Passengers: Original Soundtracks 1
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Music CD Cover
Edition: Music CDFormat: Soundtrack
Published: 1995
CD Release Date: 1995-11-07
Music Label: Fontana Island
Soundtracks:
- United Colours
- Slug
- Your Blue Room
- Always Forever Now
- A Different Kind Of Blue
- Beach Sequence
- Miss Sarajevo
- Ito Okashi
- One Minute Warning
- Corpse (These Chains Are Way Too Long)
- Elvis Ate America
- Plot 180
- Theme From The Swan
- Theme From Let's Go Native
Free Music Notes for Passengers: Original Soundtracks 1
Free Music Review: Great music. 4.5 stars
Hit: 5 Stars
I do not see this work as a U2 record, I see it as what it is: A collaboration between Brian Eno, U2, and 'extra passengers' (Pavarotti, Howie B, Holi). Lets all remember that Mr. Brian Eno was already rock and rollin' in Roxy Music when Bono and The Edge where pubert kids. So I do not agree with the reviewers that althought they love or dislike this work, they tend to see it as a U2 Album.
U2 has taken the influence of Eno since The Unforgettable Fire and melt it with their unique style. With Passengers, Eno is the creator of 'strategies, sequences, synthesizer, treatments, mixing...and vocals'. U2 are almost Eno's sidemen, it is Eno who is in charge here of the final result of the record. So when people compare this with other U2 records, they should compare it first with the numerous Eno's catalogue, starting in 1971 - Passengers could be very similar with Eno's 'Another Green World ' and 'My Life in the Bush of Ghosts'.
Songs like Ito Okashi, One Minute Warning, Plot 180 are pure Eno, Theme From the Swan comes straight from 'Music For Films'. The only real U2 songs Miss Sarajevo, a beatiful ballad that ends with a masterful Pavarotti solo, as stroke of geniuses; the other one Your Blue Room.
It is true that you can listen U2 in Bono's voice and The Edge's trippy guitar (an Eno influence since Unforgettable Fire) and their pulsating playing, but the concept here is all Eno, you can't blame U2 for some of the slow ambient and edgy music that's in here, completely alien to rock/pop format: U2 by themeselves would have never made an album like this.
Now I will have to admit that I love this album until the song One Minute Warning, until there 5 stars, after that it comes a little meandering but good anyway.
I'd recommend Passengers for rock fans who also like electronica and experimental music, pure and only rock fans might want to stay away.
Passengers: Original Soundtracks 1 Poster
U2 should be celebrated for doing what so few major rock bands have managed: They broke the chains of their own stardom. For a while it looked like they'd carry the "monsters of rock" banner into institutionalized and calcified dotage like the Who and Pink Floyd before them. But with 1991's Achtung Baby--and even more so on '93's Zooropa--U2 made clear they'd not become so alienated from artistic motivation that they believed more in their own importance than in their continued ability to create. Thus they stopped waving flags and learned to laugh at their fame. The change, in effect, released U2 from its own image and allowed the band more creative elbowroom than ever before. Only in this context could U2 now allow their producer Brian Eno to assume virtual membership in the band, adopt the pseudonym Passengers, and immerse themselves in the anonymity of film music.With Original Soundtracks 1, a collection of 14 compositions for imagined movies (and one performance piece), U2 accentuate the visual sense. Eno, who's done this sort of thing for decades, plays a defining role. Tracks like "United Colours" and "One Minute Warning," with their electronic pulsations and organic atmospherics, clearly fall onto his ambient/techno terrain. Even tracks more recognizably the band's are enriched by collaboration: The hilarious "Elvis Ate America" is even more absurd with Howie B's scratching and vocal calls, and the touching "Miss Sarajevo" is made infinitely more profound by Luciano Pavarotti's tenor. Passengers is more likely an inspired tangent than an indication of U2's direction, but it adds to the band's impressive--and constantly progressive--body of work. --Roni Sarig
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