digital booklet - no line on the horizon magazine
TRANSCRIPT
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Breathe.
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C a t herin e ASthe drumrner , how do you reconnec t with your c r af t a fter the tour
isover , orhow do you prepare for the nex1alburn?
Larry Hmmm . ._anexample ofhow I prepar e - wel l, l et me explain, Wecame
back from the tour at the end ofJanuary, inMarch myself and an engineer went
into the studio with just a kit of drums. I spent two or three weeks putting down
drum patterns and making loops of drum par ts that I had in myhead. This is
something I have done after the las t few tours inpreparation for the next album, it
gives Edge something to work off.
C While the ideas are s ti ll f resh inyour mind?
L Yeah, while the ideas are inmy mind. Also, this t ime around Brian and Danny
nO I only agreed to produce the record, they were also part of the songwriting
team, which was a whole new thing for us.
e So.just togo back a Ii tt le , is your prep time inthe studio akin toEdge's prep
time, where he spoke about getting back to Malibu and being on his own with the
music, do you have a similar relationship with tile music?
L Hrnmm.; drumming is, I think, quite dif ferent, being on your own with tile
music would not be the same forme as i t would be for Edge . Drumming is a
visceral, violent discipl ine and for those who are no! special ized in the field, like
me a ama street drummer , I have had a few lessons here and there), there is
nothing romantic about this relationship. It is pure violence and that is the way I
like 10 have it! (big smile). Now, that said, when you are working with the band,
occasionally you have to bring flowers.
e How do you make the transit ion f rom the studio 10 the stage?
L There isa dif ference alr ight, inthe studio you have exper imented, but you have
only lived with the songs for a while , When you gel toplay them live, you get to
learn the songs in a different way, all those nuances you didn't quite understand
while recording become clear. The challenge is to bring what we have recorded
into tile new arena and keep tile excitement,
e Do you get to a point inthe process when the f rustrations thatare inherent in
any collaborative project become overwhelming, and ifso how easy is it to let go
and relish the music at that moment?
L This isan interes ting thought as there are some things that don't change.
Everything around youcan be falling apart , but what shouldn't change isyour
desire todo great things and to make great music, I love toplay, I love tohear
great music. I love tofeel par tof something that isspecial. I want tobe par t of
something special , so you can't lose those things, you can't lose that passion for
creativity.
C So you pro tec t?L Yes,but toprotect those things can be a lit tle harder than you might imagine.
e Was it l iberating having Brian and Danny come on as par t of the writing team,
or was that scary? Would you say you were having a new kind ofconversation
on this album then?
L Both. You 've got to remember tilat Danny isa beautiful guitar player, and
Brian has got incredible sensibilities when itcomes to technology and machine.
WhatBrian does with machi nes issometh ing else ) One of the beauties is that on
tileone hand he isso incredibly cerebral, while the other s ide orhim isso fullof
soul__ I t's a contradiction in ways_He brings both these sides of his talent tothe
table, which isvery unusual.
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Catherine Having an idea of how U2 approaches the making of the ir a lbums
over the years , 1was intrigued at the decis ion to r ecord thi s album in a new way.
Can you explain what motivated this change?
Bono Well , maybe I should s ta rt bysay ing tha r the last couple of a lbums have
been very, very person al; Iit ile operas . .. ope rettas, "AIIThat You Can't Lea VB
Behind" had themes of life, love, death. You know, essential things, soap operas,
you cou ld say, with an essen ti al e ss ence a t the heart o f each one. "How To
Dismant le All Atomic Bomb" was not supposed to be so personal , but wi th myfather's passi ng it became another very personal and intirnate set of stories.
Them's a k ind of st range c rush ing ofyour ego tha t happens a fter a dea th . All the
more cr ippl ing i f you have a b ig ego , which I have to imagine I have (laughs) I
Anyway, I suppose mortal ity i s p re ss ed upon you and you have no cho ice but to
either puff out your chest and put 011 a hard man's wal k . o r pray. So for me it was a
bit of both.
C Did you feel tha t c reat ing cha racters a s a veh ic le fo r stor ytel ling was going to
allow you some distance from yourself?
B Well , I ce rt ainly thought I needed toge t away fr om myse lf, s o I start ed to
explore working through these different characters. Oscar Wilde coined the I ine
" the mask reveals the man". Inchallenging the characters, by taking them on a
journey, I felt there may be a new way to reveal things, emotions, thoughts,
desires.
C What sort o f character s were you looking toexplore?
B Well , one of the cha racter s i s a t raf fi c cop fr om Par is. I can' t qui t e exp lain why
I chose him but I 've always loved French cops' mororbi kes .. I 've always thought
they were beautiful bikes.
C Do you cal l the se cha racters your muses? Have you al lowed these cha racter s to
invade you or have you invaded them?
B Now that 's a very good quest ion, who is invad ing who? Hmmm, Idon' t know,
but i f you want to ta lk abou t "Bei ngBorn", wel l, I'm not sure why i t' s cal led
"Being Born", but i t' s about thi s char ac te r who isgoing a b it AWOL. He takes a
road [rip, who jus t t akes off to r ed is cove r who he i s and tor cfind h is f irst love. In
my head, the traff ic cop is f rom Morocco, he iscer tainly Afr ican-French, he heads
down through France, through Spain towards Cadiz. He's heading for a lit tle place
near Cadiz, a lit tle sur f ng town called Tar ifa, At night, when the sun goes down,
you can see across the water to the hil ls ofAfrica. Afr ica and Europe are only eight
miles , thirteen kilometres, f rom each other . The real impor tant thing to know about
thi s song is the sense of speed and thi s k ind ofpr imeval d rive to get back to youressence ... The engines roar, blood curdling wail I Head firs: thenfool 1Then heal"!
set sail. Asyou know from our DNA's point o f v iew, Africa i swhere we a ll come
from, so I suppose I r elate insome st range way to th is feel ing ofAfrica ashome , I
really do, and I 'm not the only European that does. Especially somewhere like the
Maasia Mar a inKenya, which local l egend c la ims to be the Garden ofEden . I 've
been brought to tears by the sheer beauty and scale of the natural diversity of this
place. Sorry, I digress ..
C This character in "Being Born" feels l ike he has abandoned everything inorder
to reconnect with his f ir st love, driven by this sense of danger and memory.
B Most people miss the ir f irst love and i t i s just the way of i t. I haven 't lost mine ,
but thischaracter has , and at some point he panics about that and needs to return
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Catherine Can we beg in our convers at ion with "Fez", can we talk about the
guitar sound?
Edge WeJl the original gui tar sound for tha t song was one I h i t on when I was in
Abbey Road Stud ios work ing wi th the band and Rick Rubin on "The Saint s Are
Coming". Somet imes, a combinat ion of sound and par t can g ive you a c lue toa
whole song arrangement. I thought it had potential and I played the idea for Danny
and got excited about it. He and Tony, his engineer, took the recording, put a drum
loop behind itand before long it became a pretty cool lit tle ins trumental piece. I t
was Danny who sa id tha t i tm ight make a good segue into"Be ing Born".
e The process sou nds very collaborarive.
E It i s, and we make progre ss by find ing consensus. A funny thing happened
when we were work ing on the fi rs t vers ion of "Fez". Bono had done a vocal
improvisation, which became the main melodic idea. As l l is tened to i t in the ca r
one day , 1could hea r ano ther vocal me lody inmy head. 1 recorded i tand told Bono
1had some th ing cool top lay h im. He told me hehad come up with an idea too . We
played them to each other and they were identical .
C Spooky .
E Yes, but a lso the songs tel l us wha t todo . When we get to the f inal a rrangement
italways has a sense of the inevitable about it.
e So onto "Being Born". When you a re ina s itua tion where you a re pre sent i ng
something musically to everybody, is that nerve wracking? Do YOLl get attached to
the pieces before YOLI present?E I can 't r ea lly ge t too a tt ached to anyth ing I off er upor the co llabora tive process
would be too difficult. r real ly have to k ind of s ee my song ideas asorphans. Just
l et them go, and see which ones survive . I can come upwi th some th ing I th ink i s
brill iant , but if i t doesn't get Bono, Adam 01' Larry excited, and unless they can add
to i t , then i t i s neve r going to goanywhere . Some times I have to le tgo ofwhat I
think ar e gems , gri t my tee th when some th ing I have spen t ages on i s tor n apa rt
and thr own in the dustbi n in f ront o fmy eyes . But you know the bes t ones a lways
survive, and ifyou are going to be too precious about your personal work, then
don 't be ina rock 'n' ro ll band. In think ing about "Be ing Born" though, we were
inFez work ing togethe r, and a fter a few inspi red days we found ours elves ina b it
o f a lul l, s o I thought I'd throw in thi s musical idea that I had been work ing on -
inspired by one of my favouri te new groups of the las! f ive years , The Secret
Machines. It was very much my attempt to re"engage with the music that I would
have been l is ten ing towhen U2were s ta rt ing o lit ,German influenced bands like
Magazine, Neul, Can, Joy Divis ion, Siouxsie and The Banshees, and Eno-
produced David Bowie. Maybe because i twas so a todds with where we were ,
everyone got very excited about it. Westar ted playing and literally, inan hour or
less, we recorded the basic version that made the record. What really made this
piece great was what Brian and Larry contr ibuted. The combination of their
rhythms is just brilliant.
C Is i thar d to r ema in focused?
EWell, it 's nO I down to one person. Everyone has a par ticular role in the process ,
and it's quire f nely tuned. Adam isthe wiId card. He's naturally unorthodox. Lar ry
keeps an eye on the fundamentals. I 'm the instigator of musical beginnings, and
Bono has thegrand vis ion.
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Catherine B011<.)tar ted his interview by iiiI ing me inon the background
concept for the album. and descr ibing the nar rati ve that driyes each song.
then Edge followed on with the rnusical s ide of this s tory. I mentioned 10
Bono that l fell l ike each character was midway through their journey. No
one person was re so lved , each i son the ir way somewher e, one man was on
his way 10Cadiz, the o ther in h is hotel hav ing an unknown voice talk 10him
on the phone. There is this sense of endless possibili ties taking piace.
Adam I think that in B011<.l 'songwriring ,he does pick up his character f romthe night before, like in "Running to Stand Still", where the opening line is
So she woke up from where she was lying st il l. You ar e in the s to ry as soon
as i tbeg ins, I amSUre that pari o f thi s i s some th ing that he has p icked l ip f rom
scr iptwriting, where really your opening line has to be the hook, the image or
words tha t ma le peopl e want 10Iisren 10the res t of the song.
C Going back to "Magnif icent" , there is a transcendent quali ty that follows the
nar rative ineach of the snllgs. Do ymLaim to capture this transcendent feeling
in the music also?
A I think t hat it is what we look for in our music, we are much more interested in
f inding that transcendent thing than in, say, f inding just a good song. Wedon't
always hit i t, but by looking for itwe do abandon a cer tain kind of methodical
approach that, ina funny way, serves us well.
C I c an see how 'methodical' may not always work for U2.
A Wel l, what you end up with i s c raf t, and c ra ft i sn 't exci ting at the end of the
day , because i r i s not an idea . Wher eas what I l end to th ink i s tha t we pursue
ideas.
C Ok, let 's t alk abou t "Fez" B011< .)oves how i tgoes into "Being Born". He fe lt
this was the start of a whole journey. Edge felt that "Fez" just arr ived,
ilwas there; it' Was easy.
A Il 's funny. There a re l it tl e moments on the record wher e you goin to anothe r
dimension and you forget that you are in a sequence on a rock record. You realise
that you are making a transit ional piece and it get s you fr om one fr ame of mind or
mood into ano ther. That i swha t "Fez" i s f or me. It cr ea te s a tension , and that
tension is resolved when you go r n . ) 1 1 1 "Fez" i nro "Being Born" _So ilisalmost' as
if dur ing this transit ion a decis ion is being made, you are exper iencing the unease
and the questions at the same time. The background vocals are saying "What are
you? Who are you'!" There is uncer tai nty in that moment, great drama"
C So, in terms ofhow you would see the bas s p layer 's r ole and what you bring
into allYgiven situation, is your focus on where Edge is . going Orwhere Bono
is going? Obviously, you and Larry are a team in a cer tain way".
A In situations where iIi s one , two , th ree, go, a s it often i s a t the ear ly s tages of
the record, the bass depar tment has a few dif ferent jobs 10do. First and foremost, I
am t ry ing to support what i sgoing on so tha t things can f ly .Then when ther e a re
bits ofaudio real estate, where something needs to happen, those are my linlc
oppor tunities to pop things in on a creative level. That was very much true for
"Be ing Born" and "No Line on the Hor izon" There were moments, l ike Ona
bird's f ir st f light, where you don't want todrop the ball, you want to support
everY{) lleelse, for example as Larry is setrl ing on a drum par i and Edge is lrying ro
figure OUI his chords, Bono may be t ry ingsome new voca l range, you want to help
keep a ll o f thi s up in the a ir.
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C There must be t imes tha t a re fi ll ed with wonde rfu l moments of uni ty , and t imes
when you ar e think ing, ok everybody - we've had enough there now. I imagine
there isa matur ity that allows for the ebb and f low in those moments .
E Well, i t i s a chall enge at times not 10 lose concentration when there's nothing
interes ting going on. Sometimes. a day or two can go by, and then out of nowhere.
something arrives that is truly brilliant, Maybe a great groove or jus t <1 great series
of chord changes . That iswhat happened with "Magn ificent" The basic chord
progression had a power that got everyone inspired. J think we al l knew that i twas
inherently joyful, which is rare. We had a group of Moroccan percussionists in at
the t ime. They played a long wi th us. and wha t was al ready a very rhythmic jam
went onto another level of sophistication. So in the DNA of the chords and groove
was a feel ing that made the song a favouri te f rom the beg inn ing . I t' s har d 10
explai n [his if you are not a musician, but I iterally a combination of chords can
start to become something like a voice.
C Out of a l l the songs. which one i syour f avouri te? Which one speaks to you
most?
E There ar e songs tha t r ef lec t a ll the ri sks we have taken on rh i s a lbum, defi n it ely
"Moment Of Surrender" isa s tand out. "Unknown Caller" , "Breathe" and "Get On
Your Boots" a re tunes I pu t a lot o fwork into. My current f avouri te out of those
four, well i t's dif ficult as I really have so many favourites, I would say that
"Unknown Caller" has something about it that I don't fully understand. That song
will gel better with age. It came together so f as t, s o fa st we never had a chance tothink about it too much. I t's hard to know when we're inthat f ree- flowing
situation ifa tune has taken the r ight tum. I remember thinking, is this verse too
much of a downer? If I had had t ime I migh t have suggested a few a lternat ives fo r
the vers e chords, but then maybe the song wouldn' t be asgood . Sometimes we
real ly don 't know what we ar e doing , tha t' s the st reng th and weakness of U2.
C Bono talks abou t the pure joy of exploring the world of not knowing , i t i s such
8 fantastic creative environment to explore. That support, no matter what combina
t ions have emerged over the las t 30yea rs , appea rs tobe at the core of who U2 ar e,
sti11will ing to suppor t each other in the darkness ofdiscovery.
E It never get s easy . I n those moments, wher e anyone of usmigh t want to se tt le
or take the easy way out, the three others and the producers would say, f !'** that,
tha t' s l azy, we can do bet te r, s oyou have to step up and mean i t!
C "Meaning i t" accounts fo r so much inU2 land.
E Wel l, "not mean ing i t" has a certain sound and i t' s qui te obv ious, and the bes t
way to descr ibe it is I ifeless. but getting to "meaning it" involves finding anorigi nal perspective. Bono writing inthe third person, relocating to Morocco, and
collaborating with Brian and Danny on the songwriting; i t a ll helped us to write in
a new way. but in the end, l ike eve ry o ther U2 a lbum. i twil l beabout the four of
us. and what inspires us. You cannot make music unless you are inspired. I can tell
you tha t every sing le one of these tunes has g iven me goose bumps and made me
go, f !'** , thi s i swhy Igo t into a rock 'n' ro ll band in[ he f ir st p lace. L isten ing back
to the rough mixes you think , thi s i s i t , J have the bes t job in the world, to be able
to play guitar in this band to help tocreate these tunes , to be a round for those mo
ments when magic happens . . i t' s brilliant, And although this album has been
tough tof in ish, when i t i s I th ink i t' s going tobe one of OLLres t ever.
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C There a re a few love songs here , can we talk abou t them?
B Le t' s st ick with fi rs t love and the n ight t ime side of the a lbum, because these
me all ' firs t love' songs. So, here we have "Magnif icent" , I "'(IS born 10 be with
)'011 I In thi s space and t ime I A ft er tha t and ever a ft er f haven 'I had a due . WhiIe
writi ng this song, I was thinking about the kind of lyr ic Cole Por ter would sing,
but I was also thinking about the Magnificat. Bach does a good one., . ( sings the
tune and laughs ). Th is one i s about two lover s holding on toeach o ther and t ry ing
to turn the ir l if e into worship. Not of each o ther, but of being al ive ,o f God .. o f
spirit.
C Fi rs t love i s so confusing and yet i t i s so abso lu te .
B I've been inconfusion , tha t' s fo r sure , Which I guess br ings us to "Get On
Your Boots", The future needs a b ig ki ss I Wind b lows with a twts t I Never seen a
moon l ike thi s I Can you see i t too ~ IN ight isfal ling everywhere I Rockets at the
funfair I Satun loves (Ibombscare I 8111he w"n 't ,ware you, This song is s et at a
fa irg round outside Nice in France , whe re Ali and I take our k ids. It i s a song from
a man to his f ir st love" She doesn't realise how beautiful she is. I t's s imple and
p layfu l, but in the pe riphera l vi sion of i t you get the sense tha t ther e i sdange r, a
ghost t rain r ide, a hal l of mi rro rs . We ar e a round the corner f rom the house of
horro rs in thi s happy place . During the summer at n ight we couIdhear the low
rumbles of f ighters and bomber s on the ir way towar i ll the Gul f , We've t ri ed
with only one except ion, " Whi te AsSnow", tokeep the war out of the cen tr e of
this album. But it's always present in the per ipheral vis ion . . , especially ina song
like "Cedars of Lebanon"
C I l ike the dua li ty , the complexi ty , the surface and the depth, the darkness
makes the I ight of the other songs brighter by contras t. . . What about the characterin"Moment of Surrender", is he the same person as in "Unknown Caller"?
B Yes .Here i s ano ther cha racter, a war veteran. I n my head hewas part o f the
Somali Adventure that went so wrong. We think about him ,1 > someone who has
not been able to reintegrate or re-enter e3! th 's atmosphere yet. He hasn 't managed
to return to himself . I believe insanity is the sane response of sane individuals to
insane situations. In"Moment Of Surrender" ,he has dragged his wife into drugs
and booze, hecan 't l ive wi th what hehas done to he r and sohe breaks down
beside an ATM machine and begs God tode live r them. He ends up ina motel
room at the end of h is r ope . He picks uph is cel l toca ll someone e ither fo r he lpor
drugs , we don 't know, but he can' t get a signal . Then some th ing mad happens. The
phone starts to text him instructions, He doesn't know where the messages are
coming from, he i snot sure whe ther they ar e fr om someone he knows or has
me t. . Are they from his consc ience , i s i t a cr ank, o r i s i tGod? This a lt ered SUite is
the driving force in"U nknown Caller"
C In a funny way, these cha racters a re qui te re fl ect ive of the band' s journey, oneof seeking,
B Wel l, they ar e a ll char ac te rs that a re moments in t ime , some th ing i s about to
happen to them, , 1 1 1 a re ep iphanies. I don ' ( think ther e i s any one of them, even the
war cor respondent, who reallses the real war he iscovering.
C In terms of the music tha t i sp lay ing inyour head asyou ar e wri ti ng, the re a re
so many genres in the hi story ofmus ic , Are you think ing about thi s inany way, or
a re you think ing about wha t the f ee ling of the song isor should be?
B 1usual ly s ta rt wi th the music and let the music tel l me wha t to SiW You know,
i t i s a lmost l ike the words f orm inmy mouth l ike tee th on a baby' s gum. You
know, they just kind of come our .
C Do you get surpri sed about where they go? Are you in tha t phase r ight now?
B Yes ,and of course , the journey has not ended . ..
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C One of the th i ngs that Edge sai d, J th inkwas very f unny. He said "Wel l, [
am in my own world in Malibu making music based on Lar ry 's loops . I'm just
doi ng my thing with them, speeding them up, s lowing them down, adding
elements, then I bring these enhanced loops back and say 'Ok Larry, there you
go" And your response is "Well, who the hell do you t hi nk is going to be able to
play that l ive?" And hisresponse was something Iike "O h yeah, well I wasn't
really thinking about that!" I can imagine there are some funny retor ts in those
moments where you real ly want to make i thappen forEdge, bu t i t' s imposs ib le to
play at those speeds.
L Yes, when you take sornethi ngl ike a drum loop or drum idea, and you squash i t
and stretch it, EQ it, along with the other effects , and after Edge has done his thing
to i t , we ll you can end up with these amazing sounding pieces, but they can be
impossible to recreate. To actually play some of Edge 's t empos can be very
dif ficult , and we sometimes end up in these very funny Spinal Tap moments
discuss ing what Edge did to my drum par ts . .. bas tard.
C Adam said that each person has a different reason as to why they enjoy playing
l ive, and f el t that p laying l ive was the one moment f or the band where the re ar e
absolutely no dis tractions: no dis tractions f rom the outside, no phones, no
meetings, and in that one moment there is this incredible balance.
L I do think he i s r ight , and even i f you ar e hav ing a bad day , when you a re out
there, your focus is on the music.
C You have th is additional role as the root of the band when playing Iive, your
timekeeping is impeccable, that has got to be exhausting to a degree. I t's not l ike
you are s il ting there say ing "Ok, 1'1[ just take a lit tle break here at the backof the stage while Edge goes off on a ri ff' .
L No, but I th ink tha t th is i s the di fference belween people who want tobe star
musicians, and people who wan! tobe "members of the band". People who a re
"members of the band" are not necessar i l y there because of their musical prowess .
[ am not interes ted in being a superstar drummer, I d on't have the chops for it. So [
have accepted my role, Im a timekeeper, that is what Io . I keep t ime , Ihold the
band together onstage and that ismy job. I cou ldn 't be happier doing it.
C Lar ry ' live ' then i s a ver y d iff erent person f rom the person who is inthe studio.
ln the studio you are par t of the learn creating the language for the album.
L Well, I 'm not inthe studio ke-epingtime, that's for sure, Im pan of the creative
process in the studio. I t's a di f ferent creative process live. The songs have to be in
t ime and people have got to f ee l it. Bono, Edge and Adam have to be al lowed todo
their thing on stage and move mound without worrying about what the drummer is
at! I twill be interes ting with some of the new mater ial on the record, because
some of it isa lit tle f luffy.
C Can we use that word, Fluffy?L Yeah, Ihink so.
C It was lovel y to see Edge, as we went through the set Ist of songs, seerni ng
almost giddy in a way, he was qui te del ighted wi th what he felt everyone had
brought to the album. He felt l ike all the really important things about U2 were
still right in there.
L Yes. I n the end he i s r ight , however we have to take care of those importan t
rhings, because they a re easy to lose a long the way, and toquote a well-known
lyric, O ne L ov e, w e g e l 10 share 1 ' 1 , l ea ve s y ou b ab y if y ou d on 'I c a r e f o r i t . . .
C Hopefu lIy, there wi [I be some sor t of lovely awakeni ng or awareness on that
level.
L There wil l be, J have faith.
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C Let 's talk about "Moment of Surrender".
A I think we f irs t p layed thi s inDubJin. I don 't know whose chords they were ,
they may have been Edge's chords. Lar ry was playing his new electronic
synthesized kit , the advantage to this kit was that it had volume control , so he
never got too loud. This mean t that Larry was in the room more, and tha t the re was
good eye contact between everyone, i t a llowed Larry greater creative input. At
f irs t he r ea lly d id not know how the k it worked. Wewould be in the midd le of a
take and Larry would tum a knob and the sound would change, so we couldn' trepeal things; n order 10 per fect them. As a result. the sounds are quite odd as
Larry is jus t playing on the f ly. Very inspiring, in its own sense.
C One of the thoughts tha t Bono touched on in h is convers at ion was about the
power of relationships . He was talking about personal relationships , and the
need to sur render to them. This sur render can happen in one 's profess ional l ife
and personal I ife. Edge mentioned how the four of you have to really sur render
to each o ther inorder tobe the best f or U2.
A It i s in some ways a s tra tegy to surrender.
C Some people call that matur ity, Adam.
A No, I th ink ina way matur ity i s a d iffe rent thing . That moment of sur render i s
sornethi ng else, it isspiritual, it is intellectual, it is human. You are acknowledging
your humani ty . It i s a submissive , but a s trong and courageous thing todo . It i s
many things ...
C So wha t drives U2 to push beyond prev ious ly se t goal s? Is 'OK' ever enough?
A No, no t real ly .. I think you lear n tha t s taying re levan t i s an importan t st rugg le,
i tgoes back (0(he concept of sur render . I fyou assume that there is some kind of
limit , i ta l lows you to give Lip.But I think with U2 it's more about f inding the truth
within the work, f inding a truth isprobably what art does best. I think that is true
for U2 as well.
C Can we talk about "No Line on the Horizon" ?
A That s tarted out as a drum pattern (hat Lar ry was play; ng and simultaneously
Edge s ta rt ed to p laya chord parr: The b lend was something un ique . It was nor
some th ing tha t was c la ss ic U2 or c la ss ic r ock 'n' ro ll , i twas l ike something new
and other wor ldly. Some of this record feels l ike it has emerged from another
wor ld or dimension, we felt l ike we could actually reinvent U2, but s ti ll be U2.
C I do think U2 have interjected a lot o f spi ri t i ruo the genera l chaos ove r the
years , and through their music have giyen people I it tle breath ing spaces.
A I suppose r ea lly a t the end of the day, the jour ney i s about being al ive mental ly ,
spiri tually, and intellectually, and being aware of what reali ty is l ike for mostpeople who have to struggle. I try to come back tosome kind of grati tude, some
kind of acknowledgment, that what we all do ascreative people is pretty unique
compared to wha t i sgoing on for many people ino ther pa rt s o f the wor ld
r ight now. Wedo think about all of these things.
C Wel l, thi s g rat itude i s some th ing tha t Edge a lso touched on, af ter looking a t the
songs and think ing about how much he loved each one, hesaid "How lucky
am 11I am in the band I love, I 'm playing the gui ta r and I couldn 't be happier".
A In a f unny way, I feel that same sense ofgr at itude when I'm out on stage. Being
on stage i s such a moment of c la ri ty , because you can only do the thing tha t you
are there to do- be a musician and play with the band.
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I. NOLINEONTHE HORIZON
Music byU2,BrianEno andDannyLanois
Lyricsby Bono
5. ILL GOCRAZYIFI DONT GOCRAZYTONIGHT
MusicbyU2
Lyricsby Bono
9 . WHITE ASSNOW
Lyricsby U2withBrianEno andDannyLanois
Music: Tradi tionakarrangement byU2
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NO LINE ON THE HORIZON
Bon o V oc al s a nd G ui ta r
T he E dg e G ui ta r, V oc al s a nd P ia no
A dam C la yt on B as s G ui ta r
L ar ry M ul le n J r D ru ms a nd P er cu ss io n
P au l M cG ui nn es s M an ag er , P ri nc ip le M an ag em en t D ub li n a nd N ew Y or k
B ri an Bno Rhy th m L oo ps , P ro gr ammi ng , S yn th es iz er s a nd V oc al s
D an ny L an ai s G ui ta r a nd V oc al s
Ter ry Law less Add it io na l P iano , F en de r Rhodes and Keybo ar ds
M us ic U 2 w i th B ri an Bno a nd D an ny L an ai s
L yr ic s B on o e t a l , e s pe ci al ly T he E dg e
P ro du ce d b y B ri an E no , D an ny L an ai s a nd S te ve L il iy wh it e
Eng in ee red b y Richa rd Rainey, Dec lan Gaf fn ey , CJ E ir ik sson , Carl G lanv il le,
Ton y Mangu rian and Dav e Emery
Add it ion al eng in ee ring b y F lo rian Ammon and Cenzo Townshend
Assisted by Chr is H ea ne y, T om H ou gh , K ev in - Ke vo - W il so n a nd D av e C la us s
Mixed by S teve L il lywhi te , Dec lan Gaf fn ey , Dan ny Lan ois , CJ E i riks so n,
Cen zo Townshend , Car l G ranv il le and Rich ar d Rainey
R ec or de d a tHQ , R ia d E I Y ac ou t i n F ez , P la ti nu m S ou nd R ec or di ng S tu di os i n N ew Y or k, a nd O ly mp ic S tu di os i n L o nd on
Studio Crew
S tu di o M an ag er /D ru m T ec h S am O S ul li va n
S tu di o T ec h R ab M cA ll is te r
G ui ta r T ec h D al la s S ch oo
C at er in g S an dy H yl to n
M as te ri ng J oh n D av is a tM e tr op ol is M as te ri ng , L on do n
Audio Post Production
Co- or dina t io n and Qua li ty Con tr ol Chery l Eng els a t P ar tia l P ro du ct ion s
A lb um P ro du ct io n M an ag er s S te ve M at th ew s a nd C an di da Bouact
Thanks to :
Trevor Bowen, Keryn Kaplan, Steve Matthews, Candida Bottaci, Sharon Callaly, Cillian Guidera, Susan Hunter, Missy Iredell, Paul Kremen, Cannel Lee, Michelle Lieu,
Shan Lui, Sally-Anne McKeown, Cecilia Mul l en , Nadine OFlynn, Eileen Osborne, Avril Slevin, Maire Smith , Gerry Watters, Kevin Singleton, Adrian Kelly , Michael Sbaw,
Gaby Smyth , Anne-Marie Smyth , John ONeill,Jan Favie, Peter Lacy, George Reddin, David Devlin, David Enright, David Toraya, Allen Grubman, Artie Indursky,
Theodore Harr is,Jess Drabkin , Nick Vainer, Paddy Gardiner , Fred Feingold ,John Gula, Jennifer Czin, Brian Murphy andMazars, Regine Moylett andFrances McCahon and
RMP, Sharon Blankson, Karen Nicholson, Chloe Bloch, JayMaskrey, Sandy Hylton, Fintau Fitzgerald , Sebastian Clayton, Jeremy Joseph andall at De-lux, Dell Furano,
S teve Averi l l and Shaug hn McGra th, Cathe rine Owens , Chery l Eng els, Ned OHan lo n and Tara Mul len , J ack Heasl ip, D rMark Holmes , D rDavid Har ri s, D rHay and the
Mayo Clinic, DrMiiller-Wolfahrt, Imke Bergmann, Dennis Sheehan, Lindsey Sheehan, Inge Eulitz, Bret andTheresa Alexander, Marc Coleman, Brian Murphy andthe lads,
Kevin Lawless,Anton Corbijn , RickRubin forwisdom, Mark 'Spike Stent, Patr ick Dillett, Jonathan Shakhovskoy, Arden Altino, Lori Ann Reid, Anthea Norman-Taylor and
Jane Geerts, Doug Morris, Jimmy Iovine forbelieving that U2 area brand new band, Zach Horowitz, Steve Berman, Lori Earl, Brenda Romano, Gretchen Anderson,
Kathy Angstadt, Candy Berry , Lucian Grainge, MaxHole, David Joseph, Jason Hey, Christine Atkins, Naomi Beresford-Webb, RobWells, David Renzer, Dylan 'White,
Jeff Pollack , Candice Hanson,Julie Panebianco, Wyclef Jean , Jerry Wonda, Martin Wroe, Dessie, Darren, Mick Meehan, David ,Jerry Judge, Milton, Edwin, Darren and
Jim McC, Glenn, Chapman Freeborn , RiadEl Yacout, Barry Slattery , Arthur Fogel andMichael Rapino forfaith in music, Craig Evans, Eric Kert, Jake Berry , Denis Desmond,
BillFlanagan, Ralph Simon, Tero Ojanpera, Harry Crosbie, Michael Stipe, Chris Martin, Jay Z and the Queen B,Bob G ,Gavin F riday and S imon Carmody f or the ir eyes and
ears, Guggi for inspiration andtour management, Regfor getting me there, allof theStankards,Ali, Jordan, Eve, Eli, lohn, Terry andJoy, Lucy, lamie, Catriona, Jennifer ,
M ik i, Non ie , J ackie , S imon , Mar k, Dar ag h, Joh n, Hugh, Emma, N iamh , (A, Band T wemiss y ou ), Norman and h is c lan, the r es to f the f am ily, my f r ien ds - I am sor ry f or
disappearing, I am loyal ifunreliable I know, Bobby Shriver forbrotherhood, TomPreston forclar ity andhumour, Nelson Mandela andDesmond Tutu ( the Arch) for
leadership, Christophe andLorna Marecaut, Beta, Carlo , Marc, Bruno, Morleigh , Hollie, Arran , Blue, Sian, Levi, Garvin, Gwenda, Gill, Richard , Aislinn , Liz, Sammy, Margo,
Rima, StAnn Gallagher, Lenny, Bob,Annie, Oguri, Eliza, Moses, Ciara Evans, Chanty, Bob Ezrin , Caroline Galloway, Henry Juszkiewicz, Kristen Madsen, Prof Owen Smith ,
Dr Stuar t Segal, Dr Aengus OMarcaigh, Dr William L, Billie JoeAnnstrong, Mike Dirnt, TreCool, The Mighty Boosh , JimVanden Berg , Carol, Nikki, John G Lesley,
A,E.AE, MrRay Moran, Mr Kevin Mulhall, Lisa, DrMark Philippon, Dr Peter Millett, DrRichard Stedman, Teri, Cristal, Luke andMike, Elizabeth Spencer , Dr C Goldstein,
Helen , Laura, Breda, Alison, Joy, all theboys at thehouse, Mark, Sean, Barbara, P a u l, L y n s , Neddy,ALK, JP, Suz , David , Sian andOliv ia Beal, Richard, Marcia, B Kennedy,
P au l S ,LM Snr and A lice, Dan CDHeg ar ty , JG ib ney and Son s, The Abb ey Tav er n, E rr ol Brown .
Thank s toO l ive r S ev es rr e and a l la t th e Clar en ce Hotel , a ll a tCla ridg es , P au lA l len and h is p eo ple, Ken F riedman, Apr il Bloomf ie ld, Spo tted P ig , Mar io Batal i , Cap ta in Pete r
andthe crew ofCYAN, Jules, Samy, Cyril, JoeRobertson, Serge Pacrus, Simon Climie.
Thanks to allat Platinum Sound Recording Studios, New York,and Olympic Studios, London.
Thanks to BigBear Sound, Sensible Music Ireland, Yamaha Drums, Ludwig Drums, Paiste Cymbals, Roland Ireland, Zlldjian Cymbals, Pro-Mark Sticks,
Remo Drum Heads, Rock-it Cargo, Hanway Haulage, Digidesign , Dublin Flight Case Company, Derek Nelson, Gibson Guitars, VOX Amplif iers,
T im Godwin a tL ine 6, Ernie Ball Guitar Strings, Chicago Music Exchange Vmtage Guitars, Waltons Music Store, Lakland Basses, BillCummiskey atFender Musical
Instruments, Warwick Basses,Ashdown Design Bass Amplifiers, DR Bass Strings, Fred GretschiGretsch Guitar Co.
Thank s a lso f rom Bono to ev er yo ne a tONE and a l lo f th o se who sup po rt them, inc lu ding the Bi ll and Mel in da Gales Fou nd at ion , J oh n Doerr , Sus ieBu f fe tt , Rog er McNamee ,
Paddy McKilIen , Bernard McNamara, Johnny Ronan, Sean Mulryan, Derek Quinlan . Thanks to all a t (RED) , the (RED) ambas sado rs and (RED) companies, Thank s to th e
partners andeveryone at Elevation, andto all at Edun andNude.
Thanks alsofrom Edge toMusic Rising, Angiogenesis Foundation , Mencap, Children 's Hospital, LosAngeles, OurLadys Hospital forSick Children , Crumlin .
Ded icated to th e memor y o fRob Par tr id ge , who b el iev ed in u s , a lmos t b ef or e wed id . . , a lmos t. 1 94 8 - 2 00 8
ProducedbyBrianEno andDannyLanois
Additionalproduction bySteve Lillywhite
EngineeredbyRichardRainey
Assistedby ChrisHeaney
AdditionalengineeringbyCarl Ganvi e CenzoTownshend
Mixedby CenzoTownshend
Assistedby NeilComber
2 . MAGNIF1CENTMusic byU2,BrianEno andDannyLanas
Lyricsby BonoandTheEdge
ProducedbyBrianEno andDannyLanois
Additionalproduction by SteveLi llywhite
EngineeredbyRichardRainey
Assistedby ChrisHeaney
AdditionalengineeringbyCarlGlanville,Declan GaffneyandDave Emery
Mixedby CenzoTownshend
Assistedby NeilCornber
AdditionalkeyboardsbyTerryLawless,Bono andw L am
3. MOMENTOF SURRENDER
Music byU2,Brian E no a nd DannyLanois
Lyricsby Bono
ProducedbyBrianEno andDannyLanos
EngineeredbyRichardRainey
Assistedby ChrisHeaneyAdditionalengineering by Decan Gaffney,Carl G a nv e
MixedbyDannyLanois and Decen Gaffney
AssistedbyTomHough,DaveClauss,DaveEmery
Additionalkeyboards byTerry Lawless
Cello: CarolineDale
4 . UNKNOWN CALLERMusic andlyricsbyU2, BrianEnoandDanny Lancs
ProducedbyBrianEno andDannyLanos
Additionalproduction bySteve Lillywhite
EngineeredbyRichardRainey
Assistedby ChrisHeaney
AdditionalengineeringbyCarlGlanville,Declan Gaffney
MixedbyDannyLanois and Declan Gaffney
Assistedby DaveEmery,DaveClaussand TornHough
Additionalkeyboards byTerry Lawless
FrenchHom: RichardWatkins
ProducedbySteveLillywhite
Additionalproduction bywill.i.am
Engineeredby C Er ksson
AssistedbyTom Hough
Additionalengineering by Decan Gaffney
MixedbySteveLillywhiteand CJ Er ksson
Assistedby DaveEmery
Cello: CarolineDale
Violin: CathyThompson
Additionalkeyboardsby TerryLawlessand w i am
6 . GET ONYOURBOOTS
MusicbyU2
Lyricsby Bono
ProducedbyBrianEno andDannyLanois
Additionalproduction byDecan Gaffney
EngineeredbyRichardRainey
Additionalengineering by Decan GaffneyandCarl Glanville
MixedbyDeclanGaffney
Keyboardsby TerryLawless
AdditionalpercussionbySam OSullivan
7 . STANDUPCOMEDY
MusicbyU2
Lyricsby Bono
ProducedbyBrianEno andDannyLanois
Additionalproduction bySteve L ywh i e
EngineeredbyCl Er ksson RichardRainey
Asssed byDaveEmery,TornHoughandDaveClauss
Additionalengineering byDeclan Gaffney
MixedbySteveLillywhiteand Cl Er ksscnAssistedbyDave Emery,TomHoughandDaveClauss
8 . F EZ - : &i og B or n
Music byU2,Brian EnoandDannyLanois
Lyricsby Bono
Produced byBrianEooand DannyLanos
Engineeredby RichardRai ney,Decan Gaffney,Dave Emery
andTony Mangurian
AssistedbyDave ClaussandChrisHeaney
Additionalengineering by Foran Ammon
As,istedbyKevin"Kevo"Wilson
FEZ MixedbyDecan Gaffney,DaveEmeryandBrianEno
AssistedbyTom Hough
BeingBorn:Mixedby RichardRainey
Additionalmixing by Decan Gaffney
ProgrammingbyTonyMangurianand BrianEno
Additionalkeyboards byTerry Lawless
BoySoprano:LouisWatkins
withBrianEnoandDanny Lanois
ProducedbyBrianEno andDannyLanas
EngineeredbyRichardRaineyandDeclanGaffney
AssistedbyChris Heaney
MixedbyDeclanGaffney
AssistedbyTom Hough
FrenchHom: RichardWatkins
10. BREATHE
MusicbyU2
Lyricsby Bono
ProducedbySteveLillywhite
Additionalproduction byDanny Lanos andBrianEno
Engineeredby Declan Gaffney
Asssed byTomHough
AdditionalengineeringbyCIEiriksson
MixedbySteveLillywhite andC Eiriksson
Assistedby DaveErnery
Cello: CarolineDale
Additionalkeyboards byTerry Lawless
11. CEDARSOFLEBANONMusicbyU2,BrianEno andDannyLanos
Lyricsby Bono
Producedby Danny Lanos
Engineeredby TonyMangurian
Assistedby Chrs Heaney
AdditionalengineeringbyDeclanGaffney,RichardRainey
MixedbyDannyLancs and Decan Gaffney
Asssed byDaveClauss
FeaturingHaroldBudd*
*'Cedars ofLebanon' includesa sampleof therecording"AgainstTheSky" performed byHaroldBuddandBrianEnofromthealbum"ThePearl"(VirginlEMI1984· ENOCDI3)Licensedcourtesy ofVirgin RecordsLirnitedTbecomposition "Cedars ofLebanon"containselementsfrom"AgainsttheSky"writtenbyHaroldBuddandBrianEnoandpublishedbyUnive rsa Songs ofPolygrarnInternationalInc /Toyon Mus c / OpalMusic LondonUsedbypermsson. Allrightsreserved
TitleswrittenbyU2IBrianEnolDanny Lanos andpublishedby UniversalMusicPublishingBY/OpalMusic,exceptin NorthAmericabyUpalaMusicInclBMI
BOOK CREDITS
Crea tive D ir ec tor : Cathe rine Owens
Colou r Pho to gr ap hs :Kenn y Mor ri s on
Black & White Pho to gr ap hs : Anton Cor bi jn
Cov er p ho to gr ap h 'Bod en Sea , U ttwi l :Su gimoto
C en te rf ol d P ho to gr ap h ' N, A tl an ti c O ce an , C li ff s o fM o he r : S u gimo to
Photo Shoot Production
Ireland:
Mar y McCarthy : P ro du ce r
Suz ie Be lton : P ro du ct io n Coo rd in ator
LOl li s Con ro y: Gaf fe r
Mau rice Swan: E lec tr ic ian
S ti l l A ss is tant : J oh nn y Sav ag e
S ty li st : Sha ro n Blan kson
M ak e u p : S am J os ep h
Boo k D es ig n, P ho to E nh an ceme nt a nd Col ou r: J oh n L eamy
L ay ou t: J oh n L eamy a nd C at he ri ne Owe ns
Cover Design: Sheughn McG ra th a t F ou r5 0n eo Cr ea ti ve a nd J oh n L eamy
P ro du ced b yBenne t t L iebe r and Jes sica Fai rb an ks a t Spo ntan eo us
a nd Cha rl ie C ur ra n a tN ol a P ic tu re s NYC
Ass is tant to Cathe rine Owens : Lou is e F rabo ni
France:
Mar y McCar th y: P ro du ce r
S ti l l A ss is tant : J oh nn y Sav ag e
S ty li st : Sha ro n Blank so n
Mak e u p :J ay Maskr ey
I nter view trans cr ip tion s: Lou is e F rabo ni
Thank s to Juan Delcan and O livier Wicki f or the ir c reat ive inspi ra t io n. G lenn Baken a t Kale id os co pe NY, Les lie M il ler a tTh e G renf el l P ress
and all at Spontaneous.
' Br ea th e l yr ic s w er e w ri tt en t he d ay b ef or e N el so n M an de la s 9 0t h B ir th da y . .. b ut d id n' t, a cc or di ng t o Bo no , f it t he m us ic .
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