I do have some life outside of epinions which I need to dedicate some time to, and this way it will be possible to read each epinion in one sitting. So I'm going to start out with the bottom of the list, and hopefully you'll enjoy it enough to come back for future installments as I work up towards the best U2 song of all time.

50.) Everlasting Love (B-Side to "All I Want Is You" single)
"I went away just when you needed me so"
My first song to make the countdown is actually a cover (the only one you'll see on the list). As a general rule, I'm not crazy about covers, particularly of songs such as this one that have been done to death on "American Idol," but this song is one of the exceptions. The combination of The Edge's energetic guitar work (particularly during the last thirty seconds of the song) and Bono's heartfelt emotional vocals brings something unique.

49.) Staring at the Sun (Pop)
“Don’t try too hard to think, don’t think at all”
I was a bit reluctant to include this song because its got some truly horrendous lyrics (including a rather long portion about an insect in your ear causing itching and burning that I won't trouble you with by quoting it in its entirety), so it wasn't easy to find a line to quote for this one like I'm doing with each of the songs on the list. But this is still a good song. Granted, it's not a classic (that's why it's down at #49), but with one of the catchiest melodies that becomes more enjoyable each time you hear it.

48.) Running to Stand Still (The Joshua Tree)
“You got to cry with out weeping, talk without speaking, scream without raising your voice”
This song is so delicate and subtle that it's easy to miss (especially since it comes on "The Joshua Tree" immediately after the big four songs that grab all the attention). But pay some attention to it the next time you give this album a listen, it's worth it. I especially enjoy the way U2 is able to take even a lullabye and build up the energy level by around halfway through the song as Larry Mullen's drums come in and Bono hits the high notes. And then the song fades out as peacefully as it came in, with a gentle harmonica part.

47.) Love Rescue Me (Rattle and Hum)
“I've conquered my past, the future is here at last”
For those who doubt that U2 is capable of playing any genre of music, here's a U2 country song. Like the last song, this is an easy one to miss, because it starts out so slow that some will feel compelled to hit the skip button, but wait until almost two minutes in when the organ comes in and it begins to develop. And then the main event comes at around four minutes in with some of Bono's most intense vocals ever (making me wonder how he could even speak after singing this one). If this song has any fault, it's simply that it goes on too long, and was meant to end before the last minute.

46.) I Will Follow (Boy)
“A boy tries hard to be a man, his mother takes him by the hand”
Going from country music on the last song to punk, this song shows an entirely different U2 (one that groups like Bloc Party today certainly emulate the sound of). It's a little dated and the xylophone part is overdone (yes, we get the point that the album is called "Boy," the theme doesn't need to be so obvious), but you can't deny the exhilirating energy level on this song which can still get fans going if U2 feels like playing it live.

45.) God Part II (Rattle and Hum)
“I don't believe that rock'n'roll can really change the world
Like "Love Rescue Me," this is another underacknowledged song from an underacknowledged U2 album, "Rattle and Hum." This one is an all out rocker, with some pounding bass and drums, and I can't begin to understand why they never play it live. Every time you think it's built up to its most dramatic point, it kicks up a step higher, awesome stuff.

44.) The Hands that Built America (The Best of 1990-2000)
“It’s early fall, there’s a cloud on the New York skyline. Innocence dragged across a yellow line”
As you can tell from the lyric from this song, it's an obvious reference to 9/11. And the music manages to live up to the powerful emotions that you would expect from such a song. As with most U2 songs, it's all about the build-up towards the inevitable climax, but the climax on this one unpredictably comes with Bono singing in an operatic tone that I've never heard him use before (it takes a little getting used to, and you'll know it when you hear it).

43.) Gloria (October)
“I try to stand up, but I can't find my feet”
Most people have already forgotten about the album that this song comes from, or would like to forget about it (and I'll go ahead and tell you that this is the only song you'll see on my entire list from "October"), but it's a shame that this song has been forgotten because it's actually pretty good. As this was U2's second album, it's still a bit of a punk song, and if you've heard more of the album, you can tell that U2 were going through their "we're basically a Christian rock band" phase, but what makes this song work so well (better in my mind than "I Will Follow") is that it's one of the few U2 songs to show off Adam Clayton's potential as a bass player, giving him a rare solo around 3/4 of the way through, immediately following a solo from The Edge. The chorus almost doesn't matter compared to the rest of the song.

42.) If You Wear that Velvet Dress (Pop)
“I've been good, 'cause I know you don't want me to”
This one is probably going to surprise some people, because I'm sure most don't even remember this song, if they ever noticed it in the first place. But while I'm near the bottom of my list, I get to put in all the great subtle U2 songs that nobody really notices, and this is in many ways the "Running to Stand Still" of the 90s. It could almost be considered a lullabye if it wasn't so sultry. And like with "Gloria," Adam Clayton's bass playing is the star of the show here, with his playing thrust to the forefront over even Bono's vocals. And please don't even think about not giving this song a chance until you listen (and I mean really listen) for the extremely delicate and beautiful guitar hook from The Edge around halfway through (makes me wonder why people disliked "Pop" so much). The one thing I will say, however, is the Jools Holland version of this song is ten times better (if you like big band music).

41.) Vertigo (How to Dismantle an Atomic Bomb)
“Just give me what I want, and no one gets hurt”
When I first heard this song, I did a double-take because I couldn't believe I was listening to U2, it's just such a hard, rough song. And although it really doesn't fit musically with most of the album that it's on (I'm not sure what U2 album it would belong on in fact), it's a good one, and almost virtually guaranteed to get your head bobbing. What sets this apart from a lot of other songs in the genre, making it so definitively U2, is how layered it is, as repeated listens reveal greater complexities to The Edge's guitar playing. Wow, if a song this good can come in at #41, just think what the remaining 40 songs will be like...

40.) Hawkmoon 269 (Rattle and Hum)
“When the night has no end and the day yet to begin, as the room spins around, I need your love”
There are few songs more idealistic and romantic than this almost obsessive love song. The sense of urgency in the pounding drum part captures the mood perfectly as Bono desperately sings “I need your love.” This is also one of those songs with a truly beautiful chorus, and U2 manages to do great things with a gospel choir to end it all (unlike the live version of “I Still Haven’t Found What I’m Looking For” on the same album, which should be avoided at all costs). It’s hard to believe the song is over six minutes long, because it goes by so quickly.

39.) Love and Peace or Else (How to Dismantle an Atomic Bomb)
“Here’s my heart, I’ll let you break it”
From the moment those sharp snare drum beats first hit, you know you’re in for a great song. Next, comes the head bobbing shuffle beat, and just when you think it can’t get any better, The Edge’s raw guitar part brings up the intensity further. But the main event of the song for me comes with the simplistic yet powerful guitar hook of the last minute. Oh, this one just makes me wish I had been able to get tickets to the current tour, because it’s got to be even better live.

38.) Silver and Gold (B-Side to “Where the Streets Have No Name”)
“No stars in the black night, looks like the sky fall down”
It’s not just the lyrics that are showing a theme among the 10 songs on this group, but the musical style too. Like the last one, this is a raw and edgy rocker, and such a good B-Side that it’s hard to believe it didn’t make it onto an album (sadly, only the vastly inferior live version is included on “Rattle and Hum”). The only reason this song beats out “Love and Peace or Else” is that it just feels more sincere (coming back in the day when you could expect a long rant about the political situation of third world nations from Bono during nearly every song played live, rather than just every other song like today). And just listen to how crazy The Edge’s guitar part gets near the end of the song to see how awesome this song is.

37.) Desire (Rattle and Hum)
“She's a candle burning in my room”
I really didn’t intend on only putting rock songs on this part of the countdown, but that’s the way it worked out. This one’s a little bit more upbeat and less raw than “Silver and Gold,” but its comparable in style. Coming in at only around 3 minutes, it makes for one of the best radio singles off “Rattle and Hum,” and surprisingly, it doesn’t lose anything despite its short length (it’s even got Bono playing the harmonica). And how great is it when Bono sings “for love or money money money money…”

36.) I Still Haven’t Found What I’m Looking For (The Joshua Tree)
“I have kissed honey lips. Felt the healing in her fingertips. It burned like fire, this burning desire”
It might surprise some people that this song comes so low on my countdown, but as great and timeless a song as it is, I think it’s a little bit overrated by U2 standards. It’s not quite as emotionally charged or intense as certain other songs from “The Joshua Tree” that you can bet you’ll be seeing later on the countdown. One thing I love about this song is how perfect is it for just listening to on headphones while walking around and contemplating life (often in the fall, the season of contemplation). It’s also hard to believe while listening to it that it’s done by a bunch of guys who grew up in Ireland, because it embraces American roots music so well. Final note about this song, it’s got one of the best videos, watch it if you can find it.

35.) Luminous Times (Hold On To Love) (B-Side to “With or Without You”)
“I love you ‘cause I need to, not because I need you”
This is far and away the best of the 80’s B-Sides for me, with a really unique sound that’s difficult to describe. It’s easy to get lost in the intoxicating synthesizer part, and at times, has the benefit of sounding like a controlled jam session (listen for The Edge’s trademark rapid guitar part that comes in a little over halfway through). A great song, but it probably wouldn’t fit on any of the albums.

34.) Discotheque (Pop)
“But you take what you can get, 'cause it's all that you can find, and you know there's something more””
It threw a lot of people off, longtime fans included, when U2 experimented with electronic music, but I enjoyed the brief flirtation, which was just another phase in the continuing evolution of U2’s sound. It’s not quite as far out there into the electronic genre as “Mofo,” which comes later on “Pop,” as it’s got a pretty raw guitar hook, but you can certainly hear the dance influence. I will say that the remixed version of this song on the Greatest Hits of the 90s compilation is a little better (taking out the over-the-top “Boom-Chas” near the end of the song (which clearly made Larry Mullen so uncomfortable during the video with the Village People spoof), but the ridiculous finish does work as a kind of release after the amazing build-up at around four minutes into the song where Bono sings the above quoted line.

33.) In God’s Country (The Joshua Tree)
“We’ll punch a hole right through the night”
For those who can’t get enough of a great guitar hook from The Edge, this is definitely the song for you, because he’s the star of the show here with some soaring playing. I’ve noticed a tremendous cult adoration of this song, even among people who don’t seem to be big U2 fans, but that shouldn’t be too surprising upon listening to it. It’s accessible, but at the same time, not simple or radio-friendly.

32.) Miracle Drug (How to Dismantle an Atomic Bomb)
“I want to trip inside your head, spend the day there to hear the things you haven’t said”
This song is musically almost like an updated version of "Bad" (not that you can really improve on a song that good). It's one of those songs that sounds like the culmination of some great revelation, or coming out of a long dark tunnel, and longtime fans of the band will probably find it familiar upon the first listen. That's not always a good thing of course, but unlike say, "All Because of You" (off the same album), it doesn't try to capture the youthful innocence that came along with the band's earlier works, and has the sound of experience that can only come with the passage of time. The absolute highpoint of this song is clearly The Edge's guitar part that ushers in the dramatic last minute of the song (which now that I think of it also kind of brings to mind The Smashing Pumpkins "Tonight, Tonight").

31.) Even Better than the Real Thing (Achtung Baby)
“We're free to fly the crimson sky, the sun won't melt our wings tonight”
Finally, we have a song from "Achtung Baby" to hit the countdown (my personal favorite U2 album). This is a great song for marking the transition from the U2 of the 1980s to the U2 of the 1990s, as it's not thrust quite as far into a different style as certain other songs off the same album (such as "Mysterious Ways"). I feel like I'm repeating myself hear to say it, but a real highlight of this song is The Edge's guitar solo at around 3/4 of the way in, and his guitar hook throughout the song is undeniably infectious. The only thing keeping this great song from being a legend and acheiving a much higher place on the list is that it doesn't really build up to anything or change much like any of the best U2 songs.

0.) Out of Control (Boy)
“Monday morning, eighteen years of dawning”
From the very instant this song begins, it’s pure adrenaline and punk. What makes this early gem so much better than “I Will Follow” (from the same album) is the dramatic buildup that comes with the last exhilarating minute where a youthful Bono rebelliously struggles against growing up, all the while resigning himself to the fact that one day he will die, and the choice will not be his.

29.) The Ground Beneath Her Feet (Soundtrack to “The Million Dollar Hotel”)
“And now I can't be sure of anything, black is white and cold is heat”
I’m going to be honest, when I first heard this song, I hated it. I wasn’t crazy about the Salmon Rushdie penned lyrics, or the synthesizer that sounded like music to a Mega Man video game. But I never gave the song a fair chance as a result, and starting at around halfway through, the song dramatically changes into an amazing work. One of The Edge’s best guitar parts of all time comes in not long before the last minute, and the previously cheesy synthesizer part becomes haunting and beautiful while Bono chants “my oh my” in the background. And although it’s tempting not to include this song on the countdown because I’m really only including one-half of a song, that amazing second half more than makes this song a worthy addition to the list.

28.) Electrical Storm (William Orbit Mix) (The Best of 1990-2000)
“Two lovers lie with no sheets on their bed”
As with many U2 songs, the original version is not always the best one (often radio single versions wind up improving on the initial production dramatically, and at times, even the remixes are better). This is an example of a song where the “mix” version so dramatically outweighs the original that it is practically considered the original version. This is obvious from the fact that the William Orbit Mix of the song is included on Disc 1 of the greatest hits, whereas the original version is on Disc 2 with the B-Sides. There’s something about the spacey synthesizer effects on the William Orbit Mix that just adds so much, making it an eerie and unsettling love song, the way it was clearly intended to be if the lyrics are any indication. Another thing I have to say about it is that when you listen to it amidst the previously-released greatest hits on the compilation, it’s almost hard to believe that it was created just for the greatest hits compilation, because it has classic song written all over it. Although this song has a beautiful guitar part from The Edge, it seems that Bono is the star of the show here, with a climax occurring with his vocals at a little over three minutes into the song (it’s so fun to scream along with that part). It’s not quite as great a release as on “With or Without You” (mainly because it’s not prolonged for as much time), but it’s powerful nonetheless. Wow, I had a lot to say about that song, didn’t I?

27.) Love is Blindness (Achtung Baby)
“Love is clockworks and cold steel, fingers too numb to feel”
Tucked away at the end of “Achtung Baby,” and one of the more subtle songs on the album, a lot of people unfortunately overlook this one. This song is a bit of a rarity, because normally Bono really cuts lose with his vocals (as on “Electrical Storm”), but here, it’s some of his most controlled and restrained singing ever. Even The Edge’s playing is extremely out of the ordinary, if you really listen to it, taking on a wavering sound like the wind drifting in and out, until it goes into a gorgeous soaring segment in the last minute. All of this makes it a great song to listen to closely to pick up on all the intricacies that are too easy to pass over.

26.) Mercy (Outtake from “How to Dismantle an Atomic Bomb”)
“If your heart is full, baby let me bleed it”
I told you that there would be a couple of songs on today’s list of ten that would make you scratch your head and say “huh?” And this is definitely one of them. Since, to my knowledge, this hidden gem has not even been released as a B-Side (a tragedy if you ask me), most people have never even heard it. I don’t even remember how I managed to hear it, but I do know that it’s better than most of the songs on the album that it was cut from, and I can’t fathom why they got rid of it. It’s a well-produced, guitar-heavy song with a densely-layered chorus that has an almost sentimental feel. For some reason, the closest musical comparison I can think of is The Killers’ “Mr. Brightside,” but it’s far superior to that somewhat tired and overplayed song. If you can find a copy of it to listen to, and you’re any kind of U2 fan, you owe it to yourself to hear this one.

25.) Another Time, Another Place (Boy)
“Bright morning lights wipe the sleep from another day's eyes”
By far, my favorite track from “Boy,” this one is a pounding, bass-heavy song that’s not as much a punk tune as “Out of Control,” but which features an even more intense Bono (this is practically the most intense I’ve ever heard Bono singing, and at one point, he screams in what sounds like German). Although it’s a great song from start to finish, I can’t say I would love it quite as much if not for the guitar solo starting at around 2 minutes and 45 seconds in, which ranks up there among the greatest guitar solos ever from The Edge (this one might even be his best, despite the fact that it’s not in his traditional style). I can’t say that I see this song being for everybody though.

24.) Original of the Species (How to Dismantle an Atomic Bomb)
“Please stay a child somewhere in your heart”
Fortunately, unlike “Mercy,” this song made it onto the new album. You’d be hard pressed to find a U2 song that changes as often as this one, and the first time you hear it, it’s difficult to tell when the true “chorus” begins. It starts with a simple keyboard part, but very quickly, progresses into a heavily Beatles-inspired segment, and then, just when you get used to that, it changes again into a soaring melody before the true chorus finally shows up. Up until the chorus, it’s just a really good song, but it’s The Edge’s trademark guitar part on the chorus that in my mind makes this song a classic. This is one of those guitar parts that immediately invokes “Where the Streets Have No Name” or “Pride (In the Name of Love)” as the type of playing that can only be described as The Edge’s definitive style, but it doesn’t come across as simply a lame effort to reproduce what he used to do (as if a guitarist was not allowed to copy himself). The only way this song could be improved any is if it had more of a true climax near the ending, although the brilliant guitar hook lasts much longer near the ending (ending a little too quickly the first two times we hear it).

23.) Two Shots of Happy, One Shot of Sad (B-Side to “If God Will Send His Angels”)
“Walk together down a dead end street, we were mixing the bitter with the sweet”
Here comes the second song I promised that you wouldn’t expect to see anywhere on the list, but it’s been one of my absolute favorite U2 songs for as long as I can remember. This one is a Big Band song, featuring Bono singing with the class of Sinatra (in fact, this song is a birthday present to Frank Sinatra, as you can tell if you listen to the ending), and some amazing orchestration accompanying Bono’s vocals (with an incredible string section). And proving that U2 can make even this style of music their own, it builds up dramatically by around three minutes to the most satisfying part of the song. If you like this song, try to find the Jools Holland remix of “If You Wear that Velvet Dress” (I personally would love it if U2 made an entire album in this genre, even though that won’t ever happen).

22.) Pride (In the Name of Love) (The Unforgettable Fire)
“Free at last, they took your life, they could not take your pride”
You knew this one was coming sooner or later. Perhaps I put this song a bit sooner on the list than you would expect, but that’s because this song is basically when it all comes down to it, just a great guitar hook. Granted, it is an amazing guitar hook, which always makes me scratch my head and wonder how The Edge manages to do it (particularly the awesome interlude a little before two minutes in), but the entire song is built around The Edge’s playing. However, the lyrics are certainly worthy of mention as well, as a fantastic tribute to Martin Luther King, Jr. (I don’t think I can recall any other rock song being written to honor him).

21.) Sunday Bloody Sunday (War)
“When fact is fiction and T.V. reality”
Here’s another song you probably guessed was coming somewhere on my list, and surprisingly, the first song on my countdown from “War.” Just listening to this one invokes the mental picture of Bono waving that white flag, and saying “this is not a rebel song.” Larry’s marching drum playing on the snare drum fits the theme well, and Bono’s passionate vocals are as spirited as ever. While this is a truly legendary song, it doesn’t rank among the songs I put near the top of my countdown simply because I just don’t think it’s musically quite as breathtaking as what’s still to come.

20.) When I Look at the World (All That You Can’t Leave Behind)
“ I'm in the waiting room, can't see for the smoke. I think of you and your holy book while the rest of us choke”
This is the main song I was thinking of when I said this list will generate some controversy, and I’m well aware that it’s not a song that too many people care about, but I adore it. On an album predominated with safe material released to rebound from the commercial failure of “Pop,” this is one of the few challenging tracks that shows what U2 is capable of. The song makes use of The Edge’s guitar work in a way that I’ve never heard on any other U2 song, with an almost piercing sound. Even the lyrics of this song are unexpected, as should be apparent from the line I quoted above. This song sees Bono, an individual so clearly dedicated to religion that he was friends with the Pope, wondering how God could allow so many horrible things to happen to people. It’s not the same Bono we saw grow up in the 80s, so full of idealism and hope, it’s a Bono who’s been scarred by the things he’s seen, and it’s undeniably honest.

19.) Bullet the Blue Sky (The Joshua Tree)
“See them burning crosses, see the flames, higher and higher”
Speaking of the atrocities that have changed Bono over the years, this song represents them perhaps better than any other. There is simply no other U2 song quite so raw, with an almost enraged Bono singing of the massacre of women and children, with a guitar part from The Edge that seems to match the brutality described. It’s interesting to see how over the years Bono has modified the lyrics to this song to describe different frustrations. For instance, he sings of a preacher “stealing money from the sick and the old” on the live version on “Rattle and Hum,” and I recall seeing this song performed live (always a treat) during the “Elevation” tour, in which it became a rant about gun violence in the streets. The point is that this song can always give Bono a voice with which to speak out in a way that does not seem too preachy, and shows how music can be the voice of political activism.

18.) Lemon (Zooropa)
“ When you’re dry she draws her water from the stone”
My first song from “Zooropa” to make the countdown is like much of that album, perfectly absurd. Oh, how many a so-called U2 fan I have seen that’s proudly displayed their copy of “The Joshua Tree” (often right alongside the Counting Crows’ “August and Everything After,” who didn’t own that album?), but who when exposed to “Zooropa,” would promptly say, “this is weird.” That’s a sign that U2 were doing something right. Much of that can be attributed to Brian Eno’s production (he worked with The Talking Heads on some of their better projects, like the album “Remain in Light”). But there’s clearly a lot of Bono thrust into this song as well, in which he takes on the character of Macphisto (a pasty-faced individual with horns), who sings this song in a falsetto. My favorite part of the song, however, is The Edge’s rather simple, but absorbing piano part.

17.) Walk On (All That You Can’t Leave Behind)
“You're packing a suitcase for a place none of has been, a place that has to be believed to be seen”
As I mentioned earlier on this epinion, the album “All That You Can’t Leave Behind” is predominantly filled with safe songs, and “Walk On” is undeniably one of them. But it’s one that is simply so good that I find myself not caring that it is in essence a recycled version of older U2 songs. It just feels like one of those songs that always existed and was simply waiting to be written, with a refreshing guitar hook from The Edge that seems to reassure you that everything will be okay. I should mention that the single version of this song is somehow even better than the version released on the album, with the guitars thrust to the forefront, and a redone version of the ending that’s far superior because it builds up to a climax in which Bono chants “Hallelujah” at the end. Overall, it’s just an extremely emotionally uplifting experience more so than a song.

16.) Stay (Faraway, So Close!) (Zooropa)
“You say when he hits you you don't mind, because when he hurts you you feel alive”
This is literally the only safe song on “Zooropa,” but as with “Walk On,” I’m willing to make an exception to put it on my list, because it’s incredible. While the entire song is haunting and intoxicating, it’s the chorus that makes this one a classic, with some of Bono’s most gorgeous vocals ever, along with angelic-sounding backing vocals. Although you would think based on the romantic melody and musical tone, that this is a love song, the somewhat disturbing lyrics reveal that all is not as perfect as it might seem (as should be obvious from the line quoted above). I highly recommend listening to the remix of this song with the orchestra accompaniment if you can find a copy of it, for a very different feel (I’m afraid I can’t recall the name of the remix for you at the moment, and if anyone knows what I’m talking about, feel free to remind me in the comments section).

15.) Hold Me, Thrill Me, Kiss Me, Kill Me (Soundtrack to “Batman Forever”)
“They don't know what you're doing, babe, it must be art”
Four words: Bad Movie, Great Song. There’s not a whole lot else to offer on this soundtrack (the only other song I even remember was a so-so tune from The Flaming Lips), but fortunately you can now get this song with the Greatest Hits of the 90s compilation. Released during the long wait in between 1993’s “Zooropa” and 1997’s “Pop,” this song makes an interesting transition piece. The Edge’s guitar work is slick throughout the song, the production is excellent, and you’ve even got Bono going way over the top making certain, um, noises, near the end of the song. This song is also an excellent parody of celebrity, with lyrics like “you're turning tricks with your crucifix,
you're a star.” It’s always nice to see Bono not taking himself too seriously.

14.) Please (Pop)
“September, streets capsizing, spilling over, down the drain, shards of glass, splinters like rain”
There are some songs that you form a kind of emotional bond with that seem to really speak to you individually (I know a lot of U2 fans who feel that way about “Stuck in a Moment” for instance). For me, this is that song. And if this countdown were a list of how much each of these songs means to me, this one would probably come in at #1, but because it’s not quite as good musically as what comes later on this countdown, it falls here. I could give you many reasons why this song means so much to me. For one, it came along at a time in my life when I think I needed it most with its message about not feeling sorry for yourself. Second, more than any other U2 song I can think of, this one is an autobiography from Bono if you really read the lyrics (and as you know if you’ve read my entire countdown so far, honesty is consistently my favorite quality in a U2 song). I should also mention that in hindsight, I consider this song a frightening and bizarre foretelling of 9/11 (just read the line quoted above, and tell me it’s not disturbing that this song was released in 1997). Although it is just an odd coincidence, and unlike “The Hands that Built America” (which was an intentional reference to 9/11), I now find that the lyrics of this song say even more than they did in the past.

As for a musical discussion of “Please,” I’d have to mention two entirely different versions of the song, neither of which is superior to the other, but which are vastly different. First, there’s the album version, which is wild and unrefined, with a kind of 70s guitar riff. Second, there’s the single version, polished and at least on the surface, more in control, with a longer version of The Edge’s unbelievably amazing guitar riff at the end of the song (along with a guitar solo not present on the album version). I used to say that the single version was vastly superior, and I still think it’s more enjoyable to listen to, but I’ve realized that it’s not really fair to call it better, because unlike the single version of “Walk On” (which is an obvious improvement over the original), the single version of “Please” is simply a different take on the song for a different mood. The album version captures a truly desperate feeling in the midst of great pain, whereas the single version, while more disciplined and controlled, has almost moved on past the pain to sorrow. Needless to say, if you want an uplifting song, you’ll have to listen to a different song altogether.

13.) The Fly (Achtung Baby)
“Every artist is a cannibal, every poet is a thief, all kill their inspiration and sing about their grief”
I’ve yet to find anyone who dislikes this song, even out of those who aren’t crazy about U2 or this album. A rock tune, high energy all the way. It’s got a chorus with Bono’s falsetto doubled over his muffled vocals (which I consider a cool effect), and The Edge totally cutting loose for a crazy guitar solo. It’s just plain fun, and that’s all it needs to be.

12.) Sometimes You Can’t Make It On Your Own (How to Dismantle an Atomic Bomb)
“I don’t need to hear you say that if we weren’t so alike you’d like me a whole lot more
Now I expect I’m provoking some disagreement by putting this song so high on my countdown, since many people I know just don’t see eye to eye with me about this one. I don’t know what to tell everyone who doesn’t care for this song other than I think it’s an amazing and powerful ballad that’s extremely sincere and from the heart. And I honestly can’t comprehend why this isn’t one of U2’s biggest hits of all time. Everything about it feels powerful, from the “Bad”-esque guitar hook, to Bono’s vocals as he tears his heart out with each note. Come on, people, wake up, there are few things as beautiful in this world as this song. I trust I’ve made my point.

11.) Zooropa (Zooropa)
“She's gonna dream up the world she wants to live in, she's gonna dream out loud”
And I’m ending off today’s list of ten by most likely provoking even further disagreement, but then again, would you really just want to read a list of the band’s most popular radio singles? This one is easily the band’s most experimental song of all time (living up to being the title track of their highly experimental album). It starts out softly building up like some kind of dark mirror image of “Where the Streets Have No Name,” with nightmarish voices echoing in the background until The Edge’s guitar hook begins to reverberate. The theme of parodying the excess of information thrust onto us in the information age through the media is played up as Bono chants commercial slogans like “eat to get slimmer.” And the song continues to shift and turn through the bizarre landscape of modern reality, never quite making sense. This isn’t a song, it’s a work of art. Sadly, I fear that we’ll never see U2 release a song like this again, which could never be played on the radio.

10.) A Sort of Homecoming (The Unforgettable Fire)
“Oh, don't sorrow, no don't weep, for tonight at last I am coming home”
Just as the title suggests, listening to this song is like coming home after being away for far too long. Musically, it has such a warm and comforting nature that just lets you know that everything is going to somehow be okay, and when I’m in need of relaxation after a stressful day, there’s nothing I’d rather listen to (the British group Embrace is perhaps a close second for serving that purpose). But it’s not just musical therapy, this song has fantastic production by Brian Eno, and like much of the album, shows the band experimenting with dramatically different sounds (I often consider this album the “Zooropa” of the 80s for that reason, even though it is clearly far more accessible than its 90s counterpart). For example, one song off “The Unforgettable Fire,” entitled ׂth of July,” was reportedly recorded without The Edge’s awareness as he played around with his guitar. “A Sort of Homecoming” marks that loose and free feeling that ultimately made the band so great better than most any other song.

9.) Ultraviolet (Light My Way) (Achtung Baby)
“When I was all messed up and I heard opera in my head, your love was a lightbulb hanging over my bed”
I realize putting this song so high on the list is probably surprising (as it wasn’t even one of the many singles from “Achtung Baby”), but if anything, I contemplated placing it even higher. This song was practically my religion for several years, and it’s still a powerful experience whenever I hear it. It begins softly with angelic cries accompanying Bono as he sings about how he feels like giving up, and then out of nowhere, The Edge’s mammoth guitar hook erupts (this one should be up there with the guitar hook from “Where the Streets Have No Name” or “Pride,” and it’s baffling why they never play it live). And then Bono’s initially hopeless lyrics give way to a love song. Sure, the metaphor is a bit obvious, but who really cares, the image of love as a kind of light in the darkness is still a powerful one (that line I quoted above is my single favorite U2 quote of all time). Overall, there’s something that feels very epic about this song, and although I’ll probably be saying this again about the remaining songs on my countdown, this one is an amazing catharsis of emotions and the idealistic youthfulness that we’re forced to conceal from the world as we grow up. Not to beat my point to death, but if you haven’t appreciated this song in the past (and I don’t think many people have even noticed it for some reason), do me a favor and give it another chance (and really blast it on the stereo when you do).

8.) New Year’s Day (War)
“And so we are told this is the golden age, and gold is the reason for the wars we wage”
It was only a matter of time until I reached this one, just as inevitably as one year ends and a new one begins (lame reference to this song intended). On this one, while you’ve got BOTH a guitar part and a keyboard part from The Edge (it’s always fun to watch him play both at once when the song is done live), it’s actually the keyboard hook that’s most interesting (as with so many of The Edge’s best parts, it’s simple, but somehow does a lot with very few notes). This one probably earns the title of most idealistic U2 song ever, as you can just hear the yearning (that’s kind of a stupid word, but I can’t think of any other that’s appropriate) in his vocals throughout the song. It’s almost as if Bono is trying to break free from the music and become even bigger than the song itself, which goes along well with the message of the song, as Bono sings about how “maybe the time is right,” and how he wants things to change even though nothing ever changes on New Year’s Day. Oh, I could go on and on analyzing this song for pages, but I’ve still got seven more songs to go, and I shouldn’t need to sell you on this one.

7.) Mysterious Ways (Achtung Baby)
“To touch is to heal, to hurt is to steal, if you want to kiss the sky, better learn how to kneel”
What’s truly amazing about this song to me is how well it’s stood the test of time, and still sounds so fresh today, with its slick guitar hook that just defines cool, and polished percussion. In fact, I don’t know about you, but as I listen to it right now, it’s making me want to get up and dance (and I wasn’t even in a good mood). You can really tell that Bono had fun with this one, and even though it’s hardly his best vocals ever, it’s got tons of spirit. Wow, my neighbors are going to complain tonight, first I blasted “Ultraviolet” and “New Year’s Day,” and now I’ve turned up the volume even higher. If you’ve forgotten how to have fun as it’s so easy to do in this day and age, play this song!

6.) All I Want Is You (Rattle and Hum)
“You say you'll give me a highway with no one on it”
To call this song ambitious is something of an understatement. For nearly the last three minutes, it’s entirely instrumental. As a whole, the song comes across as sort of a stream of consciousness, like when you pick up a piece of paper and a pencil and just write whatever comes to mind, and it flows (which can make for some of the best writing, and apparently also, some of the best music). During the portion of the song on which Bono sings, his voice is mainly as delicate and restrained as ever, but consistently fueled with emotion, with his vocals finally breaking out into a release just before the instrumental portion of the song. As the instrumental part of the song begins, The Edge’s trademark guitar hooks lead the way, and the truth is they could have ended it there and had it be a great song, but they went even further, and in the last minute and a half, a fantastic string section winds down the song (you’d think you were listening to classical music at times). The only thing more daring than writing this song was to make it a single, but it was a great choice.

5.) With or Without You (The Joshua Tree)
“Through the storm we reach the shore, you give it all but I want more”
This is where it’s getting extremely difficult to choose the order of the songs, because they’re all legends, and there would be plenty of people who would rightfully consider this their favorite U2 song. Of all the songs U2 has ever written, one thing’s for sure, this one has the biggest and most powerful climax. But before we get there, we’re treated to some of The Edge’s most delicate guitar work, which has a sustained and extremely unique sound (I doubt anyone could properly duplicate it as well as The Edge even with the right kind of guitar). As the song progresses, the intensity in Bono’s vocals rises, as he becomes torn between love and anger, singing “you give yourself away.” Finally, the moment comes when Bono gets his release, and he screams in a beautiful kind of agony that anyone who’s ever been in love has felt at one time or another. Wow, anyone who doesn’t think this is the best band of all time after listening to this song should have their head examined.

4.) Until the End of the World (Achtung Baby)
“In my dream I was drowning my sorrows, but my sorrows, they learned to swim”
It’s not easy to find a song better than “With or Without You,” but I think this one manages. As it begins, The Edge’s rebellious guitar wails, and Larry Mullen’s almost tribal percussion enters just before The Edge begins an unbelievably grand scale guitar hook (to hear this guitar part played live is like dying and going to heaven). But what makes this song rise above the level of so many others with a brilliant guitar hook is that if you really listen closely, you’ll notice tons of beautiful guitar flourishes outside of the chorus (for instance, listen to the guitar work at around 1 minute and forty seconds in to hear how well it compliments the vocals in that section). And then even though I couldn’t have asked for any more out of a song, The Edge goes and throws his BEST guitar solo EVER in starting at around two minutes (this guitar solo practically moves me to tears every time I hear it). And then with about one minute left in the song, the intensity rises for a dramatic finish that should leave you breathless.

3.) Bad (The Unforgettable Fire)
“I'm wide awake, I'm not sleeping”
These songs are almost getting too good for words, but I’m trying to rise to the challenge. By the time you get through the emotional journey that is this song, you won’t be in the same place you started out mentally. While the guitar work is amazing as usual here, this time Bono gets to be the star of the show (as he loves to be), screaming out “I’m wide awake” with a glorious passion for life, and that’s not even the climax. Just wait until around four minutes and thirty seconds in, as Bono chants “desperation, dislocation,
separation, condemnation, revelation, in temptation, isolation, desolation,” and you can feel how epic this song is. And then as if to wash away any of the bad feelings described, Bono screams “let it go!” This is everything a singer should be, and for however ridiculous Bono may be when he goes off on a rant, he should always be forgiven because of this song.

2.) Where the Streets Have No Name (The Joshua Tree)
“I want to run, I want to hide, I want to tear down the walls that hold me inside”
It wasn’t an easy choice between this and my top ranked song, and at various points in my life, I’ve considered this U2’s best. We all know how it begins, with that wonderful fade-in to the most classic of all The Edge’s guitar hooks, coming in like the first sign of spring after a long and dreary winter. And then it explodes into something larger than life, as Bono sings the line I quoted above. There’s an amazing quality to this song where it’s clearly meant to be played in the largest venues conceivable (I don’t think they’ve even built a stadium big enough to contain this song or what it does to a crowd when played live), but at the same time, it feels like it’s being sung personally just to you. Forget about politicians, this song is the key to world peace, just imagine everyone in the world simultaneously listening to it, and it’s hard to imagine anyone thinking about fighting each other during that.

1.) One (Achtung Baby)
“You ask me to enter but then you make me crawl, and I can't be holding on to what you got when all you got is hurt”
I assure you that it’s simply an amusing coincidence that this song shares its name with its position on my countdown as the greatest U2 song of all time. Although this song isn’t nearly as amazing when played live as “Where the Streets Have No Name,” it earns the top spot because it’s simply the most beautiful music I’ve ever heard. The way the guitar part and strings accompanies Bono’s aching vocals as he sings “love is a temple, love the higher law” is sheer perfection. And talk about a climax in the last minute as Bono chants along with The Edge’s masterful guitar work, which keeps hitting high notes that could melt anyone’s heart. I couldn’t possibly sum up U2 any better than this song does for me. And finally, words completely fail me.